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.
There was an incident at Suss Müsik headquarters this past week. During the overnight hours, a bird appeared to have met its abrupt demise as the result of an encounter with another animal—a cat or raccoon, perhaps. Nature is cruel and often mysterious. “[It is] in the womb of nature,” wrote the artist Paul Klee, “at the source of creation, where the secret key to all lies guarded.”
Dunno about that … but whatever took place, Suss Müsik’s porch was the stage for an ornithological unvermittelt featuring a random arrangement of blood, feathers, and at least one disembodied talon. Darwin might have described the scene as one species demonstrating “injurious variations” over another; in other words, natural selection at work. For Suss Müsik, it was an unexpected opportunity to test the garden hose’s pressure-jet feature.
(Apologies to squeamish readers. There’s no way to describe this creative process without a few gory details).
For this week’s project, Suss Müsik began with a photograph of the debris described above. The image was rendered for high-contrast in order to isolate the lines of the porch floor and placement of organic matter. The blood splatters comprised a basic three-part chord structure. Ten feather clumps were divided into two sets of five; one was used to design an arpeggio for piano, the other as a motif for grain synth and second piano using particle refactoring.
The piece is titled Tatort, which translates to “crime scene” in German. It was recorded quickly to 8-track in July 2022. The bird deserved a better epitaph.
