New Junto Track: “Dohm Rushton (disquiet0350)”

If I could program my Marpac Dohm to play some of my own sounds, this is what I’d use – a one minute segment that I’d either loop or “almost loop”.

I’ll be making a much longer version of this for my ambient music podcast at – it’ll probably be done by September 15th, 2018.


The Assignment: Make very quiet music for very late at night for very fragile psyches.

Step 1: It’s the middle of the night, long past dusk and long before dawn. You can’t sleep.

Step 2: Think about what kind of music you’d want to hear right now — super quiet, super subtle, unlikely to wake you, potentially to ease you back to the comfort of your pillow, or at least to calm your mind.

Step 3: Record the sort of music that Step 2 made you imagine.

More on this 350th weekly Disquiet Junto project (Selected Insomniac Works / The Assignment: Make very quiet music for very late at night for very fragile psyches) at:


New Junto Track: “Pretty Glitchy (disquiet0349)”

The Assignment: Help define “glitch” by glitching something, and explaining what you did.

Step 1: Consider what “glitch” means in music/sound.

Decades ago, when I listened to vinyl records, some of my albums had pops and jumps in them. Today, when I listen on streaming services to those same recordings, I still have the mental note of those glitches.

For me, “glitch” is about an unexpected and mostly-unwanted mistake happening, usually technically. I don’t think I could purposefully “glitch” an existing piece of music. That is not my style.

“Pretty Glitchy” was made around 2011 or 2012, recorded live. I used bad output wires then. I don’t anymore.

Normally, I would delete this kind of track, but there was something interesting about the juxtaposition of a “pretty” piece of music and the creeping glitch happening during the performance, so I kept it and I’m glad I did.

More on this 349th weekly Disquiet Junto project (Got Glitch? / The Assignment: Help define “glitch” by glitching something, and explaining what you did) at:

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on…ct-0349-got-glitch/

It’s Sunday, September 2, 2018

It’s Sunday, September 2, 2018.  I’m Mark Rushton.  Here’s what I’ve been doing in the past six weeks:

1.  My new web site:
I switched gallery hosting providers in the past week, and so I’m rebuilding my gallery in a new location.  The latest provider allows multiple pictures of the same image and full-size images, along with the ability to group paintings in numerous ways.  It’s more suited to what I’m looking to do with presenting my paintings on the web.  I’ve got a small number of new paintings out there as of September 2nd.

2.  Two new podcasts:
On August 21st, I released “Refactoring Dreams (Ambient Rushton Podcast 138)” and on August 31st I released “Nearly There (Ambient Rushton Podcast 139)“.  Both are based on tracks from 2012 that I originally made for the Disquiet Junto.

Whenever I’ve worked on a track for the Junto, I always try to make it so that it can “stand alone” as a piece of music without all the context of the project’s rules.  For the “Refactoring Dreams” podcast, I play the track first, then talk, and then I play the track again.  For the “Nearly There” podcast, I remixed the original track somewhat and extended it out to nearly 10 minutes.

3.  I’ve been recovering from shingles:
I discovered I had shingles around July 16th and quickly got on an anti-viral.  It’s a relatively mild case compared to others as I haven’t really had any nerve pain and the rash has cleared up, but fatigue has been a problem in my recovery.  Once I’m better, I’ll get the new Shingrix vaccine.  If you’re over 50 and had chickenpox as a child, talk to your doctor or pharmacist about it.

4.  What have I been listening to these days?
Find out in my Spotify playlist “2018 Picks by DJ Rushton” – which includes tracks by Noveller, Pariah, Fennesz, The OO-Ray, Synthikat, Scott Tuma, Kurt Vile, Dubstar, Vinyl Williams, OMD, Damien Jurado, Alvvays, Nick Lowe, Jon Hopkins, David Kollar & Arve Henriksen, Chris Carter, Japanese Breakfast, Tycho, Peter Hook & The Light, Beaches, Guided by Voices, Virtual Self, Jon Hassell, Ikjoyce, Pendulum, Wooden Shjips, and C. Diab.

I make other Spotify playlists as well, and I have to keep recommending the Stasis Report playlist on Spotify, regularly updated by Disquiet’s Marc Weidenbaum.

New Podcast: Nearly There (Ambient Rushton Podcast 139)

Hi, this is Mark Rushton of – thanks for listening to my podcast of original or live ambient and electronic music and field recordings. This is Podcast #139 produced on Friday, August 31 of 2018.

In this podcast, I’m revisiting and extending a piece I made in 2012 for the Disquiet Junto. This was from the fourth Junto, started on January 31st of 2012, and involved remixing sounds from Marcus Fisher’s track “Never There”, originally released on his 2012 album, Collected Dust.

While I had all the project files that Fisher originally provided, some of the loops I added in 2012 have become lost, and so I had to leave them out. Then I repeated some sections and extended it out to nearly 10 minutes. If you want, you can hear my original remix on SoundCloud – a link is in the description.

Follow me on Spotify or your favorite streaming service to stay aware of my new releases.

Or, if you want, join my email list at

I’m also a visual artist. Check out my gallery at

Thanks for listening. I’ll be back soon with another podcast.


Disquiet Junto Project 0004: “Remixing Marcus Fischer”

My remix from 2012:

The original track “Never There” on Spotify:

Marcus Fisher’s album “Collected Dust” on Spotify:

Web site and Mailing list:

Follow me at Spotify:

Buy downloads at Bandcamp:

Buy compact discs:

Paypal donations:

Ambient Paintings:


This podcast is hosted by Libsyn at:

Podcast RSS feed is

New Podcast: Refactoring Dreams (Ambient Rushton Podcast 138)

Music is “Refactoring Dreams (disquiet0003)” by Mark Rushton, created in January 2012 for the third Junto and is meant to pay tribute to Benjamin Franklin and his glass armonica.

Original project instructions and pieces by other artists:

Web site and Mailing list:

Follow me at Spotify:

Buy downloads at Bandcamp:

Buy compact discs:

Paypal donations:

Ambient Paintings:


This podcast is hosted by Libsyn at:

Podcast RSS feed is

Mark Rushton Interview – “The Sound of Paintings” – August 2018

The Sound of Paintingsan interview with painter and sound artist Mark Rushton – published August 2018

 Mark Rushton ambient electronic music

How have things been lately?

Lots of fun.  I got sick with shingles in July, but had a relatively mild case.  I was on an anti-viral for a week, which screwed me up, and then I had to deal with fatigue for 3 to 4 weeks after.  As of mid-August, I’m just coming out of it.  So there hasn’t been a podcast or newsletter.  I’ve made a few audio things, but not much.

I’ve been working on paintings, both canvas and synthetic paper.  The canvases take longer.  I have a series of three 10″ x 20″ canvas paintings that are almost done, and a 30″ x 40″ canvas that I’ve started.

I worked on a lot of smaller synthetic paper paintings during my illness and recovery, mostly 8″ x 10″, because I didn’t have the energy, so that has made my catalog seem like I only do small paintings.  As I’ve recovered, I finished a bunch of 11″ x 17″ sizes and just completed my first 17″ x 22″.

You really like that synthetic paper.

I like canvas, too, but I achieve what I want on the synthetic paper much faster.  I’ve been working on that synthetic paper since about 1992 when I found a partial roll on discount at a Blick Art Materials store in Kansas City.  I have matted and framed paintings in my house using this substrate from that era that look excellent despite having hung in places like bathrooms, so I know it’s a durable product.

It’s been an on/off relationship with that synthetic paper because it wasn’t always easy to obtain.  Lately, I’ve spent a lot of time on smaller sized paintings, I’ve been able to refine my technique.  I’m able to achieve what I want much quicker.  These days, I use much higher quality paints and brushes, and that helps, too.

What about making these paintings in larger sizes?

That’s exactly where I’m headed.  I was advised to obtain some encausticboards that have a birch cradle frame, a product I wasn’t aware of, and mount the paper.  The encausticboards should arrive any day, and then I’ll play around with it.  I also picked up a Wood Studio Panel from Blick on the advice of a store associate, and I’ll be coating the panel with a medium, and then mounting the paper on that surface.  Once the painting is done, then I’ll obtain a floating frame and see how that looks, or maybe I’ll go with the traditional wood strips.  I’ll be working in 24″ x 24″, 30″ x 40″, and 36″ x 48″.

How’s the gallery search going?

I can’t say anything right now.  I’m in the process.  When things happen, then I’ll let you know.

One thing I’ve been thinking about is how to handle the online store, which is basically an extension of my cataloging system.  When I obtain some kind of gallery representation I’ll keep the gallery but likely shut off the shopping cart.  I could probably do that today, and maybe I should.

I really have no desire to sell art on the web.  Display, yes.  Sell, no.  And if I have a gallery working on my behalf then I want them to deal with their customer for decisions like framing, glass, shipping, etc.

Or if their customer sees one of my pieces in their gallery, or on their gallery web site, but they want to know if I have pieces in other sizes and colors, then the sales agent can look through my online catalog and contact me to send them a particular painting.  I think that’s only fair.  I’m thinking about it from the gallery owner’s perspective.  I should operate my catalog like a warehouse that affiliated dealers can draw from.  That’s where my thinking is today.