The grinding percussion sounds like chains being pulled onto a ship before sailing off to hunt a white whale.

This basis for this track was constructed from a field recording of wind turbines made near the Avant-Garde Festival in Schiphorst, Germany: what sounds like an organ or harmonium is actually layered and pitch-adjusted recordings of the wind turbine generator drone. Other electrical and mechanical sources recorded at different locations were added to enhance flavour.

I've searched my archives & the internet, but I simply can not find the name of the accordion player who's work has been deformed and disordered for the ending section. I know I recorded it at a 'Cold Cuts' session in Berkeley in 2003 on the same day one of my tracks was used as a soundtrack for a butoh improvisation and Dawn & Sheila McCarthy did a rare (maybe unique?) duo performance. Apologies to the mystery accordionist for the lack of credit on the record.

The full album 'I Made This For Someone Else, But They Didn't Want It So I'm Giving It To You' is available at irrappext.com (or in digital form at irrappext.bandcamp.com).

The Circadian Arcade

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.

The Circadian Arcade

irr. app. (ext.)

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