Disquiet Junto Project 0528: Landscape Architecture

Instructions initially popped up at disquiet.com/0528 (powers of automation, activate!) shortly after 12:10am Pacific Time on February 10, and then at twitter.com/disquiet a few minutes later. (I was asleep at the time.) The email containing those instructions went out via tinyletter.com/disquiet-junto later in the morning (after I woke up).

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, February 14, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 10, 2022.

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

Disquiet Junto Project 0528: Landscape Architecture

The Assignment: Forge an unobtrusive path through musical flora.

Step 1: Take as inspiration the warning in the photo that serves as this project’s cover image.

Step 2: Think about the concept of creating an unobtrusive path through the musical equivalent of fragile vegetation.

Step 3: Record a piece of music that traces the path you imagined in Step 2.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0528” (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 “disquiet0528” (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.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

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, February 14, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 10, 2022.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0528” 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 528th weekly Disquiet Junto project – Landscape Architecture (The Assignment: Forge an unobtrusive path through musical flora) – at: https://disquiet.com/0528/

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-0528-landscape-architecture/


This project post has been updated. It’s now live.

This is project 0528 for the Disquiet junto collective exploring Landscape Architecture. I am fascinated by lost civilizations, underwater mysteries, and all things mystic. In this work, I try to create a sound piece that places the listener in the ocean viewing (perhaps for the first time in centuries) architecture/artifacts/things from the distant past. In addition, I color the soundscape with glitches and electronic sounds of today’s technological environments. Together I hope they yield some fascinating listening.




So this began with a session of inspiring new Norns script constellations which was recorded to Norns tape.
Then a field recording (Micro cassette) of a woodland walk was passed through norns script tape deck to add a little wow and flutter and recorded to norns tape.
These recordings were transferred to the computer and the constellations track was passed through a granulator.
I then went outside and recorded (Zoom H6) some ambience of gentle rain and a bush being gently moved by the breeze and added this to the project.
Back to Norns I recorded a session of Icarus with a keystep plugged into Norns and added that to the project.
Added some extra sounds with Slate & Ash cycles. That’s it. Hope all are well :slight_smile:


I recorded several guitar tracks using a Zoom B1 Bass pedal and tc electronic aeon string sustainer, plus synth and mixed choir mods in garageband. enjoy!


My first thought when I read the project description was the song “Tiptoe Through the Tulips”. I thought I could use the song’s chord changes and then write my own melody. I decided to use only quarter notes in the melody for a walking rhythm and the chords would be the vegetation. So I looked online for the sheet music and found it. When I looked at the music, I saw that the chorus already had a tip-toeing rhythm (surprise, surprise). I decided to use the rhythm in the chorus.

I’m studying a book Composing with Constraints. Whenever I can, I try to first do an exercise in the book and then see whether I can adapt and expand it for that week’s Disquiet Junto assignment. My next exercise to do was “Concatenating Triads”. This exercise was mainly concerned with writing a melody, so that gave me freedom for the rhythm. However, the exercise specified a time signature of 6/8. So I had to adapt the rhythm a bit. Also, it dictated a tempo, which is slower than the song tempo. The type of melody required by the exercise also constrained the chord changes, so I couldn’t use the chord changes of the song.

Anyway, the piece I ended up with, I think, sounds very little like “Tiptoe Through the Tulips”. All they have in common is sort of the rhythm in the melody.

Interesting fact: Tiny Tim is buried in Lakewood Cemetery, which is in the East Harriet neighborhood of Minneapolis, which happens to be my neighborhood. So I guess I’ll dedicate this to him.


My mind immediately went to a blackbird recording I made last spring.

Then my mind went to a recording I’d made of an omnichord jam.

I tried the two together last night but knew I’d need a video, so I made one this morning.


I made a bunch in Musyc before I arrived at All Aglow. This is a construct using “strings”. It’s run first through an Empress Echosystem on green tape, and then into an Empress Reverb on green ghost.

I wanted the feeling of casually roaming down a path and, at times, almost teetering with the edge of the path.

The image is a detail of my painting All Aglow.


Hey all,
Hope you all well.
Didn’t want to over think this one.
I wanted something simple and organic but that still had structure.
Birds and chimes from a previous challenge into Forester ( my new best friend ) gave me that.
Rest done in Logic.


@PaulBeaudoin That’s evocative. I enjoyed the dive.

@Glitcher The way the tape-noise gives way to the digital-noise gives good constrast.

@ampegfretless Have I heard this before? I feel like it was in a horror film.

@Paul_Reiners That’s good. I appreciate the interpretation so “chords would be the vegetation.”

@markrushton Lush reverb, but what is the instrument?

@33per You set quite a pace, but I guess you had to navigate those laser sprinklers.


Created Friday 11th February 2022 by DD

I stared by writing a simple but quite precise chord progression with voicings and all (A-A-B+Coda), and recorded that on 3 electric bass tracks performing artificial harmonics, a 4th melodic bass track using a volume pedal, and a 5th track of normal bass notes. Glued it with an analogue synth pad.

To walk unobstructive through that full and chatty bed of bass guitar notes I used a Melodica line, performed on the higher register and recorded using my ribbon microphone to grab as much room sound and less attack as possible, avoiding to interfere with the sparkling, ping-ponging bell-like harmonics.

Photo: a garden 10.000 km away from here. DD 2020.


you haven’t heard this before. this was created for this project. i have had a few pieces used for soundtracks and one for a bumper on ctpublic/npr radio. i’d love to create sounds for horror films ‘(8-)>

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I sneak through both the physical and musical landscape.
Using samples (Paddington Bear and Attenbourgh) is my camouflage.
Had to g00gle “unobtrusive”. I hope I got it right. At least I followed my own idea… :crazy_face:


The playlist is now rolling:



I recorded short improvisation on the Novation Peak synthesizer, with fragile textural pad sound. Then I added a second layer with texture created with Circuit Rhythm using some foley sounds. Like mindful footsteps in the fragile landscapes of our minds.


I somehow felt the vegetation to be very alien, high frequency, instable and stereo, the visitor of the flora low frequency, stable and mono. From there on I went on in Reaper, mostly by instinct.

It got a bit lenghty, but I like it very much and needs it’s time.


Not problem. I’ve made the change in the playlist.

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