bill daggs

one of many pockets of deep hanging at sound structures some moons ago. we jam again on the 29th, you should come. bring cables. @sound_structures @aaron_doig_artist @renewingurea @zziisshh

'ss270226 [...while the fires raged, the dreamers built plans for a place much kinder]' is the beginning of an archive. It is the first volume of recordings taken from the desk at sound structures. Recorded on 27.02.26, the levels on this are exceptionally hot, all channels were maxed out as we had just discovered the power amp had lived it's last day. This is the harshest recording, sonically. There are more volumes to come, all very different to the other, all containing their own pockets of beauty. All the sessions will be available for unlimited streaming, or to purchase for £5 or more. Any money raised from the recordings will be put straight back into equipment, and warm beverages. The Sound Struc Improv Ensemble is an ever changing lineup of musickers who are interested in holding space and creating community through sonic exchange.

sound structures has become one of the most important components to my practice. Since it's conception in 2023, as a place for artists to showcase, test, and receive conversation around their sonic investigations, to its most recent explorations, sound structures is now a fully formed space for collaboration through play. At the end of October 2024, the focus shifted to what the evening was offering to its community. Politically, the world was in chaos, and we were witnessing a genocide unfolding right before our eyes, for the first time in real-time on our hand-held devices. With that heaviness hanging over us, the extra weight of a performance and explanation was perhaps too much a burden for those wanting to communicate via a different language, lose themselves within the sonic architecture, or simply wanting to hold space with like minded people, and listen. Aware of what the building had been providing, for those who have now become family, the direction of the evenings changed focus to the physical space we had been holding together, through some of the toughest moments. The importance of communication through a mode other than speaking, through music, play, and resistance, having a safe space to feel free to experiment, without worry of the outcome, through mistake, chance and spontaneity, was opaquely obvious, and indeed necessary. The Bomb Factory Art Foundations Archway building was an old munitions factory, it is poetry that its output is now the polar opposite to its first intention. sound structures is a monthly [or as close to monthly as humanly manageable while juggling life and a young family] space for sonic investigation, collaboratively as a community of musickers working together in improvisational form. It is a labour of love, no funding is received, and no financial contribution is ever asked towards the running of the night. It is the closest feeling to going to church, next to dancing in a dark sweaty club, that I have experienced, a closeness to a higher power, a spiritual connection to others where communication is beyond words. It is a healing, grieving, and transformative space that exhausts and energises in the same instance.

Purim, Brooklyn. 2026. via @neturei.karta

I stand in solidarity with the signatories of ANGA's demands and support their call to exclude Israel from the Venice Biennale. The widening war we are witnessing did not appear overnight. It grows from years of normalising Israel's genocide in Gaza and it's 78 year occupation of Palestine, allowing institutions to treat it as an exception. Culture must not provide cover for genocidal and the brutal imperial aggression being unleashed on Iran and Lebanon. No genocide pavilion. No art washing in our name. @angalliance

16. bill daggs - hold them close from Pornographic-Time, Vol. III: The Horizonless Interface Mastered by Rashad Becker at Clunk Studio Artwork & design by Giovanni Murolo Curation by Laith Demashqieh 🔗 in bio

Next week at The Horse Hospital: Pouya Ehsaei Presents: People of the Wind - Album Launch Happy to announce that Abbas Zahedi & bill daggs will be opening the night Last tickets available now via Dice @thehorsehospital @pouyaehsaei @tamarosborn @tarafteh @akazibrecords @abbzah @billdaggs An epic whirlwind of heavy sub-bass, stormy woodwinds, and uncanny vocals, conjuring ghosts of the old and new, the intimate and the alien, the literary and the chaotic. Fusing post-industrial, dub techno, avant-garde jazz, African drumming, and experimental hip-hop into a dark, captivating sonic experience. A thrilling new collaboration led by the trailblazing Pouya Ehsaei (live electronics/ Ariwo, From the Lips to the Moon, Parasang), the project features the untamable force of Tamar Osborn (Collocutor, Flock, Unknown to Known) on wind instruments, and the kaleidoscopic voice of Tara Fatehi (From the Lips to the moon, Mishandled Archive). “People of the Wind” is dropping soon on Akazib Records — and we’re celebrating its release in style at the legendary Horse Hospital. Inspired by the journey of Zar — possession-trance healing rituals rooted in dance, percussion, and song — People of the Wind draws the listener on a sea voyage, from the shores of East Africa to the haunted coasts of Iran. They weave together experiences of displacement and migration, deep-rooted musical traditions, and futuristic soundscapes. Since the success of his band Ariwo, Pouya Ehsaei has performed with live musicians across genres. His music has been hailed as ‘paralyzing and moving all at once’ [Pitchfork], ‘dreamy, punk and nonconformist’ [Worms], and ‘formidably integrated’ [The Wire].

Tonight at @camdenartcentre , Abbas Zahedi @abbzah & bill daggs @billdaggs open Open [mic] Confessions — the live launch of a new experimental sound installation and a precursor to their forthcoming DBL release Drive Through Confessions, which will be accompanied by a publication on our publishing arm @drownedbypublic A bespoke speaker-stack stands between performer and audience like the screen of a confessional booth, shifting attention away from the visual presence of the performer and making sound the primary medium for connection and release. This evening takes shape as a live open-mic event, with contributions of 5–10 minutes from audience members, whether prepared or improvised. Selected recordings from the night will be considered for inclusion in a future DBL release, extending the dialogue of the project into recorded form. Across the weekend, the installation continues as an open space filled with bill’s sonic textures, offering room for listening, sharing, and collective presence. Free tickets via Camden Art Centre 🔗 in bio

Poets, MCs, Storytellers, Speakers, Singers, this ones you. Join us and share your voices, for the chance of your contribution being selected for a future DBL release. - As a precursor to their forthcoming release on independent record label Drowned by Locals (DBL), Abbas Zahedi & bill daggs present Open [mic] Confessions, a new experimental sound installation opening on Friday night with an evening of open-mic performances hosted by Abbas and bill. The project invites shared voices, grounding sonics, and listening as an act of resistance. At the centre of the installation, a bespoke speaker-stack functions like the screen of a confessional booth, positioned between performer and audience. By shifting focus away from the visual presence of the performer, sound becomes the primary medium for connection and release. On Friday night, Open [mic] Confessions will take the shape of a live open-mic event, with contributions of 5 to 10 minutes from audience members, whether prepared in advance or improvised in the moment. Sign-up will take place on the night, with limited slots available. Scheduled performances will follow after an interval, and selected open-mic contributions will be considered for inclusion in a future DBL release, extending the dialogue of the event into recorded form. Across the weekend, from 2.00 to 5.00 pm, Gallery 3 will continue to be filled with the sonic textures that resonated on Friday night, composed by bill daggs. Powered by Less Is More Sounds, the space becomes a field of sonic and vocal expression, creating a collaborative environment that brings together speaker, listener and place in continuous exchange. Image credits: Abbas Zahedi feat. abbzah, bill daggs & Saint Abdullah, rose & STEMM (E-WERK remix), 4 May 2024, E-WERK Luckenwalde. Presented as part of ‘The Drop Out: Tell them I said No’, Photo by Stefan Korte. bill daggs, MF DOOM, Operation- Doomsday, 2025. Courtesy Bold Tendencies - L - © Dan John Lloyd Drowned By Locals_ From left to right, Shereen, Laith, Omar - Photo by Hamish Trevis @abbzah @drownedbylocals @camdenartcentre

Join us for ‘Open [mic] Confessions’ with Abbas Zahedi & bill daggs, presented in collaboration with Drowned by Locals 🎤 From 12 to 14 September, Zahedi & daggs will present a new experimental sound installation which will be on display in Gallery Three, a precursor to their forthcoming release on independent record label Drowned by Locals. At the centre of the installation, a bespoke speaker-stack functions like the screen of a confessional booth, positioned between performer and audience. On Friday 12 September, the installation will open with an evening of open-mic performances, with contributions of 5 to 10 minutes from audience members, either prepared in advance or improvised in the moment, followed by a performance by Abbas & bill. Sign-up for the open-mic will take place on the night, with limited slots available. Across the weekend, from 2-5.00 pm, Gallery Three will continue to be filled with the sonic textures that resonated on Friday night, composed by bill daggs and powered by a bespoke sound system from Less Is More Sounds. 🔗Book ahead via the link in our bio 📱 Please note that for the comfort and safety of performers and audiences, mobile phones and recording devices are not permitted. We appreciate your support in helping us sustain a considerate and inclusive environment. @drownedbylocals @drownedbypublic @billdaggs @abbzah Image: Abbas Zahedi feat. abbzah, bill daggs & Saint Abdullah, rose & STEMM (E-WERK remix), 4 May 2024, E-WERK Luckenwalde. Presented as part of 'The Drop Out: Tell them I said No’, Photo by Stefan Korte.

‘and still it does’ is the second iteration of ‘something that angers Hell’. I made the later, a response to the absolute horrors of ethnic cleansing and a genocide committed by the Israeli government and its IDF, and released it on bandcamp just over a year ago in the hope of raising money for grassroots organisations working on the ground with displaced children and families in Gaza. ‘and still it does’ has been included as part of a compilation of music, 'The Nightmare Continues', by a group of progressive thinking artists and musicians, conceived and collected by @industrialcoast , in order to raise urgent funds for THE SAMEER PROJECT, working with displaced families in Gaza. I can't believe we're still here, trying to raise money for those who need it the most, while our government sits complicit in the arming and exercising of a genocide, while lining its pockets with blood money from war criminals. Please, buy this compilation if you have the funds to do so. Link via @industrialcoast