The “Invisible Pain Field Generator produces a directional field of moderately intense pain to back of head up to 50’. Cigarette pack size enclosure is easily hidden.”
Inspired by the sheer malice of such a device, the Invisible PAIN Field Generator performed three times. First was an improvised, radio broadcast one wintry night in 1985. Last were as an intermission act at a bar on Easter weekend, 1986. Within months, the members left town.
This compilation is a 60-minute, radiophonic show. It combines and juxtaposes recordings of the performances with thematically similar material. The sources are noisy and feature debris from highways, railways, alleyways, and inside abandoned factories. Plug everything together. Use really shitty tape. Play with the buttons. These original experiments were almost instant. Editing and processing took half a decade.
Not all music has to uplift. But relax. The Invisible PAIN Field Generator is invisible; really quite safe. Just don’t point it at a dog.
”Monuments” has three parts that shape loudness and density according to a panoramic photograph of Monument Valley.
The first part, “Owl Pellet”, uses materials from the first, live Invisible PAIN Field Generator show. This show was oriented around the dissection of an owl pellet. The sound materials include applause, audience conversations, and the synthesizer finale. The owl pellet contents included hair and bones from eaten mice.
The second part, “Etiquette”, uses sound materials from the second, live show. The sound materials include tape loops, audience conversations, and the synthesizer finale.
The third part, “Trash Can”, brings forward the tape loop that is the cantus firmus. The loop is of voice and percussion and was salvaged from a garbage can.
The overall mood is nostalgic and becomes slower, drier, and emptier as the composition progresses. First synthesizer then the tape loop dominate, but voices and ambient sounds emerge and pass by like memories. Sound recordings evoke spaces, reflect accents, they are voices from the dead.
Sources: 1983, 1985, 1990
Copyright 2006 Frank Koustrup
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