Disquiet Junto Project 0551: The Bends

Unfortunately, the automated post didn’t go live automatically. Thanks to everyone who let me know. I pushed it manually later this afternoon, at disquiet.com/0551, and mentioned what’s up at twitter.com/disquiet. The email containing the instructions went out around 6:30pm Pacific via tinyletter.com/disquiet-junto.

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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, July 25, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 21, 2022.

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

Disquiet Junto Project 0551: The Bends
The Assignment: Get less strict about something you’re strict about.

Step 1: Think about things you’re strict about when you make music. Maybe you only work in a minor key, or you never use drum machines, or you always stick in 4/4, or you never revisit past work, or something else entirely.

Step 2: Choose one thing from the list you made in Step 1 and think of it as a rule.

Step 3: Think about how you could be less strict in regard to the rule you focused on in Step 2.

Step 4: Record a piece of music in which you bend the rule, as you determined in Step 3.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0551” (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 “disquiet0551” (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:

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0551-the-bends/

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, July 25, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 21, 2022.

Length: The length is up to you. If you usually make short pieces, maybe try something long?

Title/Tag: When posting your tracks, please include “disquiet0551” 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 551st weekly Disquiet Junto project – The Bends (The Assignment: Get less strict about something you’re strict about) – at: https://disquiet.com/0551/

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-0551-the-bends/


The project is now live. Sorry for the delay. Been a day.

1 Like

Hello, this one got me thinking, after so many years working in the studio and creating music, I’m not sure I do have any golden rule, technically recording or composing. But I do have this “rule” philosophically, when it gets to sharing, releasing or exposing my music: I don’t share tracks I don’t think have an interest for me personally , as a listener. I just keep those locked on my vault.
As my day job is creating music for media, I’m used to go back to snippets or “cues” I created in the past, pick up one and develop it, sometimes adding a melody or a soloist or just a “focus point” to transform that “cue” into a proper “track”. I do recycle and re-work back log tracks for junto projects a lot…

I just found a folder with groove cues created in 2010 for a music library, completely uninteresting stuff from a listener’s POV, albeit sometimes well recorded and decently played. I set aside some cues I though could make a nice backing track for further development ( my summer vacation’s assignment).

As an exception I decided to leave this one as it is, no additional instrument added today, 12 years after the track was created, just a remix and I let it go. It wasn’t a massive “rule bending” decision as the original cue did have a sort of melody in the second half, but honestly: I won’t leave the first half of the track with just a groove, but here it is, to fit the assignment.
Comments and critics appreciated.
Cheers, DD


my only rigor with the juntos is to always take a clear approach to the task of the week and then create something new.
Now I’ve taken the bend to just release the track I’m working on.

Staying in Munich for a few days, had recorded a few sounds. Throw them all in Polyend Tracker.

By the way, I would like to mention, that one of the best sound installations is taking place here:




My first Disquiet Junto entry. This is an interesting prompt to start on because I’m so new to everything about sound making that there’s little established yet to break from. Everything is new to me. So I decided to interpret “bending the rules” by doing the following, all of which I haven’t done before:

  • Longest recording created so far at 2 min
  • Created individual tracks (3) into my DAW one at a time instead of just a single mix
  • Track 1 = Beads with no sound input, modulated for a sort of haunting background
  • Track 2 = Rings only strummed with semi-random pulses for a non-rhythmic beat
  • Track 3 = Ansible/Grid/Kria modulating Ripples as a resonating chirpy sound on top

I’m describing this as “Soundscape of a disgruntled ship captain from a dystopian future navigating unknown waters with his high-strung mechanical parrot.”

Hopefully I did this right, what a fun project to be a part of - thanks.



I’ve been sitting out for the past few weeks and I may need to sit this one out too.

Sometimes it seems like my entire reason for making music has been to break any rule I previously had about making music, barring any financial constraints or abilities on specific instruments.

This built up over the years into creating my own “projects,” each having rules of their own, but when taken with all the other “projects” that I have created, there really are no rules.

Still, I might think of something by Monday.


Ostinato Ritmico Con Episodio Furbetto

Here I bent the rule of never using pre-sequenced parts by using a rhytmic Massive patch.

Made with NI Maschine+


And the playlist is rolling:


In most of my tracks I am strict on beat and on scale (I admit these are two things…).
The Disquiet Projects have already helped me out of these restrictions, but only on special occasions: Ingoring rhythm in ambient tracks like the vox drone or cinematic soundscapes is easy. And ignoring scales is easy in experimental sound-explorations.

So I decided to create a “normal” piece of music in which I (up to now) always stick to these “rules”. I started to record the piano-track on my keyboard, switching off the metronome and trying to deliberately not think about scales while playing notes.
Only looking at the graphical score without knowing what notes I have played so far I then recorded one sound after the other with the keyboard: The bassoon, the bass, the pad, the harp and the trombone.
So there is no set tempo, no explicit beats, and no explicit scale or harmonies.

Then I reused the drum-kit I created for the ice-cube track and triggered it with the wind-chimes plugin to create random drum-sounds. And I was inspired by @Glitcher (a big Thank You) to try out IanniX which he mentioned in the last Junto. I have to admit I just scratched the surface, now struggling to understand the trigger → message conversion, but I succeeded in adapting one example and let the created midi play the pizzicato strings in the background.

I refrained from changing much after recording and only adapted few cues and pitches. I am quite happy with the track that I would never have thought of creating and publishing without being prompted to bend my rules. Again thanks Marc @disquiet !


So for a while now I’ve been using sequencers or midi or some kind of note information in my sessions.
Decided to break this rule and create a modular patch with just modulation for controlling sound.
I used Braids, Skorn da bask (the chicken), transistor ladder filter and six function generator outs, clocks etc.
Piped the patch into bespoke synth for reverb, live jammed it and then chopped in two and layered in DAW.
That’s it. Hope all are well. Thanks Marc :slight_smile:


I have to admit, I’m a sucker for applause. With the attention economy for artists in full effect, I’m guilty of wanting as many plays as possible for my music. As we all know, the first entries in any playlist get played more often, so I tend to rush the Disquiet Junto projects in order to be fast. This is just stupid, because you shouldn’t measure success just by quantity.

So I bent my expectations this time, forced myself to work slowly, took all the time I needed to get the piece as finished as you can get in four days. Instead of just going for the melodic parts, I added some drum parts this time, which took a while. Still, after having spent at lease 12-18 hours, the piece isn’t ready yet. I may leave it for a while and come back to it later.


I’m a recovering classical pianist and have been relying heavily on DAWs to make music. Since my “strict rule” has been a simple avoidance of the piano, I wanted to center the piano as a compositional tool for this Junto project.

To keep the piece simple, I wrote a few melodies and patterns centering the pitch D, recorded the whole thing as a midi file and added slight enhancements to make the piano superhuman.

I think this can be a way for me to make peace with the piano?


I’m strict about not using presets. So this is a preset track:

It’s a Landforms preset routed through a Arturia Fragments preset and some Supermassive presets. Plus a iZotope BreakTweaker preset for some drums and again rerouted through Fragments creating those artifacts which one could perceive as strange vocals. Because I went for a drum preset with jazz in the name it really feels torn inside, which I liked at the end.


I often / always start by putting some different ideas into Ableton (though I might source them from various places, vcv-rack, recording of playing in instrument, et.), then when I can imagine some of them working together I composite the whole thing together and so on. Now I deliberately started outside of Ableton. I chose Reason, because (1) I’ve used it in the 90s so there is nostalgia, (2) because it seems to be getting quite cool recently (again) with all the new “player” additions. Then, to not completely break the rule but bend it, I did go back to Ableton, exporting the stems from Reason and putting it together, adding just a little bit of effects here and there, not too much.


Within a Slowly Unfolding Universe

Like most humans on this small planet, I have been astonished by the images returning from the James Webb telescope. I wanted to explore that vastness and restrict myself to only free libraries. On this track, I am only using samples from the PIanobook collection - and in particular, the many superb samples made available by the generous Dan Keen.


Some of this rings true for me also but quite often I just dont know if I will have time to work some more on a project or not :frowning: I don’t want to fall into the trap of never finishing anything and so sometimes when I decide it’s finished I can publish it and be happy with it. Occassionally though something feels wrong. That’s probably because part of me wants to work on it some more and doesn’t feel that it’s really finished. Thats how I felt about my track for this week but as some time became available this evening I have worked with my patch some more and added another layer to it :slight_smile:

This is definitely a good way to approach the Junto. Well said :slight_smile:


I decided to try an idea to assemble lines of lyrics.

As part of my haiku-writing habit, I’ve collected five-syllable lines.

For this piece I printed them, then cut them out to pull randomly from a box.


Sorry, I’m a few hours late but I’m here with some tense dark ambient.

The point of this disquiet junto project was to bend a ‘rule’ that you normally follow while making music. I personally always make my songs change over time in a significant way. It could be that there are different sections like a typical song or that elements fade in and out over time. Here I created some generative patches and just let them run with a simple fade in and fade out for the whole track.