The phenomenon known as PAGEVAMPIRE consists of three handwritten sketches, initially composed for Alkis Nicolaides:

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The phenomenon known as PAGEVAMPIRE is written for two electric guitars: one in a normal, upright position, and one laid out on a table in front of the performer. The guitar on the table is tuned a quarter-tone down from the guitar in upright position.

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The phenomenon known as PAGEVAMPIRE seeks to bring the experience of watching online cryptic videos - particularly those from unfiction projects or analog-horror media - into a contemporary music context.

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The phenomenon PAGEVAMPIRE is defined as one of the following*, depending on the context:

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PAGEVAMPIRE: hushed tones and glistening lights of a city you’ll never feel part of.

PAGEVAMPIRE: the sensory deprivation, the cosmic nothing that lies between fitting in and isolation.

PAGEVAMPIRE: a pitch so high in frequency, so obscured by memory, that it’s almost like it’s with you, comforting.

PAGEVAMPIRE: i am afraid i am not in the office right now because of a chord i can never forget.

PAGEVAMPIRE: somewhere on a long, sequestered drive from your copenhagen apartment to here.

PAGEVAMPIRE: “white ferrari” by frank ocean, on repeat, nightly, for three weeks straight.

PAGEVAMPIRE: the expectation that one must move on when every face on every dimly lit london street corner of every performance piece reminds me of you.

PAGEVAMPIRE: this house explores loneliness as ephemera.

 

*tomorrow, a plane crashes. the next day, a mind sinks into a void. today, we see for what it really is.