Disquiet Junto Paperback Beatmaker

This week the Disquiet Junto worked with rhythms inherent in text:
Step 1: Locate a section of a piece of written fiction that you admire. The section should be roughly between 125 and 200 words long.
Step 2: Record youself typing those words. Please note: You need not type it perfectly, and you should feel comfortable making some corrections as part of your typing. That said, you should come as close as possible to typing it straight through. And you should, if possible, record this in stereo in a way that distinguishes between the left and right sides of your typewriter. That text should account for roughly between a minute and a half and three minutes.
Step 3: Listen through the recording, making note of rhythmic themes, such as repeated sequences of letters, or natural pauses, or intriguing spacial separations across the keyboard.
Step 4: Record a piece of music to accompany the typing, music that uses the inherent rhythm of the typing as its foundation. Imagine, if you will, that someone could listen to this music while writing, and get into the groove, the zone, the mindset of the original writer.

I disregarded the direction to use fiction. Kerouac's On The Road came to mind because it's the first example of rhythm inherent in fiction I immediately think of, particularly the section about watching live jazz. I also like James Baldwin's Sonny's Blues, another piece featuring jazz.

Instead I decided to be cheeky and use Marc Weidenbaum's book about Aphex Twin's album Selected Ambient Works Volume II. As I've been reading it most recently it was close at hand and because Marc is responsible for setting the Disquiet Junto projects it seemed logical. I also decided to try making a track in the style of Aphex Twin's ambient work, ensuring a rhythm and heavy reverb on synth pads.

The section I located was the first page of the second chapter:
Background Beats

The critical evidence is overwhelming. The vast majority of discussion, especially as represented in writing — in music journalism, in criticism, in online discussion — about Aphex Twin’s Selected Ambient Works Volume II does not simply take the genre associations of its title for granted. It actively embraces and proliferates the idea that the record is largely if not entirely devoid of rhythmic and percussive material. The operative tag throughout such discussions gets to the point quickly. That tag is “beatless.”

##Meet the Beatless

Two takes were recorded using my Rode NT4 stereo microphone and the computer keyboard, as I couldn't locate a typewriter. The first take was used. In the second I typed the full page and it was over six minutes, which seemed too long.

There was a guitar riff I had in mind, which was recorded loosely as MIDI and run through a few Absynth presets. These were treated with plate and room reverbs.

It was put together quickly and I don't think I've nailed the spaciousness of Aphex Twin's arrangements. It feels more like Cliff Martinez' Solaris soundtrack to me. I probably would've made it shorter but I liked the way the typing ended with the two s's. It punctuates the piece.