danieldiazmusic

A Sea of Fog Ambient guitar piece inspired by the haiku by Akito Arima. A live electric guitar improvisation, with an overdubbed bass providing a slow, occasional pulse. An Oberheim OB-E doubles the main guitar throughout, while a second guitar trying sparse melodic lines around it. Suspended, floating, and quietly intense. Inspired by: through the keyhole the sea fog quietly flows in — Akito Arima Composed and performed by DD. Photo by Mikk Tõnissoo @naviar-records naviarhaiku653

A melodic electric guitar improvisation gradually viewed through a veil. The original performance is first presented clearly, then revisited with layers of treated reverbs that soften its edges while preserving the melody. An ARP Odyssey doubles the guitar throughout, following the same musical path as the texture slowly changes. Inspired by this junto challenge: Interpret a gauzy window treatment as an audio effect. Composed and performed by DD, June 2026. https://llllllll.co/t/disquiet-junto-project-0757-screen-time/

A solo electric guitar improvisation recorded live while testing a new pedalboard. After the session, I listened back and felt there were a few interesting ideas in it, but I left it aside, unfinished, for later. Then I read this haiku: Autumn sunset— is there something of mine left undone? — Fusae Fubasami A week later, I returned to the recording and overdubbed a series of synthesizer parts, following the original guitar improvisation. The piece remains floating and ambient, but the synths gradually introduce a gentle pulse beneath the guitar. Composed and performed by DD, June 2026. Photo by Daria Sheveleva. @naviar-records

A spontaneous experiment blending live guitar improv and synth arpeggiators. Recorded June 2026, capturing the contrast between a floating guitar track and kinetic synth layers. for this challenge https://llllllll.co/t/disquiet-junto-project-0755-give-way

live electric guitar improvisation. first pass recorded on a 1985 schecter stratocaster while testing a new pedalboard. a second improvised layer was overdubbed using a circa-1990 gibson les paul. some sections were edited out; the remainder is presented largely as performed. recorded live in the studio, paris, france, early june 2026. photo by eugene biliavskyi. composed and performed by dd.

This track began as a work-in-progress session: an improvised bass line built from simple, repetitive figures evolving through a tempo-synced delay, locked to a steady Motorik drum beat. An electric guitar part followed. Then came this week's Junto challenge prompt: "Create a piece of music by regularly or irregularly interrupting an ongoing process." So I decided to interrupt the process itself. Throughout the piece, I randomly mute the bass and filter the drums in real time, leaving the guitar chords untouched to fill the resulting gaps. The rhythmic flow stumbles, disappears, and reappears, while the underlying process keeps trying to continue. The result is raw: a live snapshot of something interrupted, but not finished. I'll be returning to the full piece soon, but this detour was fun. Composed and performed by DD.

For almost a year this track existed as a very simple two-track piece: clean Stratocaster guitar over an arpeggiated chord progression. Inspired by this haiku by Santoka Taneda: "wind from the sea butterflies in embankment weeds never resting" Yesterday and today I finally expanded it — adding synth pads, a melodic synth doubling the guitar lines, a soft synth bass pulse, scattered electronic textures, and a second staccato guitar part. Repetitive, rhythmic, minimal, and gently restless. Composed and performed by DD. Photo by Aarn Giri naviarhaiku647 @naviar-records

Composed for a challenge: Music for an imagined nature documentary about slugs, specifically for one of the film's slowest scenes. A technical exercise in micro-movements, heavy pacing, and low-register textures. Recorded exclusively using the low strings of a classical baritone guitar. It gets dark... 📸 Cover photo: The Achilleion Palace (Αχίλλειο), Greece.

Floating soundscape built entirely from layered eBow guitars, with occasional deep bass single note anchoring the drift. Slowly unfolding textures, melodic fragments, and suspended harmonies moving between mystery and melancholy — somewhere between ambient guitar music and Frippertronics-inspired landscapes. No drums, no pulse, no synths. Inspired by this haiku by Sawaki Kinichi: *A white ship moves to the heart of a lake — an autumn breeze* Composed and performed by DD. Photo by Christina Spiliotopoulou @naviarrecords

Epic electronic score built entirely with Oberheim synth emulations by @gforce-software. Warm melodic bass, layered analog textures, slow harmonic movement, and soaring synth lines unfold over a heartbeat-like DMX pulse. Forward-moving and bittersweet, the piece constantly shifts between major and minor moods, inspired by classic science-fiction cinema and vintage synth soundtracks. Performed using OB-E, OB-X and DMX. Futuristic, melancholic, dark yet luminous. Composed and performed by DD. For this milestone junto challenge: Disquiet Junto Project 0750: Let’s Get Heavy https://llllllll.co/t/disquiet-junto-project-0750-lets-get-heavy/ @disquiet

Based on this duo https://soundcloud.com/dawn-falls-654459054/second-of-a-few-2-disquiet0748 by @dawn-falls-654459054 and John Wright Out of all the excellent and inspiring duos from last week, I couldn't resist jumping on this track: "second of a few 2 (disquiet0748)" by Dawn Falls, based on John Wright’s original Junto 0747, "The First of a Few." I loved the spicy, spiky, and frantic pace of both original tracks. To match that energy, I added my own SPASMODIC yet rhythmic synth bass using the Oberheim OB-X. Then I spent two hours playing like crazy, concentratiing on my right hand with left hand Tweaking the pitch wheel and filter cutoff for some movement. I recorded four takes of pure nonsense, then "Frankensteined" the best bits of each take together. @disquiet

I wanted to build a proper groove out of it. I tried the chord changes @rabmusiclab kindly and precisely noted in his post, but I thought it might be more tempting for an eventual 3rd collaborator if I kept it Dm modal. And easier for me :-) To accentuate the groove thing (and shift the focus from the floating ambient side) I added a 1-bar drum machine and a very simple bass part, then tried a second, more choppy bass take. I kept the beginning and end of the first take and the middle section of the second. Original https://soundcloud.com/rabmusiclab/un-tiers-desperance https://llllllll.co/t/disquiet-junto-project-0748-and-a-two-2-3/74562/89

Electronic, lyrical synth piece in a cinematic / soundtrack style. All sounds performed on Oberheim emulations by GForce Software: DMX, OB-E and OB-X. Warm pads, slow harmonic movement, and a gentle rhythmic pulse supporting a melodic line that unfolds gradually. Created by DD, late April 2026. Inspired by this haiku by Martin Lucas: October dawn the flicker of lights at the river mouth Photo: @NASA @naviarhaiku

This is just a jam on my Höfner bass over the glitchy groove from last week: https://soundcloud.com/benn-demole/cordyceps-disquiet0747 I initially wanted to push it into a dub direction — not sure it fully works — but I had fun adding delays and plate reverbs to bring out that feel. It follows the two-part structure of the original. In the first part I went with F minor, but when the more bell-like tones come in, it started to feel more tonal/major to me (was it?), so I switched to F major. I’m not totally convinced by that second part though. More on the 748th weekly Disquiet Junto project, And a Two (2/3) — The Assignment: Record the second third of a trio — disquiet.com/0748.

Solo unacompanied electric guitar (Fender Telecaster) with tremolo and tube amplifier. Recorded live thursday 23rd april 2026. Performed by DD, photo Malaysia 2025 by DD. For this shared project https://llllllll.co/t/disquiet-junto-project-0747-and-a-one-1-3/

Ambient piece built entirely from four electric bass parts, mostly harmonics, creating a light and floating texture. Sunny, positive, and slowly evolving, with a soft underlying pulse holding everything together. Composed and performed by DD. Photo by DD, 10000 m high.

Starting point: something I do too often. I tend to begin with a bass improvisation — familiar voicings, something that immediately feels “me” — and then reshape it until the source disappears, even if the identity remains. This piece comes from a one-hour session: bass, a sustain-like effect, tremolo (Seymour Duncan Shape Shifter), and long reverbs/delays. No overdubs, just letting the signal decay into itself. The almost infinite tails create a shimmering drone that becomes the real structure — something I rely on more than I probably should. for this project https://llllllll.co/t/disquiet-junto-project-0745-double-down/ @disquiet

Electro-acoustic quietly epic trailer music, electric bass strumming chords, floating soundscape with orchestral rises an blasts, real bowed bass section glissandos and low, rumbling drones. Mysterious trailer-like cinematic and atmospheric. Composed and recorded by DD early 2026. Photo by DD , Jardin Des Plantes (mineralogy section) Paris, France.

Groove-led jam built on Höfner bass and drums. Hammond organ and guitar (Telecaster) layered on top — mostly one take, lightly edited. This is my first recording with my new Höfner "Violin Bass", real drums performed by the great Steve Argüelles. Just a slow, groovy jam to get to know the peculiar sound of this new instrument. For this junto challenge: llllllll.co/t/disquiet-junto-pr…743-make-it-happen/

Bass & DMX: Elastic Math A groove-driven instrumental built on electric bass and DMX drum machine. The pulse keeps shifting — time signatures stretch and contract, but the groove holds. The main focus is the tight Oberheim DMX drum program, a Fender Jazz Bass groove on top,, with small synth fragments appearing and dissolving around the rhythm. Elastic, unstable, but still grooves. Composed and performed by DD. For this challenge: https://llllllll.co/t/disquiet-junto-project-0742-sensitive-math/

BELLS & DRONES Electronic ambient / abstract experiment. One track of real bells from my collection layered with Oberheim synth emulations: two bell-like synth patches and several drifting drones, both low and high. A slightly unstable arpeggiator adds an off-tempo, almost tachycardic pulse beneath the texture. Created during the afternoon of March 12th in Paris, France. Composed and performed by DD. My personal photo from an art exhibition, 2025. For this challenge: llllllll.co/t/disquiet-junto-project-0741-balance-beam/

Slowly shifting ronroco patterns — both melodic and percussive — create a panoramic acoustic texture inspired by phasing techniques. Small variations and gradual harmonic shifts unfold across the landscape, punctuated by deep upright bass notes and brief swells from a passionate string section. The ronroco, an Andean string instrument related to the guitar, carries the repeating figures while the harmonies slowly drift and realign. Quiet, spacious, and cinematic. Inspired by this haiku: beyond the talus withering in the valley — a hanging glacier Haiku by Lisa Germany Cover image: Perito Moreno Glacier Composed and performed by DD Six ronroco parts Upright bass (pizz.) String section

A floating ambient guitar piece built around melody and shifting harmony. Recorded without a click — just following the phrasing and the state of mind in the moment. The Stratocaster electric guitar carries the theme, while Hofner bass responds with rhythmic ponctuations. ARP Odyssey and Oberheim OB-E synths expand the space with subtle textures. Quietly melancholic and introspective — reflective rather than heavy. Inspired by this haiku: when you return don't forget my house! departing swallows Haiku by Kobayashi Issa Photo by V.P. Music by DD

SHUT UP! Urban instrumental groove driven by Fender bass and brushed drums by Steve Argüelles. Acoustic guitar strums add an organic, smoother edge, while string orchestra textures expand the space with subtle dramatic swells — tight rhythm section energy meeting cinematic atmosphere. Unreleased. Originally written for a documentary soundtrack. Raw, restrained, and rhythm-forward. Composed by DD. Photo by Jackson Simmer Dor this challenge: https://llllllll.co/t/disquiet-junto-project-0738-speak-not

Follow The Clouds A slow-burning electronic instrumental built entirely on Oberheim synths (GForce DMX, OB-E, OB-X). A steady pulse anchors a repetitive bass figure, while evolving textures and small melodic fragments drift above it — unhurried, patient, suspended in motion. Inspired by this haiku: slowly gliding — a snail in the grass follows the clouds. Haiku by El Wud Photo by Tom Barrett Composed and performed by DD Friday, February 13th, 2026 @naviar-records

The Jungle Acoustic cinematic percussion piece. The pulse shifts from 6/8 into straight 4/4 while maintaining the same underlying tempo — the groove transforms without losing momentum. Organic textures, subtle trailer-style impacts, and sustained rhythmic tension carry the piece forward. Performed on real instruments: marimba, bombo, bamboo drums (tun / teponaztli), shakers, caxixi, and more. Composed and performed by DD for: https://llllllll.co/t/disquiet-junto-project-0737-opening-ceremony

An instrumental electronic piece driven by pulse, texture, and gradual transformation. Using only Oberheim synth emulations, a new sound and musical idea appears every four bars — briefly explored, then replaced, mimicking the restless logic of endless scrolling. A constant low drone and a steady, heartbeat-like pulse hold everything together, while textures and gestures shift above the surface. In the final section, all previously introduced sounds return, forming a single, extended cycle. Composed and performed by DD — Feb 5, 2026. Inspired by this challenge: https://llllllll.co/t/disquiet-junto-project-0736-feed-me

A free guitar improvisation, recorded ad lib with no click. Electric guitar leads the performance, later joined by an ARP Odyssey in overdub—soft pads and melodic lines subtly doubling and shadowing the guitar. Inspired by the Crayola color Cosmic Cobalt: deep blue, luminous, slightly unreal. An intuitive, cinematic sketch where tone and space matter more than structure. Created by DD in the morning of Friday January 30th 2026 in Paris, France. for this challenge: https://llllllll.co/t/disquiet-junto-project-0735-spectrum-analysis/

Fragile, warm, major chords are spread in a slow arc, like an string carillon. — a fully acoustic piece built without a click, letting time breathe. The first part unfolds as ascending-descending arpeggios, traveling from the lowest bass notes to the highest ukulele register, spanning several octaves across three instruments. The second part settles into repeating acoustic patterns, with tempo-based delays and softly strummed Martin chords expanding the motion. Not ambient, but song-like — a neoclassical acoustic soundscape: tender, positive, and quietly buoyant. Inspired by this haiku: One leaf falls; then another — on the wind. Haiku by Hattori Ransetsu Photo by Oliver Hihn Acoustic guitars, tenor ukulele & acoustic bass guitar — DD naviarhaiku630

A cinematic, ambient instrumental composed and performed yesterday and today, inspired by the sound world of Vangelis and his score for Blade Runner. Built exclusively with an ARP Odyssey, the piece unfolds slowly through drifting harmonies, analog motion, and sustained textures—evoking solitude, nocturnal images, and introspection. Composed and performed by DD, January 21st & 22nd 2026 For this weekly challenge: https://llllllll.co/t/disquiet-junto-project-0734-meet-cue

A solo electric guitar performance, recorded live in real time on an Epiphone Sheraton, using pedals only—no overdubs, no click, no edits. Slowly unfolding phrases, spacious delays, and sustained reverbs shape a floating, panoramic atmosphere, evoking open landscapes and road-movie imagery. The piece follows the natural flow of the performance: man, guitar, and space, without grid or constraint. Cinematic, minimal, and instinctive.

An ambient instrumental built from layered electric guitars—Stratocasters and Telecasters—combining five evolving atmospheric volume pedal parts with a restrained clean Strat lead. Slow-moving textures, sustained harmonics, and gentle melodic lyricism create a nocturnal, immersive soundscape, balancing stillness and motion. Composed and performed by Daniel DIaz. Photo by Filipe Resmini Inspired by the haiku: In the dark beyond, a sound falls down — the moth. — Dakotsu Īda naviarhaiku628 @naviar-records

A quietly epic, all-acoustic instrumental in 7/4, built around some simple melodic ideas voiced across ukuleles, acoustic guitars, and acoustic bass—exploring phrasing, articulation, and rhythmic displacement rather than repetition. Fingerpicked and slide guitar lines intertwine with a grounded bass pulse and muted, organic percussion, creating a sense of forward motion that feels both playful and stubborn, light yet quietly profound. The piece leans toward acoustic post-rock and organic prog, with cinematic, travel-adventure overtones and a strong melodic focus. Instruments played: Kala ukulele Martin acoustic guitar L’arrivée acoustic bass Assorted percussion (including hitting my Spanish guitar w/mallets , doumbek and pezuñas) Composed and performed by Daniel Diaz, December 2025 Inspired by the haiku: A quiet cabin; hunting milkcaps, I was soon lost among the pines — Kagami Shikō @naviar-records

A minimal Ebow-and-bass drone in E minor, built around a 12-note melody that dissolves one note per repetition. Recorded during a lyrical Ebow session, using long sustained tones and slow melodic reduction. A small ambient/minimalist experiment on top of a deep E drone. Part of the Disquiet Junto project: disquiet0728

Synthesisers, electric bass, instrumental jam. A quick experiment built from a pair of Oblique Strategies cards: “Honour thy error as a hidden intention” / “Just carry on” This track started as an improvised bass demo over a simple low-note loop meant to replace a click track. I accidentally recorded four mismatched fingerboard-taps while trying to sketch a candombe-style groove — and instead of deleting them, I looped them across the whole piece. The synth layers were added later to make the odd bass/percussion hybrid loop actually work. Loose playing, strange chord ideas, and all the imperfections left in on purpose. A fun morning session that I may revisit later. for this challenge: https://llllllll.co/t/disquiet-junto-project-0727-polar-strategies/

Equinae A world-repetitive, cinematic instrumental built entirely from acoustic strings: three ronrocos, one ukulele, and two Martin guitars, wrapped in subtle orchestral textures and infra-bass pulse. By DD, Paris, May 1st and 2nd 2025. The image is my photo of a fantastic sculpture by Alexandra Athanassiades (on a great exhibition in the Museum of Contemporary Art, Andros 2022)

Oddity Deep in the Night All sounds come exclusively from the GForce @gforce-software ODDITY3 — a beautiful emulation of the classic ARP Odyssey. This piece leans toward reflective, melodic ambient, with that vintage cinematic/synth soundtrack vibe of the early electronic pioneers (Vangelis, Tomita, Wendy Carlos…). Instrumental track inspired by this haiku: Deutzia in full white – deep in the night, the Milky Way. — Ikenishi Gonsui (1650–1722) Created for the @Naviar-Records Haiku Challenge. Photo by Ronaldo Lu Hope you enjoy the journey.

This one started as a simple electric-guitar-and-bass progression, just a rough idea that wasn’t really going anywhere. This week I expanded it with several synth layers and some floating eBow lines. Funny enough, the little gimmick in the middle section ended up giving the track its shape — a kind of slow, climatic crescendo that finally brought it to life. I re-recorded that line as an intro today. The whole track is still a floating, meandering, blurry ambient groove, but there’s a certain beauty in that haze. Inspired by this naviarhaiku620 poem: some starlight spared from being scooped up four-handed net Haiku by Kinsha Picture by NASA

UN GAUCHO – solo bass A simple, heartfelt solo bass piece — part of a series of intimate instrumental moments I play live or record at home for fun. Five-string bass (high C), light effect pedals — just melody, warmth, and a great instrument. Thanks for listening! — dd Photo (C) Elena Nicolai For this @disquiet junto meeting https://llllllll.co/t/disquiet-junto-project-0724-work-it Release: https://open.spotify.com/track/4MrIjMlzIliffC6pR1dn6A?si=e1eea276342042c7

All synths, Blade Runner–inspired, cinematic electronic, melodic ambient synth music. Composed and performed by Daniel Diaz – early November 2025 Photo by Yasin Arıbuğa Synths by DD (from Geforce amazing oberheim synths and from AAS collections) Inspired by the haiku by kjmunro: the harp player moves under cover market day @Naviar-records @appliedacousticssystems @gforce-software

This comes from a groovy, slow-funk spy-thriller track— Fender telecaster and jazz bass, tenor sax, drums, synths, and percussion — originally written for a producer’s call that never made it through. For this week’s challenge, I decided to destroy it.I kept just a few fragments — scattered guitar and bass phrases, some sax phrases— and rebuilt the track with ambient layers and unsettling textures from soft-synths fittingly called Thrill and Spooky Keys.And some distorted arpeggaitors barely heard. What took a couple of days to construct only took two hours to tear down.I like the result: a dark, cinematic mood somewhere between spy funk and ambient noir. Sax by Miguel Yanover Photo by Stefano Pollio The rest by me. Project: https://llllllll.co/t/disquiet-junto-project-0722-spook-street/ @disquiet

Abstract ambient instrumental with a gentle pulse — playfully shifting between major and minor moods. Layered synthesizers (10 tracks across 6 synths), all performed in real time — no sequencing, just hands-on, old-school playing. Inspired by this haiku: an autumn nightfall the skeleton of a huge fish drawn back by the sea. — Saitō Sanki (1900–1962) Photo by DD (Iceland, 2024) @naviar-records

Today, October 23, 2025, a storm rumbled through France, and I recorded an improvisation that captures its raw energy. This track is a dark, mysterious duet between electric bass and thunder — attitude, rumble, and grit. Photo by Artur Stanulevich Gear used: electric bass with Seymour Duncan pedal tremolo, Lexicon reverb, and Valhalla Supermassive echo. Thunder and storm sounds sourced from my vault and online. For @disquiet junto project https://llllllll.co/t/disquiet-junto-project-0721-well-weathered

A slow, laid-back funk groove with jazzy sax, clavinet, deep fender jazz bass, and abstract synth textures. Smooth, atmospheric, and slightly cinematic — the kind of track that lives between a modal jam and a chill-out or lounge beat. Performed by DD - clavinet, electric bass, abstract synth, drum program. With Miguel Yanover - Tenor saxophone For this @disquiet challenge: https://llllllll.co/t/disquiet-junto-project-0720-one-from-two/

A four-minute ambient journey built from four evolving one-minute drones — each exploring a distinct emotional landscape. Major to minor, light to dark, tension to abstraction: 00:00 – 01:00 → Luminous, joyful 01:00 – 02:00 → Dark, melancholic 02:00 – 03:00 → Anxious, tense 03:00 – 04:00 → Abstract, strange Synthesizers and acoustic instruments blend seamlessly to create a warm, organic soundscape — bowed upright bass, harmonica, harmonium, and Tibetan bowls intertwine in a meditative yet cinematic flow. Perfect for moments of reflection, atmosphere, and deep listening. naviarhaiku614: The coming of autumn for this haiku he coming of autumn determined by a red dragonfly by Kaya Shirao Photo by Adam Bixby

Full synth pastiche built around real NASA mission recordings. Recorded and finished in one day (Thu, Oct 2). Retro-futuristic, spacey, and playful — first contact imagined through electronics. Cover photo: Venice, CA, ~20 years ago. for this challenge: https://llllllll.co/t/disquiet-junto-project-0718-planet-jam-it/

“Glissando” – an abstract orchestral–ambient soundscape with a cinematic edge. Blending real instruments and string samples, it evokes the mood of a modern trailer soundtrack: immersive, expansive, and atmospheric. For this haiku: naviarhaiku613 Star above the peak - a silk worm-breeding village silently asleep Poem by Mizuhara Shuoshi Photo by Fabrizio Conti

I’ve been exploring the drone possibilities of the ronroco. Although it’s a high-pitched instrument with picked strings that produce short, percussive transients, it can be layered and softly strummed to create a surprisingly sustained sound. In this piece, I combine those textures with my own bowed upright bass and generous layers of long reverbs,trying to create an all acoustic, atmospheric soundscape. photo by 67street. art Created and shared for Disquiet Junto Project 0716: Dense Fog Advisory @disquiet

A second sax take from this tracks served to create this new one: https://soundcloud.com/daniel-diaz/golpe-de-suerte https://ffm.to/outlaststhefall Inspired by this haiku dropped glass - its ring outlasts the fall A duo jam (electric bass and tenor saxophone) I've been tweaking for a couple of months, ading textures and more subtle rhythmic elements. Performed by Miguel Yanover (tenor sax) and Daniel Diaz (bass guitar, synths, drum beats) Summer 2025. Poem by Darren Bourne Photo by DD @naviar-records @half-unusual @miguel-yanover

Slow instrumental jam, electric bass, bass synth, drum beat, clavinet, synths with Gustavo Bulgach (saxophones) @gustavo-bulgach