The Psychic Paramount - Origins and Primitives Vol. 1

Format : CD-R
Release date : 2003
Label : S/R

1.      Solo Electric Guitar with Pre-Recorded Drums
2.      Echoh Air
3.      The Eye Glass / Sex Operation
4.      Microphone II
5.      Auxiliary Threads
6.      Enad / VOAT
7.      Microphone III

Description :

A collection of solo recordings which documents the conception of The Psychic Paramount by mapping the unconscious, tracing an intimate period of development. The set draws directly on the automatic method of composition to emphasize first impressions. All tracks recorded live to stereo cassette.

©2003 Bewilderment and Illumination / The Psychic Paramount
All instruments / composition : Drew St Ivany

The Psychic Paramount – Origins & Primitives Vol. 1+2

Format : 2xCD
Release date : 2006
Label : No Quarter

CD 1
1.      Solo Electric Guitar with Pre-Recorded Drums
2.      Echoh Air
3.      The Eye Glass / Sex Operation
4.      Microphone II
5.      Auxiliary Threads
6.      Enad / VOAT
7.      Microphone III

CD 2
1.      E5
2.      Dsinter Blues Recorder
3.      Interior 17
4.      A Porous Mineral Drifting with a Rainmaker
5.      Melancholy I
6.      The Perfect Request
7.      Soorcerer

All instruments / composition : Drew St Ivany
Recorded August 2001-2002 in France


Liner notes :

Because I'd heard all sorts of things about acid, mescaline, methadrine. I've heard tales about everything, you know, but they're only tales. They're only words and you can't realize them unless it's happening to you. And it was funny, because this stuff started happening to me and I recalled the trips I've guided. I recalled what they said, and what was happening to me was all making sense, forming a picture in my mind. I began to realize I was going.

At first I wasn't getting on, you know, so I'd do more and more, and I burned the shit out of my throat doing it. I started floating, really floating, no question about it, really floating. And this flight thing you hear everybody talking about, well shit, I was there.

So then, I'm sitting there on the couch, talking to this chick, and she's talking to me and my mind is starting to really wander. I can see now exactly what I was doing. I could see then exactly what I was doing, but now I see a very vivid picture, very vivid, maybe because it was a relatively dramatic experience. My mind started to wander and I think that's the point at which you start to trip.

If you don't let your mind wander, you're not going to trip. If you can stay with silly little things like conversation, or driving a car, something where your mind is occupied or controlled by external influences, then I don't think you'll start to trip.

My involvement was complete. Everything caught my eye. Everything demanded attention, everything seemed significant.

God, what a fix.

When we were done, I thought, oh, so that's what it is. I haven't really got it together yet. I've still got all this residue of the culture that I've got to wade through and figure out what's really there to be had.

Sometimes a lettuce, or I try to make out with the toilet. So that's where prayer is. The idea of life after death is intriguing, but logically, if I work it out in my mind, I don't think there's a life after death. I don't think you pass out of this life and slide into another. Maybe you go back into a oneness with this big physical law, whatever it is, but I don't know. I think this is all you have, and make the most of it. That's the way I look at it. Live today and fuck tomorrow. No, fuck everyday you can. Why not?

Nature has put elements in certain orders and patterns and ratios and everything, and man has taken this, has taken things and put them together, you know, in a different way than nature did.

I don't live at home any more. I was asked to leave

Cultivating awareness out of the cosmic mechanism. The universe transfigured, general public in the dim. We can illuminate our experience, and a whole family of unfamiliar makes its appearance. Identification. A glimpse of the beatitude and the rise, in any very obvious way. Today we dispose of the nervous system; corpse-colored - Large quantities of nothing in a series of fragmentary, comfortable positions.

Love, when it comes, shall be appalling.

It's amazing, I found this year - this is the year I found out that most girls really like to fuck. Most girls enjoy a piece. You just show a little bit of charm, a little kindness, a little interest in the girl, she's more than willing to repay you in the best way she knows how. I have this thing with people. I really love people. Nothing can compare with talking with people and getting to know people.

peace, love; and happiness,
ass movie

In a magnet corporal revere. "Look, how pretty is that continuous"

Wasted by destruction.

Now the aqualung, diseased - now the premature silent into traitors. The beast of the number nine and porous cleave, psionics, fear gaze, control water. Produce flame and silent image. The Twin Demon lucky stars majestic command. A parabolic breasts kaleidoscope spiral procession in triangle, not five by witchcraft; Analog. Exposed in illustrated magnum attire during younger years and seen from a distance of morose trilogy, detonated.

I really don't see anything wrong with dope. You can go to beautiful places in your head. You can just be sitting and digging a song, and you close your eyes and you're going, you're just floating around and you see so many cool things, you're just transported. You can see so many different worlds.

The mind hat has once feasted on the pleasures which imagination affords will never be satisfied to leave them for meaner enjoyments; any more than one who from some height views a majestic river rolling its waves through spacious plains and past splendid cities, will withdraw his gaze from the inviting prospect, to contemplate the stagnant pool at his feet.

Q. Well, what kind of comfort do you have?
A. I have to wonder. We get phone calls every day.

The presence of psychic subjective determinants may be suspected in socially dangerous jokes of a complex nature. For this reason it is not easy to try to make any more definite statement about the nature of these personal determinants. Indeed, we shall be disinclined in general to claim such complicated determinants for the origin of every individual indication of a joke. We often get an impression that the subjective determinants of the joke-work are often not far removed from those of neurotic illness. The great majority of jokes, and especially those that are constantly being newly produced in connection with the events of the day, are circulated anonymously; one would be curious to learn from what sort of people such productions originate. If one has occasion as a doctor to make the acquaintance of one of those people who, though may he be or not remarkable in other ways, are well known in their circle as jokers and the originators of many viable jokes, one may be surprised to discover that the joker is a disunited personality, disposed to neurotic disorders. The insufficiency of documentary evidence, however, will certainly prevent our setting up a habitual or necessary subjective for the construction of jokes with a motive for impending corruption or psychic distortion of mass conscious energy. Other subjective factors which determine or favor the joke-work are less wrapped in obscurity. The motive force for the production of 'innocent' jokes is not infrequently an ambitious urge to show one's cleverness, to display oneself - an instinct that may be equated with exhibitionism in the sexual field.

Thus individual components of a person's sexual constitution, in particular, can appear as motives for the construction of a joke. A whole class of obscene jokes allows one to infer the presence of a concealed inclination to exhibitionism in their inventors; aggressive tendentious jokes succeed best in people in whose sexuality a powerful sadistic component is demonstrable, which may be, although not entirely inhibited in real life. The second fact which makes an enquiry into the subjective determination of jokes necessary is the generally recognized experience that no one can be content with having made a joke for himself alone. An urge to tell the joke to someone is inextricably bound up with the joke-work; indeed this urge is so strong that often enough it is carried through in disregard of seriously disproportionate misgivings. The psychical process of constructing a joke seems not to be completed when the joke occurs to one: something remains over which seeks, by communicating the idea, to bring the unknown process of constructing the joke to a conclusion. We cannot in the first instance guess what the basis may be of this urge to communicate the joke. But we can see another peculiarity in jokes which distinguishes them from the comic. If I come across something comic, I myself can laugh heartily at it, though it is true that I am also pleased if I can make someone else laugh by telling it to him. But I myself cannot laugh at a joke that has occurred to me that I have made, in spite of the unmistakable enjoyment that the joke gives me. It is possible that my need to communicate the joke to someone else is in some way connected with the laughter produced by it, which is denied to me by the nature of its conception but is manifest in the other person.
Why is it, then, that I do not laugh a a joke of my own? And what part is played in this by the other person?
Not much reflection is needed. As so often, looking has replaced touching. It is at least a 'fait accompli'; another wife, with straight limbs, would on the contrary be in constant danger of falling down and breaking her leg, and this would be followed by illness, pains, and the expenses of treatment, all of which would be spared in the case of a woman who is lame already.

Grimories, Intimate Reactions, and Blurred Cosmetics.

The greatest of all is not so far below you.

Sound is a very special modality. We cannot handle it. We cannot push it away. We cannot turn our backs to it. We can close our eyes, hold our noses, withdraw from touch, refuse to taste. We cannot close our ears though we may partly muffle them. Sound is the least controllable of all sense modalities, and it is this that is the medium of that most intricate of all evolutionary achievements.