I didn’t think I was going to participate this week. I mean… if I could make music that doesn’t sound like me, maybe the music I make would be completely different? But then I heard the polka from @SityPhoxx and I knew I had a song for this week.

It’s a bit of a cheat. I composed this song about five years ago while studying a book on music theory around the same time that the Smithsonian released a library of samples as part of a contest. The result sounds like an 80’s sitcom theme song. Oddly enough, SoundCloud reported that the song received nearly daily play for over a year in Japan, my most-played song ever. Yes, ridiculous.

So here is my song of embarrassment, that years later, still does not sound like me, remastered and reposted for your enjoyment.

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Oddly enough, SoundCloud reported that the song received nearly daily play for over a year in Japan, my most-played song ever. Yes, ridiculous.

Ridiculous for you, but I feel so embarrassed right now. Come on Japan, we’re better than this. Go listen to Richie’s other stuff!!

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If you were to go back in time and flip through the record collection of 13-year-old Suss Müsik, you might discover a few surprises. Tucked somewhere between Lamb Lies Down on Broadway and the odd Brothers Johnson album, you’ll find the heavy metal classic Paranoid by Black Sabbath. Even today, a casual listen of “Fairies Wear Boots” is impossible to resist. Arms raised, convulsive head shaking, ‘devil horns’ hand gestures … the whole bit.

Birmingham in the 1970’s was a largely working class city, its economic infrastructure dependent on factories and manufacturing. The sound of early Black Sabbath reflects their industrial surroundings: a chugging, blues-influenced slog characterized by low guitar tunings and beastly repetitive rhythmic structures. It was primordial sludge with a lyrical penchant for examining one’s sense of identity under traumatic (and chemically self-induced) conditions.

Suss Müsik wonders if Paranoid had been a different sort of album had the band emerged from, say, London or Berlin. “The ability of each organism to respond to environmental challenges introduces a degree of uncertainty into the physical word,” wrote the physicist Louise B. Young in her book The Unfinished Universe. “Consciousness is the central experience of life … even the most elementary inert forms of matter act in a manner which extends their own existence [over] time.” The appeal of heavy metal music, despite the genre’s increased sophistication and diversity, remains fundamentally distinct: RAWK OUT, DUDE.

Suss Müsik created this warped piece as a sort of homage to “uncertain” heavy metal, investigating the nuances between cosmic self-examination and our rudimentary (almost primal) compulsion for survival. Think of it as Maslow’s Hierarchy of Needs set to 4/4 time with lots of guitars. It’s no “War Pigs” or “Iron Man,” but you might bob your head a bit. Bonus pseudo-mystical nonsense included free of charge.

The piece is titled Dopamine, the brain chemical linked to feelings of pleasure yet known to cause paranoid anxiety when administered in high amounts.

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@DetritusTabuIII Much emotion there leads to much mirth here. I remember reading an interview with Kevin Smith, where he said he didn’t need to watch European movies because he saw those they influenced in US cinema. I feel you’ve done a similar service for me, thank you.

@Pineyb The vibe is strong and I dig it. Could enhance any number of scenes. Actually, now I think about it, there’s a 8mm home movie that would benefit from this.

@RupertL Funky AF, which means you’ve failed.

@sevenism Sounds like a band getting thrown out of a gig at one of those bars at the top of all tall building. I’m guessing that’s not your jam, so it’s a win.

@howthenightcame That kick in particular. I’d like to hear a melodica solo, otherwise a pleasant track with lovely spaciousness. You could be a scientist.

@gis_sweden Like the tempo, it got my leg moving.

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LOL, you made my day. Loved your comment on SoundCloud too. Now I’m looking for images of green fluffy characters. :joy:

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Ha-ha! To plagiarize from Tom Waits: „The computer‘s being funky, not me“ :joy:

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@bassling I’m oddly enchanted by this. So mesmerised by the vocal sound that I didn’t listen to a word of the lyrics. I am, therefore, not “closer to knowing”. Glad you didn’t shatter the whispy dreamscape with a melodica solo!!

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@bassling I think I kinda love you

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Thanks! I just googled Optigan earlier today, and found that the entire collection of disk libraries are available as wave files… so anyone can paste up some swinging sound tracks.

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I must admit I struggled a bit with this one because I produce a wide range of electronic styles from ambient, glitch, downtempo, neo-classical and more using a variety of techniques.

So I thought the way forward is do something very uncomfortable - take a style I have utmost respect for and apply a vaporwave aesthetic. This means I took a very old jazz song that’s in the public domain and used it whole. I’ve only slowed it down and applied a range of lo-fi, reverb and delay effects.

It feels very wrong, but I’ve made something unlike me.

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This is a track from @pfig (Pedro Figueiredo), who is having some issues accessing Lines at the moment:

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Disquiet0375
a different me

• Key:  C Major     BPM: 120     Time signature: 4/4    DAW: Reaper
• Instruments: Native Instruments Maschine software
• Plug-ins: Izotope
• Only Maschine was used to create the track. Izotope was used for mastering.
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I like to have complete control over every aspect of my music, and I like things to be predictable and groove-oriented. So, in an effort to sound unlike myself, I produced this 100% generative piece of experimental music using Benjamin Van Esser’s Ultomaton software:

github.com/benjaminvanesser/ultomaton

It uses Conway’s Game of Life to semi-randomly automate various effects parameters. I loaded in a recording of toads trilling, let the Game of Life do its thing, and didn’t interfere at all except to stop recording when it organically ran its course. I also resisted the impulse to bring the resulting recording into Ableton for post-production. I guess to really sound unlike myself, I would have chosen harsher source audio, but, well, I have to listen to this too.

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I sang, vocoded, played drums, played simple pentatonic blooze and generally did all the things that I’d avoid. It’s how I imagine my brain would process a mid-life crisis. This was a wonderful exercise, and I can see an interesting parallel between this anomaly and the bulk of my work. This kind of project is what I love about disquiet. This community gives us an opportunity to explore facets of ourselves and one another that may otherwise go unrecognized and underappreciated. Great work all around.

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I love the frogs… reminds me of early summer in the Deep South.

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My take on this week’s challenge inspired by the Djunto Slack channel :slight_smile:

Instructions: Imagine the entirety of Rimsky-Korsakov’s “The Flight of the Bumblebee” while listening to this track of 1 minute 45 seconds of bees buzzing.

As I sound nothing like Rimsky Korsakov, or like a bee; on the one hand, this meets the requirements.

otoh, this does sound just like me, though… :wink:

(One of the inset images is of a teacher of mine from grad school, Mark Thompson, and his piece called “Immersion”: where he allowed himself to be covered in bees. openspace.sfmoma.org/2012/12/receip…of-delivery23/)

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After some rumination (“Is music I don’t like necessarily unlike me?”) I decided to make the kind of electronic music I generally turn off as fast as I can - the kind that has one good-sounding loop that is played OVER and OVER again accompanied by a generic boombap beat.

I play piano, but I wanted to play piano like someone who didn’t know how to play piano. So, I used the Random MIDI VST in Ableton to “play” some piano whose pitches were not related to the keys I was pressing. Then, I found some bits that sounded good and pieced them together in a melody.

Then I added a boomBAP. Ok, that was easy. Then I added some bass, but, still pretending to not know how to play an instrument, I drew it into the piano roll and tried to keep it simple.

At this point I felt like I was making a Ninja Tune track (or, specifically, a spiritual heir to Four Tet’s “No More Mosquitos”), so I engaged in some contemporary crate-digging, aka freesound.org. I found a nice processed sample of some Central European(?) violin playing, some kids chattering that I turned into a chant, and some wackadoodle scratching vinyl that you’ll hear on the bridge. I’ve never used freesound this much before, so it was really fun to find cool sounds and layer them into my track!

Other techie stuff - all the bass sounds and the first electronic freak-out sound are u-he’s Tyrell N6, which I’m beginning to think is pretty nifty.

Violin sample from wjoojoo - freesound.org/people/wjoojoo/sounds/417667/
People talking - freesound.org/people/ZyryTSounds/sounds/222993/
Vinyl scratching - freesound.org/people/Ryding/sounds/412536/

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sorry i’m 3 minutes late on this! hehe, this was tough. I do a lot of versions of different genres and stuff, i should have made a country pop song… but nah…

a tricky assignment that had me running right up to the deadline. Many attempts where started by playing with samples but before long my tinkering rendered the sounds into something approaching my swirly soundscapey aesthetic.

The main issue i wanted to address was structure, many conventional musical forms i simply am ignorant of, being self taught. So i wanted to create something like a “song” which is something i rarely attempt being normally more focused on aesthetics. So i had an attempt at doing some chart friendly dance. Its probably not polar oposites to my sound but as close as i managed to muster, a lot cleaner then my work in general. This is the results

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Just trying something really loud and distorted, not something I normally make.

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Created this track while exploring some new processes.

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