Disquiet Junto Project 0512: The Sequel

Instructions 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 25, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 21, 2021.

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

Disquiet Junto Project 0512: The Sequel

The Assignment: Record a piece of music that follows up a preexisting piece of music.

Step 1: You’re going to record a piece of music that is a sequel to a preexisting piece of music. Your finished work might be an answer song, or it might be the next logical development of melodic or other material, or it may take an entirely different approach. First, select the piece of music to which you will compose a sequel. It may be your own, or someone else’s.

Step 2: Now record a sequel, however you might define it, to the piece of music you selected in Step 1.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0512” (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 “disquiet0512” (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 25, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 21, 2021.

Length: The length of your finished track is up to you.

Title/Tag: When posting your tracks, please include “disquiet0512” 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 512th weekly Disquiet Junto project – The Sequel (The Assignment: Record a piece of music that follows up a preexisting piece of music) – at: https://disquiet.com/0512/

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-0512-the-sequel/

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 Larry Darling, 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.

Years ago I released an album of old-school electronic music, “Electronica Sensible” and there’s a track that had two different working versions, one more groovy/punchy with drums and the other more laid back and sensitive with Rhodes electric piano, a proper melody and no drums.

Back then I couldn’t decide which was best and released both versions in the album.

Today I decided to go back to the masters and combine both separate masters into one and tried to grab the best of both, so this new version included remixed original tracks using both the melody and the drums, plus some new synth tracks I added now.

The original track was a dedicated to Cliff Martinez but I changed the working title “The Cliff” to the French version “La Falaise” for the release, Lord knows why…

The original released tracks:

Stream LaFalaise by Daniel Diaz | Listen online for free on SoundCloud

Stream LaFalaise (Insensible) by Daniel Diaz | Listen online for free on SoundCloud

The album (2014)

electronica sensible | Daniel Diaz

Stream Daniel Diaz | Listen to Electronica Sensible playlist online for free on SoundCloud


The playlist is now rolling:


Explanation of the process :
I chose an already existing piece of music (whose title is a: feminist world. I had produced it as part of a musical project called “lockdown 1” (listening on my Bandcamp page, raphaeljarry) For the next step I wanted to do a weird electro-glitch CHA CHA CHA. I don’t know if it’s successful but I had a lot of fun doing it.


@Bick_Brannigan I like your piece. It’s kind of crazy and has a lot of energy.

@raph I like these ones that are melodic, kind of funny, and go somewhere. Excellent.

I started with my version of last week’s tracks and tried to turn it into more of a dance track and just tried to open it up a bit by introducing space.


This piece formed earlier in the week as a kind of strident meta-anxiety accompanying the posting of disquiet0511. I had not intended to post it publicly, but since this is about as literal a sequel as I could ever come up with on purpose, here it is. The “Moody Wasp” title was auto-generated by the Auxy app: I just opened an existing project containing a short snippet I’d abandoned, and added to it working from the end backwards to the beginning.




Sinny: synth programming, caxixi, rattle, tin whistle
Master Oonkah: otherworldly elements

Written as a counterpoint to another composition titled, “Master Oonkah’s Curse”. The sequel is overall less foreboding, but still very mystical to keep with the theme of the original.

For extra color, I recorded some percussion and tin whistle. The icing on top came from Master Oonkah himself, who provided some very cool sound effects.

Here is the original for comparison.


Memories of lost love tend to haunt us, appearing suddenly in the mind and bringing an unexpected sting. Often it’s the good memories that sting the most. This is the super fun topic I chose for this week’s Disquiet Junto prompt.

The prompt was to record a song that is a sequel to another song. For some reason I immediately thought of “Fred and Renee Make Love” from the Lost Highway soundtrack. This is one of my favorite movies and I’ve been wanting to try my hand at more cinematic music lately.

The original is the background music to a love scene, so I imagined the sequel to be Fred remembering that moment. It’s somewhat soft and intimate but also tinged with darkness and, like all memories, distorted in multiple ways. My composition doesn’t compare to the original but I think I tell the story with the sound design and overall mood.


This is a sequel that started out as a prequel. I had this song just before I did one of my more popular songs, and they sounded too similar at the time. I’m only going on memory and filling in the blanks to bring this back now – so its a new/old sequel to “Tuesday Met”.
I wanted to do something more standard with the drums, but the half-note hit on the floor tom works. The guitars are tuned to D and open G, and I’m playing the V on the bass in the verse.


Following the prompt, recorded a sequel to my previous track ‘footsteps sequenced’ (Caustic_gates – Disquiet0491-footsteps-sequenced) - increased the tempo for this one, worked with a simple electro influenced percussive patch (good excuse to play around with my new snare module), but keeping chord pads and field recording ambience characterising the original.


I decided to make a sequel to the track I submitted for the 0509 project “a long detail disintegrates”. Thought it was fitting since it already has a prequel of sort, as the prompt for 0509 was to use details from a previous track.
I used parts of the original, added a lot of reverb, some keys and various noises.


Imagined an outro track for Julee Cruise’s Rockin’ Back Inside My Heart. Intended use is to be played after Julee performed and there was a set change or some floor sweeping.
Written by Angelo Badalamenti, David Lynch. I played acoustic guitar, electric guitar, and bass. drums and synth by computer midi vst.


This is a narrative sequel to Village’s Edge. It goes deeper into the wild, to a mysterious pond that may reveal forgotten places.

Most of it came together really naturally. At some point, I did add unnecessary complexity, but it was pretty easy to recognize and cut. Strangely, I almost feel guilty that I didn’t have to bleed for this one?


This is a sequel to the piece I submitted last week: “Brief Sun In Windowsill Thawing (disquiet0511)
After thawing everything immediately starts to break down, entropy always wins.

For this sequel I had more time and a bigger budget. I even had an idea of what I wanted to accomplish using the existing material. However, my old REAPER session misbehaved, in my attempt to add something cool, and I had no idea how or why it didn’t comply.
Instead of figuring out the malfunction, I recorded it. Messed it up and re-recorded it again. Then I rerouted tracks to new destinations and added a sombre melody to accompany the destruction.


During the week I had thought about my current music and had noticed that I have neglected the Pessoa-part of the Disquiet Junto: My primary me has composed pleasing melodies. So I decided I must again give attention to the other persons inside me.
Thus when Marc published this project I decided to make a sequel to a more abstract track. I chose Iron Demons Carry Me Home (Disquiet0499) where I had accompanied a recording from inside a train compartment with one sound (and its many derivations).

Again serendipity struck: On freesound SoON had provided another recording from a train. So I picked this one. I chose synth-sounds from other projects and used the Cubase quick controls to modify the sounds “live” with my Korg nanoKONTROL 2. This has been unused for several weeks now. Then I started to edit the automations, added send-effects, etc.
It was a great experience to create a track in that totally different manner from laying out chord progressions, creating melodies, etc.which is my usual approach.


This song is an edit of a live session recorded in July with Creature’s Once partner AM Faulks. This song is a sequel to the song July Ends (created for disquiet 0505): Miraclemiles – July-ends-disquiet0505
This sequel was recorded later in that evening’s session. This edit was taken from a 45-minute segment of that night’s session that was mostly ambient, with the hint of a beat or two bubbling up a few times.


Didn’t have a lot of time that weekend and kind of started something, never finished it. So, totally late, here is a somewhat more finished version of my follow-up to the Lake Hylia music from Zelda.