Marc Weidenbaum's Blog, page 25

Submitting Music

I’ve updated the part of this site’s FAQ (disquiet.com/faq) that relates to submitting music for review consideration. Here is the revised section, and I’ve italicized the two most important sentencesbelow:

2. Does Disquiet.com accept music for review consideration?
I want to hear your music, but I also want to hear other people’s music, and so the less time I spend doing correspondence, the more time I can spend listening. Please don’t expect me to reply to correspondence, not even with a quick confirmation of receipt. I don’t have the time to engage in back-and-forth emails about whether I plan on covering a given release. I receive an enormous amount of music from musicians and their record labels, and that doesn’t count all the time I spend seeking out music (and sound-related art). I can’t promise to write back — either in a timely manner, or at all. If you include the word “teiuqsid” (no quotation marks, and that’s “disquiet” backwards) in your email, I’m far more likely to find your email message, because your including it means you’ve read these instructions. Also, if you include me in bcc list containing many Bandcamp “yum” download codes to try, I may ignore it, because that’s time-consuming, and my experience has been that when I do try, all of them have been used already. What I can promise is the following: I will listen to as much music I receive as possible, without diminishing the attention I can pay to what I do elect to listen to, and I will consider it for coverage. I listen constantly, and when something really strikes me, that’s when I write about it — either here, or for other publications to which I contribute. My preference is that you email me a link to a zip archive containing lossless files, and also include a link to it streaming somewhere, so I can preview it before downloading. If you feel the need to send me a CD (or vinyl copy, or some other physical format), you can email me (visit this site’s contact page) to get my address in San Francisco, where I live — though, again, there’s only a small likelihood I will reply. Please don’t send audio files as attachments: they clog up my email, and I immediately delete them. And don’t pitch me your music via social media, as I’ll just direct you to this page.

Live at Smalls

That’s Frank Lacy giving it everything he’s got last night at the Manhattan jazz club Smalls in the West Village. He led a septet of — also seen here — Nicoletta Manzini (saxophone), Felix Moseholm (bass), and Brian Simontacchi (trombone), plus Mike Lee (saxophone), Miki Yamanaka (piano), and Wen-Ting Wu (drums). Wu was a standout, maybe because the show leaned on Lacy’s time with Art Blakey’s band, and Blakey was, himself, a drummer. Moseholm seemed familiar, and only later did I realize he was in a Brad Mehldau trio video (with drummer Jorge Rossy) from October 2024 that I’ve watched on repeat on YouTube. The full video of the septet show is on the club’s website.

Door Way

If you’re reading a Booker Prize finalist novel in a cafe and the inside of the bathroom door doesn’t look like this you’re doing it wrong.

On Repeat: Tortoise, Badalamenti, Earth

On Sundays I try to at least quickly note some of my favorite listening from the week prior — things I would later regret having not written about in more depth, so better to share here briefly than not at all.

▰ There are worse ways to wake up than to news there’s a new track of trademark slacker exotica from Tortoise. Apparently it’s their first new recording in almost a decade. All percolating rhythms and dreamy washes, it almost sounds like they’re auditioning some theme music for an espionage TV series. The most “Tortoise” thing about it may be not so merely how it switches gears at the last moment, but how the contrast let’s you hear the gears grind.

▰ I’m sure I’ve heard, and even seen, the guitarist Simon Farintosh (whom I’ve interviewed about his Aphex Twin transcriptions), play electric — rather than acoustic or, more frequently, classical — guitar, but I don’t recall having done so. Here he performs “Sycamore Trees,” from the score to Twin Peaks: Fire Walk with Me. The thing about musicians who do a lot of work in the realm of covers and transcriptions is how those pieces of music then, in turn, become their set of repertoire. Thus it’s interesting to think of Badalamenti alongside Aphex Twin and Boards of Canada and the other musicians whom Farintosh has explored.

▰ Listening to the band Earth, you may hear things you’ve heard before, from the rousing bravado of Social Distortion to the fuzzed-out roots rock of Neil Young to the drone metal of Sunn O))), but those are just flavors, not the real thick of it. Earth is its own special entity, and the key to the sound is the pace, set by drummer Adrienne Davies, half the band, alongside with founder Dylan Carlson, in this iteration. This video has been online for a year, but I only just stumbled on it.

Scratch Pad: Sirens on a Sunny Day

At the end of each week, I usually collate a lightly edited collection of recent comments I’ve made on social media, which I think of as my public scratch pad. I find knowing I’ll revisit my posts to be a positive and mellowing influence on my social media activity. I mostly hang out on Mastodon (at post.lurk.org/@disquiet), and I’m also trying out a few others. And I generally take weekends off social media.

▰ It’s a lesser-known Gen X superstition that if you happen to walk by an establishment that’s playing “Come On Eileen” before 10:30am, it’s gonna be a better than average day

▰ Current status: trying to run the battery down on a device so I can then see what chargers it does and doesn’t work with. I unplugged it and had it play MP3 files of Buddha Machine tracks on loop with the screen at the highest brightness level.

▰ A beautiful sunny and warm day translates to the sound of emergency vehicles heading quickly to the ocean at dusk

▰ The concise if ambiguous narrative of a car* with a freshly broken windshield and, dangling from the rearview mirror, a bright blue disabled person parking permit

*not mine

▰ Spent the day in nature, which was beautiful, but being now back in the city, I feel the need to take a walk, not for the exercise so much as to feel re-centered. I think “glimpse graffiti” is my “touch grass.”

▰ Vibe: if The Secret Garden was a first-person shooter

▰ I finished reading my fifth novel of the year, Cory Doctorow’s (very good) Walkaway (2017). And now I wonder: Is its use of the word “enfilthening” an origin point of his later and more popular neologism “enshitification” (2022)? I also read the graphic novel Zatana: Bring Down the House, written by Mariko Tamaki and drawn by Javier Rodriguez.

Data / Telecom

Tired: things that look like speakers

Wired: if this was the door to a recording studio

Disquiet Junto Project 0691: Un-Ravel

Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have five days to record and upload a track in response to the project instructions.

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. The Junto is weekly so that you know it’s there, every Thursday through Monday, when your time and interest align.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks also generally appear in the lllllll.co discussion thread.

Disquiet Junto Project 0691: Un-Ravel
The Assignment: Make a recording of a string quartet fall apart.

Step 1: Download the first movement of the Ravel string quartet at this URL: https://bit.ly/un-ravel

The original source is the Internet Archive: https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Step 2: Listen to the track closely.

Step 3: Create a new piece of music by employing the provided recording as source material. The goal for your piece is that it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing.

Tasks Upon Completion:

Label: Include “disquiet0691” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0691-un-ravel/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you.

Deadline: Monday, March 31, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/

Newsletter: https://juntoletter.disquiet.com/

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).

Please Include When Posting Your Track:

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

LSDJ 2025

New toy, blank slate

Trouble

A beautiful sunny and warm day translates to the sound of emergency vehicles heading quickly to the ocean at dusk

Time Check

Mark your calendar. Our quantum future has arrived. It’s possible for your interlocutor to have liked a message of yours that was never delivered.