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