Disquiet Junto Project 0480: Ongsay Aftcray

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 the end of the day Monday, March 15, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 11, 2021.

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

Disquiet Junto Project 0480: Ongsay Aftcray

The Assignment: Record a piece of music by employing Pig Latin as a technique.

Step 1: This project is informed by Pig Latin. From the Oxford English Dictionary: “a secret language formed from English by transferring the initial consonant or consonant cluster of each word to the end of the word and adding a vocalic syllable.” By way of example, “Pig Latin” in Pig Latin becomes “Igpay Atinlay.” “Disquiet Junto” in Pig Latin becomes “Isquietday Untojay.”

Step 2: Consider how you might apply the technique of Pig Latin to a preexisting piece of music, perhaps one of your own, or perhaps someone else’s (a remix of something from the public domain, for example). You might cut up a melodic sequence and append the starts of phrases to their ends. This needn’t by any means involve words or voice. Just use Pig Latin as a guide, one that informs how you take something that exists and then rearrange its constituent parts methodically into something else.

Step 3: Record a piece of music employing the approach you develop as a result of Step 2.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0480” (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 “disquiet0480” (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 the end of the day Monday, March 15, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, March 11, 2021.

Length: The length is up to you. Ore more to the point: Ethay engthlay isyay upyay otay ouyay.

Title/Tag: When posting your tracks, please include “disquiet0480” 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: It is always 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 480th weekly Disquiet Junto project – Ongsay Aftcray (The Assignment: Record a piece of music by employing Pig Latin as a technique) – 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 project is by Tom Scott, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:




The project is now live. Thanks, everyone.

I always knew this as ‘backslang’ or ‘cockney backslang’. Knew brothers who would speak it so others couldnt understand their private language… until you eventually twigged it. my dad remembered it from the 1940s.

yes how would this translate to musical idea? yes will certainly muse upon this.


I remember many conversations when younger with a friend in front of my parents who thinking back obviously knew what we were saying.

I might make this my first project if I get time over the weekend

1 Like


I used Garageband on my cell phone while my elderly cat slept on my lap then, once she awoke, processed that in ableton. From there, I added some drums from the OP-1 and put it all together in logic.


The playlist is now rolling:


Hello everyone,

Turns out that there are a few PIG songs by my favourite bands:

“Pig Latin” by Dilinger Escape Plan; “Pigs on the Wing” by Pink Floyd; “Pigf*cker” by Naked City; “Piggy in the Mirror” by The Cure…

But the title that I’ve always loved the most is

“Pigs of the Roman Empire” by MELVINS.

I decided to make a “pig latin” drum kit by splicing together the start of one sample with the end of another sample. I ended up with:

Kick >> snare
Gong >> guiro
Closed hihat >> tambourine
Snare >> vibraslap
High tom >> low tom
Low tom >> high tom
Finger cymbal >> open hihat
Splash cymbal >> ride cymbal

I then turned the phrase “Pigs of the Roman Empire” into morse code midi, quantized it, and spread it around the pig latin kit: PIGS (kick) OF THE (gong, closed hihat) ROMAN (snare, toms) EMPIRE (finger cymbal, splash cymbal). None of the lengths match, so I guess we get some kind of polyrhythm?

I then recalled “Fountains of Rome” by Ottorino Respighi (yes, he has PIG in his name!!) and tracked down the midi viola part, transposing it recklessly as a suitcase keyboard with a ton of wavery effects.


First the well-known melody as it is. Then the Pig Latinized version. I take the first 1/8 note in every bar, place it last and add two 1/8 notes, G and A#. The original is in 4/4 the Pig Latinized is in 5/4. And finally together…

Pig sound by jeroen doorenweerd (freesound.org) “eating pig”.
Drum sound by menegass (freesound.org) “BUGARA2”
Ambiance/voices sound by frederic.font (freesound.org) “Conversation in a Farm”


I’ve revisited a track from early last year and edited snippets into either end of phrases played by the lead, which is one of three electric ukulele parts.

Click here to hear my track for the Disquiet Junto activity this week and see the video, cheers.


I’m so proud, for once I followed the instructions word for word.
ok, I’m not fluent on Pig Latin, but hey: during this Friday morning I managed to get two sentences done:
First sentence goes B-C-E-G-A-B8-Eb-D8
Second sentence goes B-C-A-E-B8-Eb-G-D8-E8-D8
Then I transferred the initial two note “consonant cluster” to the end of the phrase and added a vocalic syllable in the form of a low A note (upright bass and treated piano)

00:00 First sentence B-C-E-G-A-B8-Eb-D8
00:13 Second sentence B-C-A-E-B8-Eb-G-D8-E8-D8
00:32 First sentence in Pig Latin B-C-E-G-A-B8-Eb-D8-B-C-LowA
00:45 Second Sentence in Pig Latin A-E-B8-Eb-G-D8-E8-D8-B-C-LowA

Added some filtered delays and reverbs.
I finished with a last low note and some acoustic detritus from the piano+fx return

Composed and performed by DD
Photo by Boudewijn Huysmans


Mostly a drone piece with some processed field recordings remixed to the formula of pig latin. So the intro was moved to the end of the first section and then something new added on the end to represent the ‘ay’.The process helped to break up repetition and assisted aggressive editing. The result is better to my ears. Thanks Marc, hope all are well.


@Zedkah I was actually thinking about backslang and this idea of how the music we make can sometimes be shorthand that is understood by other people with similar musical histories. There is literal jargon: I, IV, V, plagel cadence, dirt box. When I was working on this I was more thinking about the references and homages that come through in our work, even when we don’t realize it. It’s not all nadsat, sometimes it’s the real obvious like E Costello lifting a Beatles progression or the bass on a Beck track sounding like Gainsbourg. Knowing these references isn’t required to dig the tunes, but it allows for some extratextual relations that can change the way we read the song, the artist, the intention. The Iggy Pop “Nightclubbing” sample on “Closer” made me feel disgusted in the best possible way. Other times it’s more subtle like a tone, a timing figure, a feel… I like this. It gets into the marrow of what we feel but can’t always explain.


Yeah, I love stuff like this. Nick Lowe has a habit of doing it, like referencing the Platters in “What’s Shakin’ on the Hill” and Rick Astley in “All Men Are Liars.”


I humbly suggest that, in honor of Lou Ottens, you make a pig-themed cassette tape using the tunes you mentioned… “Piggies” from the White Album, Beefheart’s “China Pig”. There are even a few other Melvins tunes with pigs in the title, so you could use those as linchpins. One from Stoner Witch, another from a more recent album (Bride?). I’m in.


It’s the fidelio password. You’re in a secret club when you see someone play an obscure cover and you recognize it. It’s a musical masonic handshake.


Totally agree.

cf. disquiet0464 for some interesting stuff and blurred references…


Chopped up (pig latin style) a simple percussive loop I had recorded last year, threw a Moog bassline over it, arranged it with some phasing, and worked the knobs of a delay a bit. Perhaps a bit unfinished, but I get writers block these days when working with beat oriented music. Feels good enough for now.


did some cutting and pasting

took a section of a previous track
thought of it as four quarters
moved part of the 2nd quarter to the start of the 1st quarter
then added reverb to the end of the 2nd quarter
(interpreted the ‘ay’ as reverb)
did the same with latter half

duplicated the result and repeated the process several times
when i got bored i duplicated what id done
added supermassive and cut n paste n reverbed that bigger section

had to do a lot of declipping


I had a good time cutting and rearranging the snippets of my recordings till I got a pretty funky track.

Basic groove is from DFAM. Cut, rearranged, pitched for the changes/turnarounds, added some filtersweeps and delay.

The two guitars tracks are also cut and rearranged till it sounds funky. I could never just play something like this straight away.

Rearranged some hi-hats from an old sketch

Added some basic kick and snare

I have played all monophonic melodies and FX sounds with my windcontroller SYLPHYO developed by the french company AODYO. The sounds except the flute, which is a VST-instrument, are generated with the internal synth of the SYLPHYO. Autofilter, reverb and delay is added in Ableton.