Disquiet Junto Project 0582: X Techno

The following project instructions popped up at disquiet.com/0582 (thank you, powers of automation) shortly after 12:10am Pacific Time on Thursday, February 23rd. (I was asleep at the time, deeply so.) 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, on the Junto Slack, and my Mastodon account, and Instagram, etc. (I’m taking a Twitter break at the moment.) And if you’re on Mastodon, please use the #DisquietJunto tag.

Disquiet Junto Project 0582: X Techno
The Assignment: Make a new subgenre.

Step 1: You’re going to make a new subgenre of techno. Think for a moment about what makes techno techno.

Step 2: Choose a word and put it before “techno.” Those two words in combination are your new subgenre.

Step 3: Record a piece of music in the style of the subgenre you came up with in Step 2.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0582” (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 “disquiet0582” (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:

Length: The length is up to you. What’s the norm in your new subgenre?

Deadline: Deadline: This project’s deadline is the end of the day Monday, February 27, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, February 23, 2023.

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 582nd weekly Disquiet Junto project, X Techno (The Assignment: Make a new subgenre), at: https://disquiet.com/0582/

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-0582-x-techno/


The project is now live.

1 Like

Hi. I recently rediscovered this unused old track, is a 8 minute long master, at a certain point there’s this bossa nova groove with all synth and electronic instruments blended with a vocal improvisation on my vocoder and orchestral samples treated.

As requested tried Bossa Techo but it just feels gauche to me, Techno Bossa sounds better, am I right?

Photo is by Cerqueira (Rio, Brazil)
All sounds by me.



This time - I’m trying to use classical/orchestral and organ samples in a new way, that is - i think - not completely, but almost, unlike techno :slight_smile:

Let’s call it “Organ(ic) Takeno”


Call it “Lockdown Techno”!
Tekkno test during lockdown. No dancing allowed. Beats and soundshaping created for for background listening only
Tools used: Yamaha AN200.

Part of my pandemix playlist.


Oh boy. Techno. I went with an 80s sound (Yellow Magic Orchestra, anyone?) and dance dance dance but make it 盆踊り bon odori. Bon odori is a traditional dance performed during the bon festival, which is about honoring the spirits of ancestors. Every region, every community has their particular bon odori. Mine is a faux one I just made up.

All on GarageBand. Soundpacks are “Late Night Drive Beat” and “Celestial Percussion Ensemble 01.” Synths “Bright Plucked String,” “80s Sync Lead,” “Power Fifths,” “Sunrise Chords,” "Hypnotic Synth Bass. Layered a couple of flute solo tracks.


Background info refresher course from wikipedia… After reading, my first thoughts are deconstructing “4 on the floor” to instead use 5 or 7 beats; cassette loops of beats thatt aren’t quite in time; slide guitar samples; but maintain the knob-twiddling -


Ghostly Techno 136BPM

The concept being “whispering does not go down well in a club”.
Whisper techno = Ghostly Techno.
( I played around in Chat GBT to get a genre name I liked. " Ghostly Techno Frequencies - a name that combines the words “ghostly,” “frequencies,” and “techno” to create a catchy and memorable name)

So I started with some whispers. Cut them and edited, then into a 12 bar loop in Logic Pro.
Added the 4x4 bass drum, then another, then a couple more then some samples. More drums. And a random noise I didn’t use on another track.
I added the whisper lead vocal tongue in cheek. Then some bass which I treated.
Some editing and sculpting. I wanted to do this one quickly keep the energy intact.
Normally I sleep on it and tweak the living daylights of it.
I kind of mixed this on the run.
The new Ghostly Techno track “Repetition is Meditation”.
(Normally I try not to have a bass drum in my tracks. Making up for it here I am afraid.)


Ανω ΚΑΤΩ (pronounced “ah-no KAH-to”) is a form of techno music that combines native Pontic Greek instrumentation with electronic dance rhythms. The name, often shortened into the more global term KATO, loosely translates into English as “messed up.”

KATO is believed to have formed sometime in the 1990’s, when a group of Macedonian sheep herders picked up the throbbing bass of a dance club located in the nearby valley’s urban center. Legend is that the herders attempted to play along with the beat on daouli drum, fife, and kemenche, forcing the musicians to actually play slower than the tempos to which they were accustomed. This adjustment resulted in new phrasing techniques that today comprise the subgenre’s sonic attributes.

The typical KATO techno track sits between 125 and 140 BPM and features arpeggiated notes performed on a kemenche, also known as the “instrument of the Black Sea.” The strings are bowed with a doksar made from an olive branch, double-bound to withstand the repetitive velocity needed to accompany loudly amplified beats. Glitch effects feature prominent in KATO techno, perhaps a carryover from the sketchy radio transmissions commonly heard on rural Macedonian mountaintops during KATO’s advent.

Suss Müsik owns a few KATO releases, all on compact disc and bought from the same record shop that unearthed this nugget. Probably the best-known KATO artist is Matia14, whose track “Θα φας ξύλο” (“You Will Eat Wood”) was famously remixed by DJ Penmanship in 1999. The untitled track featured here is by a Thessaloniki group named αργό λάχανο, known as Slow Cabbage in English.


I had two ideas for a new Techno subgenre: Fibonacci Techno and Technoviking Techno. The first would follow Fibonacci numbers as closely as possible. The second would sound like the first track in the famous Technoviking meme video (acoustics, not melodies or beats). The first I deemed easy to pull off, the second impossible.

So to make a challenge out of this, I merged the two genres into Fibonacci Viking Techno. I followed the numbers as closely as possible, e.g. setting all values of instruments and effects to Fibonacci numbers (which musically makes little sense - but the concept asked for). The bass drum is on 8, most other things on 1, 2, 3, 5, 13 or 21. For effects I went up to 89 - wow! Then I tried to boost the whole thing to Viking level, which I unfortunately did not reach. Kept it really short with lots of breaks, which is the norm in this genre.


That´s a nice one. Makes me smile.



The playlist is now rolling:


After seeing the Junto prompt, I went looking for a sample to manipulate and found a video of my youngest from our visit to Canberra in 2019.

That trip featured in a couple of Juntos around then and I’ve used this material elsewhere.

The title is a pun too, since Sunday suggests relaxed but also “son day” techno.

I knew the percussive instrument could be pitched down to create a kick, which is the foundation of the genre.

Going for a relaxed feel, I opted for a slower tempo and a bit of dub-style tape delay.

The video was edited in Ableton Live along with the audio.


Clearthedancefloor Techno

Sometimes techno is all about the anticipation of the beat. So you have the evocative samples, the drone before the kick drum, the sampled female voices just prior to the high hat and so on. In this contribution to the week’s Junto challenge I have created a track that is all about the anticipation before the beat. And when the beat finally comes, it is disappointing, disjointed and interrupted. Enough to clear the dance floor. Head to the bar. Or head for the door.

Track Notes:

The project was created on the Polyend Tracker while commuting on the GO Train to Toronto. The majority of the samples come from some of the instruments in my studio - Buchla Music Easel, BARP 2600, Arturia Drumbrute, Arturia Minibrute2s, Soma Enner and Lyra-8. And some FM radio, most likely from the CBC. I think the female voice is Emily Haines from Metric. I’m not sure who the “beads of sweat” quote comes from!


Airborne toxic techno

Made on an airplane. Inspired by the clouds outside the plane windows and the droning wall of noise inside the plane. I wanted the repetitive rhythmic component to feel fluffy and amorphous like the clouds, but jarring and hostile like the plane engine.

Live improvisation on the plane in ApeMatrix (with a pile of effects) on my iPad. The sound sources being processed involve the airplane’s sound through the ipad mic, and one loop recorded the day before playing through the patch.


love watching this, hypnotic aurel and vizzy


I was on a tight deadline for this one, trying to complete a track before going out to see Dry Cleaning at the o2. For inspiration I turned to an online random word generator and got “Crepitus” - a popping, clicking or crackling of bones. perfect techno fodder. I hooked up a mic of me scrunching paper, running it through effects and jamming along with a DFAM and mother 32. The paper crackling was quite ASMR so I decided not to add any samples of cracking bones to spoil the vibe. Not really a genre with much of a lifespan but fun to do nonetheless.


For this challenge I hybridised my last Disquiet offering, I resampled some of the ‘aquatic’ atmospherics and then recombined with a mutant faltering techno-ish rhythm and glitched siren calls. I hereby give you ‘subaquatic techno’. :mermaid:
I did this latest doodle on my iPad again.

Image credit www.flickr.com/photos/rafipics/7914334878


Kraken Techno has to be plain 120bpm and 16th sequenced suction cups, but these have to drift apart in the course of the piece in a somehow crazy way - like the tentacles of the Kraken do.

Okay, okay, I have to admit: I took some unfinished tracks and put a 4-to-the-flour-kickdrum on it - and the best fit won. I’m not into techno … but I would dance to this. :wink: