Disquiet Junto Project 0431: Solitary Ensembles x 3

This isn’t the new normal, but we’re again breaking a core Disquiet Junto rule this week. (The rule is that in the Junto, musicians should only contribute one track per project.) Again, due to the extraordinary output last week (106 tracks from musicians originating around the world), we’re going to allow multiple tracks this week (up to 3 per participant). However, where one rule is cast by the wayside, another rule rears its head: For your first track for this project, you can use whichever source audio you’d like from the previous project (Disquiet Junto Project 0430: Solitary Ensembles x 2). For your second and third, however, you must choose randomly, with some qualifications. Details below:

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is Monday, April 6, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, April 2, 2020.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0431: Solitary Ensembles x 3
The Assignment: Complete a trio by adding a track to an existing duet by two other musicians.

Step 1: This week’s Disquiet Junto project is the third in a sequence that encourages and rewards asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0430). Note that you are finishing a trio — you’re creating the third part of what two previous musicians created. Keep this in mind.

Step 2: The plan is for you to record an original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are well over 100 tracks in all to choose from, 103 as part of this playlist:


And then three others. Two from Bassling (aka Jason Richardson). Consider the first 104 and the second 105:



And the 106th is from Samarobryn:


To select a track, you can listen through all that (warning: that’s well over five hours of music) and choose one, or you can use a random number generator to select a number from 1 to 106, the first 103 being numbered in the above SoundCloud playlist, and the three other numbered as described above. (Note: it’s fine if more than one person uses the same original track as the basis for their piece.)

Step 3: Record a piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and it should be placed dead center between the left and right stereo channels. When composing and recording your part, do not alter the original piece of music at all. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.

Step 4: Also be sure, when done, to make the finished track downloadable, because it may be used by someone else in a subsequent Junto project.

Step 5: As with last week, you can contribute more than one track this week. You can do up to three total. Unlike with your first track, you should choose your second and third randomly. However, if you end up with something you really don’t enjoy working on, then you can roll again. And alternately, you can choose to use a track no one else has used yet (by looking at the project’s post on Lines, linked to in these instructions, or to the project playlist, which will be posted here once tracks start coming in). The goal is for many as people as possible to benefit from the experience of being part of an asynchronous collaboration. After a lot of detailed instruction, that is the spirit of this project.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0431” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0431” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:


Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, April 6, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, April 2, 2020.

Length: The length should be essentially the same length as the track you are adding to. Yours might be a little longer, if you choose to begin earlier or end later than the source audio.

Title/Tag: When posting your track, please include “disquiet0431” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: Given the nature of this particular project sequence, it is best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

Be sure to name and link to the source track you’re collaborating with, and credit the musicians who recorded it.

More on this 41st weekly Disquiet Junto project, Disquiet Junto Project 0431: Solitary Ensembles x 3 — The Assignment: Complete a trio by adding a track to an existing duet by two other musicians — at:


More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this track is by Abby, used thanks to a Creative Commons license and Flickr. The image has been cropped, colors shifted, and text added.




And the project is now live. Let’s get those trios started.


The piece I selected to complete was Peter Eisenhauer’s Solitary Ensembles x 2. He didn’t note whose piece he had worked on so I am unaware of as to who the originator might have been. I wanted to leave the piece as ambiguous as it came to me through the addition of an alto, tenor and bass chorus.

Solitary Ensenbles 3 was written for Alto, Tenor and Bass voices.


Hello everyone,

I’ve been keeping myself sane this week by listening to the amazing duos and cheekily working in advance on my contribution.

I would like to take this opportunity to thank @disquiet and everyone else involved for playing your part - from such great distances - in helping me stay focused on something positive, creative and (in an odd way) liberating.

I really love the music @krakenkraft has been involved in, so I decided to create a fake 7" single.

For Side A, I used the lush “Virtually in a Berlin School” by @wil and added an octave harmonized version of @DeDe’s ebow guitar spiralling in and out across the stereo field. I then added a layer of programmed drums in Ableton.

For Side B, I split @Jet and @krakenkraft’s playful “Hotel Double Room” into two mono files, panned one slightly left, one slightly right, then duplicated and dropped one file 12 semitones, adding a booming drum buss in d# for some low end.
The drum track was complicated. First, I converted the “Hotel Double Room” track into MIDI drums, then slowly hand-picked where I wanted the kick and snare to fall. Then, I converted three phrases from the track name to Morse Code: “d sharp phrygian” plays the hihat, “77 bpm” plays the low tom, and “krakenkraft” plays across the mid and hi toms.

To make both Side A and Side B sound like they were from the same 7" single, I subjected both to similar processes: same kick and snare sound, a public domain sample from NASA, a little vinyl crackle, and a slowly increasing “Outer Space” reverb across the duration of the tracks.

I hope you enjoy the KrakenKraftwerk trip.

Space is the place!!

With love from Japan, htnc


Remix (0432)

For anyone who wants to remix this, my part is here.

I used these two tracks:

I didn’t change this (combined) track, but wanted to make the bass heavier. I didn’t really succeed but added a compressor and a limiter so I could bring up the drums and bass loud. Also, near the very end, I added a Dotted Eighth Note delay.



I like the drum rhythms on the B-side.


This week I’ve joined @krakenkraft and @DeDe for the ‘Virtual Berlin School Trio,’ adding a 707 drum part.

\My drum machine is augmented with a triggered Jomox bass drum, distortion on the snare and stereo chorus on the high hat.

I’d considered joining this track last week, but the flac file was an extra step in the recording process which discouraged me.

You can download the audio here.

Edit: you can download just the 707 here.


took the beautiful collaboration by @forcedamage and @wasabicube https://soundcloud.com/wasabicube/force-damage-own-medicine-disquiet0430
and added a bit of fretless guitar, with some compression and delay. I tried to make minimal additions–the original is so sublime.


I selected #65 with my random number patch in Max. Here is a lovely trio of @Paul guitar musings, @Douglas_Scott overdub and my recordings from the waves standing in the water at Santa Cruz, California.

I had to do a little stereoization of the guitar tracks, and mix all together. Please enjoy.


I like the nervous choir!

1 Like

@zoundsabar @paul @Douglas_Scott that came out beautifully. well done everyone!!


I’ve joined @modus_pony and @Ausgesuchtestenohren on ‘Chewed Tongue’

Audio is here for download

Edit: you can download just the bass here


@bassling lovely approach, you somehow ended up in a land of exotica, à la Martin Denny or Arthur Lyman :slight_smile:


added some bass to How the Night Came´s fantastic track from last week´s disquiet junto project


@wil thank you, that came out lovely, but don’t forget that @Calmnesia started that track!!

1 Like

Cheers! It was a bit like planning a holiday – tricky timing!


Hello, #metoo! I listened to the whole thing during the past 7 days, amazing , massive work.
Bravo everybody, these collab-juntos should be more the rule rather than the exception, I love it and that’s what “junto” is all about in my mother tongue…
I went a bit “drone” this week, trying to stick myself into two very mysterious drone-like tracks that really puzzled me:

The first one was https://soundcloud.com/marcolucchi/der-steppenwolf that’s Marco’s collaboration with michel banabila adding to his track Michel-banabila – Fase-1-disquiet-0429-solitary-ensembles

This one really liked and puzzled me, there’s a mysterious modulating sound and performance on the mellotron that reminds me of Gregorian chant, even if the sound is no “voices” but more like a string-harmonium sound. But it evokes a bunch of ancient Greek monks on acid , recorded on an old Geloso (what won’t I give to lay my hands again on my mum’s old Geloso that served as my first experimental recording device when I was 6 ?) Nevermind…
Thanks to Marco and Michel for their inspiring track.

For this one I worked over this track by @encym
Encym – Oozes-two-drones-looking-for-companydisquiet0430
That is a collaboration with this original solo by @joe-mcmahon
Joe-mcmahon – Where-i-was-drone-only-disquiet-0429

I performed synthesizers (MicroKorg, Emu Vintage Keys) to add some more "regular "musical content (melodies, harmonies) to a drone track that sounded very musical to me, it was difficult to catch in terms of my reactions to it, it sounded abstract and musical, cold-experimental and warm and sensitive, very inspiring one.
I know I made it more “cliché” standard and less mysterious to my ears, but that’s what I had to add anyway, it’s ok. It was nice to jam along with them on this one.

Third, a more standard track, with bass, guitar, drums and an overdub of accordina.
I performed over @howthenightcame 's track https://soundcloud.com/howthenightcame/c-disquiet0430-ryan-scott-mattingly
That was his duo over @ryanscottmattingly 's https://soundcloud.com/ryanscottmattingly/rabbit-food-disquiet0429
I played standard rhythm section (upright bass) over the basic guitar+drum track, then added an Accordina improvisation over it.
It’s nice, melancholic, it was a pleasure for me, cheers


Wow, another Berlin School Graduate, you added the right amount of salt this Sauerkraut needed. Using the 707 should be placed on the top 5 of this year’s @bassling 's best ideas. I’ll sugest number 4. Or 2.
Thanks for this.


thank you @supple_be_disquiet_junto & @matthewh538


This is wonderful. I needed to start my day with something like this.