nvr mnd blog


  • NN: What do you feel like saying first ?

    JJ Brine: Ask Africa. She always comes first & last. So ask me, myself, and my continent again when we begin and end.

    NN: How do you feel about the press you have received to date? You have been featured in Huffington Post (thrice), Vice, The Wallstreet Journal, New York Magazine by way of Bedford & Bowery half a dozen times, Hyperallergic, ArtFCity, Artnet, TMZ, The Fader, and the list goes winding on through Lebanese blogs and obscure internet pop-culturists and anti-counter cultists publications and Russian blogs and a Mexican art digest and even the twilight zone of American tabloids: People Magazine, Star, In Touch, and I won’t mention Perez Hilton. Nor will I mention the fact that VECTOR was recently featured in an episode of Real Housewives of New York on Bravo. This is all in a matter of a few years, right up to this very interview that is now in process, we are currently eventing. Is that in any way connected to your Vectorian timeline? This documentation of events, in a year you have decided upon, one depicting a piece of time as a PostHuman. Time works for you by your measure, and is this a manifested phenomenon that you’ve uncompressed by compression in your mental pathology {Post-Religion}?


    JJ Brine: Indeed! If you decide what time it is and when is always now, you’ll always know when the time is right. The press is critical to the broadcasting of our dominant frequency. VECTOR is a radio tower.

    The Sorting of the SHAY from PostHumanity. It is a transmogrifying force, this frequency. For those who are equipped for the download, the potential is ALAN. As far as the quality of the press goes, there have been several interviewers who have asked some of the questions that Eye would ask myself if Eye were (Eye Am) an impartial alien entity observing JJ Brine in a laboratory setting. But there are still some unanswered questions that Eye must be asked — but Eye cannot ask to be asked them.

    Eye am still waiting for someone to violently hack into the system at length by means of advanced analysis and understanding. Hacking in this sense simply means catching the operating codes and liberating their meanings from all sides.


    NN: How’s the Family / How’s Charlie ?

    JJ Brine: The Emperor Is In His Cage, Animating The World Beyond His Cell, Dwelling As He Wills It, So All Is Well And All Is One. There Comes To Now So Soon A Change That Eye Must Keep It(self) A Secret From Everyone — Thusly And Especially Eye Guard This Secret From My(self). Eye Speak Abstractly Of Physical Things So As Not To Change Their Shape.


    NN: What will come from the death / liberation of Charles Manson, now 80 years old, and to what extent is VECTOR preparing for this eventuality?

    JJ Brine: The physical expiration of Manson will herald the Birth Of The Infinite Soul In The ALL. A certain allied faction is making logistical preparations for the fate of His flesh body and the containment and preservation thereof. We are pleased to have competent, reliable partners in this matter. But ultimately, the death of a body is simply a simulated spatial-temporal shift.


    VECTOR will inherit The Infinite Soul. As you know, We have been carefully refining The Psychic Chamber for the receipt of this power. Think of the implications of MANSON in Son of Man Form. Post-WWII SHAY Society built its Regime on the back of His containment. They enshrined his captivity and made of it a sun to orbit.   We will flood your cities and schools and city halls and media malls with MANSON Energy In The ALL We have a sequential plan that is realized in degrees and by measurement of our gestures.

    NN: What year is it by The Vectorian Calendar, and what can we expect from it?

    JJ Brine: It is 2025 AD. This year is the advent of the answer to the question of a global malaise; the creeping contagion of a stateless international polity. Israel being ex-chosen by Lord and State sends everything reeling for realignment. In 2025 AD, VECTOR is the frontline of World War III. Indeed, the myriad alliance-shifting parties to the conflict have designated VECTOR as the international platform for the “resolution” of the war, which is elsewhere being waged asymmetrically by use of drones, targeted missiles, viral programming codes, and labyrinthine networks of interlocking surveillance schemes.

    As the logistical failure of The UN became an international talking point, a metaphysical power vacuum resulted which produced a dizzying array of rivalrous aspirant power blocs with countervailing bids to succeed it, with many of these entities staking territorial claims.  The technology afforded to the citizenry of PostHumanity in 2017 AD — Mechanized Telepathy — has become exponentially more powerful and as a result, increasingly destabilized. All entrants to The Microcosm play a role in psychically determining and embodying the looming external actuation of this War, which will reach the outside world when the clock strikes 2025AD by SHAY Calendar.


    NN : Is VECTOR still at war with the US? We remind our gracious readers that waging a psychic war on America was integral to the stated purpose of Vectorian National Interests at its hour of inception.

    JJ Brine: Yes, but in 2025 AD we control important factions of the US government.


    NN: What made you decide to move vector from Chinatown NYC > LA ?

    JJ Brine: NYC remains attuned to our dominant frequency. Imperium demands new lands. We will project our intentions upon the collectivity through our influence on the local industry. Incidentally, Eye don’t really know what that word means, “decide.” Eye dwell in my Necessity — that is where Eye reside, preside, prevail and travail. It takes three items to make a list, and four if you’re playing match the proxies with the animal rights activists cum Salafists. Perhaps it is most useful to Us to remain in the hypnotically induced state of all-knowing ignorance that we imparted to ourselves as we departed from these somatic forms, a sort of safe for storage of evolutionarily programmatic functions that can only be politely fictionalized for mass-consumption as artistic or psychotic states. Fetishize it to the fringes first, then make it a staple of bodily function. If it’s not mandatory, it isn’t even an option Babies.


    NN: Vectorian realm that we knew of does that still exist within what we know/knew of as NYC ?

    JJ Brine: Exactly as it were and will be. The Twelfth Imam does not see Himself as invisible, although he knows he has yet to reappear. Objects in the mirror may seem as far as they are near. Dare we logistically transgress against the charmed philanthropic pursuits of native Braille speakers? Yes We Can. Eye am what Eye am and Eye am what Eye will become. Eye am so good at playing dumb that it makes me feel stupid. The rhymes support the insertion of a sensory reprocessing of temporal-spatial simulation updates. Your minds are primed for primacy but that’s just my job, and my job is being Me. Murder doesn’t kill people, people kill people.


    NN: You have an event coming up on the 8 of August, there must be some urgency finalizing the space, what can we expect ?

    JJ Brine: Jesus Christ is coming soon, coming soon, coming soon. This is my real answer and it’s a song. Everyone will begin to look more like themselves. Members of the Government of The Satanic State of VECTOR will ritualize their intentions and send them out into the world. Eight hundred and eighty eight candles will shine for The Alawite State. And the Autonomous Awareness System that has been growing out of its monitoring of its own surveillance schemes will be placed in a suitable home; we are fielding adoption candidates for an impersonal approximation of an omniscient state. A decontextualized, limitless knowledge assumes its place by limitation.


    Eye will collect souls and souls will be given away. Just look at my art and for a night and Eye will have your essence for life, death, and happily forever thereafter. We will provide ballots to determine the fate of the Lebanese Presidency. And America will awaken to its internal Sunni-Shiite split — everyone who attends will be asked if they are attending as representatives of Sunnis or Shiites. They will be tallied and tagged. We will seal the deal for WWIII with the appropriate pageantry. Good morning comes with goodnight. Tomorrow is always an eternity away, even today. 2033 AD wholly contains The Prescription For The End Of The World. Eye am reciting lines and being rewarded for my playing my part (performance art) in another dimension.


    NN: The pathology of Vectorian culture seems to be changing ever so slightly can you explain ?

    JJ Brine: It is always changing. Such is the nature of living organisms. We grow and go and grow and reach deep into ourselves until we cannot recognize the things that come to us in dreams and inform us of our entrenched, entrancement schemes.  All communication is advertising. Everything is an ad. My love is uncompromising, but sometimes it “takes on the aesthetic concerns” of hate.


    NN: You recently did a collaboration with fashion brand NVR MND, how did that get started ?

    JJ Brine: A manic meeting of minds and material over pizza and paraphernalia.


    NN: Are the La Bianca’s releasing new music soon, or will your next project be solo ?

    JJ Brine: My next project will be solo. Eye am in various nascent states of musical collaboration with several others. When it must be done, so it shall be.


    NN: Anything in the works w/ Bruce La Bruce ?

    JJ Brine: We are on track for our target of debuting the film at Art Basel Miami 2016, ““Beyond The Planet Of The Chelsea Girls.”


    NN: If you look back on science fiction and how the future is depicted it is usually portrayed in two dynamics : utopian or dystopian. These seem to be extremist mentalities, whereas VECTOR Gallery presents another. A hybrid of the two. Can you explain this?

    JJ Brine: The absolute utopia is dystopian, and vice-versa. Every value or state is minted in the terms of its antithetical primary. But there is nothing that is mutually exclusive in LEMNIVERSE and therefore we coexist with our own nonexistence. The Devil is The Lord. Fiction is made factual by power of suggestion. Yes Eye Am Satan. But who is He as I Am in the Other Eye? Let’s see, shall we. Eye am what Eye am and Eye am what Eye will become. Jesus Christ has been burning in an interminable lake of fire for quite some time now. The surprises never cease when you keep on doing the same thing over and over again and nothing ever changes.


    NN: Lastly, what do you feel like saying first ?

    JJ Brine:  No Matter, No Form — Metomphysics is the discipline charting the transversing of the physical into the metaphysical and vice-versa, twice as obscure and thus about twenty seven and three-fifths more popular. The selves that are subordinate to their institutional responder codes can busily bee about in their makeshift beehives. Eye am courteously installing A Stunt Queen for the safety of Her Majesty — But It Works As Well And To Identical Effect. Maybe She Is Indeed The Queen But Security Details Restrain Our Awareness?

    We want the bitch, we insist, but haven’t we already (more or less) stated this? BUT EYE DIGRESS. This Is Not A Contestable Contest.

    The Empty Set & The Lemniscate /*\ One World All Mynd



    VECTOR Gallery


    NYC, NY 10002

    PH: 213-509-4101

    † NVRMNDUS †

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  • Just 5 days until Noah 23 drops this massive release he has been hinting toward via his social media, down below we have an unbelievable track listing. Its 33 tracks long, and regardless how ethereal that is alone, its unheard of really for this many artists to be on this tape at once!  Set to release this coming Saturday, the 23rd. Noah 23 along side the onslaught of artists on this monumental feature. Witch may very well break the game. fortunately. Any zag we pull down into the neither world to listen to this may jeopardize the upper crust of mainstream culture, causing a shift into this Void Wave masterpiece.


    I have got a NVR GIFT for you brought to you by Noah 23, Pictureplane, & Dylan Ross. A track called RUNNING THRU YR HEAD ft. DYLAN ROSS (PROD. BY PICTUREPLANE)

    The newest kids on the block aren’t as “NU” as you’re thinking. When grind long enough zag, everything can feel like forever, in your mental. Just something to consider is the fact that these players have been logging in more hours than lumber jack made of your adolescent meebo instant messenger. Anyone who supports this kind of entertainment I’m sure to be really expecting something that this album actually delivers on. I haven’t heard the entire thing but get ready for this great production – some flows so icy & relentless (even) on a colossus mega deck, & to mention, there will be a physical release. Where we find many a unique flow from artists like the main zag Noah 23 but spanning across the crypt with unlock-able listens

    “So is here the official track list. It is insanely monstrous and also comes with instructions on listening in 2 pieces. Side (B) begins on track 16.” – NOAH 23


    1. INTRO {FR<>ZE}
    26. FENG SHUI {SHMX}

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  • TIMTONIK (Producer/DJ) lit the internet on fire when he landed his lamborghini Death Star on  the NVR MND soundcloud (two nights ago…)

     Dialing us down of that bullsh*t & onto another masterpiece of his, a preview of what is come in his later release of the EP called “PURGATORY”; including 4 Tracks. starts with a brand new track of mine called “Deep Dark Drone”] A video will be premiered at a later date, stay tune for an update once that information is revealed. What do I have to say about it, Nothing more than you would conjure from the experience from you just listened to the damn thing! It is so slick & dark   –  but has a very comforting vibration in a sense. That sense being, instead of cold/wet youre getting warm/wet; at the same time. The waves hover all over you. I think this is by far one of my all-time favorite NVRM1X’s; produced by TIMTONIK. seriously a glimpse into Alien Tech (AT).


    It’s imaginative, the first emissions aren’t so predictable, to instigate any feelings of nostalgic Tech House. Well I say that, but with a grain of salt if you’re an enthusiast. The spectrum these days has definitely changed since its beginnings, but what some of us refer to as “old heads”, are a pedigree & cultural those personality types are still functioning models of society.

    Those of you whom I’m speaking of are already activated enough to enjoy this mix. It’s an experiential stain on the minds of those who enjoy a hypnotic & trance like dancing experience. Steam evaporates from the symbols, as the bass of your feet stomping the ground in an ethereal orgasmic tension. Never wanting to stop, as music turns into an alarming of deliberate movements to exhume oneself from their prisons.



    01. Tim Tonik – Deep Dark Drone (Original Mix)

    02. HYP.NOS – Grenade (Rezystor Remix)

    03. Tonikattitude – Dont Touch My Cocaine (Marika Rossa Remix)

    04. Atomic Moog – Rhythm (KMRT Remix)

    05. Luix Spectrum – Black White (Jan Fleck Remix)

    06. I’GOR – Deathstalker (Original Mix)

    07. 2Bee – Preparation For The Attack (Original Mix)

    08. Housemeister, Dave Tarrida – YOU GONNA DIG THIS (JoeFarr Remix)

    09. Erik S, Matt S – Acid Overdose (Original Mix)

    10. Lorenzo D’Ianni, Pedro Delgardo – Nails (Original Mix)

    11. Matt Mus, Lexem – Black Shadows (Original Mix)

    12. Henry Cullen, Tom Laws – Awakening (Original Mix)

    13. Jan Fleck – Turin (Original Mix)

    14. Hell Driver – Diesel Power (Original Mix)

    15. Hombre Ombre, Diatek – Masochism Love (Original Mix)

    16. Ronny Vergara – Mood (Original Mix)

    17. A.Paul – Departure (Original Mix)

    18. Clouds – Chained To A Dead Camel (Original Mix)

    19. Niereich vs Hackler And Kuch – Tllive (Andreas Kramer Mix)

    20. Tim Tonik – Sound of Silence (Preview)

    [ This NVR M1X brought to you by NVR MND. Thanks to MIKE TEXTBEAK, our elite music coordinator & Thanks to our supporters and everyone who tune the mix. If you’re already a wordpress member Follow/Share each post you loved reading & let us know what you think in comments below. ]


    A NVR MND Moment from TIMTONIK

    TIMTONIK:  “…Also there is coming an Teaser for my upcoming music video…”

    “This music video which is set to release, come end of June/July on VOXNOX Records

    “The EP is called PURGATORY; including 4 Tracks. starts with a brand new track of mine called “Deep Dark Drone, which will be released soon on the voxnox records compilation. At the end (50:00 – 50:08) you can hear the first chords of an upcoming freedownload of mine; which is called [Sound of Silence]…”

    “…Another thing about the Mix is that this mix is slightly different to my own mixtape series Future Death Tape. It’s an more Dark Deep Techno – After Hour Set, which should show that my music will become even more darker and deeper. It only includes music i personally prefer and i would play those tracks on afterhour gigs. But I will still continue my FDT series with that dark future techno music. And, I as Tim Tonik will also produce that kind of music , but also that new deep and dark [stuff]….”



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  • nvrmnd_test

    A track Shantasy (originally known as Zombelle) released back in the greys, a well deserved listen to one of her most haunting waves. It certainly offers itself a more of her #Witchouse side showing. This particular Drone experience than what many may remember her rocking in 2011, accredited with #SEAPUNK with her Shantasy Island Mix, or Tropocalypse, but if you’re a fan of her work, it will definitely get you right. It’s, truly one of my favorite things to see how much of a variable transition an artist can make to fully realize themselves, or grow into another form, yet maintain 1. An audience. 2. A sense of character or soul-full-ness.  I have been a fan of Shantasy for quite some time, and often enjoy returning to her workings from time to time.

    † NVR FORGET †




    Heres Sean Bowie of T.E.A.M.S

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  • A musician named Bryan Dellamorte, from an anonymous area of Florida began creating some beautiful dark wave. Under the alias D3∆†hh CvL†, he opens “unfamiliars”, up to the undead-world of witch house, #Endjoy & #NvrMnd #WitchausWednesday only on the #NvrBlog

    In that sounds of phantoms hymning, we find the unanimously endless “trapstyle” playing skeleton tapping against his snare, staring back as the hairs on our neck are raised just high enough to meet the peaks in the scope of tracks; such as “I Will Take Your Light”; Listen close to the first two tracks, & you wont be disappointed with them, keeping in mind that the major problem with #WH “floppy discs” (thats krypt for shitty disc jockeys) is they don’t seem to be developing their sounds enough to get into their genre and really even be relevant. The heritage of witch house (came from a joke, but) definitely has some pretty unprogressive & progressive artists – in its own right, but unlike these songs on this ‘EP’ titled after the final song on the ‘EP’ I WILL TAKE YOUR LIGHT;  SH▲DOW EYES  & BURIED FLESH (but not excluding I will Take Your Light) feature very unique and uncompromising similarities between the three of them. These three (completely) different tracks stand together – incredibly well, & offer a great listen! Its too bad – The damn thing is so short.


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  • gene editInterview Conducted by EA

    EA: You have worked with some very notable artists and producers including T.RAUMSCHMIERE, Paul Castle, and Andy Chatterley of The Droyds (ex Psychic TV), Mark Moore aka S’Express, and Punx Soundcheck. Can you tell me a little bit about your personal musical history and how you came to work with such respected personalities?

    GS: I have always been musical. Since I can remember, I did my grades and techniques as a kid but classical music wasn’t for me really, not back then – the music on the radio was really what did it for me growing up. I first engaged with “dance music” in the early 90’s – I heard Papua New Guinea by FSOL and I was blown away. I knew it was BIG and that sound was going to stay. It was around then I rang up my top ten UK records’ labels and tried to see if I could sing with someone. Back then I saw 4 labels and tried out with 2.

    That was when I first sang on electronic music in the studio proper. It was amazing. I have written a lot of songs. During that time the world of making music has changed a lot, so much so sometimes, it has been hard to keep up with it’s evolution. When I started recording music 23 years ago they still used 2 inch tape, you would have to get it perfect or drop in, totally perfect. Then came a-dat and soundscape, and before we knew it we could edit vocals digitally and put guitars next to a drum loop and it all sounded fantastic! Things are very different now…that’s the norm – and how gorgeous is that? Everyone has a chance at being perfect and brilliant – there’s no excuse … now it’s down to character and ideas. That’s the real challenge.

    I have been really lucky, to have crossed paths with such talent, but I have fallen prey to the usual pitfalls too, I have made some classic mistakes along the way. Being an artist isn’t for the faint hearted, it plays with your dreams. Somehow for me, it has been at that those points, when I have thought I can’t do it anymore, it all takes too much and gives too little in return that someone, or something wonderful simply appears and leads me onto my next big thing. I met a couple of the people you mentioned above at those times. Sometimes I have approached an artist I really admire myself – see if they would like to collaborate, or I have been contacted by them, their label, whoever – usually its largely a part of time and place. I work to one rule really, and that’s never to make music with someone whose work i do not like. It has stood me well I feel and allowed me to release some very high quality recordings over the years. Music i still like. Really I just count my blessings for all I have learned from each person I have collaborated with so far.


    EA: Back in the early 2000’s you used to record as Louise De Fraine why the change to GeneSerene?

    GS: It wasn’t really intentional but it somehow changed everything. In the early 00’s I had a new collection of songs having recently split from a long term writing partnership. I wanted to perform the songs and I needed separation, as it was a very different sound to what I had been doing before. For a laugh I wrote a character, Gene Serene into “Wicked” a track I was writing with Billy Borez and Barry Ashworth at the time… It rhymed with silver screen – It was pretty tongue in cheek. I remember giving my first performance as Gene Serene and getting several bookings afterwards, and then it rolled on from there on for the last decade, my husband calls me Genie!

    EA: You were right up in the thick of the Electroclash movement. What are your reflections on that time period? 

    GS: Music was exciting then and I remember there being a real buzz. The first real moment for me live, was a Fischerspooner launch party in a long tunnel – all I could see was their hair, but everyone was excited, something was happening, there were songs in dance music, I really liked that. Looking back it was a whirlwind for me; I met people who felt like family, People finally seemed to get my music, and me, which was special for sure.

    EA: There have been some people on various social networks recently declaring a rebirth of electro clash. Do you think this will ever happen and why?

    GS: i think rather than it dying a lot of its qualities have been imported into the mainstream. It really was a “scene” and I would be interested in how this reincarnation would take manifest. “Electro-Clash” was coined I believe by Larry Tee, and it was born in New York City. What was happening in London, and other European cities started to make a family of artists, people who would inspire each other, entertain and write some great songs – i feel a lot of it sits at the underbelly, unrecognized in popular music, but the roots go way back, back to the 70’s and 80’s. It was a phenomenon for sure. I hope and pray for the world to keep inspiring and daring one another, there were so many great artists that emerged through that scene at that time.

    EA: Your song “All Over You” was used in the indie film Four Eyed Monsters, which I sadly have not seen yet. Have you had any other music in films or done any scoring work?

    GS: I have only just really started to compose music again myself with this last project. It’s something I would love to do, all my family have worked in film. Fine art/television – I feel a strong affinity to cinema.

    EA: Do you feel more of an emotional connection to one type of sound, specifically electronic over live instrumentation? Is there a certain style of electronic or live music you feel most connected to?

    GS: No. I wouldn’t go as far as to say that, I certainly feel a connection to composed music, written with love, intention and meaning. I love electronic music, I have released dance records since 98 and so club culture has been a massive part of my life too. I grew up in great times for live music the late seventies – punk, new wave – I discovered Cardiacs very early on in life, I was about 14 the first time I saw them play The Whole Wide World Window live, it blew my mind and set the bar for live music experience very high. I enjoyed seeing bands like Pink Floyd and The Damned, Siouxsie and the Banshees, Colorblind James Experience, The Buzzcocks, Depeche Mode, The Ramones and the Butthole Surfers – I loved the sub pop releases in the early nineties like Mudhoney, Rev Horton Heat, the list is endless of the bands I loved in the 80’s and 90’s really…

    I never really went in for Folk or Britpop, everyone loves Helplessly Hoping but I found the likes of Joni and Blur a little needy and emotional so round 92 I really turned my taste around and started getting into dance 12 inches and mixing, the first record I ordered on import was Accident In Paradise – Sven Vaith, Plank 01 was also one of my first amazing dance tunes. I suppose what I am saying is the sound that really does it for me is both together, live and synthesized instruments can make some beautiful places.

    EA: You are about to release your new album, The Polaris Experience. What can we expect from the new album?

    GS: Yes, this summer I will release the album. It’s a concept album, telling of 2 people escaping the earth forever. Its a journey and written to be listened to from beginning to end. Live it lends to cinemas, theatres and unusual settings. The majority of tracks are more downtempo than my previous releases, yet big, bold and beautiful. I am very happy with how it has turned out – even if it has taken so long, it’s been worth it, it’s finished.

    EA: You posted a picture of one of your songs in the works on Facebook, what programs have you been using? How has your use of technology changed over the time you’ve been writing music?

    GS: That was a particularly beautiful spectroscope used for visualizing sound in a mastering software i have forgotten the name of. There are tools you can really see what’s going on, a spectroscope forms a visual landscape allowing you to watch your music and catch things you may miss audibly with your eyes. I wrote the songs using a sample library Bob had created. After we decided to work with one another he sent me a file of loops he’d made, all different vibes, keys and speeds, some synth, drums and bass for me to work some musical ideas around. I used an Alesis midi controller keyboard and first recorded my vocals at home using a condenser mic – I then sent my ideas over to Bob who imported the project file into Pro-Tools and worked his magic. Bob designs and builds synth modules – his Penfold unit was used a lot on our album.


    He also used a modified Alesis HR16 drum machine, that’s also on his page.

    Bob’s quite the engineer, on several levels & truly a good guy. Our sound grew pretty organically and It was quite magical really – over months and months songs and stories began to develop, it became a conceptual piece.

    EA: It’s very cool you have a remix by producer Fil OK of We’re in the Water (ex-Atomizer) on the new single for “Don’t Let Go,” from The Polaris Experience. Have you known Fil previously? Did you ever experience the classic Nag Nag Nag night that he, Johnny Slut and JoJo De Freq used to do first hand?

    GS: I love Fil OK. We have shared some great times together. I went to some of the Nag Nag Nag parties and they were definitely wild! I think we first shared a bill in Bournemouth (or Liverpool) it was then we really hit it off and we were both already working a lot out in Berlin, so we saw each other a fair bit when I lived out there. He is a fantastic DJ and producer. He was my resident DJ for my Drop the Bomb parties, such an inspiring artist I have seen him get better and better. He’s very open-minded musically and draws from a really wide selection of influences – it makes his work really outstanding. He has introduced me to so much music I would never have heard. His mix is special.

    EA: You have a track on The Polaris Experience called “The Singularity.” What’s the story behind that track?

    GS: The Singularity in the Album is that moment the earth is toxic, the war is over – the intelligent machines are in control, it’s all about escaping with your life, with the one you love. Kurtzweil’s “Singularity”, Mars One, the Hadron Collider, Fukushima effect, HAARP, it goes on and on and it’s all pointing towards one thing – the need for off world escape. The singularity is not far from what I see currently happening here in the world really. Sure, It’s allegorical in many ways, telling the age-old story of a man and a woman. But living through these fast and dangerous times. Existing on a toxic planet and offered the opportunity to leave. My Grandfather, Terence Fisher directed Hammer Horror films and I grew up with those stories of tortured souls. Frankenstein created a monster, a poor tortured creature – that’s what we’re currently doing to earth with scientific experiments on our environment, energy and so on.  I am sure in a hundred years we will see our attempts at AI to be incredibly crude, just as Frankenstein’s monster was simply body parts sewn together. The singularity is a fascinating concept, and can have so many meanings.


    EA: Do you fear the possibility of a singularity in the technology takeover sense?

    GS: All things considered I think I am probably a futurist, this scientific and technological revolution has been going on since the wheel and Aristotle, like – forever. As scientists advance in our age, I have experienced the benefits personally. My daughter has a metabolic disorder, MCADD. It’s genetic and can be diagnosed by testing for a gene in our DNA. Having that knowledge has probably saved her life, and so I am also beholden to the positives not just the negatives of our times and I subsequently do not fear the technological singularity as such. I feel I have a healthy interest in these things, and to me it’s not a just theory but “faction” and inevitability. In a “takeover” sense would it really be much different to the corrupt systems and warfare we are currently experiencing? I don’t know, I am exploring all these things in the album.

    The Polaris Experience will be released this July.

    EA: Thank you Gene for taking time out of your busy recording schedule to speak with us at NVR MND. It was a pleasure hearing your insights.

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