Post-classical ambient minimalism for crepuscular airports

Junto Project 0352: Layering Permutations [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.

Next time you misplace your keys, try thinking like an ant.

Ants solve problems collectively by secreting messages to other ants. When an ant finds a source of food, it walks back to the colony leaving pheromone markers. As other ants discover that the pheromone trail leads to food, they populate the path with their own markers. The more ants who travel the path, the more pheromones are dropped. Once the food source is depleted, the ants cease populating the trail and any remaining pheromones slowly decay.

Scientists who study this behavior refer to something called the Ant Colony Optimization (ACO) metaheuristic. That’s a fancy way of saying that ants tend to prefer shorter trails with stronger pheromones, not unlike how computer algorithms disambiguate search terms. When someone types the word “cars” into Google, for example, it’s important to differentiate the intended task of buying an automobile from watching a movie or listening to a 1980’s new wave band.

For this piece, Suss Müsik treated a single piano melody as an “algorithm” by layering each permutation. As the base path is developed, other instruments randomly travel outside the melody, perhaps resembling how ants continue scouting for additional food sources. The sequence ultimately “optimizes” with all musical pheromones aligning toward a single discovery.

The piece is titled Pheromones and composed for piano, violin, woodwinds, cello and brass.

Junto Project 0350: Selected Insomniac Works [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 knows all about insomnia for the mentally fragile. We’ll spare you the details, other than to say this: when one is dedicated to the craft of “post-classical ambient minimalism for crepuscular airports,” exploring the nuance between dusk and dawn is something of an occupational necessity. It’s a tough job, but someone has to do it.

“I fellowed sleep who kissed me in the brain / Let fall the tear of time; the sleeper’s eye,” writes the poet Dylan Thomas. “There grows the hours’ ladder to the sun / Each rung a love or losing to the last.” These two couplets succinctly describe the duality of insomnia, which in Suss Müsik’s experience takes two forms.

The first form of insomnia is a woozy precipice between not quite being asleep or awake — not exactly alert, yet consciously aware that time is passing. The second form (usually following the first) is a whirlpool of cognitive dissonance: the body may be tired, but the brain actively rages at an endless cycle of unanswerable questions. How many years do I have left? Did I remember to pay the insurance? Do I have cancer? What’s that sound downstairs? Who or what is touching my leg?

For this piece, Suss Müsik sought to represent both forms of insomnia through sound. The piece begins with the insistent tempo of a CR-78 drum machine, which signifies the ticking of a clock, its rhythm punctuated by jabs of piano. A field of electronic fog slowly emerges from within and builds to a quiet roar. With the whine of a saxophone, everything retreats back into the subconscious. The ticking CR-78 returns to close things out.

The piece is titled Chiasmus, named after a grammatical structure in which a phrase is reversed with no repetition in words. Next time you have insomnia, try to list as many of these as you can remember from when you were in school.

Junto Project 0349: Got Glitch? [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.

Shredder 1.0 is an “alternative web browser” developed in 1998 by artist Mark Lanier. It remains live and online today, even twenty (!) years after launch. You can try it out at

The application works by passing a website’s source code through a rudimentary Perl script, which then rearranges the visual elements into a two-dimensional pile of abstracted screen fragments. The effect resembles a screenshot sliced into tiny pieces and thrown all over the floor, not unlike the random chaos of a Jackson Pollack painting. “My works are not objects but interfaces,” Lanier wrote in 2001. “By interacting with the work, the visitors shape the piece, causing it to change and evolve in unpredictable ways.”

In his book Why Things Break, author Mark. E. Eberhart describes how “for almost everyone, the word ‘structure’ evokes a strong visual.” Lanier’s approach turns this definition on its head by forcing us to visualize the *lack* of structure, or at least to contemplate a structure whose components are always in fluctuation.

A glitch, then, might be defined in digital terms as the identifiable break in which computerized output (graphics, text, etc.) experiences a change in structure. “Into the computer goes the question,” writes Eberhart, “and out comes a total change in entropy.”

For this weird piece, Suss Müsik sought to recreate a change in entropy through sound. Random musical phrases were played on piano, organ, electric guitar, fake woodwinds and percussion. These recordings were refactored and split using a digital delay pedal, then resequenced to 8-track as a single audio pane.

The piece is titled Shredder. The image is the Suss Müsik website run through the Shedder algorithm.

Next “Singles Project” Release

As part of a continuing effort we’re calling The Singles Project, Suss Müsik is developing an extrapolation of musical motifs centered on the invention of the telescope. The release will consist of two short pieces built around the same sonic framework with different arrangements: one performed solely on piano and violin, the other using more ornamental instrumentation (keeping with the “fake orchestra” concept) and electronics. The basic structures are in place, now on to finalizing the composition and recording/mastering the output. The release will be titled Lippershey.

Junto Project 0348: Hot Mise en Abyme [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.

In 1978, a young animator named Louis Carpenter used computer-generated fractal geometry to draw complex objects in three-dimensional space. He started with a pyramid, dividing each of its triangular sides into smaller shapes and repeating the process indefinitely. You can see the output of Carpenter’s efforts in Star Trek: The Wrath of Khan, the first feature film to contain a computerized sequence using this method. Now you know.

Evidence of fractal geometry can be found everywhere throughout the natural world, from the branching of trees to the human cardiovascular system. Taken in this context, mise en abyme might reasonably be considered the most organic of creative practices. Some consider the craft to be nothing more than a recursive gimmick: M.C. Escher on a coffee mug. Yet if one were to view ultrasound images comparing the vascular structures of healthy organs against those riddled with tumors, the significance of fractal repetition can be creatively inspiring.

For this piece, Suss Müsik played a simple piano/violin phrase and split it into smaller “shapes” to be looped through various effects modules. Every sound heard in this piece is derived from the original using some combination of ring modulators, glitch/swell effects, low-pass filters, digital reverb/delays, and a bit of tube amp distortion. The subdivided sonic “shapes” grow smaller and smaller until rendered inaudible.

The piece is titled Sierpiński in honor of Waclov Sierpiński’s recursive process in which a shape is subdivided into smaller versions of itself. The image is one side of a crystal polyhedron.

Junto Project 0347: Remix Remodel [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.

This is Suss Müsik’s first Disquiet Junto project in a while, following a period in which the studio was used as temporary storage during a renovation. it’s difficult to create while working around 4′ x 8′ stacks of building materials. In between were periods of travel, illness, confusion, sedation. It’s been a weird summer.

Re-emerging from a self-imposed hiatus is something like awakening from a cryogenic slumber. The world has changed, except it hasn’t. In his classic children’s novel The Wind in the Willows, Kenneth Grahame describes (through the voice of Mole) the benefits of hiding away:

“Once well underground, you know exactly where you are. Nothing can happen to you, and nothing can get at you. Things go on all the same overhead, and you let ’em, and don’t bother about ’em. When you want to, up you go, and there the things are, waiting for you.”

Suss Müsik poked through the topsoil recently to discover two amazing pieces of music by longtime Junto participants. One is a lovely bit of electronic froth by mat; the other a bracing percussion sequence by Daniel Diaz. Suss Müsik enjoyed these bits immensely and thought they might sound nice together.

Listen to “Tachos number 2” by Daniel Diaz.

Listen to “just type w// norns foulplay” by mat.

For this strangely tranquil piece, Daniel’s kitchen percussion was sequenced front-to-back while mat’s synth noodlings were split into smaller bits. Both components were played in real time at various “glitch” and “swell” settings using Hologram Infinite Jets and Moogerfooger MF-102 processors. No other instrumental voices were used other than a single piano chord.

The piece is titled , named after the Danish word for “thaw.” The image is frozen juice pulp.

Suss Müsik is PŪR Fun

Suss Müsik returns from a brief hiatus to release the eighth and latest in a series of live studio improvisations. This one uses primitive electronics, vibes, fake strings, bass, Moog synth, drums, and looped guitar feedback to create a vaguely fusion effect. Somewhat recalls Morris Pert’s work with Brand X, if a bit updated with post-rock tendencies. Recorded live to 8-track in August 2018.

This makes eight releases in the Non series. We may consider compiling these into a proper “album” at some point, or using some of this material in other ways.


Misophonia album coverSuss Müsik is continuing to release “The Singles Project,” a series of thematic two-track recordings each based solely on a given concept or theme. All releases are issued and distributed under the self-formed Lůno banner.

The latest of the series is titled Misophonia, now available on Bandcamp and soon to be available on your favorite music streaming vehicles: Google Play, Amazon Music, YouTube, Apple Music, iTunes, Spotify etc. Suss Müsik further penetrates the world with our post-modern nonsense.

Misophonia consists of two tracks, each around eight to ten minutes in length, based on the compositional idea of cyclical phasing. The pieces consist of percussion (mostly vibraphone and marimba), slide guitar, little rocks dropped on strings, birds, and vocals. If you love the music of Steve Reich (comparable to his album The Four Sections), then it’s possible that you might like this. Full description below:

The door to the Suss Müsik studio leads to a wooden gate, behind which is a garden where birds of all types assemble. Occasionally we walk the path with a small box of birdseed and let the creatures fight it out. At one point, we counted as many as forty birds fluttering about the property.

In totally unrelated news, Suss Müsik has been reading about the pineal gland. This is the part of the vertebrate brain that splits the two haves of the thalamus joint and produces melatonin, the hormone that modulates circadian and seasonal sleep patterns. The pineal gland is also known as “the third eye,” a term of metaphysical significance to those who pursue a higher spiritual consciousness.

There is a theory that the pineal gland is the gateway through which we are able to communicate with non-human lifeforms. Suss Müsik wonders if the birds have a similar means of instinctual, non-verbal communication. Perhaps there are sounds we find repetitive or annoying (repetitive dripping water, chewing gum, the tapping of a pencil, etc.) that enable communication with extraterrestrial species beyond our audiophiliac astral plane. But that’s another topic for another time.

Misophonia I and Misophonia II were originally composed and submitted as part of the Disquiet Junto global collective of weekly music projects.

A Record Label Called Lůno

Lůno logoSuss Müsik is in the process of remastering and reissuing a back catalogue of releases under a new label called Lůno. The whole idea of a “record label” seems wonderfully anachronistic, given the way music is distributed and consumed in today’s world driven by small screens and short attention spans.

In any event, the short-term intention is to establish a consistent and commercially accessible library of Suss Müsik material. We needed some sort of vehicle to accomplish this, so we created Lůno as a way to build a properly viable distribution network.

In the longer term, it’s not impossible that Lůno may encompass additional avenues or collaborations. There is already a YouTube channel of meditative, “sound healing” experiences which will hopefully be expanded.

The first two Lůno releases Zygotes and Hiko are available in all the usual spots: Apple/iTunes, Amazon, Google Play, Spotify, YouTube Music, and probably some other places. The next release will likely appear this coming week. All seven fans of Suss Müsik are undoubtedly teetering on the edges of their seats.

Junto Project 0339: Rude Mechanicals

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.

I pray thee, gentle mortal, sing again.
Mine ear is much enamored of thy note.
So is mine eye enthralled to thy shape.
And thy fair virtue’s force perforce doth move me
On the first view to say, to swear, I love thee.

Methinks, mistress, you should have little reason for that.
And yet, to say the truth, reason and love keep little company together nowadays.

Shakespeare was known for great insults, but among his best was the moment Hermia calls Helena a “canker-blossom.” While Suss Müsik hasn’t always behaved properly, at least no one has ever referred to Suss Müsik as an infectious skin disease.

The rude mechanicals are the six amateur thespians depicted in the Shakespearean classic A Midsummers Night’s Dream. Suss Müsik envisions a musical genre named after this troupe to be a vocal sextuplet with minimal instrumental accompaniment.

For this intensely weird piece, Suss Müsik digitally created six vocal “mechanicals” based on their counterparts from Shakespeare’s play:

  1. Peter Quince the carpenter, establishing the flawed structure of the piece.
  2. Snug the joiner, emoting loud noises with no discernible phrasing.
  3. Nick Bottom the weaver, improvising leads that “hath no Bottom.”
  4. Francis Flute the bellows mender, singing phrases intended for a female vocal range.
  5. Tom Snout the tinker, vocalizing a wall with maximum distortion.
  6. Robin Starveling the tailor, attempting to provide a bit of light and failing.

The vocal parts were treated with various digital and analog processing devices and recorded live to 8-track. The fake strings and Moog synth bits were overdubbed.

The piece is titled Lysander, named after the Midsummers character who becomes the victim of misapplied magic and wakes up in love with the wrong woman.