This is a collection of tracks that were made around the time of the Dead Pilot Records full length ‘Sleep Paralysis’ – a couple that didn’t make the final album and a few alternative versions. Since they have been sitting around gathering digital dust, and will never turn into anything else, I offer them free to download.
The last track ‘Sleep (Minimal)’ is almost the same as the opening track from ‘Sleep Paralysis’ but comprises of only the base drone over which the additional elements are layered. Feel free to use this as a platform for your own jams, manipulations or for any other purpose. It would be interesting to see what people can get out of such a sparse, relatively still sound.
The first work of sonorous investigation between Irene and Jazznoize.
The spoken word of Irene is reborn as a musical instrument demolished by the words of sound poetry, where the manipulation of the voice are the protagonist of this album.
Jazznoize works with experimental noise and electroacoustic sounds created with a poem called “Los Métodos” of the young poet Irene Del Valle. All the sounds you can ear in the six variations are only the voice of the Majorcan poet, the words act as an instrument.
“Vuelven los métodos de descomposición,
las aristas y los picos,
la columna en un dibujo
esquivando los metales,
durmiéndole al viento del norte.
En un pliegue original,
la oscuridad es un feto.
Placenta,
son sábanas rojas de poliester.
Al horizonte infinito
del límite de la cama
se acerca la bestia,
con su gran sonrisa y el pelo teñido.
Como en aquella plaza en que pusieron
arena del rio,
y al levantar la brisa lloraban los ojos.
La bestia rompe la placenta,
deshace el pliegue original
y le calza al feto unos zapatos de tacón.
También ensucia la oscuridad con la luz del halógeno,
y los ojos lloran como en la plaza”.
improvised and recorded late at night in the backyard by the light of the moon and stars. mixed/edited in the cave early hours of the morning august 2010
a glorious attempt that fateful evening at letting go of the stress of earthly matters so i could, for a short time, explore space and other dimensions through murky guitar loops,intense analog synth noises and computer drones at high volumes on headphones until i dissolved into a million scattered molecules… while the rest of the neighbourhood (and beyond) slept unaware of my somewhat questionable and possibly quite dangerous sonic experiments to achieve full astral projectile liftoff.
Wehwalt is an individual in the sense defined by the german philosopher Max Stirner in his book Der Einzige und sein Eigentum ( The ego an dits own). He always refused to be limited to movements and schools. Since 1989, his conception of music leads him to a new attitude of no definition and a quest of new spaces of constant metamorphosis. Polymorphous entity, he gives priority to unique and spontaneous performances, combining unpredictable sonic textures with an inner self poetic inspiration in order to produce a « mise en abime » and a special kind of pyschic and physical creation.
This sound project emerged from my musical and noise pursuits in 2006.
Quantities of Excitation refers to the libidinal energy of the human nervous system while Kandinsky-Clerambault Syndrome describes a conditionwhere one is fearful of surveillance while being obsessed with celebrities.
This self-censorship and concentration of looking are aspects of what surrealists call miserabilism—the depreciation of reality instead of its exaltation.
Thus these largely improvisational ‘songs’ are anti-miserabilist sound spells and lo-fi noise aerobics.
My intention was to reach a trance state or emotional catharsis and let the possibilities unfold.
Instruments include prepared guitar, processed and toy electronics, found sounds, amplified objects, voice, box flute, detuned scanner, and pre-recorded tapes.
The title of the album, Molecular Detournement Egregore, reflects my interest in surrealist, situationist, and occult practices which can reveal and stimulate ‘unnatural connections’ through subversive imagination. Detourning or hijacking the foundations of matter away from their habitual functions
empowers the surrealist egregore or ‘sentient tradition’ while encouraging free play. Shibek, July 2010. ‘exploring the uterus of the suns.’
Based in Toronto, Canada and formed by multidisciplinary artist W.A.Davison in 2000 from the ashes of the former junk instrument project Urban Refuse Group, Six Heads is an ensemble of six instrument-builders and sound experimenters dedicated to exploring the rarely trodden territory of surrealist sound collage – aware of the trails previously blazed by other audio surrealists but charting their own path by means of free improvisation, homemade instruments, and live mixing as opposed to studio manipulation/composition.
Members of Six Heads have performed at the 2008 Whitney Biennial (NYC), Festival International de Musique Actuelle de Victoriaville (Quebec), Y2K8 International Live Looping Festival (San Jose, California), Liz Was and Miekal And’s Festival of the Swamps (Madison, Wisconsin), on Wire magazine’s Resonance FM radio station (London, UK), and at legendary tape networker Hal McGee’s Dictaphonia Fest (Gainesville, Florida) as well as having collaborated with members of numerous other noise, experimental, and improvised music projects such as Nurse With Wound, Nihilist Spasm Band, CCMC, AMM, and Govt. Alpha.
Recent Six Heads releases have included tapes on american labels Black Horizons (“The Popeye Scat”, 2009) and Psychform (“Ether”, 2007) and an upcoming full-length vinyl LP on Wintage Records.
Six Heads is
William A. Davison, Sherri Lyn Higgins, Colin Hinz, James Bailey,
Pete Mosher, and Linda Feesey.
‘using vacuum fluctuations I clean my code’ it never happened.
hence the time was boxed in years quite fast, ftl -
massless particles, such as demure perhaps front on faceless skills of and or hairy energy.
For example talking in virtual demures this consists of smacks in one guild.’
- undRess Béton on date to date 2010
