Post-classical ambient minimalism for crepuscular airports

Junto Project 0353: Warp & Weft [repost]

Someone suggested that Suss Müsik repost our contributions to the weekly Disquiet Junto projects, because they enjoy reading the explanations of the tracks. While you’re reading the original post, make sure you check out the other contributors’ works as well.

Suss Müsik initially misread this week’s Junto theme as being inspired by a line from an early Cocteau Twins song: “The devil bite’s dirty, we warp and weft.” This should provide an inkling of how little we know about the textile sciences. Not that you couldn’t make the same assumption by simply looking through Suss Müsik’s wardrobe.

As part of our research, Suss Müsik consulted with an expert versed in the subtle art of warping and wefting. “Basically the warp is vertical lines of yarn attached to a loom,” we were told. “The weaver then inserts the weft yarn horizontally back and forth to form a fabric.”

Okay, got it.

“There are different techniques when making something like a tapestry. You can do a vertical slit by weaving two wefts toward each other until they meet at the place where the slit is desired. You can also do a diagonal slit by turning at the same point in succeeding weft passes, moving one or more warp ends to either side of the previous turn.”

Um … okay.

“You can also do something called hatching, where two weft yarns approach, meet, and return from one another in a series of joins in a random overlapping fashion. My favorite is the dovetail interlock, where two adjacent color wefts circle a common warp end as a turning point.”

At this point, Suss Müsik politely shooed away all this talk of warping and wefting and got to work. An egg shaker provides the longitudinal structure, while two gently plucked guitar phrases behave as weft hooks. Two Moog synth washes are then “woven” across the front of the mix.

Halfway through, two drum patterns interlock as a binaural databend of the provided image stretches behind them. Hand-over-hand piano polyrhythms complete the “tapestry” while an EWI whines in the foreground. The last sound heard is a harmonic treatment of the original image’s bit data converted to sound.

Upon hearing the piece, our textile consultant determined that it most closely resembled a dovetail interlocking pattern. Something to do with a third color emerging from the two grounds overlapping, so we’re told.

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