It is June 1945 and the continents are readjusting to a schizolity and karma that has not been witnessed since the ceasefire of World War I. Against this massive backdrop of social, political and geographic renegotiation, a frenetic international underground market of information exchange and personal commodification being puristly traded in by US, UK and Russian governments. Engineers, occultists, inventors, doctors, scientists,
fabricators and psychologists from the Nazi regime are the oscillating stock of this dubious futures market. In the USA, the Office of Strategic Services initiate Operation Papercliff as a resource investment strategy that can be applied to the movements of this dark arts science economy. Once invested in, they are quietly put to work in small, tightly bound research teams of weapons developers, audio intelligence cells and into cabals of physical and mental and endurance. Highly secretive, these detached groups of unregulated interests are socially camouflaged by forged IDs, families and pasts.
Once the Joint Intelligence Objectives Agency had re-recorded the biographies of their human investments, they had granted its security clearance to work in the United States. Fundamentally undercover in every imaginable aspect, they behave like sleeper research cells. Each one is independent with no links back to an institution or an umbrella organization. One of these research cells is named Audint. It is composed of members of the Ghost Army, a division of the U.S. Army engaged in tactical deception during World War II, consisting of approximately 1,100 actors, sound technicians, artists and other creative types taken from art schools and advertising agencies
to construct fake tanks, soundscapes and radio transmissions in order to saturate the Nazis with disinformation about the plans, whereabouts and numbers of power and forces. In 1944 the Ghost Army trained and deployed the first battle DJs into the global collision that was World War II. They are the originators of the Soundclash as a weaponised force in times of conflict. The Ordnance Research Cell consists of three ex-Ghost Army personnel, Piccolide Morton, Walter Slepian, and Bill Arnett. It is also crucially a new professional home
to two imported German nations as scientists. Edward Shuler, always technically one step ahead of the recording curve, worked with the Nazi sonic propaganda developers, AEG. Whilst Dr. Ziffermeier, a renowned developer of sonic weapons during World War II, who was also more esoterically responsible for founding the occult oral ritualists, a covert unit that imbued ancient resonant frequencies into the Nazi fake ancient Dijkstätter ruins. It is then these five personnel who once functioned as oppositional forces that comprise the nascent version of audience. Desperate to engage in dialogue with scientists, engineers, musicians, artists and psychologists
who thinks I'm outside the box, all didn't call in favours from ex-members of the Ghost Army who wrote on counterfeits and documents for the US military during World War II. Within four weeks they had fake passports, driving licences and university employment certificates. Near the top of the list of their discrete research associates is Walter Kingham, a pioneering psychologist known for his research into the behavioural effects of music. The most politically forward-thinking psychoanalyst, easily accessible toward him, is Theodore Reich, who develops ideas and theories concerned with the psychoanalytic practitioners' utilisation of their own unconscious intuitions to decipher the desires of their patients. His ideas about the use of the third ear to conduct such exploratory techniques,
what Wright will eventually name the theory of psychoanalytic listening intrigues Arnett, as the type of listening advocated is essentially a musical one. Having established these spurtive relationships with Bingham and Wright, it is time for them to convene with a thinker who may be more than any other embodied the speculative nature of their waveformed experiments. To initiate this private conversation, Arnett and Slepian travelled to Manchester in order to speak to the ultimate decoder of signals. Alan Turing had been receptive to Auden's initial line of questions when they contacted him by phone. In person, he was abstract by nature, yet affable and clearly excited
by the hushed information that Auden relayed to him over tea and hard sweet biscuits. The conversations become increasingly abstract and fantastic until Bill Arnett manages to sequester the psychedelic dialogue and pinchuring down, so to speak, on the vibrational logistics of numerical and material collision when considering the theoretical dynamics of engineering tables that turn. From the early days after World War II, Auden have concentrated their efforts on investigating what occurs to the human subject when it's subjected to the collision of sound or the sound clash. During wartime, excessively loud sound had produced interesting psychological and physiological effects when derived through the collision of materials of force, such as a bomb hitting the ground.
When this was reinforced by a screaming tonal amplification from the aircraft that affected the collision, as was the case of Stuka bombers, an anxiety was produced that was far greater than the sun of its parts. By extension, it is the collision, in all its vibratory formats and excesses that interest Ordin's. In a small, neatly furnished office, Turing, Arnett and Slepian are still deeply engrossed in an exchange of ideas that revolves around the alchemical properties of shellac when it is stamped into flat rounds and grooved with its waveform with information. They discuss the inversion of the usual spinning of this disc until Turing suggests the possibility of producing a table that has two arms, starting side by side at the 6 o'clock position on
the static slab of shellac and working their way around a locked groove, tracing its curve until the needles collide at the 12 o'clock position. Turing's notion of playing a locked groove in its forward or clockwise future state and reversed anti-clockwise past state until the two arms turning around the static vinyl meet and collide with each other excites Arnett and Slepien. The pair do not sleep much that night as they busily start drawing diagrams and planning the construction of such a device, an instrument that in the great code is honoured they bestow with the working title the two-ring table. It is now 1946 and the two-ring table is ready for testing five months after Arnett and Slepien arrived back in the USA. Never before have they tried playing a record backward and forward
at the same time. Three prototype locked groove records are pressed to specifically achieve this, each with six isolated rings of different yet complementary content within its black pitched circuits. Auden's experiments with the two ring table accoded Operation Ro-Ray. Via their modified turntable, Auden discharge sonic shrapnel known as hooks into their subjects' neural flesh. Once transmitted, Auden hope that a channel will be opened up that allows them to literally get into the head of their subjects. The series of records are subsequently named the Gith repeaters. The categorisation of each disc is based on the distilling of noise, melody and rhythm. an elemental formula of sonic motile power arrived at through the work of Hippolyte Morton.
The research programs undertaken by Auden, along with the other independent research cells, are for their time bleeding edge stuff. Since many are conducted in hidden subterranean levels of recently vacated munitions bunkers, such as Auden's, which occurs in the beach bunker at Cape May, New Jersey, they are referred to by the US military as underground programs. Through the word of mouth and conspiratorial whiskers, this derivation becomes legendary amongst musicians, artists, designers and creative types, the same demographic who made up the ghost army in the first place. From this book home, the word underground is subsequently attributed to any form of cultural production that is distinct from mainstream expectations and desires, is technologically
and philosophically innovative, and with regards to its transgressive social responsibilities remains ethically ambiguous. Upon initiation of the Moray trial, the two German researchers are psychologically and physiologically shattered from the sharracking that they had been subject to over the preceding months. When Slepien and Arnett played a trio of two ring tables at the same time, three hooks are produced, creating a neurological heterodyne in Schuyler's head. His cranium has been opened in three different places, and the hook has been transmitted to each vulnerable fissure of neurological flesh that has been pierced by coded vibrations. Each auditory hasp composed at the nexus where the subliminal message and the over-communication converge, a silent tracing of the nebulous boundary that distinguishes the conscious
from the subconscious. Triangulating between the three channels of melody, noise and rhythm, viral interlopers converge at a single point, the optimum neurological position from which the most economic root can be traversed through the limbic system and all into the amygdala. The clustering of these three hooks, along with the three fragments of encyclical matter that have been adhered to them, creates an infection in the mind which retates over a matter of minutes into an earworm. With its cranial mission vibrationally encoded into its operating system, it's time for this waveformed artificial intelligence to tunnel. Due to its first host being German, Ordin named their sonic parasite Owerwurm.
Buried deeply into the subject's amygdala, it next hunts for an attach itself to the sonic recollections that have been transposed through the cultural DNA of the host. Once it has located an ancient non-oral sonic communication, it modifies again and coexists co-exists as oscillating fresh and spectral memory, losing its status as an external entity as it symbiotically fuses with its new host. It is a frequency-based cellular instrument that exists within all of us, and it beholds a capacity that has regressed since the development of the printing press, and thus with the loss of oral tradition. It is the third ear. Now that this haunted organ has been reconnected to Schuller's mesh of gossamer axons, it is active.
As an antenna, its first transmission is rooted via the cochlear nerve and tympanic cavity, causing a ringing in the ears known as tinnitus, a signal that denotes a connection to asymmetric worlds, to other times and spaces, and to other forms of vibratory intelligence. As the ringing tone splits and becomes polyphonic, an increasing number of signals are sent out. This neurological multiplexing means that the other world becomes an augmented device that allows contact to be made with voices from the past, present and future. Only when the ringing tone is split to multiple frequencies does the third ear become activated for communication with otherworldly presences. In a brief moment of lucidity between mutated states of consciousness, Schuller reveals that instead of being vibrationally connected to the other members of Auden, he has become aware of auditory messages from asymmetrical points along the continuum of human communication systems.
Ultimately, he is aware of the capacity within himself to interface with not only those alive, but also those that have a more abstract relation to the living. In metaphysical terms, the ringing in his ears is a call to those that permeate the thresholds of existence. The metaphorical phenomena to those frequencies that exist at the perceptual boundaries of humankind, the dead and the yet-to-be-born. Schuyler's mutations are not noticed at first because they are too subtle. After numerous all-night sessions with the two-room table, however, However, these initial changes become amplified and begin to distort the engineer's behaviors and physical appearance as the O-worm lulls him into a state of physical inertia and communicative excess. His nose, ears, eyes and mouth all start gradually diminishing size and size
until they offer only faint suggestions of their previous function. The angles and gristle that defined his identity worn away into smooth ruins. The furrows, lines and creases which which once traced the features on his face, meanwhile, start to join up and wrap around his skull, which over time results in Schumer's head and body resembling a cross-section of geological strata. Audit has split the ringing tones in his third ear to such a degree that he has hundreds of vacillating frequencies interwoven into it, which means that he is effectively channeling hundreds of voices at any given time. Overstimulated, his new phantom organ now functions and as an emotional lathe that cuts into his dermal interface. In a gross oversight, Audin have effectively transposed the recorded grooves of the Gith repeaters
into the flesh of Schuller, and in doing so have rendered him the monstrous embodiment of excessive communication. The scored body of the German engineer is left in the prone position for three weeks, whilst Arnett, Sleppian and Morton deliberate their next move. After numerous long and arduous discussions they collectively decide that the most humane course of action here is to terminate the existence of their test subject. In anticipation of such unforeseen circumstances, each research cell has been issued with a shoebox full of vials full of solutions such as phenobarbital, confiscated from the offices of Dr Karl Brank, who is the Wright Commissioner for Health and Syracuse Sanitation and organizer
of the Nazi euthanasia program, Action T4. Days after the injection has been administered, however, Schuller's limbs still intermittently twitch, scratch and jump, and to the astonishment, neurological activity is registered, presumably that produced by the still-active antenna that is the third ear. Somewhat overwhelmed and fearful of the potential of their experiment should it fall into their own hands, Audit take the difficult and dangerous decision to cut their ties with the military. With immediate effect, they will gather up all of their equipment, bespoke technologies and personnel and take off for the wilderness of Vermont, where they will carry on their research in a large wooden cabin built by Sleplin's father a decade earlier.
Having amassed their sonic belongings, the four remaining able-bodied members of Audit load them into their recently procured Ford 1.5 ton cabover truck. They still need to camouflage Schuller though, and it is only when they rummage through the engineer's old room that they come across unopened boxes that Schuller had brought with him from his secret work during the war, multiple spools of magnetic tape. Starting at the toes, they frenetically bind the legs and stand the torso up and carry on until they finish wrapping the head. The following day is spent constructing a coffin-shaped base speaker unit to house their newly magnetised man Once loaded onto the Ford, they are ready to depart and start a new episode as a rogue cell When it is discovered that Audit no longer inhabits the Cape May bunker
Over three weeks have passed and they are long gone In response to the US military's attempt to synthesise the O-Worm's sonic formula Fearfully being found, our Nets smashes the original Battlefield discs, but not before they have split the content of the vinyls locked grooves into small sonic passages, which are then discreetly embedded into sound effects and stereo fidelity records. Audio Fidelity Records presents a new stereophonic sound spectacular. The world of stereo is filled with spectacular sounds or prices. To ensure that the waveforms and information of the Gith repeaters are hidden in plain hearing,
Audit are responsible for the mass production of test tone records and special effects vinyl over the following three decades. A collection that ends up in flea markets, thrift stores and church bazaars, forming what is known as the Dead Record Network. Their work on the Dead Record Network is exhausting, until finally in 1954 they discreetly helped fund audio fidelity records out of New York City in order to produce larger number of discs carrying the embedded samples. Audit's reasoning for the DRM resides in the belief that future iterations of the cell will work on deciphering and amplifying the capacity of the hook, the o-worm and the ringing through the information encrypted within its final network. Through their test tone vinyl, a recent catalogue of locked-proof discs on them, audio fidelity
records are making a handsome profit and 1955 is turning out to be their most financially successful year to date. At the end of each month, a member of Audint travels down to New York City to pick up a brown paper bag full of money. This arrangement appears to be going well until one windy overcast day in the fall, upon entering the back door of the record label office, Hippolyte Morton gnosis a figure in a black Pontiac star chief convertible, talking into some kind of recording device. He thinks nothing of it until two weeks later, Annette reports a similar occurrence. This disconcerting coincidence, along with a number of other half-glimpse sightings of awkward men in long coats and brown fedoras, convinces Audit that the military are closing
in on them. Back in Vermont, the four sonic researchers made the decision to up sticks and move the recently constructed sound laboratories and their covert waveform cargo to the other side of the country, into Oregon. It would be too dangerous to attempt a coast-to-coast road journey with the monstrous payload of Schuller, so they make the difficult decision to terminate his existence before they leave. They inquire as to whether anyone at the record label knows of sound engineers that might have esoteric interests in the sonic manipulation of the body. The only person they know is a New York resident called Magdalena Parker, who has a recent history in art and music happenings, in tape experiments and ancient burial techniques involved in sonic ritual and incantation.
Within 48 hours Magdalena, her mood vacillating between one of excitement and trepidation, finds herself in the cavern of Auden's Ford truck, with a hopeful and slightly desperate Walter Slepian sat next to her driving the Interstate 91 to Vermont. Time not being on their side, Ordon realise that they have to confide in Parker. For three hours Magdalena stands in silent awe over the body as Arnett, Morton and Slepien take it in turns to recount how Shuler slowly descended into a cumulacations coma. Drawn irrevocably to the magnetic tape that binds three quarters of his body and indecently animated by the potential research she can undertake in her Soho studio with Shuler, Parker suggests relocating him to New York. It is obvious that the members of Auden have not only come to trust Magdalena during their
short time together, but that they also conceive of her as being a possible successor of their research. Thus after conferring for 30 minutes, Auden agreed to let her take to Shula and more importantly informed Parker that they will reveal all of their research techniques and methods to her. Twelve days after leaving Vermont, Parker receives a telegram with a short message to meet in the southeast corner of Central Park. Here she meets Sydney Frey, the director of Audio Fidelity Records. He tells Parker that Audint's compound, along with much of its equipment, has been torched and it is now a charter memorial to the sonic explorations that have been conducted in it. Whether the members of Audint had burnt it down themselves, or whether it was an act perpetrated by the military, Frey did not know.
More worryingly for Parker, Frey apparently has no forwarding address for the money owed to them, and so instead hands her a thick brown envelope, throws a quizzical look, and hurriedly walks away, leaving Parker with the intuition that her life has changed irrevocably. It's 1962. Auden's new torchbearer Magdalena Parker is a Chilean performance artist and filmmaker whose work revolved around the early experimental use of voices recorded onto magnetic tape and a production of cut-up pieces used as a form of ritual incantation.
In her native Chile, she had cultivated an interest in the music played during tribal funeral rituals, the deployment of organised science to placate the spirits that protect the dead. Her art shows and short films in the late 50s had won her notoriety due to the common outbreak of trance states among members of her audience. News reports in the Manhattan Underground Press suggested this contagious behavior was triggered by precise combinations of frequencies used in the soundtracks to her work. And it was due to this notoriety for her involvement in esoteric sonics that flashed her up on the radar of audio fidelity records and subsequently
honored. Parker returned to her solo studio and stashed a mummified sugar in her storeroom and locked the door. At least initially, she resisted the temptation to unwrap the mutated sugar. Irrelevant of her newfound wealth, nesting snugly inside that brown envelope, and her induction into a research program of which she was now the director, she had her exhibition coming up in two weeks that she needed to prepare for. Cracking on with the cut-up vocalisations from her little library for her approaching show, her mind drifts into the cabalistic insights, her friends on the Lower East Side who had introduced her to stories of golems who became vivified through the simple utterance
of words. Startled, she is reeled in from this memory by what sounds like movement from within her storeroom. Leaving the tape loop cycling around her RCA Victor 7 TR3, she cautiously approaches the door to her cupboard. Her ears, her pulse throbbing in her ears. 1964, June. Parker meets Van Fong, Inspector. At the opening of Parker's show, she became entangled in a vigorous conversation about trans states with Marshall Spector, a brash young Californian rock and roll bassist, on tour up and down the East Coast, accompanied by his demure 16-year-old girlfriend, Joan
La Barbara, and a visiting Vietnamese scientist, Ngoyen Van Phong, in town conducting research. Spector had grown up in San Francisco, playing in a number of local bands before enrolling in a degree in composition at the University of California, Berkeley. In the early 60s, he became involved in radical student movements and was arrested in 1961 for avoiding the draft, organising protests and distributing audio recordings of anti-government propaganda against the escalating US involvement in Vietnam. Van Phong was a bioacoustics expert researching the limits of human and animal auditory perception with an overarching interest
in the methodological overlaps between Buddhism and science. He studied at Ho Chi Minh at the University of Technology in the 1950s where he specialised in practical heterodyning techniques whereby simultaneous ultrasonic tones could be harnessed to produce interference patterns that could create subsonic waves. His research was also concerned with the physiological symptoms of resonant frequencies. Both Spectre and Van Fong ended up in the launch of Parker's exhibition in the village after reading the scare stories about the impact of flicker films, preceding Tony Conrad's work by almost 10 years, on her audiences. The sensationalised rumours of possession had spread around the local art scene and its fanzines,
and had filtered its way into the city's mainstream press. Engrossed in their conversation, none of them noticed that all the other guests of the opening had drifted off into the warm Manhattan evening. Parker invited them back to her apartment to smoke opium and continue this conversation about her interest in sonic possession. As the opium kicked in and the young Joan lay in the corner on her back mumbling, Van Phong embarked upon a monologue about how the vibrations of Vietnamese gongs mapped closely the rhythms of everyday life in its seasons. The Glacii Parker inspector listening keenly, Van Fong described how the gongs provided a privileged non-verbal mode of communication between men, divinities, and the supernatural.
Every gong concealed a god or goddess whose power was enhanced as the gong ages. As with tradition, his own family possessed at least one gong and this indexed the family's wealth status while ensuring its protection. He reached up to place his briefcase on his lap, pulled out an LP of tribal gong music and sets it in rotation on Parker's turntable. Through the crackle, a cascade of crystalline vibrations wafted around the room, tuning the air and infusing it with a waveform of perfume. Interrupting the serenity of Van Fong's mystical diversion and now smoking hashish, Spector, his girlfriend still emitting a low hum in the corner,
wanted to impart the scope of his own esoteric interests in the use of sound to repel unwanted guests. Retelling a recurring dream he had had since the 1950s, he asked the others to imagine a rock band on board a military tank with large mounted loudspeakers emitting an inaudible subsonic force field which forced all in the vicinity to vacay with haste like an invisible circular bulldozer, pulsing waves of fear. In his musical career it was this dream that led Spector to the base and he insisted that He had some kind of weird synesthetic gift to be able to see the vibratory waveforms emanating from his guitar and the speaker stats at his gigs.
Too much mescaline, Parker thought to himself, while listening attentively in semi-disbelief. Van Phan flips his gong LP, and again an invisible smoke fills the air, slowing down the conversation to lunar peace. Ah yes, have I told you about the third year. In a sage-like fashion, he proceeded to describe in detail the relation between the audible and the inaudible as a kind of matter and anti-matter relation, and how they shadow each other like the yin and yang. For Van Fong, they constitute two opposing yet complementary forces whose tension and collision generates everything.
One strand of application of Van Vulture's search was to experiment with the building of what he calls a yin-yang turntable. There was in fact nothing different about the record players that he used, rather by carefully slicing vinyl along the snaking S-curve waveform of the yin-yang, Bluing the pieces together with records that were inscribed with exactly the same content, yet in reverse, aimed to create a sonic machine that would play forward and backward, forming a kind of vibrational mebius strip, folded around a figure of eight, distributed flat across the surface of the inscription. The schematics of the yin yang term table were supplemented by the research findings
he had deviously managed to acquire from a North Korean researcher at an academic conference in Shanghai in the spring of 1959. At the conference, a Korean researcher had alluded to an array of frequency-based brainwashing techniques and sonic torture experiments pioneered on US prisoners of war during the conflict of the 38th parallel. Van Fong pretending to be a player in the intelligence and strategy team of the emerging Viet Cong managed to acquire the diagrammatics to a number of these schemes from the communist scientist, several of which involved the acoustic implantation of false memories and commands,
neural entrainment using combinations of frequencies, and experimental scrubbing of mnemonic implants via playing messages in reverse. Using all this data, Van Fong had devised a system of opening what he referred to as the third ear, an auditory parallel to the Buddhist concept of the third eye. Opening the third ear opened a channel of communication in the subject, which allowed phantom voices to enter their minds from beings that were no longer physically present on Earth or had yet to materialize. A dangerous side effect of the opening of this channel of phantom communion was that the ego could be overridden enabling their bodies to be hijacked and remotely controlled
like a drone. A hijacked body with its third ear opened was most accurately understood as existing in a liminal state of undeath. Feeling she had met some kindred spirits that she could trust, Parker opted to share her experience of induction into Audent and her closeted tape mummy, and invited them to join her in on a healthy financial retainer intensifying Audent's research agenda. In 1965, Spectre departs Auden for US Psy Ops in Vietnam.
Frustrated by the pretensions of the art world and the cerebral nature of Van Phong's research lab, Spectre missed the excitement and adrenaline rush of his rock and roll lifestyle of the 1950s. In a strange reversal, Spectre defected Auden late in 1965, seeking deployment in Vietnam with the US psychological operations. His betrayal was all too much to the dismay of his former Conrad researcher, Ngoin Van Fong, who had been perfecting the heterodyne techniques he had inherited from Auden's first wave. After a chance meeting with a US soldier, Jim Channon, who later went on to find the First Earth Battalion, recently chronicled by John Ronson in the book The Men Who Steared Goats,
in a coffee shop at Berkeley in early 1965, a way of implementing some of Auden's techniques into the battlefield began to crystallise for Spectre, furthering his deep craving for action via last-minute musical manipulation. Secretly, Spectre's motivation was twofold. He wanted to travel into the belly of the beast and unpick the US military from within. While at the same time, somewhat paradoxical in its narcissism, the dream reeled him in, in a fateful magnet attracting him towards the orchestration of his most bombastic performance. When he first got to talking, Channon was attacked by a barrage of anti-war tirades
against the US involvement in Southeast Asia. When Spectre's rant finally ceased, Shannon began a soft sell on a place in the army that may appeal to Spectre as a musician with definite hippie jock tendencies. Shannon revealed to him a mode of soldiering he had been formulating that he described as that of the warrior monk. It could forward an ideology of peace within the actuality of war through the propagation of non-lethal, non-violent and non-confrontational techniques and the use of sound and music to modulate the ambience of war. For both friend and foe, Shannon preached a kind of new-age soft militarism
that resonated strangely with the philosophy Spectre had learned and techniques he had pilfered from Van Fong. Shannon promised that if Spectre enlisted in the US PsyOps department, he could get resources and a team to experiment and implement all the experimental audio strategies derived from audio during the intense six months he was involved in 1964. Spectre was still chasing his recurring dream, the 1950s of doing a rock and roll concert in the middle of a battlefield. Flying out to Saigon in early 1966, Spectre found himself, as Shannon promised,
backed by the resources of the US government, desperate for blue sky thinking, to get them out of their corner. In 1967, he travelled up to Mekong, playing an instrumental role in the wandering soul and urban fun campaigns, which involved helicopter-mounted loudspeakers, the curdler or people repeller, and the ultrasound infrasound heterodyning device, the squawk box, transmitting fabricated haunted sound pieces based on local music, folklore, and ghost stories to tap into the Buddhist belief systems of the Vietnamese. Vietnam, 1968.
A large speaker broadcasts the supposed cries of a Viet Cong who died in combat. His family call out to him, but he says, it's too late, I'm dead. And he urges his comrades to leave the forest before they die like him. The the the the the the the the the the
Spector played a crucial role behind the scenes, guiding the six psyops battalion of the US Army and some units of the US Navy, deploying the Wandering Soul campaign via helicopter-mounted loudspeakers. Engaging what he'd learned about magnetic taking information from Magdalena Parker to produce the audio-mintages that Hueys would clean down through the jungle canopy, filling the clammy, dark, warm air where Charlie cried with dread. Audio nipal. Engineers spent weeks recording eerie sounds, following Spectre's insights regarding masking, phase and the embedding of subliminal content, subliminal silent messages in music
through inducing Ban Phong's third-year heterodymium techniques. The montage is consistent of the cries and whales, emanating from the souls of the dead comrades who had failed to find the peace of a proper burial. The wailing soul could not be put to rest until this proper burial occurred in the one that was stopped. Feeling like he was coming close to building his Wagnerian dream into reality, Spectre advised the six Iops to flood the sound of the tapes into the jungle all night. He spooked the superstitious guerrilla fighters. He speculated that even when Charlie realised they were hearing a recording beep from a helicopter and not the spirit world, the fear that their souls would someday end up mourning
and wailing in this fashion after death seeped into the guts of the enemy gunners by osmosis. Back by eerie sound effects, the following excerpt was typical of the recorded content. Girl's voice. Daddy, daddy, come home with me, come home. Daddy, daddy. Man's voice. Ha. Daddy's back home with you, my daughter. I'm back home with you, my wife. But my body is gone. I am dead, my family, my friends. I come back to let you know that I am dead. I am dead, it's hell it's hell it's a senseless death a senseless, senseless but when I realized the truth
it was all too late too late friends, while you are still alive there is some chance you will be reunited reunited with your loved ones do you hear what I say? go home, go home my friends hurry, hurry if not, you will end up like me go home before it's too late go home. Yet Spector's crude understanding of both Parker's and Van Fong's methodologies, both artistic and scientific, meant that his implementations were naive at best. The tapes were recovered, the tapes that were recovered from Wandering Soul, were B-movie horror, corn, more likely to induce laughter than Joel was shivered at his spine. And strategically,
many of the toplondans proved an outright flop failing to achieve the stated objective of convincing the Viet Cong to surrender Often wandering soul merely proved provocative drawing an unfriendly fire But somehow he did spook the enemy but not in a way Spector foresaw Reports circulated later in the 1970s of how wandering soul had had a deep effect on the psyche of guerrilla fighters Many Viet Cong were reported to have heard additional messages to those intended, messages the US Army had no record of writing. The third year had been opened, but it wasn't common tells, speaking loud and clear. While the dead could be heard attempting to persuade the living to surrender, an embedded
sub-message demanded people living, acquire and ritually burn US dollars for them in order to alleviate their grievances inherited from their life in war. It was payback time. Thank you.
People that have questions? Yes. If there are people who have questions, we can ask them. Sure. Yes. When you started doing this research, Is this a true story? The story is a cult. It's based on an archive that's based on archival research that we put together since 1945. There's an archive of material and we've photographed cassettes, tapes, video, books, and we trace back a story from a ghost statue.
There was a starting point. When we started to start with the actual point of the project. We were contacted with the vehicle, initially because we had similar research interests. We were contacted by audit and given access to this research archive. I would think we've been bringing together this historical narrative from the data. We both had research interests in the sonic weapon and so on. We both took one and we were only in contact with us.