Like the rest of you, I was enormously disappointed when Thomas Carnacki's debut appearance on WFMU for November 18th was abruptly cancelled due to the host becoming ill. However, this lapse of manifestation in the actual has left open a space for speculation: what would it have been like if it had taken place as scheduled? Taking this notion a step further, since a whole range of imaginary possibilities are now available: what would it had been like if the viral organisms responsible for the cancellation had hosted the broadcast instead? And what if the guest performers were proboscis monkeys recovering from a glue huffing addiction? This recording is a speculation along those general lines, but (fortunately) less specific in the details.

Sadly, we'll never know what the genuine outcome would have been, and this imaginary version is a poor substitute for the actual Carnackified electromagnetic disturbances that would have taken place.

Imaginary Re-Enactment Of A Thwarted Thomas Carnacki Appearance On WFMU, 2014-November- 18

Jim Kaiser tribute, Information Overload, 5 January 2017

this was live at the first church of the buzzard at a 21grand(RIP) benefit

OE22 opens its throat

(Title may change for release)
Source Material:
Human Voice
Arp VST
ANS VST
Monotron Delay

Recorded and Mixed in Los Osos and Gillette.

Astral Tectonic Shift (For RK Faulhaber)

Charlie Martineau: Moog Mg-1, Microbrute, Yamaha rx15, guitar cable, akai headrush, mix.

Scorpio-Erzulie

Exclusive track for Hal McGee's "Cheap And Plastic" compilation, Aug. 2012. Magic Tits were on this occasion Puma Algorithm (W.A.Davison), Cheese Rhapsody (C.Hinz), and Onion Armadillo Cigar (J.Bailey).

Magic Tits - Trimammaphilia

This work was created to give voice to the so-called Pictish stones, carved stone balls dated from the late Neolithic to possibly as late as the Iron Age, mainly found in Scotland and over 400 in the Aberdeenshire. A wide range of theories have been produced to explain their use or significance, without any gaining wide acceptance. 
In this composition I imagined they would be ritualistic objects, used as keys to gain access to a magical multiverse. The used method is the one I call “sonic movie”: is a linear narration made of scenes and shots. It starts with a call from the dawn of time, throat singing voices open the cloud of time and transport the listener to an ancient daily routine on the banks of a stream and there’s a woman singing (in Celtic - I couldn’t find Pictish singings). Then something happens and the daily routine magically fades: the previous organic and random sounds start to have a rhythmic pattern and the voice is being convoluted into the river. The ritual of the mankind merging with nature is happening and the stones, as keys, start to open different worlds. Then a series of scenes follow one after another, with far voices coming and going, universes open up, at some point evil forces come in and the ritualistic music made with bells and drums block their way into our world. Then everything fades.
The used sound material ranges from field recordings of nature and voices - both convoluted into each other or with other samples, as a throat singing with a spieluhr, or various throat singing voices convoluted with roars of animals, meaning the ritualistic merge between humans and nature - to instruments samples and various kinds of synthesis, all effected in complex ways.

Imaginary Re-Enactment Of A Thwarted Thomas Carnacki Appearance On WFMU, 2014-November- 18

irr. app. (ext.)

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