#something something this can totally be morphed into a more toxic dynamic

[triglycercule]

horror has KR dust can't be affected by KR unless it's by another version of himself. horror's (somehow) still a judge dust wants repentance for his wrongdoings,,,, someone must see where i'm going with this

i just wanna imagine like if dust ever feels like he's doing something wrong (like having thoughts about gaining LV again or something,,,,) he'll just ask horror to give him like. a quick little punch. hit him with a bone fragment because he needs to feel his sins crawling on his back from a true judge,,,,

and then horror's more than happy to do it 😁😁😁 he winds that shit up before he bitch slaps dust :33 oh you need to be judged DONT WORRY DUST horror is a totally impartial judge that totally won't find your situation both ridiculous and entertaining 😁😁

[onisiondrama]

(Note: I’m not repeating stories he’s told before and just putting them in parenthesis. I have a lot more videos to go until I’m caught up so that would save me a lot of time. If he gives details I never heard from him before, I will type those.)

“Should I Get A Divorce?” Speaks,  Oct 6, 2020

- This video is weird. He’s trying to make himself seem smart and insightful about marriage because his marriage is “successful”, while most people complain about their marriage. - There’s one part where he says people don’t understand you don’t have to be lied to or cheated on in a relationship. Which is pretty ironic coming from him. He shows a clip of an upset wife asking her husband what he’s doing with a woman in a bedroom. The husband and the woman are getting dressed. The husband keeps asking “Who?” “What?”, pretending the woman isn’t there. Later he shows more of the clip where the wife is still questing him. He keeps pretending he doesn’t know what she’s talking about. She looks in the bedroom again and the woman is gone. The wife looks confused. Love that gaslighting. Just like when Jamsey boi cheats. “I didn’t cheat. It was the other person who cheated on you, my spouse” “You said I can’t have oral or vaginal sex with your friend. You didn’t say anything about anal.” - In another part he says there are people who constantly complain about their s/o and they hide away in a man cave.. he says this while in his garage man cave. 😑 Which we know he spends most of his time in. Like, way longer than normal working hours.  - He says he used to look angry in his old Speaks videos because of his marriage at the time. That’s total crap. He only shows clips from videos where he used his old militant persona for videos like his anti-meat videos. He made plenty of mushy Speaks videos talking about how happy he was with Skye back then too. 🙄 - I think he made this video during his short guru / advise phase.

“gotta say goodbye for a little bit” Speaks, October 8, 2020

- Tells his viewers they can listen to this video without watching it if they like to listen to people talk, like Kai used to do. [This is definitely meant to be another guru / advise type video. I can tell by his tone.] - Says he’s married to Kai for almost 8 years. (How Kai found James story) Says he married a fan and had children with them. He says they now have an awesome dynamic, but he knocks on wood because people who are together 18 years still get divorces. Says you never know, things can suddenly fall apart. - Says it’s cool because at the time he didn’t listen to social standards. Kai was 17 at the time, but lied about his age. Most people would have said don’t go for the relationship because Kai lied and the age gap, even though it was legal. He listened to the law and his heart and now he’s in the happiest marriage of his life. - “F society.” If he listened to society, he wouldn’t know where he’d be or what relationship he’d be in. Says you have to follow the legal system or your life is ruined. - Says he was an air force cop at one point because he believed in justice. He doesn’t think he wanted to shoot people, but he excelled in the cop program. He says he met Magic Johnson in the cafeteria at Lackland Air Force Base. He barely knew who Magic Johnson was, but he thought it was cool a famous basketball player was there. James asked him if he could take a picture and he said yes. He says he took a picture of him like a reporter and not a selfie. He still regrets that. - Says he wants to talk about the future of this channel. Some people appreciate he’s been uploading every day, but he wants to focus on sites that aren’t shadow banning people or algorithmically demoting people. He feels like Youtube is king in letting negative opinions prevail, even if it’s invalid. If the engagement shows people are mad at you, Youtube used to go the harsh truth route. He says that was nice. He says he once made a fake meltdown video in response to a video Leafy made about him. He says it’s fun for him to make fake meltdowns. - He says he and Kai took a quiz today and found out Kai’s IQ is 136 and his is 129, so Kai is smarter than him. - After the meltdown videos, Youtube algorithm didn’t favor him as much. He says maybe it was because he said they were fake. - He says he has been thinking about websites and how they treat users. Says Twitter is one the best because they don’t care about what your opinion is. They just care about their rules. Says if people don’t like you on other sites, they will shadow-ban you and you’re done for. He says his reaction video to Leafy’s video got 1/6th the views Leafy did, so there was a bleed over of traffic. Now when someone says something negative about you, YouTube will only promote videos that agree with that narrative. Says if you only want to hear negative stuff about Joe Biden, you’ll only see negative stuff. He says it’s financially productive, but it’s not ethically productive.

[I just want to pause here and vent a second. Yes, James fell out of the YouTube algorithm, but he’s had plenty of chances to sweep back into it. Like when he was getting tons of views on those fake meltdown videos in January. The reason those viewers didn’t stay is because there is nothing good for them to watch. His Speaks videos are boring, long, rambling messes. He repeats himself, contradicts himself, talks about the same topics over and over. These videos are mind-numbingly boring. His comedy videos are extremely outdated. The characters, topics, and humor he uses are not going to get him anywhere anymore. Like is the Death Note fandom really that strong in 2020? That anime came out 14 years ago for Christ sake. His music is not particularly good or interesting. On top of all this, his reputation is complete garbage.

People just don’t want to watch Onision. If the algorithm tried promoting his Speaks videos, I guarantee most people are actively choosing not to click on his videos. The non-subscribers that do click probably regret it. He’s made ZERO effort into making interesting or engaging content. He’s ONLY been making Speaks content that either fuels his ego or defends himself using the same old arguments he’s used 100+ times before. He’s got to be in some kind of deep denial if he thinks his Youtube views are down because of the algorithm. 

There used to be a saying that whenever Onision’s fans grow out of him, there will always be a crop of young teens that start watching him. That’s not happening anymore. It’s not cool for the alt / loner kids to watch edgy Youtube videos anymore.]

- Says people only want to hear things they agree with, people want to take what he says out of context, blah, blah. I’m only 1/4th of the way through this damn video. - He asks why he’s busting his butt when there’s no chance for him to prevail on Youtube or anywhere. He says he’s on TikTok, OnlyFans, Twitch. [This video was from before his partnership was taken away on Twitch.] He says those are slightly less problematic because they are driven by human beings and not drama. - He says when you see him posting less to Youtube in the future, you’ll understand why. He says he wants to wait you guys out, 2 years, 20 years. (He tried to call out Shane story.) He says he had to wait a year or two until people admitted he was right about Shane. He says he has conflicting feeling about Shane because they had a personal friendship. Says Shane told him they were friends. - He says you guys seem to drive your narrative and agendas by emotion rather than science and facts. He can’t reason with them unless he picked a greater evil and wages war on that. You would have to join forces with him because the enemy of my enemy is my friend. He says he wouldn’t do that because he’s not interested in being a professional wrestler and making fake drama. - In time you will feel passionately about other things. You don’t actually care about anyone involved because none of you are consuming yourself with anything that is not pop culture. You’re only interested in things other people are pretending to care about. None of you would care if someone found three bodies in a basement. If they were not celebrities you wouldn’t care. You only want justice for things that will get you attention. - If someone builds their whole platform about anti-person they might get bored and become anti-you. That’s why you don’t want to be friends with dramatic people. - He says he was dramatic about things, but that’s because he did care about those things. He wasn’t talking about 3 bodies in the basement either. - Says a long time ago when a celebrity died, he pointed out 30 people were murdered and washed ashore in another country. No one was talking about it because they probably didn’t hear about it. Nobody actually cares about human lives. If you did, every second that a human dies you’d be tweeting about it. - (Sarah blackmail story.) He says in a number of words Sarah said she wouldn’t ruin his life if she slept with him, then went back on it. [Wow. He really morphed his original story. It used to be: One time she jokingly said she could ruin our lives. Later we wanted her to sign an NDA and she said only if she gets something out of it, meaning sex. James said it was “good vibes” that day and he perceived that as her being kinky. She also said it was just a joke in the “proof” clip he always uses. They signed the NDA, then James pressured / tricked Kai into having sex with himself and Sarah. Then Sarah later came back and he decided they should have anal while Kai was out of town because Kai didn’t say no genital to butt. He only said no genital to genital and no genital to mouth before he left.] He says he decided to no longer sleep with Sarah because it was toxic and he decided he would rather be ruined than be with Sarah. [I have a theory he stopped sleeping with Sarah because he was afraid of Kai finding out. If he was truly afraid of Sarah ruining his life, why did he make those videos about weed smokers and BPD that would piss her off? She didn’t speak about their relationship publicly until he started bashing her through those videos.] Says Sarah went ahead and ruined his life and you fell for it. - He keeps mentioning Joe Rogan. - He says others have said he built an empire, uploaded thousands of videos. He gave so much of his life entertaining people and making them laugh. It was so important to him. He changed a lot of lives for the better. Says if you look on Twitter before the drama, you’ll see a lot of people thanking him. Says he was a positive influence to millions of people. That’s a fact. It all came crumbling down because people lied. They’re all criminals he kicked out of his life. He tries to play hero and he was only right with Kai. Kai wasn’t playing victim, he was on his way to college to be a surgeon. Once he was in the process of having kids, he lost the taste to be in a surgery room. Instead he got a bachelor’s in psychology. Kai’s diagnosis of James is aspects of narcissism, but says he doesn’t meet the qualifications to be a full blown narcissist. - He is investing a lot of time in people who don’t listen and don’t appreciate his content. Social media is a drug that tries to take up as much of your time as possible to make advertisers money. He doesn't create content that lies to you or brainwashing you into thinking your opinion is valid. He doesn’t pander to you to make money. Says when he says he’s one of the most honest people on Youtube, the bar is low. OnisionSpeaks is snake poison because snakes don’t survive on this channel. They aren’t going to have a voice that isn’t questioned. Most snakes on Youtube don’t even know how to activate charities on their channels. - Says he had a conversation with Kai about someone who said they vote for the economy over people. Humans are divided between helping their neighbor and helping themselves. - Says he was never taken to court because he never did anything. He’s still posting to places that he thinks is beneficial to himself and his family. Why would he stop because people have a bad idea of him? You shouldn’t alter your life just because people have an opinion of you. If you quit it makes you look guilty. If you quit you’re either guilty or incapable of dealing with it. He says he’s used to dealing with abuse since he began social media. - He wants to create content and help people and make them laugh. He wants to be socially capable and experienced. His ambitions are aligned with what he’s doing. - He says he can’t forgive his father if what people say about him is true. Everyone else he can forgive. If you are at odds with him, he doesn’t have any hate for you. He understands people can hear the wrong narrative and make mistakes. Says we are both imperfect people and have gone through different things. Says if we went through the same experiences, we’d think the same. Says we aren’t so different.  - Says he’s going away and he hopes you watch all his videos so you’ll know a little bit about who he is instead of listening to what Youtube manipulates you into watching. Says his advise is to quit social media. He wouldn’t quit because he’s passionate about it.

[stratamuzak]

Interview with Voltagehawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It’s great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brand were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher’s home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the  seemingly ironic brutal beat down of toxic masculinity. That band is great if you’re happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON The entire thing is one process. Like a heros journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don’t feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can’t see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it. 

CHASE AROCHA This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was descending into some serious personal shit with alcohol. It was bad, I couldn’t get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn’t want to die, I just didn’t know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what’s best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally  different than what you are creating now?

CHASE AROCHA There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON That’s all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that,  you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don’t do that shit, we’re us, that’s it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your minds eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We’re trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero’s journey. I’ll leave you with this. Know Thyself.

[kissofcashmere]

My Elite Little Club - It’s Invite Only

Ended up rhyming like Eminem

The world has now turned into a dystopian nightmare, everyone’s insensitive, we have all become so shallow and unapologetically lusty that we are constantly objectifying and commoditising each other, morphing ourselves in order to fit a particular image which is not only “desirable” but also respected more than a well dressed girl, we now have several people who look & behave the same inside out thanks to numerous surgeries and scathing skin procedures, we bother more about being “politically correct” than right, we are constantly emphasising on superficial attributes, selling out babies and kids on internet, ignoring science or common sense, no age gap between two pregnancies cuz the elder one isn’t “cute” anymore to please your online audience, no sensitivity, no real emotions or feelings, people are rampantly getting married and pregnant out of competition, *hilariously* cringy squats have now replaced good diet and physical fitness, in short the world has gone insane. But then I realised I have created a small world of my own… when I went back to my iPhone’s photo section, I saw beautiful colour schemes, interiors, clippings, cutouts and lots of fashion related stuff and I realised how toxic social media can be especially with celebrities/media people around, it can violate our minds even subconsciously. I love my room and all the interiors which take me back in time and my wardrobe, my own stuff which might not be designer (I do have my old designer things) but honestly it’s way better alhamdullilah than what they have… they don’t have all this fancy stuff and I do appreciate that 😇 I really hope I get to use everything one day considering how sick and suic*dal I am, I keep losing hope (and heart). I love my world of Nostalgia & Aesthetics - where the true definition not only means beauty or outer-physical appeal but also (the term Aesthetic belongs to a broader spectrum) for me, it means something Artistic, Beauty with an edge, the lost charm of yesteryears or something quaint & memorable, poetic & romantic, sophisticated or chic, it includes different colour palettes mostly monotones where we again use classic shades such as Beiges, Taupes, Neutrals and deeper hues like Black & Grey or sober pastels from the 90s. It sometimes refers to minimalism but it can also highlight statement pieces, be it in fashion or art, jewelry or even interiors. For me it has become a way of life, an utmost appreciation for all the little things which bring a smile on your face, it’s like a totally different realm which is not only nostalgic but also timeless. And although it tends to get slightly restrictive when it comes to blogging, I do feel it gives me complete freedom to incorporate whatever I want including fragments of my past & old outworn memories into something creative and visibly enthralling, I don’t like sticking to any particular theme or concept but you eventually end up with that… considering the dynamism in my taste I feel I might be more inclusive than most other people and I can show more versatility in whatever I share here www.instagram.com/vanillacashme.re & kissofcashmere.tumblr.com (username wasn’t available) for now you can browse my journal on Tumblr: @thesecretattic and someday I’ll get back to my first love - Fashion, also art and interiors (I’ll be covering that as well)

Xoxo 𝒞𝒵. Zara Sauleh

[bnrobertson1]

No Hooch, Year Two: On Moby Dick and Meditation

To mark a second year of not drinking, I wanted to do something more substantial than last year’s Se7en-style “celebration” of engorging half a cake, so I decided to read Moby Dick. I’d never read Melville’s meditation on, well, everything*, but a confluence of Wiki-wormholes, a pandemic-limited social calendar, and a lifelong promise to myself to actually, you know, read it (as opposed to referencing it as though I had whilst defogging my monocle) merged at just the right time to propel me through the tome’s intimidating heft.

*It’d be pedantic horseshit to call it my new favorite book, but it’s The Greatest Novel I’ve Ever Read. I recommend it for its existence-sized ambition alone, although if you write things you will feel a little insignificant afterwards.

You know the story: fish eats man’s leg. Man, upset about the whole leg thing, pursues revenge at all costs. Between pages of the most Metal shit* ever put to page (articulated with Shakespearean grandeur, no less) a story of obsession is painted that is as powerful now as it was 170 years ago.

*Metal Gods Mastodon’s album Leviathan is an ode to the book, and does not exaggerate the intensity whatsoever

I’ll can it about Moby Dick- but for the purposes of this, one of the novel’s main themes is a suitable launch pad. Specifically, that of the seductive, destructive power of self-delusion. Drinking, for some- for me- fueled self-delusion like no other. Sure, the self-delusions at first were usually of the more harmless, if not exactly positive, variety- feelings that I was stronger/ more handsome/ more charming/ smarter/ funnier than I might actually be- in other words a confidence boost of debatable need. Alas, as has happened to far better than me, the self-delusions eventually began to take on a more negative tone, and that- eventually- is why I decided to take a break.

But self-delusions don’t just stop when the drinking does. Oh, they fester, alright, and morph into toxic self-trickeries. Delusions that relationships won’t significantly change*. Delusions that the fact you don’t constantly talk won’t come across to some as a sort of new holier-than-thou attitude. Delusions that others care about your own well-being as much as you should. Delusions that warp themselves into useless mental narratives that in retrospect feel more at home in a bad sitcom than real life. They eat at your mind like termites, chewing through ladders of progress like driftwood. 

*As someone who responded to others abstaining from alcohol with cynical, if sarcastic, grumblings along the lines of “I don’t trust people who don’t drink,” I really understand both sides. The funny (and perhaps hypocritical) thing is I still kind of don’t.

I decided to place the blame for all my woes at booze’s tasty, awesome feet, thinking like (sorry, one more MD ref) Ahab that if I slayed my White Whale, all would be solved. I’d convinced myself that the only thing keeping me from bliss was just that one hurdle- perma-happiness merely required snatching the fermented fly from my ointment. I had convinced myself that my many, many flaws would evaporate like the corn squeezins from my skin and other organs and that the world would regain some lost, heavenly harmony once I put the bottle down.

Of course, this turned out to be utterly false. My the relief of my newfound quasi-clarity proved to be almost narcotic in its power, constructing a pride that blinded me to my own complexities. In fact, alcohol had helped me a lot more in life than I wanted to give it credit for- it made my quirks less rigid and my tolerance for pretty much everything far, far higher. To call it a mere “social lubricant” seems to minimize its profound (albeit ranging) effect on my personality. 

Alcohol filled a void in my life that I just assumed would be replaced with light and good tidings once I stopped. And while other substances, concerts, Stereolab vinyl, the first three books of Knausgaard’s My Struggle, and sunrise exercise did do a bang-em-up job filling that emptiness at a slightly-higher-minded level, in truth a lot of the hurt I was trying to avoid by not drinking was more than happy to wait and sharpen its knives while I fooled myself into thinking I’d figured it all out. Anxiety- while not nearly as bad as it was in my hungover/drinking days- would still spread and pop in my veins at the mere scent of confrontation or reckoning, like an oil site aching for a cracked pipe. Even though I was doing good things for my physical and mental health, I wasn’t really grappling with some of the things that drove me to alcohol in the first place. But that’s a topic more appropriately discussed with a certain person I pay a (non-prostitute) hourly rate every other week. 

Hungry for a reprieve from the slings and arrows of outrageous fortune, I found myself doing deep dives into literature and music that would heighten some of my experiences with some of the aforementioned substances. Another self-deception? Sure, but in concert with a slightly clearer head, this one actually produced something positive when it led me to stumble upon Jamie Wheal and Steven Kotler’s life-altering Stealing Fire. A book about elevated planes of consciousness, “flow” states, and how they can vastly improve lives, the book- as well as David Lynch’s Catching the Big Fish- coincided with an intellectual superior’s suggestion to get me to try- of all things- meditation. 

I freely admit this was not easy for me to do, as I have found “earthy” folk to be some of the most obnoxious on the planet for most of my life. But my desperation for some sort of lasting change led me to get over my stereotypical assumptions about the cliche meditator (and the fear of being associated with their soft-spoken, vowel-loving kind) and give the meditation app Calm a go. I felt results immediately, even in a period where outside forces seemed to be conspiring to obliterate my ego. Long story short*, taking time for mindfulness provided refuge in a real motherfucker of a year, and would eventually lead to a daily Transcendental Meditation practice and a peace of mind I hadn’t ever encountered and for which I will be eternally grateful.

*Yes, this is the abridged version.   

Meditation taught me humility, appreciation, and clarity by slowing down my relentless thoughts- something I once thought an asset- and gave me the new lens of equanimity through which to see the world. The humility* to realize I wasn’t the “most” or ‘best” anything in the world, nor would I ever be, but I wasn’t the “least” or “worst”* either**. I began to appreciate kindness as a form of a most pure, dynamic courage, not the bi-product of some bland weakness. Finally, a heightened concentration gave me the clarity to see a lot of those self-delusions for what they were, well-intentioned self-defense mechanisms that’d gotten warped and lost their way. Being exposed for what they were, they just kind of went away. The culmination of these teachings gave me the foreign feeling that while I still have a lot- like a stupid amount- of work to do, I actually kind of like myself.

*Another excellent teacher of humility has been picking up my mom’s dog’s shit every morning for the last few months. Few things will make you reflect like a dog making direct eye contact with you as she, as my mom puts it, “does her business.”

**Sure, I knew these things at a lip service level but to actually realize them was due to meditation.

But it’s not all good. Some relationships got stronger- others rusted- others crumbled. Some of my flaws that had been dulled by alcohol or good ol’ fashioned neurosis grew pointy again.  All of this probably would have happened had I been drinking, albeit in more dramatic fashions. Life- at times- seemed insistent that I pick up the bottle to smooth some rough patches both personal and universal. 

I didn’t not drink because I was strong, or disciplined. But- for the first time in a long time- the sheer terror of total relapse wasn’t the cause for my not drinking either. I abstain because I’ve got enough shit to sift through and frankly I’ve come to kind of like my edges, plus I find just thinking about being hungover to be exhausting. 

(That said, I promise if I pick up the bottle between now and the next of these over-shares, I will exhaustively report back, much like I think people who post outrageous amounts of wedding photos on social media should be legally obligated to also post subsequent divorce papers.)

I’ve started to see my faults as something to be worked on, not a damnation- or something to be blindly defended, for that matter. Meditation has taught me that change isn’t just possible- it’s constant whether you want it to be or not. I miss a lot of who I was, but I certainly don’t miss the way I felt, and embracing the now only sharpens that appreciation. There has been pain and will be bad days, but the alternative simply doesn’t appeal to me anymore. I don’t laugh as much but I smile a lot more.

I’ll close with what you may have been thinking- why write this? The first reason should be self-evident: to get some hot, hot ass.* But for realsies, I share this because writing helps me give what I referred to last year as “the abyss” some semblance of shape. What was once the void is just now a really big, fucking mountain of labyrinthine design. And while not feeling understood has always been an issue of mine, so I genuinely appreciate it if you made it this far, its really the posting itself that’s the point. Secondly, I find the stigmatization of those with mental health issues, while much improved in recent years, to be one of the biggest plagues on modern society. Although I don’t live anything resembling a sweet life, I feel being brutally honest is at least my way of trying to combat that. Thirdly, I wanted to impress you with the fact I read Herman Melville’s 1851 classic Moby Dick**. Now, if you’ll excuse me the 2/5 of cake I’m staring at isn’t going to eat itself...

*Every blog’s raison d’etre 

** Great book!

[weareequaliser]

Siren’s Sybil talks music, dancefloors & behind the decks

Ahead of our winter party on the 8th December, we chat to Siren member, DJ & producer Sybil…

What does dance music mean to you?

Everything! No, but really, for some reason I’ve been possessed with an obsession for this music which means I could happily listen to it 24 hours a day without getting bored. I’m always looking for new music, and actually decided to pursue doing something in music when I told a friend I’d been YouTube digging for about 5 hours without moving, and he said “You know, you should really consider doing something with this passion, if it’s something you love doing so much.” And he was right! So I guess I’m riding this music train until it dumps me and I am no longer interested in it.

How do you feel gender plays into DJing? do you think it’s important for non cis-men to be visible in the music scene?

I don’t feel like gender affects my DJing much as I’m just a human or lil’ alien playing music that I like. I came to want to DJ through being obsessed with going out and dancing and listening to music. Dancer first, DJ second. I guess there is something that feels ‘feminine’ about dancing to me. So for me, dancing whilst I DJ or listen to dance music feels like embracing some kind of femme force through movement, but that’s not even much to do with being a woman, but more just enjoying feeling femme. Otherwise, I wouldn’t say gender affects my djing at all really. What is frustrating is if I am discriminated against because of my gender in spite of my djing. E.g. People judging me based on my gender. Like when Lauren (re:ni) and I were playing some techno and some guy leans over the decks to say “Why are NICE girls like you playing DARK music like THIS?!?” There’s still a lot of sexism in the scene, and in patriarchal society women and non-binary people must be twice as good as men at something before they are given half as much respect, as that old saying goes.

I think it is very important for non cis-men to be visible in music. We should prove that there’s no need for sexism or any other kind of discrimination based on someone’s identity when it comes to DJs, the more non cis-men the better. Everyone has music to share with people and move dance floors, there’s never too many DJs. When I started going out most of the DJs were alllll dudes, so it was hard to ever see myself as a DJ and for so long I just didn’t think it was something I could do. So it’s very important for inspiring more non-dudes out there that they can do this too if they want. It’s been so so great to see so many more non-cis men behind the decks in the last few years, now I feel like most of my favourite DJs are all women and non-binary people.

Where do you feel your music production and tastes are headed? What has your musical journey been so far?

My tastes are probably headed in a rogue direction, I am always looking for new sounds, and it’s cool to be able to observe my own tastes morphing. I’m currently really into 145-155 BPM techno and other fast dance music experiments, strange alien sounding things. It’s fun. My musical journey has basically been a continuous search for new music and new sounds. I started off as an obsessive indie kid at school going to gigs every week, but quickly started getting into electronic music first via bro-step ‘dubstep’ like Nero, Flux Pavillion and Doctor P, then Four Tet and Nicolas Jaar. It’s been a rather stereotypical journey through every shade of dance music since then, and I’m nowhere near done yet. More weird musical creations, please!

What is one tune you can’t get out of your head, why is this?

I adoreeee emotional 90’s IDM, this track is my new fav - Vespers - I feel like it’s saying “I see you, you are not alone, everyone is alone, none of this matters, one day you’ll be where you really belong.” It’s like it’s accepted confusion for now with the promise of resolution in the future. That’s what I see in it anyways, it resonates with me on that level.

What is the most important part of djing to you? Is it all about selections, technical ability or is it more than that?

It is about emotions for me. I feel music very emotionally and very visually. I have a kind of synaesthetic thing where I feel music in colours and ‘auras’. When I’m djing I’m mixing tracks together based on how I ‘see’ them to be related. I try to build up swells of energy and then pools of release. My djing style is based on what I would want to hear on a dancefloor, and I’m always trying to keep people moving and keep people feeling. That’s not to imply my music is soppy, it can be every shade of feeling: frustration, introspective apathy, mourning, longing, hoping etc. Obviously, track selection and technical ability are important, but for me, those are just the tools by which I can paint colours with sound and move people.

What excites you about being part of SIREN and why do you feel groups like SIREN are important? What is one thing that Siren has done that you’re most proud of?

These days I am just so so grateful for the amazing friendships I have formed with everyone in SIREN. It’s thanks to this crazy ride we’ve all been on together that I have formed close friendships with other people who are interested in music as much as I am. It’s so important to form groups and communities with people like you who like this stuff too. I feel like by working in a group, you can achieve so much more than if you’re on your own. I think the thing I’m most proud of is seeing people blossom who we have supported from the beginning. It’s so fulfilling to see people getting opportunities and being able to share their talent with the world. There are a few people who we gave their first gig, object blue, SPFDJ, Ifeoluwa, who now have burgeoning careers in music. That isn’t to say that’s because of us, no, not at all, but it’s so wonderful to see them getting the recognition we feel they deserve, and maybe the opportunity we gave them came at just the right time, and now they have more opportunities. We try to use the opportunities we have to help others where we can. Such as by having a guest on NTS each month, it’s a platform we can provide to artists we believe in. I hope people feel we have left a positive impact on the scene, all I could really hope for is that we’ve helped even one person.

You recently interviewed and wrote about Eris Drew who has a really interesting perspective on spiritualism and raving, do you hold any similar philosophies?

Talking to Eris for three hours certainly strengthened my pre-existing spiritual views. I relate a lot to what she is saying. When djing, I definitely am thinking about moving people in a way that is more than just ‘here is a track I like’. Music is this inexplicable force which I still can’t wrap my head around. I find it truly amazing that I can listen to music and so quickly be immersed in a vision or feeling, something so specifically strange. Eris’ philosophy gave me a lot of clarity on these intuitions. I think music is the universe speaking to us somehow and is a way to access planes of mind that are otherwise hard to reach day to day. If I can take people to those kinds of imaginary worlds while I DJ, then I’ll be very satisfied with that. When I’m out listening to music, I live for those moments where you and a friend are dancing together, and suddenly something happens in the music, and you have this shared experience, and somehow this music is affecting everyone in the same way, and you have all these feelings and it’s just unexplainable why that is. That’s the magic I’m looking to create when I DJ. I certainly don’t hit that mark every time, and it’s rare that all the factors lineup to create moments like that. But that’s the ultimate goal.

Do you mainly use turntables? How do you feel about USBs vs Turntable conversations?

So I learnt how to DJ only on vinyl, and didn’t feel comfortable using CDJs for a long time. But as I got used to CDJs more and more, that’s now the dominant way I DJ when I’m playing out, bringing along just a few special records. When I started djing more regularly, I realised the advantages of using CDJs and playing digital tracks are huge from an organisational perspective. I have playlists upon playlists, and I can be pulling together and downloading tracks for sets I have coming up as and when I have free time on my laptop. It’s so much more affordable too. I love my records, I love playing them, I love having music on vinyl, but realistically I go through music so fast and can’t financially justify buying tracks on vinyl I’ll quickly get bored of. I have shelves and shelves of records I’ll just never play now. These days I’ll buy something on vinyl if I really love it and want to keep it forever, or if I can’t get it digitally. Also since reading about the really bad environmental impact of vinyl (it’s totally indestructible and made of super toxic material), I made a pact with myself not to buy any more new records. So I only buy second-hand records, and the handful of new records I have bought have been by friends or on friends’ labels to support them. I’ve also grown to absolutely love hot cues and the loop functionality of CDJs, they add so much dynamism to my djing which I just can’t get on vinyl. But I mean the format is just the format, everyone should just DJ on whatever format works for them, it’s great there are so many options, but it’s about the music at the end of the day, not what you play it off.

How did you get into djing? What was your first introduction to dance music?

My first “DJ set” was for a charity night at university and I played off Virtual DJ on my laptop, this was just because I liked music and somehow ended up volunteering last minute to do it, but I wouldn’t really count it as I hadn’t ever DJ’d before that. I took up djing properly when I graduated from University and bought my turntables. I was living back at home and just practising constantly. I got introduced to dance music when I started going out at Uni, though had been listening to bad ‘dubstep’ at school, but not sure that counts.

Do you feel music is inherently political or has the ability to be? Does it provide you with any solace or liberation?

Dance music is inherently political yes. It’s very privileged to even consider that it wouldn’t be political… Dance music was formed in marginalised communities, and this must not be erased or forgotten. It is empowering to see groups formed of non-cis-men reclaiming dance music and taking up space in the scene. Music is such a powerful creator of communities, and so so important as an axis through which marginalised groups can come together and feel free of the oppression of the world for a night. It’s also a wonderful tool through which people can express their identities, something Eris spoke about with me very articulately. Sadly the structures of oppression which affect marginalised groups day to day play out in dance music as well. As a very privileged person in so many ways, I try to be conscious of this and do what I can to counter this in dance music spaces.

Music definitely provides me with both solace and liberation. Solace from the insanity of the world. Liberation from my own mental limitations. I can be feeling apathetic or confused and music will take me away from that to somewhere else. Sometimes I wish I could just vanish and exist within some kind of musical consciousness space forever. I ultimately feel that that feeling and place you access when listening to music is much closer to the realm we all came from than most other things you can experience living in the physical world. Because it isn’t physical, it’s pure imagination, but still real. You know when you’re lying in bed in the dark listening to music? Like that feeling of total immersion. I just want to stay there forever. I guess that’s why I’m not bored of it yet, nor suspect I ever could be. It’s where I feel most myself and most free to be myself and most alone and at peace. I hope I get to keep sharing that with other people.

[stratamuzak]

Interview with VoltageHawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA

When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It's great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON

I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brando were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher's home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A  lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the seemingly ironic brutal beat down of toxic masculinity. That band is great if you're happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA

I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON

The entire thing is one process. Like a hero's journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don't feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can't see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it. (Even the artwork and merch that may or may not be apart of it.) *This is your time to be as in-depth as you would like over your current project, remember an interview allows you a platform in which to sell your music to old and new fans.

CHASE AROCHA

This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON

The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was decending into some serious personal shit with alcohol. It was bad, I couldn't get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn't want to die, I just didn't know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what's best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally different than what you are creating now?

CHASE AROCHA

There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON

That's all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that, you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON

Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don't do that shit, we’re us, that's it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage  next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your mind's eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We're trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero's journey. I’ll leave you with this. Know Thyself.