Disquiet Junto Project 0439: Hybrid Self

Disquiet Junto Project 0439: Self Less
The Assignment: Compose music combining the styles of two musicians you admire.

Step 1: Think of two musicians, preferably ones with different styles, whose music you admire.

Step 2: Consider ways elements from both musicians might be combined. Elements doesn’t mean copyrighted material. It is intended to mean stylistic. (Yes, recent legal decisions have, shall we say, blurred these lines. Try to put that thought aside.)

Step 3: Compose a piece of music exploring the combination (the grafting, the hybridization) of styles you considered in Step 2.

Step 4: You may when posting your track elect to identify the musicians that served as inspiration, or you may choose to keep it to yourself.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0439” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0439” (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 tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

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


Step 5: Annotate your tracks 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, May 28, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 1, 2020.

Length: The length is up to you. This may be the rare circumstance when longer is better.

Title/Tag: When posting your tracks, please include “disquiet0439” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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:

More on this 439th weekly Disquiet Junto project, Disquiet Junto Project 0439: Hybrid Self — The Assignment: Compose music combining the styles of two musicians you admire — 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 from Vega A, used thanks to a Creative Commons license and Flickr. The image has been cropped, colors shifted, and text added.




The project is now live.

I’ve attempted to imitate Duke Ellington and Mr Oizo.


A tribute to modern neoclassical piano players and their muffled sound and to French impressionist composers and their quirky little tweaks and turns on otherwise standard harmonies."

Harmonically this is like Debussy Meet Folk. But the piano idea comes from Olafur Arnalds and Nils Frahn.

I played piano, upright bass, glockenspiel and some glass bowls and wine glasses…


Being reduced to half-time employment has its privileges I guess… I was able to spend the afternoon putting this together after spending the morning pondering who I should hybridize. I don’t know these musicians as people, so I can’t really say whether I “admire” them… but their music is certainly part of my hybrid musical self.

It’s probably not too original… I decided to use Brian Eno’s generative tape looping technique from Music For Airports as the methodology, but recorded to a handheld cassette recorder to get Lou Barlow’s Sentridoh’s rich, warm, often-hard-to-listen-to Original Losing Losers sound. Looping, reverb, mixing, EQ, and the synth were achieved digitally using Reaper.


In this possible outtake from Forse 3, or perhaps Rue de Cascades, Yann Tiersen meets Alessandro Cortini. 78BPM, E-minor.

I don’t own an Easel so I used four hardware Moog synthesizers (2x M32, SubH, and a Spectravox) instead. Sub-bass provided by Novation Circuit Mono Station.


Such a great prompt!

I decided to draw from the inspiration of a long-time favourite and new favourite: German sound artist, Rolf Julius; and Japanese ambient composer, Hiroshi Yoshimura.

I’ve been listening to Julius’ work for many years and his ‘small music’ - consisting of elaborate sonic textures (often connoting to physical objects, spaces and colour has been a huge inspiration on my practice and general approach to working with sound and listening. Yoshimura, on the other hand, I’d only come across this year, and I’ve been astonished at the subtlety and beauty of his work: especially 1982’s Music For Postcards and 1986’s Green. Both of which have been recently reissued by the Seattle label, Light In The Attic.

With this melding of styles in mind, I wanted to work quickly and away from the computer or modular synth, so as to not get distracted by too many possibilities.

I set up two loop pedals on the floor of my studio space with a couple of microphones connected. I then grabbed some small percussion items and a handful of ‘percussive junk’ and made several successive loops - shuffling, scraping, rattling and rubbing things together. The core loops were created on a Boss double looper, then re-looped/broken up/pitched/filtered via an EHX Memory Man. This output was then fed through my main mixer and into Logic.

With the textured ‘Julius layers’ done I set about responding/grafting to this with a sparse keyboard accompaniment ala Yoshimura, following the scattered tonalities that I heard in the texture layers. I used a Korg iOS bank of Rhodes and delicate synth pads.

The structure of the track begins with the textures. I was thinking of a cluttered path of junk, stones or maybe hundreds of tiny crabs or ants going about their business. Then, the keyboard accompaniment comes in and gradually becomes a focal point. The two elements blend for awhile, before the texture give way completely leaving a clear, open space.


The playlist is now rolling:


I’ve tried to combine the following influences in a single patch on my modular system:

  1. Phasing melodies as per your favourite minimalist composer
  2. Embedding into ambient room recordings, one of my most recent favourite examples is found in JAB’s work (Erg Herbe)

Melodies are generated semi-randomly on my modular system using Music Thing Modular’s Turing Machine module, whose outputs are split into two separate but related sequences locking in at different lengths.

The ambient recording is taken from a recent recording by a window in the top floor of my house - this is played back on my modular system with some mid-side processing (using Worng’s excellent LRMSMSLR) before being mixed in with the melodic sequences.


Here’s a combo of metal and experimental/noise–maybe Sunn O / Black Sabbath crossed with Einsturzende Neubauten/early Sonic Youth? I’m supposed to be making normal music this weekend but I don’t really feel like making normal music. This is performed on a “guitar” I built out of a discarded wooden pallet, some spare pickups etc.


I wanted to make a hybrid of J. S. Bach’s “Prelude in C Major” and Chopin’s “Prelude in C Minor”. I have an hypothesis that the latter was inspired by the former, although I don’t insist on it.

I had the piano music in front of me, I had figured out a formalistic way to do this, and I started writing it down. But it just became too tedious. In the end, I threw up my hands and used Magenta Interpolate. I think this resulted in a more wacko version than what I had in mind, but not necessarily worse.


Nice Harry Partch-like instrument!


Influences for this one - Sly and Robbie and Techno.

It’s a one take recording which followed setting up some sequences and a few practice runs.

Instruments used Novation circuit and Eurorack.

A cross fader, a secondary function of the earlier version music thing modular spring reverb is used to switch between novation circuit and the rack.

To be honest I found it hard to choose two styles/artists to even begin. However the overall process got me thinking and creating and trying different things and I guess that’s the point of the Junto ?



Where, in theory, Robert Rich meets Robin Storey of Rapoon.


Been bit since the spirit to write something has caught me but this week’s prompt was fantastic.

Here’s “Alice at the Gates (disquiet0439)”

I wish I could say it was a first take, recorded at that speed, without edits, but i certainly can’t play this music at speed (edit; I had a stupid self deprecating joke about internet fibs here earlier that fell flat)

Enjoy, and stay safe out there.


Unsure if that’s aimed at me but not having to play notes through sequencing and having both hands free to modulate the voices and the speed of playback isn’t a supernormal feat. If you listen the track there’s plenty of mistakes. I don’t consider it that good or even a good choice of styles to combine to be honest. I did abort and restart recording twice. All sounds go into one channel of the audio interface and from there into a DAW. I did add a fade in and out in post though. That’s all.

1 Like

Oh my goodness no sorry it was aimed entirely at me!!! I had to record my part 30% slower and edit it to get it working - sorry you mis interpreted it - I would never critique someone else’s production choices. To avoid people missing my tone I’ll edit out my comment but sorry again


Oh and @Glitcher my goodness now I see you make a comment that yours was a one take. I am so sorry that next to each other my comment 100% looks like snark at you which is so completely not my style!!

I write and post my bits before I listen to or read any other junto items so I hadn’t even seen your comment when I wrote mine.

Apologies again for the misunderstanding


No problem. Sorry for misinterpreting. I prefer your track to mine haha it’s much nicer :slight_smile: Peace


That’s so good. I loved it. The accompanying video just makes it all the better, especially when the beat kicks in proper. The cranky bass stabs make the context of the latter video (i.e the go-go party) a bit unsettling; like a weird orgy, freakout or extreme violence - ala JG Ballard - is about to erupt. :smiley: