Podcasts about Ableton

Kicking off 2026 with a bang Congrats to my Emmy winning guests Kyle Dixon & Michael Stein for their epic work as the band Survive and notable of late for making the many hours of music that score the rather popular show Stranger Things which just wrapped for the last time with its season finale. Great to peek behind the curtain as it were as we get into the pure substance of their process. Unlock the clues in this episode and you too will certainly be up for an Emmy if you're as tireless and talented as them ! Thanks to Ableton for sponsoring this episode I get into the MOVE in a rare nitty. I took the box the climbing gym to do a little against the clock action  here's a link to the move. I can really recommend it  https://www.ableton.com/en/move/ Oh and  HAPPY new Year !! Let's get on with the show :)

Watch on YouTubeWelcome back to the Worship Keys Podcast! In this episode, we dive deep into the world of worship keys with Andrew Sharp from Church of the Highlands. While co-host Tyler Wester is not present, Andrew gives an extensive rundown of his full keys rig, including his go-to sounds on Keyscape and Omnisphere, and practical tips for managing and manipulating your sounds for worship settings. Andrew walks us through his setup, which includes an OB-6 synthesizer, Ableton integration, and key sound design techniques. Whether you're new to worship keys or looking to refine your setup, this episode is loaded with insights and practical advice. Don't forget to leave your questions and comments below, and enjoy this behind-the-scenes look at Andrew's dynamic keys rig!Andrew SharpSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

Ever notice how the best artists don't just make noise—they guard their peace? We bring Teddy into the booth to talk about what it takes to create with intention when the world keeps pulling your focus. He unpacks the shift from reacting to responding, and why that one choice protects your energy, sharpens your decisions, and lets your music breathe.Teddy's path reads like a mixtape: born in Germany, raised across military bases, soaking up cultures from Kansas to Alaska to California before dropping anchor in Chicago. That movement shaped an ear that loves variety—family record crates, a grandmother who DJ'd in Chicago, and early moments of discovery that made hip-hop feel both personal and global. We dive into how context unlocks sound, why cadence matters as much as content, and how local scenes forge identity before the world catches on.We trace the grind from ciphers and hallway battles to a makeshift studio powered by a tape deck, PS2, and MTV Music Generator—then into Magix, Ableton, and Maschine. Along the way, we compare California and Chicago show ecosystems, the role of open mics in building an artist's voice, and the pride a city takes when its sound travels. We also face the industry head-on: streaming's reach vs. revenue, the early pioneers who took the heat for brand-building, and whether AI can polish a track yet still miss the human connection that turns songs into moments. We close with life lessons that carry into the studio: a healthy relationship as a place of growth, safety, and accountability—and a few laughs about love, loyalty, and even impossible deodorant.Pull up for craft, perspective, and a warm invite to Kitty's Cocktail Lounge Sunday Service in Blue Island. If you're into live music, community energy, and artists who put heart first, you'll feel at home. If this conversation moved you, subscribe, rate, and share it with a friend who needs a creative spark. Your support helps the culture grow.Subscribe to our YouTube Channel: The SHITTS Podcast. Follow us on Spotify, Apple Podcasts, and iHeart Radio. Subscribe and comment.

What are ProducerHead Loops?Gems from past conversations worth running back.Perfect for when you need a quick hit of inspiration.This Loop:In this ProducerHead Loop, Brian Funk breaks down a counterintuitive truth about creativity: you don't need a grand vision to make meaningful work, you need momentum. He shares how his career grew not from big plans, but from consistent, curious experimentation and embracing constraints as creative fuel.Brian talks about chipping away at ideas “drop by drop,” turning small problems into solutions, and how making one Ableton instrument for fun eventually led to sound packs, teaching, and becoming an Ableton Certified Trainer. Instead of waiting to feel ready or qualified, he followed what excited him and let learning happen along the way.This Loop is a reminder that clarity often comes after you start, and that showing up consistently, even without a clear destination, is one of the most powerful creative constraints you can give yourself.From Episode: 015. Brian Funk - How To Create Constraints And Expand CreativityConnect with Toru:* Website: torubeat.com* Instagram: @torubeat* YouTube: @torubeat* Spotify: Toru* Apple Music: ToruSubscribe to ProducerHeadGet new episodes and Loops delivered straight to your inbox. Hit that subscribe button if you're not already part of the community.This episode was co-produced, engineered and edited by Matthew Diaz.From ProducerHead, this is Toru, and in a way, so are you. Peace. Get full access to ProducerHead at producerhead.substack.com/subscribe

A single take can now become a gospel run, a country croon, or even a convincing female lead, and it happens in seconds. Justin and Rich of the Face Your Ears podcast unpack how AI jumped from pitch correction to “auto-sing,” the cost breakthroughs behind engines like DeepSeek, and what tools such as ACE Studio mean when 80-plus virtual singers sit inside your DAW. It's a fascinating leap for producers and a gut-check for vocalists whose instrument is their body.They talk through real use cases: typing lyrics, drawing melodies, stacking instant harmonies, and round-tripping audio between ACE Studio and Logic or Ableton. Then we get honest about the trade-offs. If voices are trained from real singers, who gets credit and compensation? When sync teams can generate polished vocals in-house, how do independent artists compete? And as synthetic vocals become indistinguishable to casual listeners, does trust in what we hear erode, or do we simply recalibrate our norms as we did with autotune?Beyond workflow, they go deeper into culture and craft. There's a difference between pleasing audio and human expression shaped by effort, failure, and growth. The paradox of hedonism warns that chasing instant results can drain long-term meaning. They explore the risk of cultural flattening when machines remix the past at scale, and we argue for a practical middle path: use AI for drafts, demos, harmonies, and accessibility, while doubling down on live presence, story, and the messy soul of performance. That's where artists can still shine brighter than any model.Got thoughts on AI vocals—tool or takeover? Share your take.Links mentioned in this episode:Listen to Face Your EarsSend me a message Support the showWays to connect with Marc: Listener Feedback Survey - tell me what YOU want in 2026 Radio-ready mixes start here - get the FREE weekly tips Book your FREE Music Breakthrough Strategy Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

Bruno de Chénerilles vous explique pourquoi Lemur est l'arme absolue pour tous les musiciens, producteurs, djs qui font du live, notamment sur Ableton. Pour piloter tous vos sons sur une interface tactile multitouch au design personnalisé et sans jamais toucher à la souris de votre ordi. Et pour plus d'infos, lisez le guide complet sur https://plansonore.fr//lemur-logiciel-midi-ipad-iphone-guide-complet/

Stop us if you've heard this one: Leadership has a massive vision, but the tech budget doesn't match the dream. This week, we sit down with Justin Hume from Cross Church to discuss how to bridge that gap without losing your mind. From planning your next console upgrade to the 'mission-critical' gear you should never buy cheap, we're covering the practical side of church production—plus a spicy hot take on why Ableton-run lyrics might be a mistake."In this episode you'll hear: 01:00 Church Tech Community Trends05:00 Guest Interview: Justin Hume (Cross Church)07:00 How to Start a Career in Church Production12:15 Aligning Church Leadership Vision with Tech Budgets18:45 Church Broadcast Workflow: How Cross Church Does It24:45 Audio Console Upgrade: How to Plan for New Gear26:20 Essential Church Tech vs. Budget Production Gear28:30 Are Gear Warranties Worth It for Churches?30:26 Hot Take: Why You Shouldn't Use Ableton for Lyrics36:00 Live Production Disaster Stories & Lessons Learned40:15 Networking: Finding Your Church Production Community43:50 Church Tech Confessional: Behind-the-Scenes StoriesCheck out their projects and job opportunities here!  Come Hangout With Your Tech Community at The Mix! Resources for your Church Tech Ministry Sell Us Gear: Does your church have used gear that you need to convert into new ministry dollars? We can make you an offer here. Buy Our Gear: Do you need some production gear but lack the budget to buy new gear? You can shop our gear store here. Connect with us: Sales Bulletin: Get better deals than the public and get them earlier too here! Early Service: Get our best gear before it goes live on our site here. Instagram: Hangout with us on the gram here! Reviews: Leaving us a review on the podcast player you're listening to us on really helps the show. If you enjoyed this episode, you can say thank you with a review!

Episode 372: "2025 Wrap-Up” This week on @RoadPodcast we're joined by @Kazi, @Shwcase and @DJMarcoPenta to close out 2025 with a full wrap up of what actually mattered this year, breaking down Top 5 Club Bangers before diving into why songs are taking longer to connect, the lack of label support, and whether release dates should move back to Tuesdays so audiences can learn records before the weekend (14:13). The crew gives @Kehlani her flowers and talks about the success of “Folded” (19:33), then unpacks how rappers who once made club hits are now making gym or car music, GRWM and ‘vibey' records, why “Whim Whammiee” feels like a novelty song, and how labels treat these tracks like penny stocks for quick money (31:10). A standout conversation follows on whether NYC DJs play edits or originals, genre flexibility in New York and what actually makes an edit better than the original (41:08). This leads into the Top 5 Edits (41:20) and a discussion on edit oversaturation after viral moments and why DJs lean on edits before developing their own style (51:32). The crew then reveals their Top 5 Editors of 2025 (1:23:01) and moves into Top 3 Overrated Tracks (1:39:40). The episode continues with Top 3 Artists (2:01:01), a wider Top Artists of 2025 conversation featuring Bad Bunny jokes, Drake talk, Beyonce's unmatched versatility for DJs, and why legacy artists remain essential in 2025, ending with Crooked's top three (2:18:03). They also cover Top 3 Back in Rotation (2:16:01), Crooked's stories from @Moochie's party at @RecordRoom in New York and why it stood out (2:47:00), Top Live DJ Sets (2:33:01), Favorite Moments from the year (2:53:01), and the most valuable lessons learned heading into 2026 (3:03:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Watch on YouTube Join Carson Bruce and Caleb King on the Worship Keys YouTube channel as they provide an in-depth look into setting up an efficient and streamlined worship keys rig. Filmed at the Opryland Convention Center in Nashville, Caleb gives a detailed gear rundown, explaining the hardware and software configurations he uses for live performances. Learn how he utilizes a fly rack for easy plug-and-play setup, integrates MIDI with Ableton, and optimizes his Nord Stage 3. Ideal for worship keys players looking to enhance their setup and performance efficiency.Caleb KingSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

December 2025 podcast. Recorded live on three decks, with real mixing and scratching, not a sync-enabled, Ableton-planned, polished but boring mix.Expect new dance, bounce, and trance anthems driven by energy, flow, and momentum rather than perfection. Fast transitions, long blends where they matter, and hands-on control you expect from a late club slot.Available as video and audio on all major platforms, including Apple Podcasts, SoundCloud, and YouTube.Play it loud, start to finish.Where are you listening, and which track hit you hardest? Hosted on Acast. See acast.com/privacy for more information.

SIJIN is an artist from Seoul whose music is rooted in presence & storytelling. There is a spiritual intention behind the work that he shares, the music grounding him in specific moments from the past, enabling him to let go & remain present. The beauty of letting go of these musical creations is that others can then attach their own memories & experiences to the music. This is SIJIN's intention with his Khövsgöl EP - 2 tracks that materialized from a collection of field recordings close to his heart, gathered from the natural soundscapes of the northernmost province of Mongolia, Khövsgöl. The tracks to him serve as memories of a distinct time & place, a time capsule of moments spent amongst the raw beauty of this relatively untouched part of the world. A prolific DJ who has performed at venues such as KHIDI in Tbilisi & KGRn in Tokyo, SIJIN has recently had his focus on self-releasing his own music. In addition to being a DJ & producer, SIJIN curates a platform called SYNTHASIA which showcases underground electronic music in Asia. The SYNTHASIA Open-Air took place a few months ago, a 24-hour journey at a temple a few hours outside of Seoul, with sets from 14 artists including Scøpe, Cobahn, SIJIN himself & many more. Khövsgöl includes 3 re-imaginations from Archypness, EINOX & Minjoon, artists SIJIN invited to remold these stark & beautiful field recordings into their own visions. The first of the EP, Khövsgöl part1, which we're premiering today, is a 170 bpm track made up of field recordings manipulated in Ableton & delicately interspersed amongst steady percussion. You can feel the peace & open space of that vast landscape, reflected in drones & the sounds of birds & flowing water. There is this beautiful full-circle resolution to it, anchored around a soft bell-sounding sample that remains ever so gently in the background throughout the whole track, ending in the same place that it began. Khövsgöl will be released on December 24th @sijin_synthasia https://www.instagram.com/sijin_grei/ Write up by @aspetuck Follow us on social media: @itsdelayed linktr.ee/delayed www.delayed.nyc www.facebook.com/itsdelayed www.instagram.com/_____delayed www.youtube.com/@_____delayed Contact us: info@delayed.nyc

Welcome to a new episode of The XLNT Show, where Danny and Parker sit down with producer, vocalist, and performer Whipped Cream for one of the most honest and inspiring conversations we've had on the channel.Caroline walks us through her full journey: from growing up as a competitive figure skater, to a brutal ankle injury that changed everything, to discovering electronic music at a small festival stage and deciding to bet her entire future on making music. With no mentors, no local scene, and no roadmap, she moved back into her parents' basement, taught herself Ableton from YouTube, and slowly built the Whipped Cream project from the ground up.They discuss:How a serious figure skating injury pushed her toward a completely new lifeThe tiny side-stage set at Sasquatch Festival that flipped a switch and made her decide, “I need to make music”Learning production in isolation on Vancouver Island, with no female producers around and no real industry connectionsGetting obsessed with Baaur, trap, and Jersey Club, and how chopping samples shaped her early soundEvolving from mid-tempo into techno, cinematic dance, and vocal-driven records while keeping everything authenticDiscovering her singing voice in the studio, using lyrics from her notes app, and treating vocals like another instrumentThe reality of being a woman in EDM: assumptions about ghost production, image policing, and double standardsHer philosophy on collaboration, credits, ghost producing, and why she doesn't demonize help behind the scenesDesigning full show concepts like “Someone You Can Count On,” building characters, stage design, and world-buildingTrying to balance big long-term vision with the practical need to “focus on what's working” right nowThe episode opens up into a larger conversation about identity, resilience, and longevity in dance music: why she refuses to be boxed in, how she handles criticism and rumors, and why her real goal is to impact people emotionally—on stage and in their headphones.⭐️ SUPPORT THE POD ⭐️➡️ ⁠⁠⁠⁠⁠⁠⁠https://bit.ly/thexlntshow⁠⁠⁠⁠⁠⁠⁠⭐️ #1 Sample & Preset Packs [Use code “THEXLNTSHOW” for 10% off your next purchase] ⭐️➡️ ⁠⁠⁠⁠⁠⁠bit.ly/XLNTSOUNDPACKS

In this two-part episode recorded at Ableton's U.S. Headquarters, Dan Giffin sits down with Tony McCall and Alberto Chapa to explore the company's direction, leadership, and vision for the future. In the second half, a panel of producers—Chuck Sutton, Au5, Underbelly, and Louis Futon—answer rapid-fire questions from a live audience. Topics include mixing loudness, creative workflow hacks, project organization, and their thoughts on AI and sound design.Follow the Guests Below:Tony McCall (Managing Director at Ableton)Alberto Chapa (Business Development at Ableton)https://www.instagram.com/musicalguestAu5www.au5music.comChuck Suttonwww.instagram.com/chuck_suttonUnderbelly www.instagram.com/underbellybeatsLouis Futonwww.louisfuton.coGrab limited-edition Producer Merch & save 10% with the code "podcast":https://abletonpodcast.com/merchJoin the newsletter to get free downloads, early episode access, and upcoming events.https://www.abletonpodcast.com/newsletterSchedule a visit at Ableton's Showroom:https://www.ableton.com/pasadena-spaces

Ableton Live 12.3 is here and we are breaking down everything in the new update. From Stem Separation and Splice integration to new workflow tools like Bounce Groups, Paste Bounced Audio and Device A B, we look at which features matter and how they might change your music making.This week we are joined by a guest host who is not an Ableton user, so expect real debate about whether this update pushes Live forward or simply keeps it competitive.We explore the creative additions like the updated Auto Pan Tremolo, new expressive tools for Push, the Generators pack by Iftah and improvements to MIDI sequencing and chord editing.With Live, Push and Move currently on sale, we also ask the big question. Does this update make Ableton worth the investmenthanks to our Patrons who support what we do:Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen SetzepfandtLars Haur - Audionaut ProducerJonathan Goode - Audionaut ProducerJoin the conversation:

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

Now, and??? Okay! Just another dime, And just enough to find Before I count them up to dollars— But you're turning into wine. What did you ever want? This is my other world. Go shatter you tantric catwalk elsewhere! Don't you know there is a show to put on? A wool to pull over the eyes of the unknown? Why do you have to groan at the quantifiable harm known but justice undone. No harm, no foul No food, no valid excuse for betraying my sacred dopamine, but hopefully you know only no good But words can come from it, And words that fall on blind eyes have no context at all. {Enter The Multiverse} Uncorrected transcript. [excuse my neighbors in the background they're determined to make my life miserable more than likely in exchange for dollar signs.] Okay, my Wi-Fi is off, my Bluetooth is off. Oh, my laptop is open, my Wi-Fi is on. I can give me a second to remedy that. Hello. Hello. I'm Atticus's tail says hello. What's going on? Oh, I wasn't planning on oh, my WiFi on my computers off. That is good. Uh, I keep all my devices uh, at minimum on off the grid as often as possible. Um, there there actually it's crazy how much of a difference this makes. I gotta pour myself some coffee. it is almost midnight, o'clock. Hello, um, what's up, we're missing talking episodes. Um, we're missing talking episodes from season 12. I can't find anything like past October, and I know it's on one of my hard drives, but all of my hard drives are full, um, I have like something like 10 terabytes altogether of stuff that needs to be like moved around and not all of it. Some of it's like really personal, like not personal, but like sensitive information that I can't necessarily utilize a cloud for. So I am it's taking me some time to organize some stuff. I I try to do between like eight and 12 hours of just organizing on any typical night after my uh exercise or whatever, or between I would say that exercise is definitely like the primary function of like my life. And that's like the priority right now, especially with the things that I've been going through. I think it's really important to keep my physical and mental health as um in in it's not gonna be at its peak, um, because of the noise pollution that I've been dealing with, and it's actually made me really sick over this extended period of two times. um, and I'm trying to um seek treatment for that, but it's a uh it's a long road, I have a long road ahead of me. We could just say that. Um, which is why I am giving you guys, um, some stuff that I've been working on that's not necessarily finished, and I'm actually really like, I'm embarrassed because I don't necessarily um I I actually have a hard rule of not releasing any music until it's absolutely finished. like even if it is a first draft, like it still has to be finished. um, but I actually and I gave you, I think, I think two tracks, which is actually four. um because this upcoming project, it's a concept album called a symposia. um and the concept for it is um a lot. I don't necessarily have to explain right now. Um, but all of the tracks so far on it are double tracks, and so it is typically I've always really loved albums that have that are like gapless. I don't think through my distributor, like I can never technically um, like put out an album that has no um technical stop or start between songs, like they would have to be cut a certain type of way that, like my distributor does it. There's always gonna be a gap between my music, but um all of the tracks are um double tracks, so they're all two tracks in one, um that are kind of along the same theme or idea and um like lead into the next track. I've always loved albums like that. uh, one of my favorite compilation albums, um like just to give you an example, just to throw it out there, is like, the Beatles love album, which is not actually a Beatles album. It's just a, um, it's a compilation of their um songs made for the Cirus Sole show that I think is still playing in Vegas. I don't know if it is it's been playing for like 10 years, and I still haven't seen it. um I really I really want to take mushrooms and go uh see that show. I've wanted to do that since it came out, but my favorite one of my favorite albums in the world is the love album, which is is basically a mash up of like their greatest hits, crafted by, um engineers and people who used to work with the Beatles and stuff for this uh Cir dis soet show um in Vegas that I hope I get to see I hope it's just one of those like long standing like like Siegfried and Roy. I just realized that they were in Vegas for like 40 years, like they were just there, they were just a stable, so hopefully that show is um kind of like that and one day I'll get the, uh one day I'll get the opportunity to see it. Like my my bucket list, like destination, like vacation at one point was to go see the Beatles love on like an EDC week. um that's still something that I want to do. I promise myself I wouldn't go to EDC unless I like ever got booked there. Um, and I think this year is like 30 years or something of EDC, and so they um they sold out in like five minutes. um so it's it's not it's not something I'd consider doing by myself anyway, unless I was gonna go with my best friend, and um and I was like I was talking to my best friend and I was like, oh, maybe I should check on, like the early bird tickets for ADC, and they were like, they was sold out, and was this celebrating 30 years, and I'm like, okay, well, I guess I should uh work on getting a booking agent, but my music is not my music is kind of turned into like a passion project. um, since everything that I've been going through over the last couple of years kind of just like took me off my path in that sort of way and DJing, I kind of wanna preserve it as like, I really love being a DJ. I really love producing music and because it's so consumer, there's a bunch of people in the industry that are not necessarily like music oriented or love oriented, and it's just like a whole different vibration from like the peace and the love and the unity respect of that. Like I like the scene for. I really want to check out, like as far as a festival goer is concerned, I really wanna check out some of these new festivals that are popping up that are doing like no cell phones. I kind of wanna check those out, cause I feel like the quality of of the experience has been preserved or will have been preserved in in certain spaces like that, um, but anyway, I'm uh I have been physically ill for like a few months now. um, and so the best that I can do for you guys my audience just because I'm not sure if I will get symposium out this year in which case it will come out next year. um, and then I think this track, I'm not sure, this track is definitely like a track that was in my mind. um implementing all of the like sound design stuff that I'm doing for symposium and is also a double track. um it's called Forget me nots. uh and then the second track is followed through. uh,get me nots/follow through. I think it's like an eight or nine. um minute track or whatever. It's not finished. Um, actually, the only finished track that you guys have heard, and even this even bitter butter and southwest of your scars is like a double track that is finished, that is on symposium, but it's still the version one, like it's not um I haven't done like any of the final mastering or any of the things that I do in the process of getting ready for a a release. I do have like a a like an implemented ritual structure of doing things like that, even for projects that seem like mindless, or, you know, things that are seem seemingly just like thrown together, like chasing dragons, was kind of like not necessarily even a concept until the three tracks were like sandwiched together, and I was like, oh, okay, like, this does tell a story and and they were all created in a certain way so that they'd go together. I think I fixed that. um, because, um, chasing dragons, the EP was for some reason, when chasing dragons got released to, like all the major platforms, it had chasing dragons was the first and the last track, and then dishes and the sink was just in the middle, which was weird. um so the third track on chasing dragons is actually immortalist and I got that all fixed. and I also got the regular like the normal version of the songightfall is out on the platforms now. Those were two er errors um that I needed to fix that I finally did. um but I'm slower to do music things now because like I said, my health is the priority. So it's like, yo, if it comes down to like getting a good meal in or like some good exercise or like right now I'm doing active recovery because I'm dumb. I went from like not really running anymore and only walking for an hour every day on the treadmill and doing like an hour between one and two hours on the pelotone, a day which is technically still three hours of work, um, but then I went back into heavy training the way that I preferred to do like I prefer to be at the gym between two and three hours every day. That is my ideal. That is where my body feels comfortable, um and flexible and like happy. Um, and if I can do that in the very beginning, like to start my day, cause I don't necessarily have 24 hour, like days anymore. um like what's technically the end of my day is oftentimes the very beginning of other people's days, and so I'm kind of just on on night, like, routine because it is like, I'm I'm basically just like protecting myself from the uh, you know, like my my nervous system can't take any further damage. Like, I do have really pronounced synesthesia and, um, I wasn't necessarily like planning to be exposed to extreme like noise pollution for an extended period of time without having the financial security or stability to escape from it, cause honestly, if I could have moved, I would have moved or if I could have just left, I would have just left, um, but I obviously wasn't in a situation that I could, and so I became very vulnerable um, to this type of attack, which I learned was actually very common. It's not something that is just like, oh, you know, um, this is just something that I'm going through. It's actually a very common for people of color to be, um vulnerable to this kind of disease that comes from um an implementation of using sound as a weapon. And I mean, like the irony is is that I was already kind of studying synesthetics and the way that, you know, as a culture or the way that in as as far as like mass consumerism is concerned, that's why people pay so much for a, you know, festiv for the festival experiences because sound can be a very much uh manipulated to be a physical thing. It's not, you know, it's not invisible. And so the fact that those same kind of um those that same kind of engineering can be implemented also in a negative way to have a negative effect. Like, you don't have to punch somebody in the face, like, you can just back up your exhaust, your engine exhaust, and, you know, fire at point blank to somebody that is, you know, caught off guard. and in that way, um sound can be used as a weapon, it uses the same dynamics, the same kind of dynamics as, you know, the reason why we go in the th you know, in flocks by the thousands and the millions to these festivals to feel the vibrations that that are on the opposite end of the same spectrum, the healing vibrations of, you know, certain things. and so I've been doing my best to try and, you know, maintain a certain level of health through, you know, using, um, you know, certain frequencies to block out. But when it's your physical person is in a space that's being manipulated to be on a certain frequency, um, uh, the exposure to this negative frequency that is unnatural to your body over a period of time. um, you begin to get very, very sick and that's what's happened to me. And so I'm trying my best to like keep my head above water and, you know, stay afloat. Um, but I didn't expect it especially after, you know, a period of like two or three years before that, where I was just like on the go all the time. Um, and, you know, not necessarily having like a a suitable foundational stability or a place to call home and then going straight into something else that was like more traumatic and more violent than, um then I expected, and so I've been trying to remedy that. um, the best that I can and because I'm putting my mental health and my physical health first, I'm not necessarily like, I it was weird. I was kind of in like a meditative space and I had, you know, like this this kind of spirit come over me that was like music, you know, music is gonna be there forever. like, as long as you're as long as you exist, you know, whether it's in like a physical realm or like an infinite realm or whatever, like as long as you exist, there's always gonna be music. and that was kind of like the sign that like, K, as much as I do like having a streak of, you know, like being an Ableton every day for several hours a day. um, the way that I am using these techniques that I'm applying in symposium and as seen on TV, which reminded up being a double album, because I actually have, um, like several, um, tracks that are like honestly on TV, I've been working on since, like, 2023., like, early 2023. Um, and so, the things that I've like collected, it's kind of interesting because my evolution as an artist or like my technique as a producer will be, um represented here in this project, which I hope comes out next year, but I can't say for sure, cause it's probably the it's definitely the biggest, most um important album I've ever worked on and I I put a lot of care and thought into those as seen on TV tracks because it does um like creatively, I guess, run alongside this series into the multiverse and all the series within the festival project, uh Ascension Death Wish, legends, um the legend of uh, the secret life and the sweet life of sunny Blue, just to name a few, there are I keep trying to make like a list of all of the shows within the festival project, but then I'm like, oh, like there are so many that it would it just falls apart. And so I mean like I'm getting a little bit more organized with the with the actual structure of, like, the television and movie, like, script part of the project. um, while I'm cleaning out my hard drives, but having to organize everything so that it's, you know, so that I can go to a certain hard drive and be like, okay, well, this is um, you know, this is this season to this season. I'm still archiving episodes from, you know, 2021 and and because a lot of those statistics can't be like once I delete an episode from the podcast, it goes away and all the all the statistical information about the number of downloads,, like all of its information, all of its metadata goes away. and that's very important for what I'm going through in my personal life right now in order to protect myself for those things to be taken down, but also for it to be archived in a way that I can reference as a creator like, okay, this is this day that this was published with this, that like, because it's it's a time travel concept that is multifaceted, and it is like based in this multiperceptory m multiperceptory multiimensional concept of technically technically infinite time and space, like it has to be organized in such a way that, like, all of the series and all of their all of the ways that they're connected to any particular parallels have to be, you know, they have to be organized and documented so that because I'm the more that I'm looking at it, the more it makes sense. I'll be like, oh, like, I thought this was just like nonsense or whatever, but when I'm putting it into like an organized space, um, and to me, that's like the god part about it is that like, oh, like, um like, I' I'll be looking at the writing and noticing how it takes like particular shapes or how the shapes will cut is sometimes like make pictures, like sometimes when you're looking at the clouds and you see, you know, shapes and the clouds. sometimes the riding for this project is like that, which is kind of incredible to me.c it's not something that I'm doing um, intentionally, it's kind of just something that's happening. I'm writing in a stream of consciousness that's also, you know, like artistic, creative in a way, that kind of has this, like, sense of divinity to it that I'm not necessarily, like, consciously doing. Um, so everything has to be organized in such a way that like it is gonna take time, um, and because it takes time and a lot of the other things that I did not foresee happening or also taking a lot of my time, like a lot of my my time and energy to document like how sick I've been getting a lot of time and energy has been focused on just like, doing the research on, you know, like crazy crazy shit that I never really took interest in, um, but could be applied here. um, could be applied to this situation and and kind of just finally being able to have a piece of mind to give myself the benefit of the doubt that, like, it wasn't in my head. like, I just had to be uh, I just had to be pushed to the point that I could understand, you know, that this um, sometimes very silent type of, um, you know, warfare is is like a documented not even necessarily historically, but like presently and present day. um, they're just I don't think haven't been enough survivors of this kind of thing, um, that it could be, um that it could be notably researched, like the amount of reports, but, you know, it's it's not it's not by choice, like it is taking up a lot of my time and I wish I was the kind of person that could just ignore it. Um, but I'm getting very physically ill. Um, so I can't, like, I can't ignore the fact that, like, you know, I'm running on zero pretty much all the time, and that my my patterns of speech have changed in my, you know, my thoughts have been intercepted and my, you know, like, because physical and mental health is such a priority to me, the fact that those things have been the primary uh, source of degradation has has affected me in such a way that it's not, I mean, like, it's less emotional than it is the logical answer to, you know, like if you have a cold, you take cold medicine or if you have the flu, you take, you know, it's it's like, well, remedying something that is a fi physical illness, you know. um, removing the cancer from the body, uh, you know, in such a way that it doesn't come back is kind of my main primary concern in this way. Um, so I am am especially because I can't but the talking episodes are actually more popular this season than any other season. and I can't find like six or seven of them, because I I don't know, I was just switching out all my, you know, uh my stuff so quickly and pulling things out of the cloud that it, you know, got saved under drive zip eight, seven six nine, you know, like. It's it's just a mess of of terabytes and tabyrites of creative work, um, and, you know, other things that I've had to dedicate my time to, which is not necessarily fair, but, you know what they say is life is not fair. Um, so, you know, life hasn't been fair, but I have, you know, been blessed in such a way that, like I I I've at least been able to um creatively channel some of the some of the energy and some of the time that I have left over that is technically mine. while in the sense that I've had a lot of my time and energy just stolen in siphoned, um, you know, I have been able to kind of forge a medium through fighting this that allowed me to, you know, start doing art along the lines of, um more more the way that I want my music to to think and feel. And so I'm I'm still just working from a little tiny MacBook air. um, so my, you know, um, my projects get like overwhelmed really quickly. I can't necessarily implement all of my um my plugins or all of the tools that I like to use at once, and so everything is kind of segment segmented in the way that I'm working. um and like, yeah, my projects get overloaded very quickly. um so the tracks that I'm giving you are not finished, but they're more um I would say like they're more, like colored, they're more like filled out. It's not necessarily abstract in the way that some of my stuff is like very like, you know, like drag and drop and cut and go, well, I do a lot of like, even in my even in my like my cut and dry stuff, I do a lot of sample manipulation. I very rarely will keep a sample in the way that it is without doing something to it, you know, like, I don't do dragon drop, um, unless I'm planning on just, like, you know, giving a beat to a rapper a artist for free. like, sometimes I'll just be like, okay, for the next 15 minutes, just do, like, something, you know, like a two or three minute, like dragon drop or whatever. But those those are not necessarily tracks that I A share here or B like plan on doing anything with because the world of sampling has gotten to the point where it's like, yo, you gotta have some creativity, like you can't just open up a sample pack and drag it and drop it into place, because then you have eight or nine songs that sound exactly the same. Eight or nine songs that are the same because basically you're just putting together a, you know, you're putting together stems from a track that was already created, you know, by somebody that's trying to sell you something, so um, you know, I I take a little bit more creative uh integrity in the stuff that I do mean seriously. Um, a lot of it lately hasn't been serious, but I I actually did want to take an hour to talk about this not this track in particular, just talk about why I'm doing this because it was something that it was like, oh, I feel like this project is a little bit more special or is a little bit more like technical than some of the other work that I've shared here on this podcast or work that I've put out before and so I kind of wanted to keep it to myself um, but then I've kind of had a couple, like, you know, like heart shattering experiences that make me realize, like, you don't know. like, you don't really know what's gonna happen and life is, um, sometimes very cruel and sometimes life is, you know, it just takes turns that are not necessarily. um you know, like you don't you don't ever know. And my mindset has not necessarily been that negative. It's like, oh, everything, you know, there's a there's a reason for everything, and blah, blah, blah, and I still do believe that, but like, you know, two years of constant, like, torture and stress to the point where I don't necessarily have a medium for support or, you know, um, like, I don't necessarily have the foundation of community. um, being in a place that is not my home and coming from a family that's very, very small and doesn't necessarily have, you know, well, like, I don't have what some people have, I don't have a large network of family and friends and the kind of family and friends that you create for yourself in the business are not necessarily, um, you know, like people can't necessarily be trusted to have your best interests. Um, especially especially if you are coming from like a a margin for success that, you know, is documented, like you've done well, you can't necessarily still believe that, like, everyone in your immediate circle has the best interest for you, because it is in human nature that everybody has, you know, themselves as the primary interest, and so um, me being like a a solidly um you know, like self sufficient. I won't say independent person. um, driving towards independence or whatever. um, but being a person that spends a lot of time in solitude and with enough respect, like enough self-respect to understand what my when my spiritual and my personal boundaries are being pushed even even in a person you know, professional setting. um like I took today for active recovery because I'm dumb and I went straight back into training as if I'd never really stopped. like it okay, like I'm on the Peloton seven days a week and I have a treadmill that I walk on in for an hour a day, you know, five to six days a week, but it's not the same as like being in the gym and lifting in stri strength training and and um active recovery um but I was like, okay, if I was running like a Madonna or whatever, you know, for this amount of time, then I should be able to do that. I should be able to do that. No, I didn't run a Madonna, but I ran like a 3K and then a little bit. and I like, my body was like, yeah, this is good, but then I had, like the rest of the day and I did not properly hydrate, and I got, like even more sick. and so I'm like, oh, fuck. Like, I really got like I really got a prioritize, like, my physical health, because if I keep letting myself get pushed, you know, like over the summer, before requisite when I was just like, oh, you know, like, I'm just gonna record. I'm gonna go to Manhattan 20 fucking days in a row and not take a day off and I'm also gonna train, you know, and I'm also gonna do this, like the like, I'm maximized my potential for burnout, which also left me per like, personally vulnerable. to the, like, professional sabotage and, like, weird, underhanded, like, underbelly shit that, like people in the DJ circuit are doing because it's so hard to actually break through., from the level of like consumer professionalism right now. So people are doing like a lot of nasty things to try to get that main stage spot and I wasn't like in my head, I'm still very much like a Disney kid, like, I'm still like, I don't necessarily well, I mean, like Disney to teach us like, there's always gonna be a villain, but like, a society kind of undoes that teaching and is like, but that's just in movies and that's just in your head, but there's no like to me, I there is just this weird misst up between real life and what is told that like, okay, like anything that exists that is like in a certain field of negativity is just in your head. but, like, evil is it like a documented source of the opposite of good. since the beginning of time, and I just don't understand in how in a society we can philosophically and psychologically embrace therapy, however, when it when it comes to, like, real lived experiences, when you're dealing with something that is not necessarily, uh, like a normal part of societal living, like that stuff only happens in movies. I'm like, but it does happen. Sometimes you just have to, you know, like being having I've I've never really been such a socially dependent creature. like, a lot of people have to have some kind of validation. That's why social media is like ruling our society right now. is because people have to have the validation or the likes of whatever they're doing is like cool with the rest of the group. and to me, that this is dangerous group think. like, if you're all thinking the same way, then there's something being missed. There's always something being missed, you know, if you're all on the same frequency or the same form of thought, you know. And so, I've always been like a big, you know, maybe it's just because I don't have any siblings. I've been like a big believer in embracing, um, independent thought, like, okay, if everybody else is thinking one way, then what is the opposite of what everybody else is thinking and not necessarily alluding to the fact that the opposite might be the right thing, but anything between whatever the group think and the opposite is, is also like valid, could be valid, you know, it's not necessarily the opposite of what everybody's thinking, but it's somewhere along the spectrum of maybe that or maybe the opposite, like it could be anything else in between. And so I think I'm the kind of person or the kind of thinker that's motivated by the the spectrum, you know, the spectrum, uh process, anything in between, like not necessarily that, not necessarily the opposite of that, but like what other possibilities, you know? um, could be validated or verified through thinking outside of the box or outside of a you know, being forced to the point of conformity that, like, everything sounds the same and everything looks the same and everything has like a way. That's not necessarily wrong. um, but also not necessarily the only way or right. um, so that I' of been uh what what did I get on that round about? I don't know. I've just been playing with like a lot of different concepts, like not necessarily trying to sound like anything. or anyone, and also not necessarily having the opportunity or environmental expression, like the space to be able to sound like myself. Like I still don't artistically or musically think that I sound like myself. um, and that they are elements of myself there, but it's something that's kind of, um, in its, you know, convex form of being this thing that is potential, but not necessarily fully realized or realizable yet. Like, I haven't had I haven't had peace and I haven't had like full p I haven't had peak health in a long time, or a safe environment in a very long time. and I think that the disallowance of comfort, not necessarily the safity of um of complatancy, you know, or or being comfortable to a point that it's it becomes dangerous, um, but just being able to kind of be in a life that is not necessarily like violent or terrible all the time. I think removing these barriers has not necessarily been a foreseeable reality for nearly a decade and while some artists technically thrive in what is, you know, what is this, you know, tragedy and darkness? It's there's only so much of a certain space that my creative ingenuity can take up and not void. And so, understanding that this time is kind of transitional in the sense that eventually it has to in no matter what direction break free from its current state of, you know, entrapment and its current state of imprisonment. um and so in my artistry and not will change, but I don't think I don't think it's necessarily going to be like fully realized until I have a a a point that I'm in an environment that I can breathe and be and think clearly without the force of control or being subjugated to, you know, a certain level of violence that's not necessarily always physical, but is certainly not, um, you know, without it's notable, um, impact on my physical health, my physical and mental health. So that being said, um, this track, um, this track is somewhere between symposium and, um, as seen on TV, I think I began writing it before the concept for symposium was fully formed. and, um, I think it was like the first of its little group of double tracks and I didn't necessarily mean, like, for the story, cause it, you know, ideally, like a song is like five minutes or less or whatever. um five minutes or less or whatever, but I've again, not been, uh, trying to conform to what is supposed to be this, or what is supposed to be that, and, um I don't know. I I began writing it in with the mindset and the technicality of symposium, but also as I listen back to it, um, I'm also using elements that have been implementing for the last few years into as seen on TV. And so there's some like to me, it's very beautiful. Again, what what is more important or more, you know, like wh what is more palatable for my audience is always differed like my favorite tr tracks are not your guys's favorite tracks from what I'm looking at for for the numbers, you know, my favorite episodes of me talking are not your favorite episodes for me talking. So, I mean, like they're exists here, this obvious, like, it's weird because a lot of artists can be applied to their fans and to their listeners. It's like the the listeners are being projective of like they see themselves in their favorite artists, or they see themselves reflected back through an artist that they, you know, like Taylor Swift, like, all her fans are Taylor Swift and like, most artists are that way that, you know, they're reflective of the people that they look like and have the same experience of and that's how, you know, um, that's how mass that's how mass media works. It's reflected, you know, through the medium of sorts, you know, um it as a as a concept that is shared amongst all all of those, you know, people. um, but I'm looking at my numbers and I'm realizing that, like, oh, there there's like a distinctly different flavor from the way that, like, my perception of what is my best work is and what my audience thinks is the best or, you know, the like I look a lot at the numbers not as they happen, but like over time, whereas I'll be in hiatus for a certain amount of months and then I'll come back. and see what the numbers are reflecting in in what is more, you know, palatable for my audience, like what my audience is is actually agreeing with more is like my better work and it's always not it's not necessarily again, it's not necessarily opposite. but it's not um, you know, it's not always what I expect to be. So this to me, I like um, but it doesn't necessarily like that you, whoever you are as an audience is gonna agree. Um This is actually the least completed track. um I feel like I'm showing you yeah, like I'm showing you my my uh it just it's naked cause it's very much not done. This is probably the most incomplete thing that I've ever, like, put out for anybody else to listen to. Um, but just being audit honest as like a person, not like as a entertainer, cause I don't necessarily see myself as that anymore after these couple years. Um, but being honest, like as a human being, as like a person, um, I've had some times that feel as though are, you know, an indication of not having a very prolonged experience in this sort of way. And I don't, like, I don't wanna put a trigger warning on anything. And I don't wanna, you know, like I I also don't want to insinuate things that are not there. Um, but a lot of the time, that is just to say that I don't feel safe, um, that I don't feel, um safe or secure, um, and that there's not necessarily a like sh it's just New York City. There's no level of like autho like a there is no necessary authority complex that has any sort of like, ability to protect you, you know, from uh certain experiences that are not necessarily um, you know, there's there's no level of protection from from, you know, there there are more heavily funded organizations that are like banks and investments or are more funded than the police. So when you're telling the police, like, hey, I'm being, you know, stalked or harassed and like, there's a pattern and like, here's the evidence and they won't even look at your evidence. Um, even though technically by the law, like it is, you know, documented uh, verifiable, like verifiable, like, no, there's none in my head. Like, I have like the videos, I have pictures, I have audio recordings of like this is happening to me, and they won't even look at it, um, not necessarily because they don't want to, but maybe because they've been trained to look in the other way. Um, and then, you know, just the cultural disadvantage of like, youre snitch. I'm like, I'm also within inches of my life sometimes. and nobody's helping me. Um, and it's not necessarily a mental condition. I think that more now than ever, I would be like readily willing to admit like, oh yeah, like, I should just take the meds, but I'm like, this is I'm not hallucinating this. I'm not gonna take some kind of fucking pill for some kind of medication for something that's like, I'm experiencing this, and not only am I experiencing this with like my eyes, my nose, my ears, like, I'm now videotaping 100% of my life everywhere I go. If I walk out the door, I'm recording, like, that's how many times I've been stalked or followed. Like, if I walk outside of my apartment, like I'm I'm videotaping it, because if I don't, if something happens, then it's literally their word against mine. and the police is, like, literal their whole thing is like, if we didn't see it, it didn't happen. Like, you can get you can get, like beaten within an inch of your life and the police can show up and you can tell them and they can see you like bleeding from the face or whatever, and be like, that guy did it, but the police will straight up tell you. the police will straight up tell you like if we didn't see it, it didn't happen, like we can write the report, but like we like they will not investigate. Period. They will not investigate. And so understanding that, like that opens the, you know, the possibility of like way, way more heinous crimes, you know, being able to be, um, played out without, you know, without any possibility of you having help for that, as, you know, is like dangerous to me, and a lot of the time I feel like I'm in danger, um, to me, and so, my priority is not sitting down in Ableton and and you know, getting these cues just right, like, especially with this this track. um, like it's so, so far from complete, but when I hear it, it still sounds it sounds decent enough that, like, I'll give it to you guys just in case, like like the least sometimes that I feel is gonna happen is that I just get hit by a bus. uh, which does happen almost any time I go outside. It's like, I will not get a bicycle. I won't because I'm like, that's like the easiest way to ensure that I will get hit by something. I'll get hit by something. um I will get hit by something, so I don't um I don't, you know. I'm just trying to, uh, get along and protect myself and away that, you know, maybe possibly enables me to, like, disappear. I don't necessarily need to be anybody. I stopped fighting for that main stage spot a long time ago, cause I I see that it's not about like it can't necessarily be about the love when it's about the money. and I have so, so much love. like for the music, um, and for what used to be the scene. I mean, the scene's always been kind of dirty. You pick up any book about DJ culture, about festival culture, you know, about music in the in the sense that it's been meant in the rave world has always had like a CD side to it. um because it was previously a counterculture, you know, that became mainstream and it still definitely has its like flavor, it definitely has its like, you know it's flavors to it, which, you know, is is a magnetism or like a draw, that's like, oh, there is this darkness that exists, but like, at the core of it is the frequency, you know? And I think that if there was ever going to be like a place for like a placeholder for success for me and the industry, it would be somewhere in the future when it can be a more decisive. No, what am I trying to say? Oh, I don't know. I think that money really fucks things up sometimes, and because of the amount of inequality in the world and the fact that the the world has become such a competitive space, um, that there're actually less places for opportunity for artists, even though it seems like there should be more. um I think until it's like about wellness, yeah, I think in until music can be until we can create like spaces where wellness is like at the center of these, you know, gatherings, then I don't think it's necessarily going to be like a safe place. Um for anybody, but let alone for me, because I'm very much like a fragile person when it comes down to, um, like per like the protection of my spirit and the protection of my aura, I don't necessarily want to be in a place of uh tragedy or a place of defense all the time. I I wanna go outside and and be in defense mode 100% of the time. I am right now, so um, like anything I I I kind of take it with a grain of salt in the way that like anything I say can and will be used against me. And so I don't say so much. I I don't say so much, and I want to be sure to take care of my art in a way that it doesn't is not, um, you know, so that it doesn't necessarily exist in a place of toxicity or that it's not coming from. Like, I won't sit down and Ableton if I feel a certain way. It's not just me being lazy. Like it's if I have like a certain vibration that's incurable, like it's not uh it doesn't make sense for me to, like, you know, sit down and work on a track. So this this track, uh, forget me nots and follow through. um, I think it is the first track and symposium. I don't know, because when I listen back to it, I also hear um when I listen back to it, I also hear as seen on TV, like a lot. um like a lot. And so it's kind of interesting to see those two kind of elements of my artistic personality combined, because I think the tracks that I've shared with you that are from symposium or different in the way that they're um made only one way, but this one is definitely implementing um techniques from two projects. Um, so the what are the two other ones? I think it's like talked to me about it. Is that oneosium? I think so. and bitter butter and southwest of your scars. Ah, those are all from this project, but then I I look at this one, which is technically the first of the bunch and it's so not done. that I'm like, don't put it out until it's done. and I'm like, well, and might not ever be done with the shit that's happening is kind of scary. Like, it's I might I may not ever be able to get back to a place where this is possible because of the things that are continually happening uh, to me. Um, I I don't know what the source of evil is. Like, I really don't, like I am very much a spiritual person and I do have like the tendency to believe that like no matter what God has my back so if I'm removed from one situation or existence into another, it is for the protection of that aura, for the protection of that frequency, for the protection of, you know, keeping my, you know, um my source intact, like there's, you know, certain elements or certain frequencies that can't exist in in other realms. I think that, uh, a toxic environment. Like my energ is not going to sustain an intoxic environment. It's just not. It's just not. It's not necessarily even a personal or emotional preference. It's more of like a oh, this doesn't go in there. Like this doesn't go there or I don't exist over there. Like, I don't, you know, it's not. I think I wish that I could be applied to like every space and time, but I think that there are certain drawbacks to being in energy that is applicable to anything and everything. I think that, you know, in the very rare circumstances that an energy like that exists, um it's very magnetizing, it's very, uh enigmatic and it's very charismatic in the way that, like, everybody wants it, everybody wants a piece, everybody wants to be around it, but also for that person, you know, where that energy exists, you know, for that vehicle, I think that it becomes like exhausting to the point that, you know, um, the human of of that, um, you know, the human of that energy is entirely vulnerable all the time. And so those people that are, um designated to do those kinds of jobs, having that high level of power and energy are also, uh, you know, in every sense of the word, um, like exhausted to some effect, um, and I'm exhausted, um, but I think that this last two years has been a case study for all of the like I mean, like she's just horrible things people are doing to each other to try to get ahead, you know, like to try to get a little bit of the pie just to get the tiniest crumbs or to get you know, people are stepping on heads out here. Like people are doing what it takes and they're justifying things that are technically morally, you know. so very morally, uh, corrupt and so so so bad to other people with the justification of like, that's just the way it is. Or you you gotta do what you gotta do and I'm like, yo, dude, but like again, my energy just does not exist in that space for that mindset you know where it's like you know, um because I also believe that like a certain level of justifying, you know, morally uh, you know, morally corrupt behavior eventually just makes it so that you can't get ahead. I I honestly chronically believe that, like if you're constantly fucking other people over just to get to the top, like your top is not going to be consistent with what is actually success and what is actually um freedom, you know, like, you are gonna owe back energy to a certain extent, you know, um, because you stole it in the first place, like, you can't you can't sustain on stolen energy. Like you cannot do it. Like you cannot exist in a place that that was taken from somebody else without something else in turn being taken from you. I honestly truly believed that with every like with every last breath, with every last word, I honestly believe that like that that good overpowers evil. Like, you can't sustain on something that you robbed from somebody, you can't sustain on something that you you know, that that you took, eventually, you know, karmically, um, it comes back too, and so, I don't think energy is any different. I think if you suck the life out of somebody, eventually something' gonna get sucked out of you and, uh, it's one of those things where it's like one step forward, two steps back for people who uh subsist on energy that way. I just I don't know. um, I try more and more to be conscious of my self to point where I realized that um the effect that I have on people could be, you know, long lasting. It's it's something that could be like a ripple effect, and so I'm very careful with my energy in the way that, you know, I if I dole it out, I expect I expect 39%. I don't know why that's the number. 39% to get it back. um, you know, on a certain way. And uh understanding my limits and my like just understanding my ability and my placement. understanding the, you know, the the love you make. yeah, all that. and the love that you make is equal to the love that you take. And so um also, I think that love in itself is probably the most valuable heat source and that it overpowers what is um technically needed in the society of, you know, for survival. I think that love overpowers, you know, whatever material, you know, the material sense of existence is. I think that love overpowers, whatever is morally corrupt, whatever is systematically corrupt. I think that love at the end of the day, like, really does put in its place. um what is supposed to be and what is not supposed to be. And so in because I think like living in this spirit with the understanding that like it took me a really long time. I think I having a a a victim's mentality of like, I must deserve this in some sort of way, but then understanding also like I didn't do anything wrong. Um Sometimes these things just happen and the understanding of why that is is not always attainable. Um, and so to wallow in it and to be like, why, why? You know, like, why? I mean, I think in a from a philosophical standpoint, I do a lot of this because it's like this doesn't necessarily make sense, but it has to it has to be an art artistic way for me to be like, well, it doesn't make sense, but like, you know, now I have ten pages about trying to figure, like, instead of actually just wallowing it and being like, what? Well, now I have ten pages of like this, you know, something that can be considered beautiful. you know, something that can be considered, uh, useful to somebody, maybe not now, but at some point in time, you know, because all of my work is is stored in like this digital time space, kind of like encrypted into history in itself being like a digital marker for, you know, something that very much did exist or did happen. I still believe I still live in the belief that like this, well, it's just like the overall knowing that this part, this faction of history is a very, you know, uh verifiable part of ancient history, you know, to a culture that exists like beyond our time. And so with that understanding that, like it's so crazy, because I do have this overriding kind of factor of, you know, God that's just kind of like, oh, these are ancient times. this is an ancient world and it's hard to like wrap your mind around it because youth, you know, you think of yourself in the present time of like being a, you know, a being of existence in the future. Oh, I watched the jet the Jetsons. Oh, that was so good. I watched uh the Jetsons. which I didn't know is also the Simpsons. and like every animated show that came out on it like a lot, actually. It's a good show. I got I think I gotta watch it again because I was like, oh, this is like ten different shows. It was like ten different shows. um but I watched like the pilot, I think episode of the Jetsons and I was tripping. I I was tripping. um it was just really good. Anyway, um I think what what was I saying? Oh, like this time being like a marker for actual actually being a primitive civilization. Whereas like not necessarily compared to what we know as the primitive civilizations, you know, of human time, like, you think of primitive civilizations of being like the ancient Egyptians or, you know, the Mayans or, uh, you know, the Greeks, uh loved them. I really I I almost even favored them over the Romans. almost, almost, almost, I don't know, I could talk about history and culture forever. cause I'm like, but the other Romans really, like their architecture, but the Greeks more culturally, like artistically, I think where what is the word for them? Uh, the Greeks? What is the word for them? I think there were definitely more, uh yeah, yeah, definitely more artistic philosophical than the Romans, but the Romans had like a lot, like a lot to do with modern society to the point where that's also uh admirable. I do like the Romans. They're just like shitty and violent. They're just shitty and violent anyway. um what was I saying? I don't know. I'm wrapping this up. cause I'm hungry. I don't know about a taco, though. This is technically the start of my day. at midnight o'clock. Um, at midnight o'clock. oh, that's what I was talking about. Markers for ancient civilizations. Oh, yeah, this this time is so so far beyond. But I think the the incredible thing about this time that we're living in now presently, um, is that it is so, like there's so much record of it that it does exist beyond our time for, you know, potentially millions of years and into hire and further civilizations. So I kind of live with that, like, understanding of like this this also and itself being like, a part of the ancient world as far as time is concerned, you know? like, in as much a stipulation of like any apocalyptic or societal, you know, destruction is made, like nothing really sees past, like nothing really sees past the fact that, like, they're so much historical information about our present time in the future that it is consistently creating to an adding to like the what am I trying to say? Oh, something about the multiviverse. Something about the cosmos or something. constantly expanding, because it is, but whatever, I actually just kind of made this as a real time episode to so that I could share this song and then um not really like I don't necessarily have anything for you, anything else for you in this season. um it's there. like, there are six or seven other episodes. There might even be some music. oh, all the freaky Fridays or whatever, mix tapes. Did I even post what up Wednesday? I did I did a freaky Friday on a Wednesday and it was arguably the best. of all the freaky Fridays. I don't know if I posted that already. um I don't know if I posted that already. but it's not. Also, like my podcasting distributor is kind of archaic. So it takes a lot of work just to go check on what's been posted or whatever. um So I'm I'm not going to make any promises and be like, oh, go check if that was posted. And if it is posted, I'll just maybe post it again, cause it's worth it. Um, what up Wednesdays? I did it twice, actually. um because it got difficult to do freaky Fridays. It's still kind of fucking difficult to do it. And, uh, I it pains me to realize, like, how physically affected. I've I have been. um cause it sucks, cause it's not just something that's in my head, it's like ow, like, my body hurts. like, I cannot, you know. I can't withstand a certain frequency or electronic exposure that is negative over this much time. Like, I'm just like broken down right now. Um at least I'm still capable, cause I didn't ever think. I was like, I don't think I'll ever run more than a mile again. Um, I probably should um take the proper steps to make sure that, though, uh, now that I'm running again, I take the proper steps, like, I forgot to stretch, and I forgot to drink water. Stupid. Well, I I just felt so good to run. I love those woodway treadmills so much, so much, it just felt so good that I didn't that I couldn't stop and then when I did, like my body is like, okay, like you're stupid. Like it felt really good, so I'm like, all right, like active recovery. I'm gonna do like two hours on the pelotone and then a walk. um, before I run again. and that's what I'm about to do right now. I love getting to the reunion parts of the bad girls club because as the most fighting and I burn the most calories during the reunions, I just finished to season. I just watched the season for the second time. and uh I have a reunion episode coming up, so I'm a I'm— I don't know. I'm pretty boring person to be quite honest, but here's the song. okay, I'm at an hour yet. Here's the song forgetmenot// and follow through. It's not finished. Like if I could give you a percentage on the— what are you doing? Yo, this dudes are weird all day. I'm sorry. Um. He's so funny. He's so funny. Earlier he like earlier he like sneezed. Earlier he sneezed. But like also farted and this scared himself so bad that I could not contain myself. Because he was like embarrassed. but like, also he sneezed and farted and probably could not. He was like, oh, my God. Like, oh my God. And then, uh, I laughed for like a good five minutes after that. He seemed genuinely embarrassed. I was like, yeah. yeah, that that is shocking that you can manage to do something like that. like being a cat, but, you know, oh, he did. It was good. That's why we have emotional support animals, because I needed that laugh. I don't think I' laughed so hard at anything in a very, very long time, so I'm glad I have my little kitty. my satterat, my Mr. Cat, mush matters anyway. uh, was I wrapping something up? I was.ive meods to follow through. this song that's about to come up, and then I'm maybe I'll maybe I'll if it's not out already. Well, if it is, here it is again, what up Wednesday? I'll go dig it out of the fucking archives. you guys couldn't have that. decent. Um, keep in mind that the CDJs at the radio station, where do Freaky Fridays are also very archaic? Um, I'm not complaining, though. I don't know. I don't know if I got to the episode where I was talking about that. Uh, or maybe I got I got fi I gotta figure it out. um I gotta figure out where these episodes are. There's like six or seven. Should I uh honorable mentions or dishonorable mensions? I feel like it borders on both. because I just figured out what apparently the six seven phenomenon is. And I'm actually worried about suburban children, like, having act like, why are they saying this? Because I looked up I looked up where it came from, it came from this rapper called scrilla dude. not gonna lie. One of my personal favorites, cause I love rap, that is terrible to a certain extent. um and it is, like it's not only it's not only like it's not lyrically terrible. He's actually really good um He's actually really good whatever he's saying. I know what he's saying, which is what's terrifying that, like, apparently suburban upper middle class and upper class children are saying this. six seven thing, because it came from this video by this rapper called Skrilla do doot. Yup. and well, it's culture music, like it's it's trap culture music, it's not necessarily drill, but it's done in the style of drill. um, talking about like the culture the culture the culture um that is not necessarily like great. cause he was talking I was like yo. what the fuck are children saying this for? Um, what the fuck are children exposed to this for? Because there was no, like parental block on it or anything like that. And the dude was talking about like, straight up murderer. He was like, yeah, m, like this though. And I was like, oh no, like I I actually kind of dig his music because it's it's like it's the music that was born of like the Young Thug and the low Wayne and themehesine and it's bad. It's really bad. Like it's really bad. like if your kids are saying six seven, like, the origin of that is not, I'm like,o, shout out sc a d do, because that is facts, but also like, like like kids should not necessarily like, everything he was saying and all of his songs, I was like, that's bad. That's bad that you said that. not that you shouldn't, actually. I feel like there, like art exists as a medium to be able to have this level of freedom of speech, and that's why it exists. But also like, if you understand which I think kids obviously don't if they're just like, oh, six, seven, I'm like, okay, like, but obviously, like, this is where that came from. Like, and this is where that came from, and the dude is talking about some stuff that I'm like what? Like, I'm not confused. I know what he's talking about. But like, children should not necessarily like, even if they don't know what he's talking about, this is not like, this is different from like, when I was like, 10 and it's getting hot in here. So take off all your clothes, like that came out or like to the window to the wall, like this is mild, those things are mild, compared to like, the shit that scrill a do dude. talks about. I'm like, oh, what? What? And apparently we little kids are seeing this and exposed to it, like, they don't necessarily know what it means, but he's like, yo, these are the lyrics to my songs. Listen. I'm like, oh, like. That's troubling. That that exists. That's troubling. truly troubling. I'm I'm not talking shit. I actually really like it, but like parental controls, like, my kids should not be exposed to this, like via the Internet. Like, you should not like, this should be something especially if you live in the subrooms like if you live in a house that has rooms, like if you live in a house that has rooms in an all. like the culture that this is referencing and you know what? The only thing that actually made me look it up was like so many people were saying it in the circuit of television that I watched that I was like, it was bothering me. It was bothering me like Labubu was, but Labubu was far less disturbing, far less. I was like, oh, no. this is not cool. This is not cool, David Letterman. This is not cool, because he was like,Yo, what's up six seven? I'm like, you're 106. I don't know why you're saying this. So I looked it up. So I looked it up, and I was like, oh no, like, okay, like we know it's a cultural fucking phenomenon, but like, do you know why? Do you know why? Like, do you know why? And do you know what this man is talking about? Do you know what this man is saying? Anyway. I'm not I'm actually not gonna say it. Like I'm not gonna say it because I think it it exempt exemplifies that's what I'm trying to say right yeah. I think it exemplifies and represents a part of the culture that is deeply, deeply, deeply, deeply wrong. um in the history of the United States of America. I think it's just bad news. It's just bad news. And it's bad news, like it exists, but the reason why it exists is terrible, like it shouldn't exist is it's terrible. It's bad. It's bad and it's bad that kids are saying this. It's bad anyway. it's really bad. Anyway, I got Peloton time, bad girls' club reunion, some coffee to reheat. Here's this song, um there's no anything else for a while. I gotta make sure that like my uh I got to make sure if I get taken out, it's by like a city bus. And, you know, not just because my insides are uh imploding. um and yeah, my insides are imploding. Uh, gotta take care of number one, which is me. So, that self serving thing I get, but, you know, I'm just not the kind to to step on heads or like, I'm not gonna make it, like, purposely harder for you to do something. Like, I do believe in free will to the point where if you're not hurting anybody else, it's not affecting anybody else's, like vibe, like, do what you want, like, as long as you're not objectively or subjectively hurting anybody. Like, just don't hurt anybody, but besides this, you know, take care of yourself, but it's not, you know. I mean, you're not causing any quantifiable harm. Go ahead and, you know? I, um, but that's it. That's that's it for me. Thank you for listening. Is that it? Yeah, forget me nots. It's not finished. I've got a lot to do. Like, I actually had this is a song that actually has like a list, like a handwritten list on a piece of paper of like do this and do that and do this and do that. But like here's what I have so far just in case, you know, the city buses be getting awful close to the curb sometimes. where I stand, I am yep, they do. anyway. um I said more stories to tell and stuff, but now it's not the time or the place. did I say my thing? Yeah, I say my. Dave you were listening. something, you're listening, see you next time. That's it, yeah. Yeah, I don't have anything else. Thank you for listening. See you next time, bye.

Music products are some of the most innovative and frustrating tools in any industry. Let's peel back the veil a bit into the history of music software, piracy, and how old-school tech is holding itself back. There's a reason why Ableton is the DAW (music production software) of choice for younger people! (It's the iLok!)For 30% off your first year with DistroKid to share your music with the world click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to hear my music? For all things links visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ScoobertDoobert.pizza⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to this pod's blog on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to receive deeper dives on the regular

This is my entry for the Beat Collective Challenge for Nov 2025, in which participants are given two or three saplres and invited to create an original track using the samples in any way theu wish. This month's samples are provided by Increment and are:- Hey @everyone , Sample 1: Harp loop in Am - 120bpm Sample 2: Tonal one shot I used the samples pretty much as is and also played them through Ableton's Simpler in the intro and outro.

After surviving Thanksgiving and the subsequent biting cold, we jumped into the FOLLOW UP with news that Malaysia is joining the trend by taking steps to ban social media for children under 16, mirroring similar actions in Australia and Denmark—it seems the world is finally realizing the internet is a toxic wasteland for the kids. We also discussed Apple's photo AI, which is apparently still in beta, if the results are anything to go by. The bulk of our discussion centered on the spectacular, flaming death of the Department of Government Efficiency (DOGE), which is Officially Dead. We broke down a brief rundown of the damages this vanity project caused, from humanitarian disasters overseas to administrative chaos and the loss of hundreds of thousands of jobs domestically, proving the "savings" were pure illusion. Now, with the collapse, the 'Suddenly exposed' DOGE employees fear prosecution after Musk abandoned them, learning the hard way that billionaire guardianship has an expiration date.The job market is just great, with both Apple laying off part of its sales team despite record revenue, and HP joining the List of Tech Companies Cutting Jobs and pointing to AI as the convenient scapegoat for laying off 10% of their workforce. Meanwhile, we found out the most popular social media platform among US adults isn't Instagram or TikTok—it's YouTube—while Meta allegedly buried research showing its products are harming users, confirming what we've known all along: they're evil, but they already got your grandma hooked. Adding to the misery, An Alarming Number of Teens Say They Turn To AI For Company, Study Finds, because why talk to a real, messy human when a bot can gaslight you more efficiently? Sam Altman's financial troubles are spilling over, with Sam Altman's Business Buddies Are Getting Stung (sorry, SoftBank and Oracle), and analysts estimate OpenAI Is Just $200 Billion Away From Still Losing Money, HSBC Says, a comical hole they plan to fill by asking for more free money. Legally, OpenAI can't use the Word ‘Cameo' in Sora now, thanks to a trademark suit, and Warner Music is playing both sides by dropping its lawsuit against Suno in exchange for a licensing agreement. Finally, in some truly dark news, a Marc Andreessen-backed Super-PAC Pours Millions Into Fighting State AI Regulations, and X's new location feature reveals that New X Feature Reveals Many MAGA Patriots on X Are Not Even Based in the U.S.After ranting about my misery dealing with the Open Dialogue bug in a beta build and declaring my return to "pedestrian releases," we got into APPS & DOODADS. Spotify is actually doing something cool with its new SongDNA feature, which shows you who sampled what (and they bought WhoSampled to do it). They're also testing Spotify's New AI-powered audiobook Recaps to remind you where you left off—Amazon is doing the same with AI-powered series Recap Videos for Prime Video. Amazon is also rolling out Alexa Home Theater surround sound for Echo speakers, making those budget speakers slightly more useful. We ran through some great stocking stuffers in Jason's Holiday Gift Guide, including Velcro cable ties and the Contigo travel mug, before moving on to MEDIA CANDY, which included Dan Carlin's Common Sense, Nathan Fillion and Alan Tudyk's new podcast Once We Were Spacemen, and a discussion on why Stranger Things Lost the Plot. We then got deeply uncomfortable talking about a Toronto ASMR spa that offers doctor roleplay, and closed out by talking about the documentary Quiet Please… about the neurological disorder misophonia. The episode finished with the AT THE LIBRARY segment, covering the Milli Vanilli memoir You Know It's True and the sci-fi short story collection The Time Travelers Passport.Show notes at https://gog.show/724Watch now on YouTube: https://youtu.be/PoMa9FM5QEE?si=4r25yqv_0u8aXHF7Sponsors:MasterClass - Get up to 50% off at MASTERCLASS.com/GRUMPYOLDGEEKSGusto - Try Gusto today at gusto.com/grumpy, and get three months free when you run your first payroll.Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordFOLLOW UPMalaysia takes steps to ban social media for children under 16IN THE NEWSDOGE Is Officially Dead'Suddenly exposed' DOGE employees fear prosecution after Musk abandoned them: reportApple lays off part of its sales teamHP Joins List of Tech Companies Cutting Jobs and Pointing to AIThe most popular social media platform among US adults isn't Instagram or TikTokMeta allegedly buried research showing its products are harming usersAn Alarming Number of Teens Say They Turn To AI For Company, Study FindsSam Altman's Business Buddies Are Getting StungOpenAI Is Just $200 Billion Away From Still Losing Money, HSBC SaysOpenAI Can't Legally Use the Word ‘Cameo' in Sora NowWarner Music drops lawsuit against AI music platform Suno in exchange for licensing agreementMarc Andreessen-Backed Super-PAC Pours Millions Into Fighting State AI RegulationsNew X Feature Reveals Many MAGA Patriots on X Are Not Even Based in The U.S.MEDIA CANDYCommon Sense 325 – Who's the Boss?Once We Were SpacemenHow Stranger Things Lost the PlotBeing EddieThe Beast in MeThe RosesAt Toronto's new ASMR spa, sensory stimulation slips out of the internet and into real lifeQuiet Please…APPS & DOODADSSpotify's SongDNA feature will show you which songs are sampled on a trackMaking of "The Prodigy - Smack My Bitch Up" in Ableton by Jim PavloffSpotify's New AI-Powered Audiobook Recaps Will Remind You Where You Left OffAmazon Launches AI-Powered Series Recap VideosAlexa Home Theater surround sound for Echo speakers is rolling out nowDashaun No Sadè - Episode 13 Durand BernarrGuermok Video Capture Card, 4K USB3.0 HDMI to USB C Capture Card for Streaming, 1080P 60FPS, Compatible with iPad Mac OS Windows, Quest 3, OBS, PS5/4, Switch2/1, Xbox, Camera (Silver)Meike 35mm F2.0 Auto Focus Full Frame STM Stepping Motor Lens Compatible with Nikon Z Mount CamerasOBS StudioRogue Amoeba LoopbackScientists Reveal What Black Friday Is Doing to Your BrainVELCRO Brand 150pk Cable Ties Value Pack, 8in | Stocking Stuffer Gifts for Tech Lovers | For Wire Management and Cord Organizer | Replace Zip Ties with Reusable Straps, Reduce WasteHand Holder Strap for ipad, Tablet Hand Holder Strap, Universal Handle Grip for iPad Kindle, Mini Tablets and Cases (Black)Anker USB C Hub, 7-in-1 Multi-Port USB Adapter for Laptops, 4K@60Hz USB C to HDMI Splitter, 85W Max Power Delivery, 3xUSBA & C 3.0 Data Ports, SD/TF Card, for Type C DevicesContigo AUTOSEAL West Loop Vacuum-Insulated Stainless Steel Travel Mug with Easy-Clean Lid 20 ozScotty Peeler Label and Sticker Remover - Single Metal Peeler -SP2Slipdrive - Portable Hard Drive Sleeve for Laptop - HDD Hard Disk Drive - Reusable Adhesive - 5.5” x 4.5” Stick on External Hard Drive Carrying Case - Travel Pocket Pouch (Large, Black)Slipdrive - Portable Hard Drive Sleeve for Laptop - SSD Solid State Drive - Reusable Adhesive - Stick on External Hard Drive Carrying Case - Pocket Pouch (Small, Black)Carlashes 1001UB Classic BlackAT THE LIBRARYYou Know It's True - The Real Story of Milli VanilliThe Time Travelers PassportThe Courage to Be Disliked: How to Free Yourself, Change Your Life, and Achieve Real Happiness by Ichiro Kishimi, Fumitake KogaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vicky Clarke joins Caro C to explore her experimental approach to sound, from field recording and neural synthesis to AI technologies and spatial audio. She also discusses immersive installations, open-source tools and the unconventional inspirations that drive her work.Chapters00:00 - Introduction02:06 - Field Recording, Musique Concrète and DIY Electronics05:34 - Residency In Russia06:27 - Neural Synthesis And Machine Learning10:53 - Working On Aura Machine14:16 - Working With AI Technologies16:35 - Open Source Software18:30 - Developing An Immersive Sound Installation20:41 - Fear Around Technology22:23 - Spatial Audio Using Spat25:28 - Routing Ableton For Spatial Audio27:53 - Sculptures As Sound Sources30:32 - Adopting Emergent Technology33:53 - Geology As A Source Of Inspiration#ableton #spatVicky Clarke BiogVicky Clarke is a sound and electronic media artist from Manchester, whose work explores materiality, electrical phenomena and ritual. Working with sound sculpture, DIY electronics and human-machine systems, she explores our relationship to technology considering themes of human agency in autonomous systems, post-industrialisation and techno-emotional states. Her work takes the form of composition, installation and live AV performance. She produces music as SONAMB and her debut album, SLEEPSTATES, a ‘glitchy experimental techno jerker' (Boomkat) was released in 2022, accompanied by net-art piece ‘SLEEPSTATES.NET'.‘Latent Spaces', her 2025 spatial sound installation, was created as a selected ‘In Motion' composer with Sound & Music UK. Inviting audiences to step inside a computational model, the piece draws on her research into machine learning and musique concréte, working with early neural synthesis models and custom industrial datasets. This research practice developed through artistic residencies and commissions with NOVARS electroacoustic department at the University of Manchester, UK-Russia year of music, British Council, and Cyborg Soloists at the University of Holloway, resulting in her works ‘Aura Machine' and ‘Neural Materials.'Vicky won an Oram Award in 2020 from the New BBC Radiophonic Workshop & PRS Foundation. As a solo artist and previously with DIY electronics project Noise Orchestra, she has performed and exhibited at CTM, ICA, MUTEK, National Science & Media Museum, QO2 and STEIM amongst others. Her latest EP AURA MACHINE is out now on LOL Editions.https://vickyclarke.org/https://www.instagram.com/sonamb__/https://linktr.ee/sonamb__http://sleepstates.net/https://loleditions.bandcamp.com/album/aura-machineCaro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode of The Drew & Fuse Show, the boys talk about the DJ Collective, Ableton 12.3 Stems, Serato 4.0 crashing, how to behave at parties and events, and their favorite DMS picks of the week. 0:00 - Intro 4:00 - News 8:00 - Ketchup 37:48 - Music We're breaking down what these updates mean for DJs, producers, and music lovers everywhere. Do these new releases live up to the hype? And where do you stand on the Sync button conversation?

We dive into everything new in the Ableton Live 12.3 update. From built-in stem separation and deep Splice integration to Push 3's expressive XYZ layout, this update is packed with workflow upgrades and creative tools for sampling, sound design, and live performance. If you use Live for production or DJing, this breakdown is for you.Grab exclusive Ableton Podcast swag from the new Merch Store:https://abletonpodcast.com/merch(Use discount code: podcast)Join the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

Clara Lars: Finding Her Unique Sound and Musical JourneyIn this engaging episode, we sit down with Clara Lars, a talented musician studying at NYU's Clive Davis Institute. Clara shares her musical journey, from her early days experimenting with melodies on the piano to mastering Ableton during the COVID lockdown. She discusses her challenges in finding her unique sound and voice, inspired by artists like Lana Del Rey and experiences from her life. Clara also opens up about the creative process behind her songwriting and her ambitions to connect deeply with her audience. Additionally, she talks about the importance of visual storytelling in her music, her upcoming projects, and shares some interesting insights into her life and inspirations. Don't miss this insightful conversation about the making of a modern-day artist!

Jonathan Snipes returns to talk about the latest clipping album, Dead Channel Sky, and other things. https://www.clppng.com/ KEANU Matrix Mixer Module: https://afterlateraudio.com/products/keanu Support Pod Mod PATREON (https://www.patreon.com/podularmodcast) LOUSY FALCON ALBUM: https://podularmodcast.bandcamp.com/album/forty-eight-feathers-a-collection-of-live-performances Thank you Novation: https://us.novationmusic.com/products/circuit-tracks# Signal Sounds: https://signalsounds.com/ Expert Sleepers: https://expert-sleepers.co.uk/ waveform magazine: https://waveformmagazine.com/

In this episode, Louis Futon dives deep into his journey from college dropout to rising producer and performer. He shares how his sound evolved, collaboration experiences producing for artists like Cherub and Armani White, favorite production tools, and much more.Louis Futon (Tyler Minford) is a Philadelphia-born, LA-based producer known for seamlessly blending live instrumentation with electronic production. He's performed at major festivals like CRSSD and Splash House, toured with ODESZA, GRiZ, and earned 45M+ streams. His collaborators include Masego, Anderson .Paak, Duckwrth, Alison Wonderland, and many more.Follow Louis Futon Below: https://www.instagram.com/louisfutonhttps://twitter.com/louisfutonbeatshttps://tiktok.com/@notlouisfutonhttps://facebook.com/Louisfutonbeatshttps://www.twitch.tv/louisfutontvGrab Ableton Podcast swag from the new Merch Store: https://abletonpodcast.com/merchJoin the newsletter to get free Ableton content + early episode access:⁠⁠⁠https://www.abletonpodcast.com/newsletter

This week Adam and Dan dive into everything from weekend gigs to spooky TV show binges. Adam recounts the excitement and challenges of performing at a Stranger Things-themed block party, including bringing Aiden Fisher, the guitarist from the show, on stage for an electrifying rendition of 'Master of Puppets.' Dan shares his recent experiences revisiting the Flanagan-verse and the hilarious animated show 'Haunted Hotel.' They also discuss new gear trials, like the Enya carbon fiber acoustic guitar and the automation of their vocal pedals through Ableton. Tune in for laughs, insights on band dynamics, and heartfelt shout-outs to their awesome community of listeners.MaestroDMX (10% off discount link): https://maestrodmx.com/discount/DISCOUNT4CBC?redirect=%2Fproducts%2FmaestrodmxBOTH Lighting 360 Tubes (Use “DISCOUNT4CBC” to save 5%): https://bothlightingusa.com/collections/all-products/products/360-tubes-copyBlank Contracts & Riders: https://www.coverbandconfidential.com/store/performance-contractsBacking Track Resources: https://www.coverbandconfidential.com/store/backing-track-resourcesThank you so much for tuning in!  If you want to help be sure to like, subscribe and share with your friends!  Linktree: linktr.ee/adampatrickjohnson                linktr.ee/coverbandconfidentialFollow us on Instagram!@coverbandconfidential@adampatrickjohnson@danraymusicianIf you have any questions please email at:Coverbandconfidential@gmail.comConsider supporting us on Patreon! www.patreon.com/coverbandconfidentialOr buy us a cup of coffee!paypal.me/cbconfidentialAnd for more info check out www.coverbandconfidential.comGear Used in this Video (Affiliate):Sony ZV-E10 Mirrorless Camera: https://amzn.to/3DBqtOyElgato Prompter: https://amzn.to/3X3IAq8 Shure SM7B: https://amzn.to/4dDCJx0 Elgato Stream Deck XL: https://amzn.to/3gKjhqiMagic Arm Camera Friction Mount: https://amzn.to/3SK5yNk

Watch on YouTube Join us this week's episode, featuring Caleb shares his unique journey from being a drummer with a background in Southern Baptist traditions to becoming a key figure in spontaneous modern worship. Join them as they discuss the heart of worship, practical keys tips, the importance of worship culture in churches, and Caleb's experiences playing for Garrett & Kate Serban, now signed with Bethel Music. Caleb also talks about his use of Ableton for worship services, the significance of the transpose button, and the value of cultivating relationships within a worship team. This episode provides insight into the blend of technology, musicianship, and spirituality that drives effective worship experiences.Caleb KingSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

Tommy Zee runs Tommy Zee and Co., a music production company that creates music for some of the world's largest brands like Nike, Adidas, Google, Sony, and more. He also runs Making Music for Brands, a platform where he teaches producers how to build careers creating music for commercial projects. This is the fourth time I've had Tommy on the podcast, and every time we talk, I walk away feeling inspired and energized. In this episode, we talk about the evolving role of artists in a world increasingly shaped by AI and automation. We explore how commercial work shaped Tommy's discipline, why he's now leaning more into slower, more intentional creativity, and how important it is to stay connected to what truly matters to you as an artist. Toward the end, things get philosophical—and I think that's where some of the richest moments come through. This episode is sponsored by Baby Audio, who are running a huge Black Friday sale until December 8, 2025.   Save an additional 15% with the code: MPP15 - https://babyaud.io  Listen on Apple, Spotify, YouTube Links: Making Music For Brands- https://www.makingmusicforbrands.com Tommy's YouTube - https://www.youtube.com/@studiozeeandco KMRU on Ableton's Blog - https://www.ableton.com/en/blog/kmru-on-the-art-of-sharing-music/ Tommy on the 307th Episode of this podcast - https://brianfunk.com/blog/tommy-zee-3 Tommy on the 188th Episode - https://brianfunk.com/blog/tommy-zee-2-music-production-podcast-188 Tommy on the 122nd Episode - https://brianfunk.com/blog/2019/8/15/tommy-zee-making-music-for-brands-music-production-podcast-122 Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

Episode 370: DJ BOOGIE BLIND "The Death of Originality in DJ Culture" This week on @RoadPodcast, the crew sits down with @BoogieBlind to talk about his Bronx roots, coming up with Lyrics to Go, and learning from Roc Raida (2:10). Blind shares how he chose DJing over basketball after seeing Roc Raida's success and reflects on the original “X-Men Rules” (9:10). He pays respect to Clark Kent, opens up about his battle DJ mentality, and talks about “protecting his energy” in an era where copying is normalized (12:10). Crooked and Blind discuss the “me against the world” mindset of battle DJs, how relationships change as you grow (15:16), and the difference between people's online personas and real-life character. Boogie calls today's scene “the most cut-and-paste generation of DJs” and addresses imitation, technology, and Serato's impact (26:05). They debate content vs. ability, give props to younger DJs pushing boundaries (24:01), and Blind shares his approach to sets: half battle DJ, half party rocker (32:01). He recalls playing @Shaboozey at Dante's Hi-Fi, discusses vinyl culture, and opens up about self-doubt, crowd control, and staying a fan of the craft (44:01). Blind also speaks on his party “Easily” (51:01), the mic game in the 2010s (1:00:01), his love for island music and production (1:13:01), and the crew's take on quick mixing (1:27:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Tom Cosm is an electronic musician, Ableton Certified Trainer, and the technical co-founder of Telepathic Instruments. Widely known for his early Ableton Live tutorials and inventive use of hacked gear, Tom has built a reputation as a true audio mad scientist—transforming data, brainwaves, and even bugs into expressive sound. In this conversation, Tom shares his journey from early YouTube educator to the co-creator of Orchid, a new instrument, dreamt up by Tame Impala's Kevin Parker, built to spark musical ideas with immediacy and joy. We explore the evolution of his creative philosophy, how tools can invite spontaneity, and what he's learned about music (and life) by building instruments from scratch.  Listen on Apple, Spotify, YouTube Takeaways: From YouTube to Orchid - Tom's journey started with early Ableton tutorials on YouTube and led to co-creating Orchid—a creative "ideas machine" that helps musicians quickly generate complex chord progressions. Music in Everything - Whether converting brainwaves, weather data, or the movement of a spider into sound, Tom finds musicality in everyday patterns and natural systems. Designing for Play - Tom emphasizes having fun while making music. Orchid was intentionally built without a screen to encourage tactile exploration and playful interactions. Community-Driven Development - Community has been a constant factor in Tom's work and continues through community-feedback on Orchid. Making Time for Music Again - After years focused on building hardware, Tom is excited to return to making music—starting with 80 unfinished tracks and a fresh wave of curiosity. Links: Telepathic Instruments - https://telepathicinstruments.com Telepathic Instruments on Instagram - https://www.instagram.com/telepathic.instruments/ Telepathic Instruments on YouTube - https://www.youtube.com/@telepathic.instruments Tom Cosm Website - https://www.cosm.co.nz Tom's YouTube - https://www.youtube.com/cosmcosm Tom's Instagram - https://www.instagram.com/tomcosm/ Tame Impala - https://www.tameimpala.com Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk  

In this episode, Au5 dives deep into the intersection of sound design, creativity, and production workflow—sharing his philosophy of music as a transformative art that bridges science and spirit. He breaks down his process behind the new Emberwake EP, discusses the evolution of his vocal work, and offers production tips for breaking out of loop hell, mastering dynamics, and designing powerful bass textures in Ableton Live.Au5 is a renowned electronic artist, producer, and educator celebrated for blending intricate sound design with emotional and spiritual depth. His discography includes releases on Monstercat, Armada, OWSLA, and Wakaan, alongside collaborations with BT, Tritonal, and Seven Lions. Beyond performing and touring globally, he teaches music production and sound design through his School of Bass masterclass series and free tutorials.Follow Au5:https://www.au5music.comhttps://www.instagram.com/au5_officialhttps://discord.com/invite/au5omeSPONSORED BY BABY AUDIO:Tekno by Baby Audio is a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: https://babyaud.io/teknoUse code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

In this episode, Jason Huber from Cherub dives deep into the duo's 15-year journey—sharing how they built their sound, evolved their live show, and continue to innovate using Ableton Live. He talks about slimming down their touring rig, producing with modular synths, crafting custom effects with stock plugins, and how the band keeps everything stable even after hundreds of shows.Cherub is a well established electro-pop duo made up of Jordan Kelley and Jason Huber, known for their viral hit “Doses & Mimosas” and energetic, guitar-driven live shows. Since forming at Middle Tennessee State University, they've released multiple albums including Year of the Caprese, Bleed Gold, Piss Excellence, and their latest record Everything Changes and That's Okay. Blending funk, indie, and electronic vibes, Cherub remains a big name in the festival and touring scene.Follow Cherub Below: cherublamusica.com instagram.com/cherublamusicaSPONSORED BY BABY AUDIO:Tekno by Baby Audio – a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: ⁠https://www.babyaud.io/tekno⁠Use code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

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Watch on YouTubeIn this episode of the Worship Keys Podcast, we talk with Atreyu “Tre” Singleton—music director, Ableton-certified trainer, and worship leader. Tre shares how he builds worship patches in Omnisphere and Logic Pro, the power of layering sounds, and how AI is shaping the future of worship sound design. He also opens up about his devotional project, Memoirs of a Minstrel, his passion for mentoring young musicians, and why character offstage matters as much as skill onstage. Whether you're new to worship keys or a seasoned player, you'll find both practical tools and spiritual encouragement in this conversation.Atreyu Singleton Support the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

Episode 365: DON DIABLO "The Visionary of Future House on Imposter Syndrome & Humanizing A.I." This week on @RoadPodcast, the crew sits down with future house pioneer @DonDiablo for a deep and personal conversation. At 01:55, Don talks about running on little sleep before his Pier 19 show and why NYC remains his biggest market. By 06:55, he explains why he avoids repeating sets, preferring Tomorrowland's smaller, darker stages over the main stage. At 12:20, Don reflects on his teenage years in the Dutch scene, from being taken advantage of as a young producer to being labeled a “weirdo” by peers. He admits that sometimes he hates being Don Diablo, finding true acceptance only through his fans. At 18:10, he recalls his production roots and the joy of creating purely for fun. By 24:55, the tone shifts as Don shares a powerful story about his father's illness, the lessons from their final conversations, and how this shaped his outlook on time, purpose, and music. He recalls writing songs like “The Artist Inside” as a tribute to his father, and performing it at his funeral, the most difficult moment of his career. At 37:55, Don speaks on the therapeutic nature of songwriting, before offering his perspective on AI at 44:01, viewing it not as a threat, but as a tool to make creativity even more human. Closing out at 1:01:44, Don dives into his Hexagon label, the video for “Anytime”, and the contracts he gave artists. At 1:05:01, he shouts out @BeatsourceOfficial, and at 1:18:45, leaves us with a quote to remember: “The devil works hard, but the DJ works harder.” This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

What are ProducerHead Loops?Gems from past conversations worth running back.Perfect for when you need a quick hit of inspiration.This Loop:In this ProducerHead Loops episode, Just Jared shares wisdom for producers at the starting gate, those who've just grabbed a Maschine, Ableton, or FL Studio and are wondering where do I even begin? He covers why tutorials give you the language to problem-solve, the importance of applying lessons as you learn them instead of stockpiling knowledge, how creating a clear project goal helps guide your learning, and why perfectionism is really procrastination. Jared reminds us that content and music don't need to be perfect, they need to be shared.From Episode: 004. The Shortcut Is The Work: The Truth About What's Blocking Your Progress. And, The Overlooked Component of Consistency.Connect with Toru:* Website: torubeat.com* Instagram: @torubeat* YouTube: @torubeat* Spotify: Toru* Apple Music: ToruSubscribe to ProducerHeadGet new episodes and Loops delivered straight to your inbox. Hit that subscribe button if you're not already part of the community.This episode was co-produced, engineered and edited by Matthew Diaz.From ProducerHead, this is Toru, and in a way, so are you. Peace. Get full access to ProducerHead at producerhead.substack.com/subscribe

Can you really build your own recording studio gear and make it sound amazing? Mitch Rose from Audio Boys says yes—and shows you how. From hand-built microphones to creating reverb chambers in your home, we dive into the heart of DIY recording and why it's the most creative path to finding your signature sound.   Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Mitch Rose, a recording and mixing engineer from Newcastle, Australia. Mitch is passionate about all things DIY—building his own mics, preamps, EQs, compressors, and even studio furniture and acoustic treatment for home studio spaces. He's been teaching music and audio production for over a decade at technical colleges across Australia, covering everything from recording and live sound to composing in Ableton. Mitch is also a multi-instrumentalist who plays drums, guitar, bass, and all kinds of percussion—especially the Cajon. These days, he spends most of his time recording and mixing other artists from his DIY home studio, and sharing what he learns online. He runs a popular YouTube channel called The DIY Recording Studio, where he teaches other producers and engineers how to start their own DIY studio journey—with hands-on build tutorials for companies like MicParts, DIYRE, CAPI, and Sound Skulptor. Mitch recently flew to the US for NAMM 2025 to work with Z&H Designs and connect with artists, producers, and creators from around the world where I got to shoot a couple of fun videos with him at the booth. Thank you to Nick at Panorama Mastering for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/59vJxA8aupW03dSSZDfHyc?si=i77sfgsvTyaSLNvRiwqd-Q If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/524

This week Adam and Dan catch up on gigs, gear, and the weird life of being a musician. Check out the highlights below and jump to what interests you!

Welcome Athens, GA native Jordan Arnold! Jordan is the current drummer for rising country artist Noah Hicks. Jordan shares his journey into his passion for music and the drums, starting from his early days inspired by Def Leppard, to his special relationship with his father both on and off the stage. Jordan stresses the value of important relationships within the music industry and shares insights and fun stories from life-long mentors and drumming legends Rich Redmond and Gregg Bissonette.Jordan takes us through life on the road with Noah, including automating an entire set in Ableton, to how to be nimble and cope with high-pressure situations. We delve into Jordan's brief stint teching for drummer and close friend Eric Pritchard (Megan Moroney), how to pull off the perfect stick tricks, and ways you can become both a great player and a great hang! We hope you enjoy. Chapters:0:00 Intro1:56 Welcome, Jordan! 3:06 Father-Son Musical Bond 5:54 Balancing Multiple Gigs 10:11 Ableton and Automation 15:51 Drum Box (Sponsor) 16:33 Noah Hicks & Career Trajectory 29:50 Mentor Rich Redmond 36:48 Low Boy Beaters (Sponsor) 37:29 Gregg Bissonette & Dixon Drums 41:51 Broadway Gig Adventures 48:12 Dixon Drums & Gear Talk56:06 Networking vs Making Friends in Nashville 1:00:30 Teching for Eric Pritchard, Drum Tuning Insights 1:07:41 Drum Supply (Sponsor) 1:08:42 Dream Gigs and Def Leppard 1:13:02 Memorable Gigs and Stories from Tour 1:22:45 Playing for the Military and Secret Service 1:31:28 Groove MPL (Sponsor) 1:32:39 Wrap-Up Questions 1:41:29 OutroThank you to our Episode Sponsors:Drum Boxhttps://drumbox.spaceDrum Supplyhttps://www.drumsupply.comLow Boy Beatershttps://lowboybeaters.comGroove MPLhttps://www.groovempl.comConnect with Jordan:Instagram: https://www.instagram.com/jordanthedrummerwbYouTube: https://www.youtube.com/@JordanArnoldOfficialTikTok: https://www.tiktok.com/@jordanthedrummerwbMusic Featured in this Episode:"Dirt On It" - Noah Hicks"Country Tonight" - Noah HicksSupport the showConnect with us:WebsiteInstagramTikTokYouTubeFacebookRecorded at Garden Groove Recording Space, Nashville, TNPodcast Artwork: GENUINE CREATIVE ART ⓒ 2025 Nashville Drummers Podcast, LLC

Episode 364: DJ TRAUMA "From ATL to Dave Chappelle, Navigating the Celebrity DJ Scene" This week on @RoadPodcast, the crew sits down with @DJTrauma to reflect on his journey from New York to Atlanta and beyond. At (00:55), Trauma recalls growing up in Manhattan and how his DJ name came from a friend's little brother. By (04:30), he's reminiscing about partying in the Meatpacking District and what it meant to be “outside.” He explains what it means to be a “vibe DJ” (07:15). He compares the craft of DJing to stand-up comedy (10:35). Trauma then shares how a free event unexpectedly led him to working with @DaveChappelle (12:52), and a relationship that grew into legendary gigs like First Avenue in Minneapolis and Radio City Music Hall in NYC (15:56). The conversation dives into Trauma's reputation as “Chappelle's DJ” (30:01), @PhifeForever performing at his 21st birthday, and the rise of Atlanta's unified scene with @Outkast, @GoodieMob, and @JermaineDupri (34:40). He speaks on the epic Freaknik parties (45:55), the power of ATL DJs (1:03:40), and throwing LA house parties where @mr_Camron once performed in his living room (1:20:20). Trauma also reflects on early trips to Africa, how Chappelle's Retreat and Summer Camp shaped his career (1:35:01), and why soulful events like Soul in the Horn keep him grounded in the music that matters. This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Watch on YouTubeCarson is joined again by Anaji Powell, a worship keys player, MD, and creative behind powerful sound design. Fresh off last week's episode with his wife Kaci, Anaji now gives a full breakdown of his worship keys rig, from the Nord Stage 4 and Ableton to TouchOSC and live looping. He shares how sound design isn't about showing off, but about serving the moment, supporting pastors like a movie score, and pointing people to Jesus. Anaji also highlights the value of patience, practice, and mastering your instrument before adding advanced gear. Whether you're just starting on keys or already leading as an MD, this episode is filled with insight and inspiration. Don't miss out—hit play and share with your worship team. You won't want to miss this!Anaji PowellSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

In this episode, INZO and Blookah dive deep into their collaborative process behind their album Nexum, sharing how they blend analog synths and sound design. They open up about their collaboration process, favorite synths (hardware and software), drum programming, and their nuanced approach to layering and mixing textures in Ableton Live.INZO is a genre-bending producer and DJ from Chicago, now based in Denver, best known for his viral track “Overthinker,” which has surpassed 50 million streams. He's headlined major venues like Red Rocks, and festivals like Bass Canyon and Wakaan, collaborated with LSDREAM and Blookah, and continues to push sonic boundaries with every release.Blookah is a Chicago and Denver-based producer, multi-instrumentalist, and beat maker known for blending future bass, funk, hip hop, and neo-soul into lush, feel-good soundscapes. A longtime collaborator with INZO, Blookah's music is rooted in live instrumentation, rich sound design, and groove-heavy production, showcased in their joint album Nexum and his solo releases on labels like Lowly, Wakaan, and SSKWAN.Follow Local Void Label & Remix Contest: https://linktr.ee/localvoidrecordsINZO:https://www.instagram.com/inzomusic/https://inzomusic.com/Blookah:https://www.instagram.com/blookah/https://blookah.comSPONSORED BY BABY AUDIO:Tekno by Baby Audio – a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: https://babyaud.io/teknoUse code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:⁠https://www.abletonpodcast.com/ableton-chatbot⁠Join the newsletter to get free Ableton content + early episode access:⁠https://www.abletonpodcast.com/newsletter⁠

Nck Name is a Canadian actor, musician, and producer whose grounded performances and creative range have positioned him as an exciting talent to watch. Nck takes a major leap forward in his acting career as a key cast member in Adulthood, a comic neo-noir from actor-director Alex Winter (Bill & Ted, Zappa). The film made its world premiere at the 2025 Toronto International Film Festival and features an ensemble cast led by Kaya Scodelario (Skins, Crawl) and Josh Gad (Frozen, The Book of Mormon).  Nck's onscreen credits span a wide range of genres and platforms. His television work includes appearances in Star Trek: Discovery, Netflix's The Madness, Brilliant Minds, Fellow Travellers, Murdoch Mysteries, Mayday, and the Emmy Award-winning  Odd Squad on Nickelodeon. His film roles include A Mother's Lie, I Won't Let You Go,  and Love & The Radio Star. His first lead performance, playing Michael Jackson in the U.S. networkdocu-drama Broke and Famous. What makes Nck's career especially distinctive is his equally accomplished background in music and sound. Before stepping fully into the world of acting, he enjoyed a successful run as a touring and studio musician, playing thousands of live shows across North America. He is known for his experimental live-looping performances using Ableton and multiple instruments, bringing music production into dynamic, layered stage experiences.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

In this episode, AHEE shares his creative process, sound design insights, Serum tips, and how he's evolved his mixing templates. He opens up about AI tools in production, songwriting techniques that elevate a track beyond “weird sounds,” and balancing his passion for education with a hectic tour life. AHEE is a bass music producer known for his intricate sound design, high-energy tracks, and educational YouTube tutorials, which recently hit over 2.5 million views. With releases on Bassrush, Wakaan, Subsidia, and more, he's supported by heavyweights like Excision and Subtronics. Beyond the stage, he's become a mentor to thousands of producers through his Ableton racks, tutorials, and sound packs.Follow AHEE:https://www.instagram.com/iamaheehttps://gumroad.com/aheehttps://soundcloud.com/aheehttps://www.youtube.com/channel/UCNNFPGqrCztLAlfTKIJ1uKQVisit Ableton's U.S. headquarters November 9th, 2025 for a live podcast & private networking experience:https://www.abletonpodcast.com/sunday-abletonevent-2025Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:⁠⁠⁠https://www.abletonpodcast.com/newsletter

This weeks episode the boys talk about the new Ableton Stems. They rant about stuff, they discuss new iphones and apple auto mix. Lastly they talk about the importance of Meta Verification Whether you're a seasoned DJ or just starting out, this episode offers valuable insights and a few laughs along the way. Tune in for a mix of practical advice and entertaining anecdotes! 0:00 - Intro 2:14 - Rant 8:47 - News 19:06 - Social Media Hot Topic

Originally posted December 2021In this episode of Broadway Drumming 101, I sit down with Dena Tauriello, the drummer for Little Shop of Horrors at the Westside Theatre. From her first sparkle kit inspired by Karen Carpenter to a career that's taken her from rock arenas to Broadway pits, Dena shares a powerful story about perseverance, adaptability, and passion.Dena spent nearly two decades with the all-female rock band Antigone Rising, logging more than 260 shows a year, signing with Lava/Atlantic Records, and sharing bills with bands like Aerosmith, the Rolling Stones, and The Bangles. Along the way, she learned the grind of life on the road, the frustration of being pigeonholed as “girl music,” and the discipline that comes from playing night after night. Those experiences became the foundation for her eventual move to Broadway.Her first Broadway chair came in Head Over Heels, the Go-Go's jukebox musical that featured an all-female band. From there, Dena's career expanded into multiple productions, including Kristin Chenoweth: For the Girls, The Cher Show (as a sub), Magic Mike the Musical (Broadway Lab), and her current run in Little Shop of Horrors. She also subs on Hamilton, Six, and at the origial run of Beetlejuice.In our conversation, Dena opens up about the realities of the pit:* Why no two shows are ever the same and why you can never “phone it in”* The discipline it takes to stay fully present eight times a week* How playing in Antigone Rising prepared her for the demands of Broadway* What she looks for when hiring subs and why paying it forward matters* The role of Ableton, click tracks, and sound cues in modern Broadway drumming* Her full gear setup: Pearl drums, Zildjian cymbals, Evans heads, Promark sticks, and custom in-ears* Why she always keeps charts in front of her—even after memorizing the showDena also talks about the surreal moment of playing on stage with the Go-Go's, interviewing Gina Schock for Modern Drummer, and what it feels like to see the Head Over Heels Playbill now preserved in the Rock & Roll Hall of Fame.This is a conversation filled with honesty, humor, and hard-won lessons for any drummer dreaming of breaking into Broadway—or simply learning how to thrive in the unpredictable world of live performance.For more about Dena: https://www.denatauriello.comClayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.comThis Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome back to *When Words Fail Music Speaks Podcast that battles depression with the healing power of music. In today's episode we're joined by rising indie rocker‑pop‑punk talent Zack King (yes, the one whose TikTok magic you love, now making waves with his own music).We kick off with a quick word from our sponsor, BetterHelp, reminding listeners that affordable, flexible online therapy is just a click away—plus a special 10 % discount for our audience.From there, host James “the professional handicapped” Cox dives into Zack's personal journey: why escaping Minnesota's bleak, long winters for Los Angeles's perpetual sunshine transformed his mental health, how a loyal dog and daily walks became his daily dose of vitamin D, and why that sunny vibe now powers his new album Text‑Way‑Into‑Your‑Heart (dropping September 12).Zack breaks down his genre‑spanning sound—rock, pop, and punk rolled into a fresh pop‑punk hybrid—while sharing his biggest musical influences, from Matchbox 20 to Paramore, and the role of writing, therapy, and honest lyricism in navigating anxiety, depression, and suicidal thoughts.We also explore the modern music‑maker's toolkit: Zack's love‑hate relationship with AI, his DIY production experiments in Ableton, the grind of being an independent artist (merch, gigs, social media, and the relentless hustle of juggling day jobs), and why he's staying indie for now.Fans will hear Zack's favorite cover stories, his hot‑take on music legends (Creed over Nickelback, Metallica over Megadeth), and a rapid‑fire round of “hardest questions” that reveal his guilty‑pleasure tracks and secret inspirations.Finally, Zack teases upcoming tour plans on the West Coast, new merch drops, and where listeners can find his music, TikTok, Instagram, and more.Tune in for a raw, authentic conversation about creativity, mental health, and the relentless pursuit of a song that truly resonates—because when words fail, music speaks.

Episode 362: RASHAD SMITH (Pt.2): "Bad Boy's First Hitman & His Fallout With Biggie" In Part 2 of our deep dive with legendary producer @Rashad_Ringo_Smith, the @RoadPodcast crew uncovers even more behind-the-scenes stories that shaped the sound of hip-hop and R&B.Rashad kicks things off by breaking down the making of the iconic “One More Chance” and its different versions (00:01), before opening up about the intense, high-stakes creative process at Bad Boy Records under the direction of @Diddy (09:01). He reveals how the classic “Bad Boy” sound came together — especially the blend of vocal powerhouses @theRealFaithEvans and @theRealMaryJBlige, which helped redefine R&B (20:03).He shares the wild backstory behind LL Cool J's “Doin It” — a track originally made for Biggie — and the behind-the-scenes fallout with Puff and B.I.G. when it landed elsewhere (27:21). The crew dives into LL's catalog and legacy (50:34), before Rashad reflects on his creative connection with @QTipTheAbstract and his work with A Tribe Called Quest (54:22).Wrapping things up, Rashad talks about collaborating with @Nas and @50cent, and reflects on the moment that stands out most in his legendary career (1:30:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX