"vouloir sans désirer, voila le secret de pouvoir."

The Hafler Trio "I LOVE YOU"
Premiere of the Part III of "the sexual trilogy"
Moscow, the 29th of January 2005, "16 tons" club

in accordance with the original intentions of the first two parts, PART THREE is practical in nature. this time, however, rather than the initial necessary segregation of the male and sexual principles (to be resolved internally, separately in most cases), the disparate strands are woven together, to resonate and amplify and complement all aspects of the sexual natures that can be brought to bear or even brought out of these recordings. the original base working material was recorded by Annie Sprinkle and Andrew M.McKenzie together in 1992. since that time, many different processes, treatments, examinations, edits and mixtures of these recordings have been made. further workings of material from the previous two releases have been applied, using techniques unavailable at that time, either technically, or procedurally. much work on these areas has been done in the intervening period, and these developments have allowed the creation of a living, breathing entity that reaches places not accessed in this medium before. the creation of the 'states' is finely tuned, using comprehensive and extensive practical research and feedback from both of the original releases, plus new and ground-breaking approaches to what has been called "the sonology of sexual energy". the sonic material has be designed and incorporated into a nested structure. the rhythmic structure is partly based on material from the researches, studies and archives of Z'EV and his 'rhythmajik', his radical reformulation of the Qabala from an astral/cosmological to an Earthed focus, in harmony, and resonating with the various other materials which form the 'raw material' from which this web is woven. add to this all of the previous elements, techniques and their efficacy to the product of the intervening years' study, practice, and the result is one of the most keenly anticipated recordings of the last 10 years.

"The devil has many masks. the Hafler Trio are perhaps his most beautiful."

"the sound of raw angels"

all three pieces that make up PART THREE begin from the notion that before vibration comes a sound, not the other way around. and following that, that vibration can in turn be internal as well as external. the map of where that manifestation lies and can lead to is the secondary layer. The third is 'hidden', but not 'buried'.

in the visual world, one speaks of RADIANCE. the counterpart in the aural equivalent is RESONANCE. while both are part of each other, it can also be seen that the primary thrust of the former is that of expansion, and the latter of contraction. out, and in. one turns into its opposite, and here is another starting point for approaching these three small, atomised exanples of dealing with what happens after sound penetrates and fades away from the 'outside'. "get out of where?"

the three pieces of a larger whole are constructed from the same unit, connected by seven internal "paths" — a 'chord' which is also an utterance. this is then 'resonated' and 'vibrated' through several states and 'spaces', and the relationships between these are tied by telescoping the time aspect so that what would have been a linear progression is now a commentary and expansion of each statein realtion to all the others. In this way, the sound does not die away, but re-animates its own primary impulse in order to reveal its foundations in the the primal void, which is itself devoid of even its very definition. it is. and in a real sense, will be.

what is being made audible with these recordings is the activation of the matter itself as it comes into being by the act of being 'uttered', that is, 'sounded'.

in that the creation of everything can be considered as the interference pattern between two states that produces a third (the pattern), so the phase relationships between the spectra in these recordings have been tailored to reveal how the sounds 'live' by being mutually supported or cancelled out by the others. this is most evident inthe spatial effects that arise partly because of this, and partly because of the 'spaces' that the sounds have been 'put into' themselves.

lastly, the resonances are also internal, and affective. that something can happen with these recordings is because something has happened here as they were coming into being. this is not something that can be passed on except through the rebirth of those moments by the activation of the sonic properties once more. and attention.

>>> Photographs of the event

>>> Parts 1 & 2 of the trilogy

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