Disquiet Junto Project 0519: Looking Glass Remix

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, December 13, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, December 9, 2021.

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

Disquiet Junto Project 0519: Looking Glass Remix

The Assignment: Remix yourself from another point of view.

Step 1: Think of a prior recording you’ve made that you want to revisit.

Step 2: Think about what you were like when you made the recording you selected in Step 1: what state of mind, where you were in your life.

Step 3: Think about who you are now, and how you are different from who you were then.

Step 4: Remix the recording you selected in Step 1, reflecting the difference in who you are now. Treat it as if you are a different person from the one who recorded it, which may in some cases be the case.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0519” (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 “disquiet0519” (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, December 13, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, December 9, 2021.

Length: The length of your finished track is up to you. Don’t necessarily let old you make the decision.

Title/Tag: When posting your tracks, please include “disquiet0519” 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 519th weekly Disquiet Junto project – Looking Glass Remix (The Assignment: Remix yourself from another point of view) – at: https://disquiet.com/0519/

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-0519-looking-glass-remix/

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


The project is now live. And major thanks to @morgulbee and @mzero for having proposed what became the past three weeks’ projects.

Sinny: acoustic and electronic drums, percussion, kalimba, filtered acoustic guitar, found sounds, hog squealer, train whistle, samples, snorting and voices; synth, drum, percussion, guitar, piano, and basson programming

The timing for this was perfect

Just hours before the project was sent out, I put down my finishing touches on a remix of “Shakin’ Bacon”, a track included on my Solitary Stat2 album, released in May 2020. In fact, I had started this remix several months ago with intentions of incorporating some production and instrumentation techniques I had acquired over the past year. So when I read the prompt for this week’s Disquiet project, I figured this would be the most natural selection.

The original version, while great, lacked some of the tension I desired, so a remix was in order. I do not remember when I began work on the track, but I do know that I originally wanted it out by summer. However, other material took priority, so “Shakin’ Bacon” was put on the back burner for a few months.

Whereas the original was rather open and spacey, I made this version far more saturated and bombastic. This is apparent in the reverb drenched industrial drumming and clattering metallic and glass percussion (such as pots and wine bottles). While most instruments were recorded at home, there were some, including a xylophone, train whistle, and a toy pellet drum, that were recorded in a music room I was subbing in.

I would not consider the “Second Servings Mix” to be the definitive version. Rather, both mixes have something unique to offer.

Here is the original for comparison


Hello everybody

For this one I decided to remix (it ended up almost as a rework actually) a 5 years old junto submission (Stream Vortex Me, Please - disquiet0248 by Daniel Diaz | Listen online for free on SoundCloud) my 5th submission for this beloved rendezvous, a track I recorded on September 30, 2016.

Back then I was much more into glitch&noise, trying to incorporate field recording and plain noise into musical compositions. I downloaded a bunch of NASA free wav that I used a lot, some are included in the original track.

Now, I’m more into blending sort of classical compositional stuff (melodies, chords, real instruments, etc) into experimental tracks like this one.

So I decided that, instead of just remixing that noisy track I wanted to take the whole musical part more in focus, I removed the spoken voices from the NASA tracks, remixed and expanded the basic synths and drum beat (it is more than a minute longer now), then I added a solo cello and some orchestral sampled chords and stabs, plus an old school “Rick Wright” style synth melody.

I don’t know if this 2021 version is better but it suits my actual tastes better.

I used a photo by 愚木混株 on the artwork.

DD, Friday 10th December 2021


Good Day Y’all!
Thanks for the trip to the shed, I needed to reset my gear and get to working on the cold Denver day.

From an old set of ROLI Noise loops in Live and an old random Roli set on the ROLI Noise app. I created new loops but used the instruments already selected and then brought into Live from Roland DJ 808, iPad ROLI Blocks and Seaboard. Used the set with the ROLI Noise loops, follow action on the clips. MIDI Fighter, Akai Rhythm Wolf and Push 2 with the sounds on the 3 MIDI tracks in the set. Ran the audio to individual tracks and then grouped and Looped all of the sounds added some effects.


The prior recording I made is “House Owl Hootenanny - disquiet0408”. That would have been 111 weeks ago. So, October of 2019. I probably wasn’t that much different. The main difference in my life between now and then is that I disliked the job I had then and like the job I have now. Otherwise, I’m probably about the same.

However, the original track, except for the owl, wasn’t much like me. It’s a formulaic house track that I did as an exercise. I don’t really listen to house music. It’s after my time. So I made the remix something I like more. I used more traditional instruments, rather than the EDM-type instruments on the original. Also, I wrote a real melody to replace the simple thing that was there before. I still like the owl and thought of keeping him/her. Instead I used a “numbers station” recording.


The Conet Project: 5 Note Version ‘Czech Lady’


And the playlist is rolling:

1 Like

This is my 300th Junto video, since I started them with the 100th Disquiet project.

For my remix I’ve gone back to a track from when I joined the Junto in 2012.

The track Enticknap Park reflects my project that remixed local playgrounds.

My Junto track takes the original recordings and applies the workflow I’ve developed since.

@Paul_Reiners This song is dynamic and I like the percussion, which seems less likely for house.

@VonnaWolf There’s a voice-like part that really jumps out. Would you consider trying a filter on the tambourine? There’s a lot going on.

@DeDe This is epic.

@nsinnenberg Your production skills give the new version more polish. Particularly like the percussion.


@bassling hey Jason, tanks for your words and congrats for the 300 mark!
I made a whole record using house hold objects and I wish I did videos as yours, both tracks are excellent, great use of the field recordings/noises, but the videos make them particularly charming. Great work.



Process: To develop our music, our musical duo (hypoglycemie, internet link on my soundcloud page) use a free software Chainsaw (developed by a musician of the duo). This free software allows us to remix everything we play and the way we want to do it in real time. The Looking Glass remix project echoed our improvised sound-making process.


So for this one I used a song I made 9 years ago called “real dream”. I made it to show a student how you could make a theme in FL Studio and then rework it in Audacity - the result was interesting but sounded a little threatening. For this new track I’ve cut up real dream and added instruments run through loops in Fl Studio. I’ve also used Stochas, which is a sequencer. Does it work? Not sure, but it definitely sounds more like what I make now.

The original song


This is a short piece I made for Weekly Beats 2014 called “Cities & The Sky”. I recall it was composed as a bit of a test to see if I could write something in 5/4 time and it started with an arpeggio on a little parlour guitar I own set to a drum machine to stay in time. I then deleted the drum track and worked out a counterpoint with a couple of synth patches and an old reed organ. It then had additional processing and ambient touches added to it. Quite a pensive time in my life, when I wasn’t sure what I was doing from one month to the next.

As something from 2014, it feels ‘complete’ from that vantage and its time, but upon revisiting it and the time that’s passed, I decided to embellish it a little and abbreviate the outro. A little more brevity/clarity of expression. A notion that probably reflects how I’ve changed a bit in the following years.

All of the original arrangement is still intact (guitar, synth, processing) with the additional of minimal piano as an additional counterpoint to the arpeggio, vibraphone and ‘blurry’ piano during the open-ended latter section. It then fades.


The original was from a long time ago, a bit ambient, slow, reverby thing. The melody and chords were all generated at the time, I forget the tool. Nowadays I am much more into things that are breaking, disfunctioning, glitching. So I updated it with all of that and added some wood drums.


Thanks @DeDe, I was fortunate to be advised to make videos soon after starting my process of recording playgrounds in 2011.

Audiences find it easier to understand the samples when they can see them, although I find it more interesting to consider what the sounds become when free of those origins.


This is a revisit to a 6-year-old (or more) recording of an orchestral arrangement for a song, composed for and performed by a live bass and synth duo. It has now been through the grinder during a slow sunday…

Is it better than the original? No. But it is different…

Thank you, again, for a great prompt.


This was sneaker craze year. Bought about 20 pairs of new shoes. Nice design, nice colours, nice money, nice brands: Onitsuka Tiger, P448, Puma.
Always in hope of having the right time for the right shoes or the other way round. Go to a club. Wear fancy footwear.
Unfortunately there was only one big festival this year to attend. Donaufestival, Krems. Three days. Could not show much of my new sneakers. Only six pairs. Theee in the Wachau wineyard afternoons, the other pairs at showtime.

Will I go on buying shoes instead of going to places? As kind of an “Ersatzhandlung”?
Sneaker Addicted Syndrom instead of Gear Addicted Syndrom? Will it never end?
Help me, somebody!

Remixed is my Talking Cure trak. Put in some beat with a slight hickup that make my shoes tumbling when dance. And put in a big surprise after leaving the wet country afternoons entering the city nights of Krems.

All sounds by EMU Morpheus.


A remix of an idea I had written in a notebook 18 months ago. It was originally an acoustic guitar based, dark indie type of track.

Since then I’ve leant further into ambient guitar, I’ve gotten into modular, and I’ve tried to make more time for music/sound exploration in my life.


What a wonderful project, thank you @disquiet. I would love to rediscover a track I wrote over 30 years ago while at university… But I started creating music less then 3 years ago, so a track from 2019 is as far as I can go back in time.

I chose a sketch for a track called Seaside, inspired by the Music of Olafur Arnalds for Broadchurch. It was never elaborated afterwards. I worked with Cubase LE back then. That meant only 8 VST instrument tracks, Halion as only instrument. I barely used effects (mainly reverb), no EQ. So it is a very basic approach, but that’s how I discovered my love for creating music.
I have published the sketch if anyone is interested Stream Seaside - Sketch by RabMusicLab | Listen online for free on SoundCloud.

I have learned much since then, but thereby have lost the simplicity…

What did I change:

  • the instruments were exchanged and often layered (2 times 2 pianos, layered drums, the synth wave-sound layered with a field-recording…) since I care a lot more about sounds. I also exchanged that strange phased synth-sound in the repetition with an additional Evolutions cello (see below) and added a “click”-sound.
  • the cello was replaced by BBC Orchestra cello, violin and viola
  • I added a long intro (somehow I am more and more into long intros) and a bridge
  • in these sections and the repetition I used the Spitfire Olafur Arnalds Evolutions that I couldn’t refrain from purchasing during the Black Week. It has wonderful sounds and must be used for a Broadchurch homage :grinning:
  • I added effects to enhance the sounds, something I now perhaps overdo…

It is difficult to say how much I have changed in the three years and if this reflects in the music…


Remix of the 2016 track Wanna CU I created for the Weekly Beats project. That was the year I began producing my own music, and thanks to the weekly motivation of Weekly Beats, I stuck to it.
This song I really enjoyed creating. I got to setup in the dining room and started recording lamps, tea kettles, tables and kids playing. Played with some new flute sounds and other things.
This version is mellower and a little simpler than the 2016 version. It reflects a headspace I find myself in more often these days. Wanting calm, but still (on most days) seeking some textured layers I can float around in while sitting around being my older calmer self. Each day has its own new perspective, and all I can really say is this one reflects Dec 13th 2021 fairly well.
The 2016 version: miraclemiles – wanna-cu