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PHILLIPS, DAVE — Sixth Mass Extinction
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"black vinyl lp in embossed sleeve, edition of 300. comes with a free 8 page newspaper featuring articles that offer a broad view of what homo sapiens has achieved in terms of coexistence and in taking care of its home.
1.
Things Falling Apart 21:12
2.
Radical Hope 20:12
about
things falling apart - composition for three PAs (stereo version):
the original 6 channel piece was commissioned by bad bonn kilbi festival ddingen switzerland 2018.
radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, its a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.
all audio by dp. decomposed may to november 2018 for schimpfluch. mastered by riccardo mazza. artwork by brett wagg using photos by dp.
https://totalblack.bandcamp.com/album/sixth-mass-extinction
Dave Phillips INTERVIEW by CHAIN DLK
( By Vito Camarretta - August 11, 2021)
dave dp phillips long story short
fields of re/search: existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilization, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged. sonic activism, ritual protest music, humanimalism
methods: audio de/construction, composition, sonic rituals, psycho-acoustics and performance
tools: voice, body, fieldrecordings, electronics, objects, video
reason for this interview: his recent release to death (7th July 2021, Misanthropic Agenda)
enjoy the reading!
Chain D.L.K.: Hi Dave! How are you doing?
Dave Phillips: Quite alright. I moved house earlier a month ago, Im settling in
Chain D.L.K.: I heard you recent to death and I honestly think its a listening that I would likewise honestly recommend in this historical stage but before focusing on it, even if those well-informed readers of our zine, whose memory has not been reset yet, dont really need any introduction, how would you introduce yourself, your sound art and its direction(s)?
Dave Phillips: Puh. Well. My music is rather free, abstract, cinematic, and personal. It sounds more organic than it does electronic. What I seek in sound/music is altered states of consciousness, states of trance and liberation, cathartic and purging kind of highs, some sort of elevation. Sound for me is communication, so I like it to have some sort of narrative, intentionality, something shared. Im interested in the effect of sound as much as its aesthetic form. Sonically Im inspired by contemporary (classical) composition, the sounds of insects, traditional music, improvisation/free music, bass music, as much as the energy of radical punk and metal. Literature is a big inspiration too. My sound work is often accompanied by topical contexts that touch on environmental and existential issues but are more driven by the interconnectedness of things, the thing that some call chaos, this enormous ecosystem that we are a part of, the kind of free life that is uncontrollable and beyond our systems of control or scientific measurement or language. I call my music ritual protest music I protest against the reduction and restriction of life I describe my way of approaching sound as sonic activism. Uhm, long introduction but there you go. just open ears
Chain D.L.K.: The last outputs I vividly remember of yours, who reached somehow my desk (I often dont know how or why some sonic entities reach my desk, besides the fact someone delivers them to my mailbox), has been a super limited split with Emerge on Nazlo, that was a tribute to Dmitry Vasilyev. Have you ever met him? Which tracks did he leave in your memory?
Dave Phillips: I met Dmitry Vasilyev a bunch of times. The last time was in September 2018 when Dmitry had organized a tour for me and emerge in Russia. We met in Sevastopol before embarking on a tour together. The day before our tour began, we went swimming in the Black Sea and Dmitry drowned. The tape you speak of is a reaction to that tragic loss. Dmitrys enthusiasm for and energy invested in experimental music was amazing
Chain D.L.K.: I have to amend Theres also a CD from Attenuation titled Post Homo Sapiens, but I honestly havent unfolded it yet What a shame! Can I get excused for that? What should I expect?
Dave Phillips: Of course! Post Homo Sapiens imagines a world where insects and plants rule.
Dave Phillips imagephoto courtesy of Jesse Newman
Chain D.L.K.: I enjoyed the reading of some of your texts (ref: https://www.davephillips.ch/texts), the last of which includes many interesting and praiseworthy ecologist thoughts and reflections, but it dates back to 2015. Are you writing some new text for the recent evolution of human history?
Dave Phillips: For the recent evolution of human history, haha. Besides writing, I collect and present texts too, and my texts sometimes take from articles and books that touch me. For the sixth mass extinction LP (2019) I collected a bunch of articles that together offer a picture of how humans are doing in terms of coexistence with other beings on this planet. Its probably no surprise that were not faring very well what we seem to be good at though is causing mass extinction and destruction. Said articles were accompanied by a profound text by professor Jem Bendell on navigating climate tragedy. For an upcoming split with sist en 343 called thinking future coexistence, I used a text by Charles Eisenstein on what happened since corona blessed us this should be out in the autumn. I am supposed to write something for an upcoming compilation, but I havent got there yet
Chain D.L.K.: So lets go back (or forward) to to death. I remember the words of a Tibetan monk on this subject, who said that we have to notice that when a baby comes to life cries, and we smile, when a person comes to death (lets say so) sometimes has a smiling expression on his/her face, while we cry. Is this somehow ironic viewpoint close to the meaning of death you were referring to on your last release?
Dave Phillips: Yes, very much so! Accompanying my father on his last journey was a profound experience that demystified death to an extent where it mostly wasnt this horrible thing that people often seem to associate with it, but something quite different. somehow magical, often peaceful and serene my father was smiling a lot as he lay dying and also somewhat unbiased, more to do with life (in all its stages) never fails to amaze me, where often opposing angles together make the whole.
Chain D.L.K.: I think that most of the weirdest consequences of this likewise weird pandemic crisis can be interpreted by using the filter of human fear of death. How did this situation influence your to death?
Dave Phillips: I was living in such intense reality bubbles at the time of the pandemic that the pandemic itself seemed to be happening on a side-stage, it didnt seem to have that much impact on me. In hindsight, though, I realize it played into my perception more than I acknowledged. It affected my perception of the world. The slow dying of my father seemed to go hand in hand with the dying of something that somehow defines us as humans, as we grow more and more separate and distanced from one another and from purpose and freedom as we have from the natural world at large, a separation that we are imposing on us more and more. Thats a slow dying. I mean, the empire is failing and falling, it will crash, no doubt, its just a question of when and how. And it sure wont be pretty. People, please remove your filters!
Chain D.L.K.: I also enjoyed the fact that in the title, there seems a first part missing. You can expect an Hymn to death, an Ode to death or even a Yell to death! But its as it is just to death! How did you draw inspiration for it? I read it was somehow related to your fathers last moments (of course you have my deepest sympathy).
Dave Phillips: Thank you. Yes, its mainly inspired by my fathers illness, which was devastating and my being his carer for the last 15 months of his life. I witnessed his person being eaten away by disease in a way, he was gone before death gave him peace. At the same time, I found myself in a role that made sense on so many levels, and somehow I managed to pull it through Im so glad I did. Taking care of the old is like taking care of the young, is like education, is like a purpose in life outsourcing that to a paid service or a job or some system is missing out on profound experiences, on things essential, maybe on things that define us as animals or mammals or tribal beings. Something that teaches more than schools or universities can, but also demands more. So really its more about the journey, the path, the story of accompanying someone all the way to death and all that it sets free. My fathers wish was to die at home, and Im glad that my siblings and I made that wish come true.
But this journey also leads to other related topics. There are many readings of the title. The ode/hymn to death is certainly in there, probably poking at the wish to demystify death as the huge taboo that it still is. the title also addresses what were doing to planetary life to plants and other animals. Thus, also what were doing to ourselves: when I view my fathers disease in a global context, its a common cause nowadays. The main causes of death in our times show us how sick our allegedly civilized way of life makes many of us. So much human waste. We are civilized to death. And then theres what this is all doing to us emotionally and existentially areas where many of us seem more dead than alive, where we merely function and follow rules. The slow death of human potential through our educational systems and through our imposed normality is part of that. The death of freedom through total control of life, as per recent events. I mean, life IS uncertain thats the exciting part, isnt it? All our puny attempts to create safety and security are laughable if they werent so devastating in what they actually do to us but were like animals born in captivity. Our established political and economic systems seem rather dead too I mean, an economy that functions linearly is just grossly inadequate for a world and lives that happen in cycles. So there are many paths and pointers to death. I can also turn it around: if death is the only certainty in life, then a tribute to death is a celebration of life!
Chain D.L.K.: What are the reversed words in the opening A Cycle Completed to say?
Dave Phillips: The tone matters more than the words. What do you hear?
Chain D.L.K.: Death is maybe the aspect of existence that keeps the strongest taboos still on. Do you agree with such a statement of not?
Dave Phillips: Yes, thats also why I wanted to make an album that demystifies that, that steers us away from this taboo, from this conditioned denial or shame, this refusal to face all aspects of existence. I wanted to describe death as what it is, part of a cycle as natural as birth, something to encounter and to know, not something to primarily fear. On the contrary, I feel the awareness of death is one of the driving forces of life, it brings out deep emotions which frankly make me feel very alive. Death the experience has many beautiful aspects to it, at least in my experience. To reduce death or this album to just something dark and scary is merely scratching the surface its looking away. If we could include death in the bigger picture as something normal, we may enjoy more freedom in our lives
Chain D.L.K.: That piercing scary and somehow beastly scream on To Death We All Go, The Sooner The Better how did you grab it, if it can be said?
Dave Phillips: I often start a recording based on notes I made or impulses, ideas about sonics, and sentiments. The tape starts running and I try to put these sentiments into sound, and then often things happen, I get carried away. I go places, I enter different states of being, its like I travel like Im somewhere else. Then sometime later, thump, I land again, its like Ive returned from far and sometimes it even translates onto tape ;o)
Like this album. I didnt plan to do something about this particular topic, or about my father. I had a bunch of ideas noted, things I wanted to work into, but nothing like to death. Then I started recording. It was like a trance. It just poured out of me. The basic recordings happened within about ten days, basic structures of pieces were completed the following week. When I started listening back to what I had done, I was surprised. Then I realized what its about
Chain D.L.K.: Paraphrasing and quoting the title of one of my favorite tracks of the album, whats the real catastrophe you wanted to represent or maybe exorcize?
Dave Phillips: The real catastrophe is that humanity continues. It refers to the coronavirus and a reason why it mightve appeared. I mean, we humans have vastly overpopulated this planet, and we are a very sick civilization, weve taken a couple of wrong turns too many, and were destroying not only our home but also that of all other inhabitants and them with it. Its time we became extinct, or at least drastically reduced in numbers. We, humans, are the catastrophe haha its somewhat tongue-in-cheek, my sense of humor, though I reckon part of me means it ;o)
Chain D.L.K.: Is there any moment of to death that you want to keep deliberately indecipherable?
Dave Phillips: Honestly, I try to be transparent with all that I do. My intentions, sentiments, feelings, its all there really. I dont try to be cryptic or mysterious. On the other hand, its very subjective Ive put things out into the world that I thought were obvious and then find myself surprised by very different interpretations. So in this work, there are wordings, for example, that are only my own words for this particular moment, this context, they are subjective and not telling in terms of a narrative, so they neednt be clear, they are only relevant in terms of opening spaces, its your own words or sentiments that take you through those spaces, and thats fine.
Chain D.L.K.: Any plan to lend or adapt to death for other forms of art (theatre or video art maybe)?
Dave Phillips: Not for now. The way this album poured out of me, the way it happened, this format is quite right for now. Emotionally, Im quite elsewhere now anyway, also thanks to having this album happen.
Chain D.L.K.: Any work in progress?
Dave Phillips: Always :o) Im currently finalizing two pieces for a 7″ for a young Portland label, and a comp track, but there are other pots cooking too
Visit Dave Phillips on the web:
https://www.davephillips.ch/about
https://dave-phillips.bandcamp.com/
https://soundcloud.com/dave-phillips
vimeo.com/davephillips
1.
Things Falling Apart 21:12
2.
Radical Hope 20:12
about
things falling apart - composition for three PAs (stereo version):
the original 6 channel piece was commissioned by bad bonn kilbi festival ddingen switzerland 2018.
radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, its a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.
all audio by dp. decomposed may to november 2018 for schimpfluch. mastered by riccardo mazza. artwork by brett wagg using photos by dp.
https://totalblack.bandcamp.com/album/sixth-mass-extinction
Dave Phillips INTERVIEW by CHAIN DLK
( By Vito Camarretta - August 11, 2021)
dave dp phillips long story short
fields of re/search: existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilization, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged. sonic activism, ritual protest music, humanimalism
methods: audio de/construction, composition, sonic rituals, psycho-acoustics and performance
tools: voice, body, fieldrecordings, electronics, objects, video
reason for this interview: his recent release to death (7th July 2021, Misanthropic Agenda)
enjoy the reading!
Chain D.L.K.: Hi Dave! How are you doing?
Dave Phillips: Quite alright. I moved house earlier a month ago, Im settling in
Chain D.L.K.: I heard you recent to death and I honestly think its a listening that I would likewise honestly recommend in this historical stage but before focusing on it, even if those well-informed readers of our zine, whose memory has not been reset yet, dont really need any introduction, how would you introduce yourself, your sound art and its direction(s)?
Dave Phillips: Puh. Well. My music is rather free, abstract, cinematic, and personal. It sounds more organic than it does electronic. What I seek in sound/music is altered states of consciousness, states of trance and liberation, cathartic and purging kind of highs, some sort of elevation. Sound for me is communication, so I like it to have some sort of narrative, intentionality, something shared. Im interested in the effect of sound as much as its aesthetic form. Sonically Im inspired by contemporary (classical) composition, the sounds of insects, traditional music, improvisation/free music, bass music, as much as the energy of radical punk and metal. Literature is a big inspiration too. My sound work is often accompanied by topical contexts that touch on environmental and existential issues but are more driven by the interconnectedness of things, the thing that some call chaos, this enormous ecosystem that we are a part of, the kind of free life that is uncontrollable and beyond our systems of control or scientific measurement or language. I call my music ritual protest music I protest against the reduction and restriction of life I describe my way of approaching sound as sonic activism. Uhm, long introduction but there you go. just open ears
Chain D.L.K.: The last outputs I vividly remember of yours, who reached somehow my desk (I often dont know how or why some sonic entities reach my desk, besides the fact someone delivers them to my mailbox), has been a super limited split with Emerge on Nazlo, that was a tribute to Dmitry Vasilyev. Have you ever met him? Which tracks did he leave in your memory?
Dave Phillips: I met Dmitry Vasilyev a bunch of times. The last time was in September 2018 when Dmitry had organized a tour for me and emerge in Russia. We met in Sevastopol before embarking on a tour together. The day before our tour began, we went swimming in the Black Sea and Dmitry drowned. The tape you speak of is a reaction to that tragic loss. Dmitrys enthusiasm for and energy invested in experimental music was amazing
Chain D.L.K.: I have to amend Theres also a CD from Attenuation titled Post Homo Sapiens, but I honestly havent unfolded it yet What a shame! Can I get excused for that? What should I expect?
Dave Phillips: Of course! Post Homo Sapiens imagines a world where insects and plants rule.
Dave Phillips imagephoto courtesy of Jesse Newman
Chain D.L.K.: I enjoyed the reading of some of your texts (ref: https://www.davephillips.ch/texts), the last of which includes many interesting and praiseworthy ecologist thoughts and reflections, but it dates back to 2015. Are you writing some new text for the recent evolution of human history?
Dave Phillips: For the recent evolution of human history, haha. Besides writing, I collect and present texts too, and my texts sometimes take from articles and books that touch me. For the sixth mass extinction LP (2019) I collected a bunch of articles that together offer a picture of how humans are doing in terms of coexistence with other beings on this planet. Its probably no surprise that were not faring very well what we seem to be good at though is causing mass extinction and destruction. Said articles were accompanied by a profound text by professor Jem Bendell on navigating climate tragedy. For an upcoming split with sist en 343 called thinking future coexistence, I used a text by Charles Eisenstein on what happened since corona blessed us this should be out in the autumn. I am supposed to write something for an upcoming compilation, but I havent got there yet
Chain D.L.K.: So lets go back (or forward) to to death. I remember the words of a Tibetan monk on this subject, who said that we have to notice that when a baby comes to life cries, and we smile, when a person comes to death (lets say so) sometimes has a smiling expression on his/her face, while we cry. Is this somehow ironic viewpoint close to the meaning of death you were referring to on your last release?
Dave Phillips: Yes, very much so! Accompanying my father on his last journey was a profound experience that demystified death to an extent where it mostly wasnt this horrible thing that people often seem to associate with it, but something quite different. somehow magical, often peaceful and serene my father was smiling a lot as he lay dying and also somewhat unbiased, more to do with life (in all its stages) never fails to amaze me, where often opposing angles together make the whole.
Chain D.L.K.: I think that most of the weirdest consequences of this likewise weird pandemic crisis can be interpreted by using the filter of human fear of death. How did this situation influence your to death?
Dave Phillips: I was living in such intense reality bubbles at the time of the pandemic that the pandemic itself seemed to be happening on a side-stage, it didnt seem to have that much impact on me. In hindsight, though, I realize it played into my perception more than I acknowledged. It affected my perception of the world. The slow dying of my father seemed to go hand in hand with the dying of something that somehow defines us as humans, as we grow more and more separate and distanced from one another and from purpose and freedom as we have from the natural world at large, a separation that we are imposing on us more and more. Thats a slow dying. I mean, the empire is failing and falling, it will crash, no doubt, its just a question of when and how. And it sure wont be pretty. People, please remove your filters!
Chain D.L.K.: I also enjoyed the fact that in the title, there seems a first part missing. You can expect an Hymn to death, an Ode to death or even a Yell to death! But its as it is just to death! How did you draw inspiration for it? I read it was somehow related to your fathers last moments (of course you have my deepest sympathy).
Dave Phillips: Thank you. Yes, its mainly inspired by my fathers illness, which was devastating and my being his carer for the last 15 months of his life. I witnessed his person being eaten away by disease in a way, he was gone before death gave him peace. At the same time, I found myself in a role that made sense on so many levels, and somehow I managed to pull it through Im so glad I did. Taking care of the old is like taking care of the young, is like education, is like a purpose in life outsourcing that to a paid service or a job or some system is missing out on profound experiences, on things essential, maybe on things that define us as animals or mammals or tribal beings. Something that teaches more than schools or universities can, but also demands more. So really its more about the journey, the path, the story of accompanying someone all the way to death and all that it sets free. My fathers wish was to die at home, and Im glad that my siblings and I made that wish come true.
But this journey also leads to other related topics. There are many readings of the title. The ode/hymn to death is certainly in there, probably poking at the wish to demystify death as the huge taboo that it still is. the title also addresses what were doing to planetary life to plants and other animals. Thus, also what were doing to ourselves: when I view my fathers disease in a global context, its a common cause nowadays. The main causes of death in our times show us how sick our allegedly civilized way of life makes many of us. So much human waste. We are civilized to death. And then theres what this is all doing to us emotionally and existentially areas where many of us seem more dead than alive, where we merely function and follow rules. The slow death of human potential through our educational systems and through our imposed normality is part of that. The death of freedom through total control of life, as per recent events. I mean, life IS uncertain thats the exciting part, isnt it? All our puny attempts to create safety and security are laughable if they werent so devastating in what they actually do to us but were like animals born in captivity. Our established political and economic systems seem rather dead too I mean, an economy that functions linearly is just grossly inadequate for a world and lives that happen in cycles. So there are many paths and pointers to death. I can also turn it around: if death is the only certainty in life, then a tribute to death is a celebration of life!
Chain D.L.K.: What are the reversed words in the opening A Cycle Completed to say?
Dave Phillips: The tone matters more than the words. What do you hear?
Chain D.L.K.: Death is maybe the aspect of existence that keeps the strongest taboos still on. Do you agree with such a statement of not?
Dave Phillips: Yes, thats also why I wanted to make an album that demystifies that, that steers us away from this taboo, from this conditioned denial or shame, this refusal to face all aspects of existence. I wanted to describe death as what it is, part of a cycle as natural as birth, something to encounter and to know, not something to primarily fear. On the contrary, I feel the awareness of death is one of the driving forces of life, it brings out deep emotions which frankly make me feel very alive. Death the experience has many beautiful aspects to it, at least in my experience. To reduce death or this album to just something dark and scary is merely scratching the surface its looking away. If we could include death in the bigger picture as something normal, we may enjoy more freedom in our lives
Chain D.L.K.: That piercing scary and somehow beastly scream on To Death We All Go, The Sooner The Better how did you grab it, if it can be said?
Dave Phillips: I often start a recording based on notes I made or impulses, ideas about sonics, and sentiments. The tape starts running and I try to put these sentiments into sound, and then often things happen, I get carried away. I go places, I enter different states of being, its like I travel like Im somewhere else. Then sometime later, thump, I land again, its like Ive returned from far and sometimes it even translates onto tape ;o)
Like this album. I didnt plan to do something about this particular topic, or about my father. I had a bunch of ideas noted, things I wanted to work into, but nothing like to death. Then I started recording. It was like a trance. It just poured out of me. The basic recordings happened within about ten days, basic structures of pieces were completed the following week. When I started listening back to what I had done, I was surprised. Then I realized what its about
Chain D.L.K.: Paraphrasing and quoting the title of one of my favorite tracks of the album, whats the real catastrophe you wanted to represent or maybe exorcize?
Dave Phillips: The real catastrophe is that humanity continues. It refers to the coronavirus and a reason why it mightve appeared. I mean, we humans have vastly overpopulated this planet, and we are a very sick civilization, weve taken a couple of wrong turns too many, and were destroying not only our home but also that of all other inhabitants and them with it. Its time we became extinct, or at least drastically reduced in numbers. We, humans, are the catastrophe haha its somewhat tongue-in-cheek, my sense of humor, though I reckon part of me means it ;o)
Chain D.L.K.: Is there any moment of to death that you want to keep deliberately indecipherable?
Dave Phillips: Honestly, I try to be transparent with all that I do. My intentions, sentiments, feelings, its all there really. I dont try to be cryptic or mysterious. On the other hand, its very subjective Ive put things out into the world that I thought were obvious and then find myself surprised by very different interpretations. So in this work, there are wordings, for example, that are only my own words for this particular moment, this context, they are subjective and not telling in terms of a narrative, so they neednt be clear, they are only relevant in terms of opening spaces, its your own words or sentiments that take you through those spaces, and thats fine.
Chain D.L.K.: Any plan to lend or adapt to death for other forms of art (theatre or video art maybe)?
Dave Phillips: Not for now. The way this album poured out of me, the way it happened, this format is quite right for now. Emotionally, Im quite elsewhere now anyway, also thanks to having this album happen.
Chain D.L.K.: Any work in progress?
Dave Phillips: Always :o) Im currently finalizing two pieces for a 7″ for a young Portland label, and a comp track, but there are other pots cooking too
Visit Dave Phillips on the web:
https://www.davephillips.ch/about
https://dave-phillips.bandcamp.com/
https://soundcloud.com/dave-phillips
vimeo.com/davephillips