Mark Rushton Posting Again

I switched web hosts and jettisoned everything, keeping the new site relatively minimal.  Now I’ve decided to start posting things occasionally.

20 Minutes of Slightly Altered Rain Sounds (Ambient Rushton Podcast 118)

No talking in this podcast.  Just 20 minutes of slightly altered rain sounds.  It sounds like normal rain.

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I Couldn’t Hear It Beep – (disquiet0273)

The Assignment: Make music for a (new! improved!) slow-waking alarm clock.

I still use the same battery-powered Timex Indiglo alarm clock that my then-co-workers back in 1993 gave me when I went from the evening shift to the day shift at the mutual fund company. I haven’t destroyed it yet, even when routine bites hard.

In the past I have wondered about crafting an alarm clock sound. Maybe people do that on their smartphones, but I don’t sleep with my phone.

In typical Rushton fashion, I assembled this out of various bits and remnants: a beat made in Figure, some lower electronic sounds made in Samplr, recordings I made of birds in the morning, the Severe Thunderstorm Warning Sirens…. and a short sample of a processed voicemail that will surely do it’s job when I Couldn’t Hear It Beep.

More on this 273rd weekly Disquiet Junto project — “Alarm Clocked: Make music for a (new! improved!) slow-waking alarm clock” — at:

A Short Walk Through The Day (disquiet0268)

In 3 minutes I walk through a day: night, morning, the day, a rain storm late in the day, and ending with night. I’m walking on a gravel trail, pitched slightly down. The other sounds you hear were recorded from my screened porch. The music inserted is “A Short Walk Inside” from my 2013 album Crackle And Drift.

More on this 268th weekly Disquiet Junto project, “Walking Music: Take a stroll and describe it in sound, paying tribute to the late manga great Jiro Taniguchi”:

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Strange Voices (Ambient Rushton Podcast 114)

Strange Voices features five tracks I’ve made over the years with odd voice sounds in them – processed shortwave, processed voicemails, cut up stories, etc:

1.  Money Agent (2005)

2.  Crazy People Drive People Crazy (2017)

3.  On The Town (2011)

4.  Bruises (2011)

5.  Destroy All Motorcycles (2016)

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Sit In That Feeling (disquiet0264)

This is a tough one to describe. I knew I couldn’t do time travel with just an instrumental. There had to be a voice involved. Some kind of narrative.

The voice sample (not me) is altered. Pitch-shifted up on the left and lowered on the right, but the duration was preserved on both to avoid phasing. A bit of reverb. The two samples were panned. You should really listen to this piece with headphones.

Was the voice recording cut up and re-ordered or is it a continuous rant?

The subject matter does the time traveling in my mind: Beach Boys, David Lynch movie, minute steaks with sunnyside up eggs, Edgar Winter, Stevie Ray Vaughn, Vyvanse, swinging bachelor pad, dress pants and dress shoes, shaved head, Mannix, Ironside, The White Album, Revolution #9, Long Long Long, Revolution #1, sleep, swagger, “the same feeling that night I drank”, “the shield of armor” (which is Ephesians 6:10-18), AA talk, “and then Laura told me to Sit In That Feeling.”

Book-ending it with talk about “a David Lynch movie” and “Laura told me to sit in that feeling” was intentional. Or was it?

Was I trying to make the voice sound like a cheap version of The Man From Another Place, or did it just turn out that way?

Now you’re thinking about the Twin Peaks reboot. This isn’t about the Twin Peaks reboot. Or is it?

Music added includes bits of “We Meet Again” by Ambient Matyk (to be released soon), “Feather Ridge”, “Kad”, and “Shunting” by me, and some extra sounds.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

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Designer Door Bell (disquiet0253)

Record some welcome music.

Step 1: Ring your own doorbell. Consider how it sounds outside your door, to a visitor, and inside, to you, the inhabitant.

Step 2: Compose a new, personalized doorbell sound. Make a recording of how it might sound to the visitor and to the inhabitant.


Annotate your track with a brief explanation of your approach and process:

I really like my house’s door bell, a wireless Heath/Zenith SL-6180-RX-A by Desa International, manufactured in the past decade. The house was built in 1986, but there’s no evidence that it ever had a wired door bell from that era. We live in an “almost rural” setting on a private drive and the houses have more than an acre of hilly woods between them. We never get any kids on Halloween (the nearby main road is quite narrow, no sidewalk, no lights, and the houses spaced far apart) and what few political canvassers we’ve had show up in their car.

Instead of composing something new, I decided to alter the original sound in a way that I normally would. This means pitch shifting it down a bit, adding some reverb, and doing things that bring out the imperfections in the original electronic door bell sound.

More on this 253rd weekly Disquiet Junto project — “Doorbell Rehab: Record some welcome music” — at:

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Soothing Baby Sounds (disquiet0250)

“Compose a piece of music intended for a newborn child, something peaceful as they first experience the world outside the womb.”

I remember when our first daughter was born, she would sleep better on car rides when we played music with a touch of prominent bass. Nothing too loud, of course.

This piece tries to replicate that “perfect” soothing baby sound that our daughter liked while in the car. In addition to two kinds of basses, there’s a variety of field recordings mixed in the background, along with a section of the track “Tactile Music” by Mark Rushton and Jon Harnish, from our 2008 album Ornate Culmination.

More on this 250th weekly Disquiet Junto project — “Soothing Sounds for Junto: Make some peaceful music for an infant child” — at:

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Baldcypress Knees Extended (Ambient Rushton Podcast 107)

For the 249th Disquiet Junto, relating to the 80th birthday of composer Steve Reich, I reworked a track of mine called “Baldcypress Trees” into a variation I call “Baldcypress Knees”.  The version you hear in this podcast is extended out a a few more minutes and is about 7 and a half minutes long.

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