Official 6Bit

Johan Ess played guitar for every Portland 6Bit show (first as a guest, then as a member of 6Bit, for what it's worth) and was kind enough to add some pretty damn amazing finishing touches to a few new songs, which included synths, guitars, and badass effects, plus additional mixing and mastering work. My favorite part is that they managed to make my clean and growling vocals sound like two different people. I dig it so much, and I was already proud of the song before Ess made it magical, so I hope that you dig it, too. Johan Ess: guitar, synth, effects, production, engineering, mixing Ramon Mills: additional engineering Nails of 6Bit: vocals, sequencing, sampling, engineering, mixing, production Vocals recorded / engineered by Ramon Mills / Production Unit Xero of Heterodox Records, who was also kind enough to do an awesome job of it. Written by Nails of 6Bit

From the ancient 6Bit album, 'Golgothan Blues', originally released in 2003.

Recorded in 2007 with freestyle vocals by Tat-2 and Skittles, local rappers in Abbeville, Louisiana, where Oregon's own 6Bit got it's start. Skittles didn't even know that they were gonna be on a song, so he let loose with everything you hear him say. Tat-2 always knew what was up, though. It's been released DIY a few times through releases such as 6Bit's 'Remains' mixtape, and now it's back. You can also hear Tat-2 namechecking 6Bit and myself, Nails, more than once in the song, as he often did at the mic. I think you can also hear me say "Man!" at the very end. Tat-2 and Skittles: vocals Nails of 6Bit: sampling, sequencing, mixing, engineering, production

6Bit - Hungry Ghost (Instrumental) by Official 6Bit

"This just has to be real."

6Bit - The Orchid Blooms Again by Official 6Bit

A brief story about "Right To Exist" by 6Bit Written after I had walked around Portland, Oregon, enough times to know what absolute fucking despair and hopelessness looked like. All I had to do was make eye contact with the people living on the sidewalks, people who didn't get a lot of eye contact anymore, or much of anything else. I gave them my money every time I had any and they needed it, even gave away a bunch of hats, scarves, and at least one hoodie, but it didn't make me feel any better. It didn't fix shit for anybody. I didn't know what else to do. I didn't grow up around this. The few homeless in my hometown stayed out of sight, and most people had no idea they existed. I had been homeless for a couple months after Hurricane Rita, but I was never houseless for one second because I had friends and family with beds and couches, primarily my beloved late grandparents. In Portland, I had nowhere to house anyone, and no advice or comfort to offer, so I made this song instead and based my live performances around its theme, dressing in tattered clothes, covered in a blanket (same one as the dancer in the song's pic), panhandling in the venue, then sneaking off to make a big and creepy entrance during the live intro. I had intended to shoot a gritty music video with some scrappy friends and local unhoused people, but, at some point, I started losing my own home. After moving around for a couple years, my spouse and I found ourselves completely homeless during COVID lockdown. After bouncing around from paid campsites to friends' apartments to motel rooms here and there, someone bought us a tiny car, and that is where we lived until April of 2024. To say the least, I didn't shoot the video or promote the song, but Johan Ess, who was involved with 6Bit before the pandemic and played guitar at every show, took this and other songs under their wing and breathed new life into them. Now that I've been housed for more than a year, it's time to get this and many other songs out and into the public. I still hope to do some good with this song, though, and will still be making a video for it when I can. If someone who went through the same thing hears it and feels a little better, that's more than enough. Other people's music kept me alive for those years. If someone who can related happens to hear the song and read these words, please let me know. "There has to be a right to exist." Butoh dancer in photograph: Hank Logan, taken from 6Bit's live performance at The Crimson Lotus Bar, St. Johns / Portland (long since closed). I will credit the photographer as soon as I find her name. Johan Ess: guitars, effects, mixing, production, engineering Nails of 6Bit: vocals, bass guitar, synths, beat sequencers, sampling, production, engineering, mixing Ramon Mills: additional engineering

A song created after the material featured on 'Bits and Pieces', or maybe around the time of "Crucifixion Experiment". It's good to write things down, kids.

Remix of "The Brightness" (originally from 'Golgothan Blues' by 6Bit). From 'Bits and Pieces' EP, 2013.

Nails: vocals, programming, sampling. From 'Bits and Pieces' EP, 2013. Originally performed by Ministry. Not intended to infringe upon their rights, or to piss them off in any way.

Watch the video: https://youtu.be/q-XY3ZCd93c One of the only 6Bit tracks in existence which doesn't involve Nails. Recorded as an audition of sorts, but taken on as an official track in the pre-Golgothan Blues era. Recorded around 1999. Beau "Strider" Steward: synth and programming.

Nails: vocals, guitar, bass, programming, sampling; everything but the lyrics. Not intended to infringe upon things.

Nails: Guitar, bass, programming, sampling. Instrumental single from around 2004.

Recorded for Hatred Hurt Itself's 'Thinker' bonus disc, which was so limited that the bands on the disc were practically the only ones to receive one. This song features the most members of 6Bit on one track that was ever recorded, since things were always recorded piecemeal and not always featuring everyone in the band at that time. Bryan "Gimp" Aucoin: treated rhythm guitar Ryan Jamison Landry: lead guitar Chris Broussard: rhythm guitar Sammy "The Ghost" Vincent: bass guitar Nails of 6Bit: vocals, rhythm guitar, sampling, sequencing, mixing, engineering, production Arranged by Nails of 6Bit Lyrics and original version written by Tristan May