bill daggs © 2022

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  1. 'If The Rain Stops, Don't Think That We Gave Up On You (OST)', 2022

    Double A SIde / Soundtrack

    Produced, mixed & engineered by bill daggs, Mastered by Andreas [LUPO] Lubich for Loop-O Mastering

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  3. '[Track 7] [Obligatory] Posse Cut - PREMIER TYPE BEAT', single chanel moving image, duration: 00.04.25, 2022

  4. Installed @ ROSL, 14.07.22 

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  6. 'IUTSUANITLRSALOW' (2021)

    Instrumental beat tape

    Produced, mixed, engineered & mastered by bill daggs

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  8. 'spontaneous_sonic_eruptions_vol.1', improvisational performance / single chanel moving image, duration: 00.15.16, 2021

  9. Four improvisational moments; 2 sonic & 2 visual, performed live at different times, then mixed and arranged for the final composition.

    Performed, recorded and edited by bill daggs, 2021.

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  11. 'THE FEAT UNDER HEALS (THE SOUL)', single chanel moving image / spoken word, duration: 00.08.54, 2021

  12. When I think of how it moves me,

    it is done so with the most human of interventions.

    And within an instant it has occupied the canals

    and travelled through the intricacies that make up a network of pulsating veins.

    To say it is in my blood may be considered vain,

    but when I find the BPM I hear my heartbeats reacting the same.

    The feeling is born in the gut firstly, that is the feeling.

    A reaction that cannot be pre-empted or understood, even.

    Favour bares no relevance upon the encounter

    It just is.

    An emotional response that is conceived in the heart,

    with a gestation period that is sound-tracked by Caron Wheeler and Jazzie B.

    And you could argue that you saw it boil in the shoulders, and from the outside you could be right.

    But when the belly turns your legs to work, that’s because it has activated the serotonin that is just about to engage with every vertebrae to make an arch out of your spinal column,

    and to the naked eye,

    it may look like the shoulders did that

    so that, I will give to you.

    But when it moves me, I know otherwise.

    I can understand why Busta said “break your neck to this”

    and why we call it breaking,

    or body popping,

    because these are the breaks,

    and sometimes the physicality of the emotion is expressed so violently we must allow ourselves to break, or pop.

    Same way I watched Sara Baras,

    and without moving, I was moved differently,

    to the point of breaking, certainly,

    into tears, at the very least.

    And I watched that on silent believe it or not.

    I heard enough from her body,

    I heard the screams, and the misery, I heard the joy and the absolute euphoria that overtook her every portion.

    I listened to the time signature in the folds of the red, falling fabric that stained the stage underneath her,

    and for a moment I was desperate to be her.

    And though my experience was external silence, my insides erupted and activated involuntary spasms all over my lower back.

    Breaking, again.

    But instead of destructive, we find the outcome is healing,

    and without sounding too spiritual, it is likened to an experience that is gazed upon from outside of the vessel,

    as one cannot fathom how one could conjure shapes as proud, as seamless, as beautifully poetic as those they witnessed in the comfort of their, otherwise reserved, character.

    So strength is found in Lady Alma and Candi Staton alike.

    And that strength keeps us there ‘til ungodly hours, suspended, hanging on riffs and toplines that know no concept of time,

    except delays, and verbs, and stretching.

    And I am putty.

    In the hands of the turntablist I am reduced to the most primitive of beings.

    Waiting for the second drop to elevate me.

    Thrust into orbit by a couplet of drum kicks attached to a frequency that once again activates the belly and returns on the one.

    And you can say you saw it in the shoulders first,

    but I know the truth.

    I wrote it on a SP-404 and left it on a four to the floor then lost it on a hard drive one time.

    But I feel it all too often,

    from sources that I have found elsewhere, written by others.

    And it moves me,

    The same way it always has.

  13. the arkhive sound-sightstem: config. 002//OP21 -

    Installation @ Dreamlands pt. II, OHSH Projects, New Oxford St. 11/11/2021

  14. 'til [un]godly hours / Startford Rex 1999' (2021)

    Oil paint, oil pastel & Graphite on Cotton

    130 X 190cm

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  16. 'SAMPLE FEAR[ORY]', single chanel moving image / sound piece [mixtape], duration: 00.16.47, 2021

  17. Referencing a timeline of sound that has no periodical anchor, 'SAMPLE FEAR[ORY]' is a product of the traces of nostalgia; a fragmented narrative thats essence is rooted firmly within the Hip Hop culture, and the working methodologies of beat makers. Born from formative years in North West London, the story tells of a life heavily informed and affected by sonic and aural encounters; poignant moments that have left splinters embedded deep within the vaults of the makers subconscious. Its an ode to mixtapes, to the importance of the archive, and the wonders of sampling.

    It is a visual document of a sonic exploration of the digital realm, littered with the ghosts of nostalgia and sonic triggers that seek to activate the collective, cultural memory. It is a mixtape that serves as a time travel device, celebrating the history of the wow and flutter of a cassette tape, the crackle of a dusty needle, the tracking on a VHS machine and the glitches we encounter through digital mediums.

    The work investigates sampling as a form of communicative re-creation, marrying cultural artifacts left in the digital realm to create a landscape for a generation born into the technological advancements of musical and visual production.

    It is a historical record. It is the frantic scrawls on the producers track sheet and the songwriters notebook.

    The work raises questions of appropriation, copyright, copyleft, and cultural and intellectual property. It looks at music of black origin and the influence it has had on the artist and on the art form.

    Without being explicitly political, it is attached to and observant of the politics it belongs to. And though it is all of this, it is also a disregarding of the intellectual and conceptual context that can be attached to it, hailing back to the DIY ethos that the likes of Grand Master Flash employed at the birth of Hip Hop and DJ culture; to take a 'break' and make it their own. "Repetition with a difference", as 9th Wonder calls it. Copyright was never considered, permission never sought, the objective was to make something of what was to hand with limited resources, and make it fresh, exciting and new.

  18. the arkhive sound-sightstem: O.G. config. 21 -

    Installation @ CSM Project Space, The Annex, 2021