The original Hafler Trio was formed in 1954, being the collective description of a group of three acoustic researchers and experimenters working within ROBOL in Storbreen, Sweden. One of these original members, Dr. Edward Moolenbeek decided to contact Christopher R. Watson (ex-member of the influential and ground-breaking group Cabaret Voltaire) in 1980, who was then working with Andrew M. McKenzie on radio broadcasts dealing with experimentation on psychoacoustic and other grounds. The reason for this contact stemmed from Dr. Moolenbeek's interest in one of these broadcasts and so a correspondence, meetings and then collaboration arose. The original Hafler Trio was disbanded in 1975, but the aims of the three people now working together was similar to that of the old, it was decided to use the name once more.

While much of their work is restricted to private research, field work and other non-commercial areas, it was decided early on to apply what was learnt of the successful private level to a more public exposition, allowing access to long sought after theories put into practical use as well as the development of a scientific and philosophic attitude towards the use of sound on every level of psyche, body and spirit of a human.

The first release on record was "'Bang' – an open letter", which combined much rare archive acoustic investigation in various laboratories with modern applications of theories first set out by Robert Spridgeon, plus excerpts from relevant radio broadcasts already completed for stations in 20 different countries. As such, the record was one of documentation and a clearing away of old ground so that progress could be initiated by "Alternation, Perception and Resistance – a comprehension exercise," a 12" single which contained a summing up of intent while at the same time illustrated the very real effects that can be separated by conscious use of sound as they were explained. Many responses to this record cataloged the effectiveness and accuracy of this exposition which marked the beginning of the practical applications of the theories built up by the above mentioned research and which involved experts in many of the sciences, arts and philosophies.

Around this time, a German company bootlegged a section of a radio broadcast entitled " 'Just' Physiological Intonation." Unfortunately the cutting of the record, which was not done under the Hafler Trio's supervision, involved a cutting of some of the frequencies and a boosting of others. This resulted in mild side effects at high levels such as giddiness, nausea and so on,. Consequently this was a very real indication of the dangers pointed out earlier by the Trio and vindicated a whole group of working hypotheses at the same time.

The next release was an experiment with time – and perception within it – titled "Seven Hours Sleep," which also managed to incorporate distillations of interactions between metaphor and fact, subliminal and "Accelerated learning" techniques in order to create three dimensions within two; plus experiments with fourth dimensional mathematics, visual stimuli linked with "Aural imaging," which coalesce in controlled ways to produce emotions, thoughts and images that are the result of active perception of the product rather than passive. This project outlined ways that the normal "Vampiric" relationship between creation and recipient could be eroded and replaced with reciprocal feedback as a creative state, therefore maximising the energy involved on all levels by all parties. Making the act of talking in information productive not purely consumptive.

During 1982, a series of formats were experimented with to give public access in a more immediate and larger scale than the hitherto 'covert' actions carried out before. These book the form of lectures carried out on three levels, giving way in their internal structure to seven. these involved live speech, taped speech, speech conveyed by telephone (all containing speech in specially constructed forms), plus backing tapes which illustrated various points in spoken information while simultaneously stimulating the various centers with visual information based on the same premises. Edited highlights that could be seen to work on a purely informative and audio level were then collated and released as "Three Ways of Saying Two." The success of the ideas involved is indicated by that the greatest sales of this record have been in countries where English is not the native language (which the lectures are delivered in). As with all the Hafler Trio's public releases this one was accompanied by detailed information and visual material designed to amplify, corroborate and consolidate the audio equivalent.

After the commercial release of a Japanese radio broadcast on tape with booklet ("Hotondo Kikitoenai"), there followed "The Sea Org," a 10" record with large format glossy booklet including the "Acoustic Paintings" of Dr. Moolenbeek with explanations. Included also were lengthy interviews and statements with all three members elucidating current lines of inquiry, theory and thought. The record contained advanced experiments within the parameters set down within the booklet. This record's first pressing sold out in two days following the release date and received an important review in one of the largest Sunday English newspapers, The Observer.

The next project was an "Audio Programme" for "Interaction," an exhibition in London at The Camden Arts Centre examining the relationship between art, music and related disciplines. It featured the work of major artists working all these fields such as Peter Blake, The Beatles, Russell Mills, Brian Eno, Jamie Reid, Joseph Bueys and many others. Thus, it was recognition that the "Programme" should be a record by the Hafler Trio and was vindication and testimony to their importance in these as well as other areas. The record was entitled "Brain Songs," and dealt with the prescribed theme of the exhibition utilizing information from the two areas plus their philosophical, technical and scientific disciplines. The edition of 1000 copies sold out on the day of release.

1987 saw the released of many finished projects. "A Thirsty fish" – a project initiated in 1980 which deals with the techniques of "superimposed" learning and information/communication techniques utilized by many of the world's religious or philosophical modes of thought. These are both examined and exposed – so that he or she is able to both recognize and utilize these techniques in many areas of creation and endeavor. One of the most complicated releases, hence the long period of time for its realization.

"Dislocation" – a complex package of spatial (both visual and audio) traveling now made possible by previous investigations. this involves texts of various sources carefully constructed for specific effects and maps which link together in a certain way, which must be arrived at by another kind of "traveling." Audio tapes contain information to assist comprehension of the other parts but also serves for, in isolation, another form of travel using the latest recording procedures.

"Ignotum Per Ignotius" – another long term project involving many different kinds of alchemy. The often misunderstood discipline is represented here and affected by means of three seven-inch singles in a wallet also containing a booklet featuring 17th Century engravings. These engravings both instruct and illustrate the journey with texts which further the same aims using modern metaphors. These have been compiled with the assistance of the relevant authorities. The recordings contained in the package are specially designed aural frequencies which suggest and create some of the stages of the alchemical experience within the listener. Depending on the effort put into the exercise, the results will be great or small.

"Alternation, Perception and Resistance" – this is the film (albeit highly truncated) that the previously released soundtrack accompanied. It was broadcast on National British Television on June 9th. It features many of the audio designs and theories applied to the sound and image presentation.

"Intoutof" – a record dealing with highly developed enhancement of various information assimilation and cognition sensitivities. It creates new standards and qualities of production in terms of the creation of mental fields and environments.

Apart from the above listed, the Hafler Trio have contributed to others' projects on record, in hospitals, laboratories and on radio broadcasts in many formats and countries.

Indeed the context in which our public applications are present presupposes a certain approach from those exposed to it and this is something we definitely take careful account of. Currently much energy is being devoted to such public accounting and concentration on environmental and urepeatable experiences. These, whenever possible, are designed around the space or situation.
ND: Could you talk some about the "Blanket" level experiments?
H3O: The "Blanket" level approach experiments are self-explanatory. they are not easy, but the answers are there. If I were to spell it out it would make the whole process completely redundant. The visuals and films are described in the booklets accompanying the lectures record and Sea Org. I can add little else, save for a mention that on June 9th, 1987 an edited version of "Alternation, Perception and Resistance was aired on nation English TV, estimated audience 10 million.
ND: What are your thoughts concerning compilations?
H3O: Our contributions to these are as follows: "Devastate to Liberate" was a benefit LP arranged by my friend of many years, D. Tibet, for the Animal Liberation Front, an organisation we support wholeheartedly. The second was for "Here We Go," a benefit for the Miners strike which we also supported. The third, on a Laylah compilation was, in retrospect, a mistake as it has caused floods of request for similar contributions to others. We will not take part in any other compilations that are purely collects of recording artists and for no other reason to fill even deeper the bargain bins of the record stores of the Western World.
ND: What are the future projects for The Hafler Trio?
H3O: As I mentioned before, applications in a more direct public sense of our work and theories in Spain, Yugoslavia, France, London (one time only), USA, Brazil, Netherlands, Belgium and Italy. On a personal level outside The Hafler Trio I have completed a collaboration with Z'ev and Dorthea Frank, Professor of Linguistics at Amsterdam University under the name of Mother Tongue and various public presentations of this will also follow. I have also completed a collaboration with Genesis P. Orridge with reference to Brion Gysin's Dreamachine, which I am also involved in the commercial manufacture of. There is also my work with children's theatre which hopefully takes me to Russia during Easter of 1988.
ND: Do you worry much of how people view The Hafler Trio?
H3O: We are more interested in the people who would be least interested in our work. Those who already are will derive less stimulus and/or benefit from our work. We do not worry about categorisation with other groups as we are quite aware that our work has little or no reference at all to theirs. As far as I am aware (and I am quite prepared to be corrected on this score) we are the only people currently working on these levels which are quite separate from concerns of music, entertainment, etc. . .
ND: Do you have any fears?
H3O: Many. that people will remain in a state of sleep. That truth, beauty and love will continue to become less and less important and widespread. That lies, ignorance and stupidity, not to mention jealously, self-love, vanity and hatred will continue to take further precedence over the lives of men and women. that I will not be able to pay my rent this month. that a certain woman here in Amsterdam will refuse to fall in love with me. That my sister's baby and all young children recently or yet to be born will have to grow up quicker and quicker with less and less chance to become who they really are, burying themselves deeper than ever under the dung-heap that is the cult of personality. And so on.

2nd part
ND: Regarding research of sound, have you made many connections with others that are not so much involved with music but with the science of sound?
H3O: Not really, we have not really made many connections other than what we already have over what is now a ten year period. the people who contributed ideas, were supportive, were of inspiration input, were THERE when needed (and not) are roughly the same. these people are authors, friends, family as well as people in the past who may have crossed paths with us for an instant. Occasionally letters will arrive from strange postmarked parts of this silly globe, and although I have no idea who these people really are, they form part of this network too. Others may be working in sound or related, some well know, others not. but one thing is blindingly apparent as I write this: these people's influence is on the basic human contact level. THAT is what makes the whole thing work.
ND: Could you pinpoint some discoveries and why you see those as important. do you feel there is a way to measure an impact upon a listener?
H3O: These are the discoveries that are worth pinpointing; That nothing is a substitute for not seeing someone you feel an immediate contact with for months or even years, then being able to sit down as if all the time they'd been in the next room. that records, books, TV programs - none of it matters, and yet doing any or all of these things, in the end, will bring you in contact with people who on the surface may see a million miles away in outlook, attitude or whatever, but still you feel you can share something - however small - with them. And that, I suppose, is the only way of measuring the effect on the listener in the final analysis.
ND: What approaches do you see available in which to make The Hafler Trio know to people who would be interested in what you are doing besides the music buying public?
H3O: This is the approach I will follow with Terry in the future, having complete faith in it. That giving something out that is personal, generated there without, as humanly possible, the contamination of what should or shouldn't, what is expected and what is OUTER, as pure as possible which will act as a magnet to attract and forge bonds with people and ultimately the positive spirit that informs all growth and progress we are allowed here on this planet. The "music buying public" do not exist.
ND: Do you think it is possible to communicate a process of thought through abstract sound and can it be measured?
H3O: I hope it clear that I regard no sound as abstract and really I never have. It is my hope that it is possible to communicate through the patently artificial communication system devised by man in a non-artificial way. And over the last few months I have come somewhere closer to realising that it really is possible. without bullshit, without lying to anyone, without tricking, without dragging others into an entropic system of one's own creating that only coats everything in a cocoon that ultimately smothers.

CONTACT:
The Hafler Trio
Willemsstraat 139
1015 JB, Amsterdam
THE NETHERLANDS

© ND #10 1988