Disquiet Junto Project 0553: Break That Cycle

The following instructions popped up at disquiet.com/0553 (thank you, powers of automation!) around 12:10am Pacific Time on August 4, and then at twitter.com/disquiet about 10 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), and then I posted them here.

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, August 8, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 4, 2022.

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

Disquiet Junto Project 0553: Break That Cycle
The Assignment: Record in a steady tempo but break it on occasion.

This is a one-step project: Record in a steady tempo but break it on occasion. For example, you might record a piece of music in 4/4 at a steady pace, but occasionally break it by including an extra bar or a stray three-bar sequence, or a segment that’s notably faster or slower.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0553” (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 “disquiet0553” (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-0553-break-that-cycle/

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, August 8, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 4, 2022.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0553” 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 553rd weekly Disquiet Junto project – Break That Cycle (The Assignment: Record in a steady tempo but break it on occasion) – at: https://disquiet.com/0553/

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-0553-break-that-cycle/

The image shows a detail of a mural painted by the artist Pablo “Raíz” Ruiz Arroyo at the record store Noise in San Francisco.

1 Like

And the project is live.

Disquiet0553 Embracing Contradiction - Break The Cycle

Three unique guitar tracks, migrating from 4/4 to 3/4 with breaks and counter melodies

Stream Disquiet0553 Embracing Contradiction - Break That Cycle by Bobo Lavorgna | Listen online for free on SoundCloud


I’ve reworked an older track, taking the parts recorded on guitars and playing them through my Rolands.

You can also see the sound-activated visuals that I’ve been working with this week, ahead of my inFREQUENCY performances.


Great, a one step task, on vacation
spend a few days at the baltic sea
i played my guitar through Steinberg UR 22mkII
recorded in aum
added some granular effects
there were actually only two tempi
one slower, one faster

disquiet0553 #guitar #ambient


Any break or interruption in tempo might classify as a form of bond fission. To compose a piece that celebrates fracture as a creative element, Suss Müsik sought to understand how to locate bonds in non-musical terms. Enter Colorado School of Mines geochemistry professor Mark Eberhart, author of the book Why Things Break:

“Picture yourself flowing in space. Off the right and left are atomic nuclei. Neither can be seen, however, as each is surrounded by a dense cloud of electrons. Move up or down, backward or forward and, as if you were descending through a cloudbank, the fog diminishes. Alternatively, move toward one of the nuclei, and the electronic fog engulfing you becomes denser. Follow the path to the nucleus along with the electronic fog is densest and you are moving along the bond.”

That’s the approach Suss Müsik took with this weird piece for piano, fake strings, and rudimentary homemade synth. A simple, repetitive chord sequence was twinned on two instruments in 4/4 time. An occasional blip of piano arpeggios exceed the time signature while staying relatively in tempo.

Things bust loose midway through the piece, as the strings succumb to excessive glitch refactoring at a much higher tempo (moving toward the “nuclei” of the arpeggio tempo). Meanwhile, an electronic gadget burps in approval at the same rate. In true Sun Ra fashion, the piano tries to hold it all together before the primary chords resume their respective places, this time accompanied by a fake cello mirroring the arpeggios.

The piece is titled Homolysis, a form of fission by which each broken part of a bond retains fragments of the other.



Hey All,
The prompt this week reminded me of back in the day when the UK was cracking down on raves and made 4/4 a crime. It is hard to believe that a time signature could cause such terrible mayhem that it was banned. I do think that it led to some interesting music being made. My favorite artists influenced by this stupid law is Autechre. They had a real great run of albums back in the 90’s. They are still important artists now but those 90’s albums were pretty landmark.
I had done a track that changed time signature but it still was not as random as I felt the prompt was asking to be done. So I broke out my trusty crossfader.
I hadn’t noticed it before but I primarily use my left hand for crossfading. I am very much right handed but for some reason I prefer my left for crossfading.
So I really did some mangling and it left 4/4 behind but again this was too much in the other direction so I crossfaded back into the original track and 4/4 was back with some spice.
I then crossfaded 3 tracks that were set at far right, center, far left and gave each a staggered starting point. It creates a cool stereo delay that I liked.
Hope all are well.

Peace, Hugh


added and deleted some extra bars
iris 2, supermassive
bit more interesting in the 2nd half:
duplicate track, notes randomized and arpeggiated
then attack and reverb adjusted to seem more like i’m playing it
trying to hide the missing/added bars


A generative patch in bespoke synth ‘live modulated’ with some speed changes.
Unfiltered Audios Lion synth and DS Thorn are the main audio sources with a little from Audio Things and Hainbach’s ‘Noises’


I had some patterns lying around on the Digitakt that I did not feel were really worth trying to develop into a full song, so I decided to repurpose them for this project.

I was playing around with the “pattern scale” mode on the fly which modifies the speed of the pattern to multiples of the project BPM - 1/8th, 1/4, 1/2 speeds etc. 3/4x speed is the setting between 1/2x and the usual 1x and that setting kind of threw everything off kilter too much so I had to be really careful to not land on it for more than a split second in passing.

I messed around with the BPM a couple of times in Ableton as well


Not exactly what was sought but a simple piece that uses something I’ve (still) been developing; 3 Euclidean rhythm generators driving a single step sequencer (a bit like the subHarmonicon’s rhythm sequencer). The main track uses the same Euclidean rhythm but the length of the pitch sequence increases. The drums are driven by 2 generators. The velocity values of all three tracks run on a separate step sequencer, of a different loop length, for each.


I love dance music but rarely write it because it is so formulaic. But this DJ motivated me to see how I could splice and dice the mechanical regularity of it. So, the percussion gives what seems like the solid ground for dance - but listen closely - there are many layers of rhythmic activity - which rarely align to form a “massive” downbeat. It feels danceable - and maybe it is - but the structure of the lines is far from that feeling.
The title translates to “I am happy for you”


This started as a generative modular patch run with a varying clock. The results were kinda wallpapery and the tempo shifts not that obvious, I needed something with a steady pulse to give context and contrast. I dug out an old drumloop from a project from 10 years ago which I abandoned cuz I wasn’t happy with the rigidity of the beat. I had the file playing while adjusting the tempo of the modular track. This led to a warbly tape like effect that reminded me of badly wound cassettes where the b-side would faintly bleed through.


So, once again I didn’t read the instructions carefully enough, so the tempo changes throughout this one (instead of abruptly). I’ve hooked up a piano and Dexed synth to Stochas, and then there is a drone running through the background. The piano and synth are run through Augustus Loops, because I wanted to see what layers of different tempos would sound like. Don’t think it’s that exciting but maybe people who understand music better will notice.


There’s no such things as a free lunch, especially on the internet.

Ads were always a nuisance, first in Radio, then in TV, now on YouTube. The problem is – and I don’t have to mention that in the Lines community - that other people are making the money, not the artist, unless you’re really popular. If I upload my track to YouTube (it’s Creative Commons), Google will inject at least 2-3 ads and cash in the money without my consent. And I’ll never see a cent of that.

The idea of injecting ads to break the cycle, as the assignment says, came fast. But it took two days until I had „the product“ ready. It contains Playbox, the awesome Mercury from Cherry Audio, SQ-80, Reaktor and a ton of drums. I also recorded some ads from YouTube and skipped them after the obligatory seconds. Mixing took another half day, so I spent at least 12-18 hours with the assignment.

I’ve uploaded an ads-free and free to download version on Soundcloud, and you can find it here.


Hey all,
Good to be back. Missed partaking in this.
Started with some piano and some sort of vocal thing. I worked in bar lengths of 7 or 3 to try and add some surprise. I found this quite hard as I obviously must prefer even numbers when I am sequencing.
I took the keys into Bespoke where I had made a sampler instrument which helped me make the faster bits. Forest helped out with some detail. Little bit of Raum and some EQ in Logic.


This prompt came in at the right moment. I was just putting together a half-serious dance track, so of course, we interrupt the stream of regular 4/4 with a set of 3/4s and a few extra sprinkles of guitar.


OK after years of promising myself I’d participate in this astoundingly cool project, well, here I go.

I wanted to do something about seismic and cosmic activity. So I found a recording from the Parker Solar Space Probe and another of Plasmaspheric polar hissing… you know typical easy listening stuff. :wink:

So the pulsating hissing would serve as the steady tempo and the solar winds would break it up… sort of… :wink:

I wanted to tie in the seismic activity, so I found a recording of a newscaster who was stuck in the middle of the 1964 Anchorage earthquake. Which was a doozy. He kept saying Oh Boy, Oh Boy, Oh Boy which another rhythmic kind a thing to punctuate. So I put that phrase into the amazing PaulXStretch plugin and slowed it way, way down. And I did another version where I sped it up and just pulled the harmonic content out… sort of. :wink:

So I put it all together in my beloved Bitwig and further beat it up (er… manipulated the aural landscape) with the amazing Portal and some convolution reverb.

So… I played with the mandate a little on the fast and loose side. Yep… that’s putting it mildly.


Submission for disquiet0553 weekly project. It’s been a year since I participated in this weekly work. These prompts are a big help to get me doing something with all the noise I tend to make.
This particular track features tape loop percussion and processed piano audio using a Red Panda tensor pedal and an Ezhi & Aka moomindrone.
As this is mostly free-form sound, my inclusion of a “break” in the cycle happens at 1:22 in the track. Percussion falls out and the “time” definitely meanders for a bit. Looking forward to dusting off the sounds and continuing to try and make more regular submissions.
Thanks to the Disquiet community and for Marc in particular for keeping this going.