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_ __ ___ ___) \/_\/ (___ ___ __ _
- -\\\_\\__\\__ _ /ª\ _ __//__//_///- -
_. \__)_»_»_(__/ ._
_/ \|_ | | | | | _|/ \_
__\ ___ _/\____\/__ __ _| | | | |_ __ __\/____/\_ ___ /__
_/ \ (_) \ \/ /_/\\| |_|_| |//\_\ \/ / (_) / \_
| \_\/ | | | | | \/_/ |
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\|_ _ _ \/_| | | | |_\/ |/
| : ╖ _) »_»_» (_ ╖ . |
| ╖H2o!╖ . \\___ \ / ___// |
»\ _) Y (_ . /»
\ : \___ ___/ : /
\ : (_) : /
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______ __ __ _____ __.__ _____ _____ _ _____
_) ___/ _) \ / (_ _\__ (_ _) | (_ _\__ (_ _) __/_ _\\)_ _) __/_
. __)_. Y . / . | . | .____ . .____ .
| l | \ / | ____| | | | | | | |
| l_ Y l_ | | | | | | ' l_ | ' l_
l____ /___| /__| l___| |___| |____ /____l____ /
⌐dtA!___/ l____/ l___| l___| l___/ |___/
: :
__: :__
___) : e m p h a s i s p r e s e n t s : (___
__) : : (__
| . . |
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| aRTiST : The Hafler Trio |
| |
| tiTLE : Masturbatorium |
| |
| sTYLE : Noise |
| |
| lABEL : Touch |
| |
| cAT-nR : Tone 1 |
| |
| sOURCE : CDDA |
| |
| tRACKS : 01 :
| :
| siZE : 24,2 MB :
| .
: rEL-dATE : Jul-13-2002 :
: :
: sTR-dATE : 1991 |
. |
: qUALiTY : 192K/44.1K/Full Stereo |
: |
| eNCODER : Fraunhofer IIS |
| |
| sUPPLiER : Team EMP |
| |
| riPPER : Team EMP |
| |
| |
: __. ____ _____ _____ __.__ __. _____ __. |
__) |___ _\__ )_ _\__ (_ _) __/_ _) | /_ _) | _/)_ _) __/_ _) |__:
. ___/ . / . | . | . l . | . .____ . __/
| |____| -| | | | -| |___| | | | |__.
| ` l_ | l_ | l_ ` l_ | l_ ` l_ | ' l_ ` l_
|_____ /__| /__| /___ /__| /___ /___l____ /___ /
: .--l____/---l___/---l___/---l___/---l___/---l___/--------l___⌐dtA!__/
: | :
| `-------> t.r.a.c.k.l.i.s.t <-) |
| |
| play |
| no. title time |
| |
| 01 Masturbatorium 17:36 |
| |
| |
: __. ____ _____ _____ __.__ _____ ______ _____ :
__) |___ _\__ )_ _\__ (_ _) __/_ _) | /_ _/)_ _\__ (_ _) ___/_\__ (_
. ___/ . / . | . | . l . . | . __). | .
| |____| -| | | | -| | | | | | | |
| ` l_ | l_ | l_ ` l_ | l_ | | l_ | | ` l_
|_____ /__| /__| /___ /__| /___l___| /__| l____ /
: .--l____/---l___/---l___/---l___/---l___/--------l___/------⌐dtA!___/
: | :
| `-------> t.r.a.c.k.i.n.f.o <-) |
| |
| |
| This recording utilises elements from various pieces, most |
| being initiated with this project in mind, amongst which are: |
| Psychological Astronomy Psychophysicist (Newton, McKenzie), The |
| Threat That Cannot Be Obeyed The Hafler Trio (McKenzie, |
| Karkowski), SPIRICOM The Hafler Trio (McKenzie, Karkowski), |
| Tesselation The Hafler Trio (McKenzie, Karkowski), A Luna |
| Kanula Asburd (McKenzie, Ponton), I Remain, Yours... The Hafler |
| Trio (McKenzie, Karkowski), Tantric Resonance The Anti Group |
| (Newton, Baker, Dennis), The Ames Room The Hafler Trio |
| (McKenzie), Imsak The Hafler Trio (McKenzie). Every other sound |
| was constructed especially for this Goddess Ritual |
| accompaniment. |
| |
| Back cover photograph of the Goddess herself during this ritual |
| taken by the legend that walks like a man, Les Barany. Front |
| cover photograph ⌐ Annie Sprinkle. H3O logo by Mark O. Design: |
| Jon Wozencroft. Much more that thanks are due to Annie, Ellen |
| and Anya for above all, faith. To all everywhere - "we're all |
| somebody's baby". Dedicated to Marthe (she'll know why - |
| eventually). |
| |
| Contact The Hafler Trio @ Alexander Boersstraat 30, 1071 kz |
| Amsterdam, NL |
| |
| The construction and realisation of this piece is riddled with |
| contradictions and confirmations (as it should be). It has |
| evolved from a collection of half-formed (but well intended) |
| ideas about the relationship of sound to the sexual condition |
| of people, to a concise working example of a pragmatic approach |
| to the same. Annie Sprinkle, "Post Porn Modernist", brought her |
| show of the same name to Amsterdam in 1990. This show, which |
| had already confronted many people with their own perceptions |
| of sexuality was now to be presented to a so-called 'liberal' |
| audience, with all their attendant differences interpretation. |
| Miss Sprinkle's show was a golden opportunity to implement |
| various hypotheses about the construction of vibrational |
| patterns to precise physical processes. A rough sketch was made |
| of a sound piece that would accompany an intense ritual at the |
| end of the performance, wherein Annie demonstrates the first |
| steps to a form of 'Macro Sexuality' based not only on the |
| genital orgasm, but on the possibility of total ecstacy by |
| means of the utilisation of sexual energy channelled through |
| the body, to the mind, and ultimately through the spirit. After |
| the first (sell-out) run in Amsterdam, recordings were made of |
| sexual noises produced by her. The reason for this was as |
| follows: just as Islamic cultures believe that a photograph of |
| a person contains is a fragment of their soul, an audio |
| recording contains just as much, if not more spiritual |
| information about the situation, character and essence of the |
| person or 'atmosphere' it is made of or from. By means of |
| manipulatory processes, sculpting and juxtaposing these 'slices |
| of life', a powerful composite and 'affirmation' of the desired |
| effect was constructed (by means of sympathetic/empathetic |
| vibration). This was the starting point. As it now stands, the |
| piece (in possibly) its final version is built up of three |
| reasonably distinct sections, involving eleven disparate |
| elements (the key number al magic[k]). The basis of the first |
| deals with the resonant frequencies generated by the various |
| planets in our solar system and a recording of a pulsar named |
| PSR 0833 minus 45, regarded by many as the most likely |
| candidate for an extra-terrestrial radio transmission. Added to |
| this are the three resonant frequencies of the earth itself. In |
| Annie's show, this section is a time of preparation, of |
| invocation and evocation, the beginning of the Goddess ritual. |
| The lighting of candles in remembrance of friends who have |
| passed away and the setting of the wavelength that she wishes |
| to communicate on. Next, there comes a section almost entirely |
| constructed from noises produced by sexual actions carried out |
| by Annie herself - sucking and saliva sounds, vaginal |
| penetration, fingers running over skin, breasts slapping |
| together, using a Hitachi 'Magic Wand' vibrator, hair rustling, |
| orgasm vocalisations, all within a highly charged erotic state. |
| These recordings were made with as much attention to detail as |
| possible. Added to this section is a near-subliminal |
| configuration of pure sine waves exactly tuned to attract |
| communication with the 'dead', as developed by the SPIRICOM |
| organisation in North Carolina, USA. These frequencies have |
| been utilised as a 'carrier' wave to facilitate two-way |
| communications with the deceased. The correct frequencies to |
| enable these communications to take place were passed on to the |
| experimenters by radio from one of their ex-colleagues who had |
| died some seventeen years previously. At the end of this |
| section, a detail from a much larger work concerning the |
| influence of the moon on the psyche is introduced. The many |
| so-called coincidences involving the number eleven in the first |
| moon landing (if it actually happened!) are used, together with |
| a large text written 'automatically' by a 'lunatic' during a |
| full moon. These texts were then processed eleven times. |
| Naturally, the entire assemblage of the contents of this |
| release and its mastering took place on Sunday 28th April - the |
| most esoterically important full moon of the year. The next |
| section, the climax, is based on various elements: the backbone |
| is a tantric rhythm created especially for this project by THE |
| ANTI GROUP. Added to this are 333 layers of Annie having her |
| first "Breath Orgasm" (achieved by focusing entirely on her own |
| sex sounds), careful manipulations of the SPIRICOM frequencies, |
| voices from nowhere arising from atmosphere recordings in an |
| abandoned bath-house (water=moon) - the location of a ritual |
| carried out by The Hafler Trio on a full moon Summer Solstice |
| in 1990, a recording concerning and evoking both native |
| American sexual techniques (where many of Annie Sprinkle's |
| current sexual roots lie) and obscure Sufi techniques of |
| harnessing sexual energy for many applications, and other |
| abtruse elements which it is not necessary or wise to |
| elucidate. This piece has been heard in context with |
| considerable effect by hundreds of people; it remains to be |
| seen if this practical, functional work will have as much |
| effect outside its original setting. Finally, we would urge |
| listeners to experiment with applications, and report to us in |
| alt candidness. |
| |
| (P) 1991 Touch (C) Touch. 13 Osward Road London SW17 7SS |
| |
| |
: ______ ____ _____ __.__ _____ _____ ______ _____ :
_( ____/_ _\__ )_ _\__ (_ _) | (_ _\__ (_ _/)_ _\__ (_ _) ___/_\__ (_
. \_ . / . | . | . / . . | . __). | .
| | | -| | | | | ____| | | | | | | |
| ` l_ | l_ ` l_ ` l_ | | | | l_ | | ` l_
|_____ /__| /___ /___ /__| l____l___| /__| l____ /
: .--l____/---l___/---l___/---l___/----------------l___/------⌐dtA!___/
: | :
| `-------> g.r.o.u.p.i.n.f.o <-) |
| |
| |
| |
: .eMPHASIs. |
: |
: releasing all kinds of electronic music for over a year |
| |
: some kats from the old amiga scene who are |
. still keeping the -good- old friendship spirit alive |
. |
. |
| |
| |
: /\ ______ /\ _____ ______ _____ _____ :
__/\ / \_ __) ___/ __/\ / \_ _\__ )_ _) ___/ __\__ )_ __) __/__
. Y . __)__. Y . / . __)__. / ._____ .
| \ / | | | \ / | -| | | -| | |
| Y l_ ` l_ Y l_ / l_ ` l_ | l_ ` l_
|____| /____ /___| /___ /___ /___| /____ /
: .--l_____/----l____/----l_____/---l____/---l____/----l____/⌐dtA!____/
: | :
| `-------> m.e.m.b.e.r.s <-) |
| |
| .
| :
|