Disquiet Junto Project 0511: Freeze Tag

A request: we’re doing a project soon with a pair of artists, and we’d like to get translations of the project in various languages, to expand the potential range of participants. If you’re up for doing a translation, please shoot me a note with “waiting translation” in the subject (to marc@disquiet.com). We did a lot of translations in the early days of the Junto, and we do them occasionally, as with the recent Musikfestival Bern trio. Anyhow, if you’re up for it, that’d be great. You’ll have about two weeks to do the translation. Thanks!

And as always, instructions to the Disquiet Junto projects went out via tinyletter.com/disquiet-junto.

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, October 18, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 14, 2021.

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

Disquiet Junto Project 0511: Freeze Tag

The Assignment: Consider freezing (and thawing) as a metaphor for music production.

Step 1: One secret to cooking is freezing. Certain things, like chili for example, often taste better after spending time in the freezer. Technically, it isn’t just freezing that can intensify the flavors. It’s the thawing, too. Think about how that freezing (and thawing) might be employed metaphorically as a music production process.

Step 2: Record a new piece of music or rework an existing one based on your consideration of freezing (and thawing) as a metaphor in Step 1 above.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0511” (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 “disquiet0511” (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 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.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, October 18, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 14, 2021.

Length: The length of your finished track is up to you. Depends if you use a microwave.

Title/Tag: When posting your tracks, please include “disquiet0511” 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 511th weekly Disquiet Junto project – Freeze Tag (The Assignment: Consider freezing (and thawing) as a metaphor for music production) – at: https://disquiet.com/0511/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0511-freeze-tag/

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

The image associated with this project is by Jay Wilson, 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 wanted to freeze something… I use sounds from 3 continents, my modular and VCV-rack. Sounds from freesound.org (klankbeeld, kvgarlic, dheming and my self) and Radio Aporee. Links and more info on SoundCloud. Mixed in Audacity. Applied “Small Room Dark Reverb” on my modular sound (Audacity reverb). No fx on the other sounds.


While thinking about the prompt I realized that freezing described the way I make music quite well: sketching an idea, recording a snippet, and then putting it aside, mostly to be forgotten and never ‘finished’.

I thus chose a track I made last winter, added some parts and let it thaw out in a warm bath of overdrive.

I’m not super impressed by the result, but hey, at least I made space in the freezer!


This track is a result of some granular exploration in Bespoke synth controlled by 16n and Klome a generative plugin from Puremagnetik . These recordings have been combined to create an imagined soundscape for the freezing and thawing going on in Greenland due to climate change.

Unfiltered audio’s Spec ops plugin has been used for a modulated spectral freeze effect that allows bursts of sound to come through or not. To simulate the freezing and thawing process. A second instance creates ghost like high frequency sounds from a modular bass line (massive difference) towards the end.
A third instance creates a sliding random freeze effect on a drone sound also towards the end.

Thanks for another enjoyable disquiet junto @disquiet
Hope all are well :slight_smile:


Explanation of the process: I chose to use a piece of music called D-6 (day 6) Mold. I had done it during the third medical confinement in France (April 9, 2021). I chose this piece of music because I had made it taking into account a visual sent to me by the person * (that I love) with whom I had made the Lockdown 3 project in which this piece is 'wrote (listening on my Bandcamp, raphaeljarry, album Lockdown 3, D_6 Mold). I modified this piece of music, took it out of the freezer, adding modifications (synthesizers, additional freezer noise including doors). I don’t know if it’s better now. I let you judge.


The playlist is now rolling:

I started off with some moving pentatonic chords by just using the black keys. I thought that writing a melody on the black keys would be too easy, so I tried to write a melody on the white keys. Well, that was too hard. So, I decided to just stick with the black keys for the melody, also.

Now for the freezing/frozen/unfreezing part: I added a beat repeat to each part. During freezing/unfreezing, the effect is turned on and it’s turned off during the frozen part in the middle. Moreover, the grid parameter increases while freezing and decreases while unfreezing.

I think what I ended up with might be my first EDM track, although I didn’t really plan it that way.



Suss Müsik of late has been studying the art of technoscientific semiotics. Don’t be too impressed. Most of the concepts befuddle and confuse Suss Müsik’s tiny brain.

According to a paper written by Zachary Horton, humans make sense of our environment by reducing everything to a transcribable surface. The sky, the land, the ocean — these vast entities represent forms of media that must be collapsed, in order to achieve comprehension of our place within the greater Anthropocene.

Freezing and thawing play a large part in our understanding of climate change. According to IPCC lead author and climate scientist Richard A. Betts, CO2 levels in the Earth’s atmosphere are currently 50% higher than pre-industrial levels. Barring massive carbon removal over the coming decades, the melting of sea ice and rise in reflective temperatures will result in a global increase of four degrees Celsius (and possibly 10 to 15 degrees at the poles).

Grim stuff, indeed. Professor Betts takes great care, however, to emphasize that different models present nuances of uncertainty. The core message is that everything is getting warmer; how quickly that is happening—and what actions we need take for the short-term and extended future—are the variables to be reconciled.

For this piece, Suss Müsik “thawed” two synth washes that had been “frozen” in time since 2006. These were broken into rhythmic shards using grain synthesis, metaphorically representing the splitting of sea ice into melting and floating fragments. The vocal is a refactored recording of Professor Betts’ 2009 speech for the Tyndall Centre for Climate Change Research, hosted by Oxford University Centre for the Environment.

The use of Professor Betts’ speech is covered under a Creative Commons license and is “free for reuse, remixing and redistribution in education worldwide.” The use of this material is intended to promote broader interest in learning more about the scientific evidence supporting our planet’s climatological transformation.


I tried to use several different elements to represent the freeze and thaw theme. I used sounds that were cold or warm, faster or slower, feedback, echoes, rhythmic elements, and various other techniques. I had the concept of an ice cave in my mind and oddly a lot of these ice caves are near volcanoes, so that sort of dichotomy was there. I used a mix of software sounds (piano, pads, etc) along with modular processing through ES-9,QPAS, Mimeophon, and Ochd.
I apologize for the length, but if you have the time to sort of zone out and can sit through 13 minutes hopefully you enjoy.


My first thoughts when reading the prompt for freezing and thawing was loopers/delays and having a freeze/hold button, so I went with that. Every element is sent through a delay or looper of some sort with a randomized freeze. The end result is a bunch of repetitive loops, which feels accurate to how I’ve been living for the last year or so.


Hey All,
Really cool idea Marc. I never would have thought of a concept like this. My mind immediately went to Jr. High science class and molecules bouncing around. When something gets heated I think they move around more and if frozen I am not sure are they still or just moving very slowly? I can’t remember much from the class but I do remember Mrs. Moran bending over a microscope and seeing quite a bit of her breasts. I also remember something called an endoplasmic reticulum but I don’t know what it was.
The process was pretty involved but I was going for something going from still to an increasing speed. I also used the fade to gray fx and slowly brought that down. I hope all are well.

Peace, Hugh


Hey everyone,
I grabbed the last track on my Soundcloud (Day of rainbows) a piano thing where I was trying to make a canon and froze it in the Gleetchlab. It immediately sounded better to my ears. I cut a three minute segment from that jam and used that as my bed for the this new track.
I then took the original track into Bespoke for the thawing portion. The sample player in Bespoke lets you play around with your sample without too many glitches which is really nice. I even used my Maschine Jam as a midi controller. Flash.

I mixed the two together in Logic and this is the result.


It’s a three part track with frozeness in the middle.

I started with some ideas about brownian movement and that the defrosted is no longer the frozen. At some point I just followed what felt okay. The main sounds are a complex sample, a simple
sine and a recording of me whispering.


I took a not so metaphorical but more literal approach to this. Ages ago I heard a field recording of the inside of a melting glacier which contained random clicks as air bubbles formed tens of thousands of years ago popped. I slightly foolishly thought I could recreate something looked this with contract mics in my freezer - all they picked up was the drone of the motor. Still I sampled it into the OP-1 and added some sounds and bits from this recording on a glacier from freesounds processed through various delay and reverb plugins in Ableton to make the following track.


Taking down time during our honeymoon, I revisited Gadget LE on the phone, using irig keys 2, which I luckily decided to pack. I had gotten it in a trade a while ago but never really used it in my home setup. It works well with the phone and app so I decided to get gadget 2.

This gave me access to the audio recorder as well as many other neat ‘gadgets’. The sections are limited to max 16 bars, so we did several takes and I then moved them around to flow somewhat better.

This was done and uploaded to SC straight from the app. I added compression and reverb to Shisha’s voice—I didn’t bring a mic, the vocals were done with just the phone mic. I was surprised by the results!


Here in Amsterdam it’s ADE (Amsterdam Dance Event) and the whole city is dancing again. Truly wonderful to see performances live and with a crowd. Couldn’t resist taking this week’s theme from still and cold to warm and moving.


This track experiments with the ebb and flow of digitally sampled, analog acoustic predecessors to the laptop instrument. It freezes in the middle, but thaws quickly towards melancholy.

It is spitfire, east-west and 8dio sample libraries, with added “una corda” felt piano and some spectral freeze in the middle. (Thank you to Valhalla free reverbs for smoothing out the wrinkles…)

Thank you for another inspiring prompt…