What has been going on with your recording career since the last time I interviewed you?
I have been working on two totally different albums, remastering these 23 year old songs for "Tame The Wind" which is adult contemporary/pop rock with a mystical edge to it. As well as another CD in the making of original modern baroque compositions for virtual orchestra ensembles fused with new age. I have not decided on a title for that one yet, but I think my listeners are going to be very surprised when they hear it… probably as surprised as they will be with my divergence from Dark EDM and Goth, with "Tame The Wind". It's a style and vocal caliber they've never heard out of me.
How well has the HEBE Experiment been doing since we discussed it in our previous interview? Has it gotten as much of a response on Youtube since it was posted there?
I did not promote the HEBE Experiment like I would a CD or a music video release. I wanted people to find it by word of mouth and by the grace of the intelligence that weaves the fate of the world. This is how I always found the books, or tools I needed at any given time on my spiritual quests... I was just drawn to what I needed at the time.
So far thousands of people around the world are participating in the HEBE experiment with mind blowing results. My own body has become more receptive to my thoughts in ways, only those who practice the meditations would understand.
I have also released another 10 minutes segment of the 39 minute meditation video (the duration of a video made of occult symbology is not by accident), free to people via YouTube. I'm just asking people who feel so inclined and who are gaining benefit from this work, to help support its continuation by donating to OsiriStar.
Again, only if someone is so compelled. I’m making this work available to whoever is called by these meditations.
How many donations have you gotten so far from people who checked out HEBE Experiment on Youtube?
There is a long way to go to cover the hours of production, studio time, research and administration of the project. However, the meditation is for everyone who wants to participate, regardless. That’s why I’m releasing it for free in segments on YouTube. The meditation started as a personal visual and symbolic subliminal affirmation audio production for me to transform my life... my body, my health, my youth, my prosperity, my love etc., but I decided after practicing it myself and seeing and experiencing changes in my life, I wanted to share the mediation with whoever wanted to use it as their spiritual tool. If you notice on the Youtube HEBE videos, I don’t allow advertisements, unlike my music videos that I do monetize. I don’t want us all to have to be subconsciously bombarded with advertisements as we meditate. I want the HEBE video and audio meditation to be pure, for anyone who is using it.
Since discovering the HEBE video on Youtube I have found many subliminal videos of varying subject matter. How would you say yours stands out from the rest?
There are wonderful affirmation videos out there that do wonders for your life. They are very helpful in personal transformation, but my meditation videos are the only ones that I know of that have actual documented psychological and occult meanings behind visual symbols, consciously used in a certain order to communicate and re-program the subconscious mind in order to manifest a new life experience reality. This is based on years of study, research, and practice by me. Some of my research is based on the work of professor Joseph Campbell and his work with symbols in myth and art, and the writings of Carl Jung. My work is also based on a lifetime study of other scholarly research, and publications of occult sciences and metaphysics, not to mention my own successful personal life practices and magic rituals from around the world.
The audio subliminal messages weaved into my music composition ‘SBLMNL MPCT’, played as the score to the visuals, are being looped simultaneously over and over on 61 tracks for 39 minutes. If each message is repeated every 5-10 seconds on every track, that means you are being bombarded subconsciously with the messages no less than 23,000 to 47,580 times (and probably more because of the tracks with shorter affirmations). They are not mixed so low that they are not consciously audible, just consciously discernible. When the music is at its lowest points in volume, you can actually hear the subliminal affirmation chatter from the many tacks that are influencing you simultaneously.
Not to mention, I don’t think many, if any, affirmation videos are going to the places I am, with some affirmations so cutting edge that I instruct the body to awaken it’s dormant RNA DNA strands.... that the “extra-terrestrial part of myself is awakening now” and “I am experiencing my ageless everlasting body of perpetual renewal”. “My mind is opening and consciousness expanding to experience, at will, any and all of the dimensions that exist”... and so many more affirmations that only someone with my personal life experiences and knowledge would even think of stating.
Yes it does have your usual “I am happy”, “I am prosperous”, “I am healthy”, “I am loved”. These are wonderful time testes affirmations being used by other wonderful beings in their affirmation videos, but I also have included many of the rare and never used before affirmations like the ones I previously mentioned.
How much research into Joseph Campbell and Carl Jung did you go into in preparation for the HEBE Experiment?
Countless hours over years of studying Joseph Campbell's documented interview and his Power Of Myth series. And reading and re-reading and studying the writings of Carl Jung, starting with Man And His Symbols, which was actually recommended reading from a powerful witch that I met around 1985, at the Atwood WinterStar Pagan festival and solstice ritual in Ohio, years ago. I met her at a turning point in my life when I was experiencing a major psychic awakening and initiation from the cosmos into the mysteries of occultism and magic.
What did you get from Campbell’s interview and The Power Of Myth as inspiration for your recording?
Joseph Campbell's influence is felt throughout my songs and my visuals. It’s not really “what I took”. It is everything I was influenced by. My work is expressive, creative and experiential. It is not a form of academic masturbation. Campbell made me see that art (visual / audio) is a direct manifestation of, as well as a door to, realities our collective mind experiences... and has tapped into since the beginning. You can see this much more through my visuals, in fact. Because of his teachings of the meanings of symbols and myth, interpreted from artifacts, literature, oral traditions and rituals, I use mythological and occult symbols throughout my videos and stage shows. For instance, if you take the HEBE Experiment, the very name Hebe itself is a reference to the Greek Goddess of youth, as depicted in ancient art, her image and name evoke primordial energies of rejuvenation and youth. I use her name also for the letters that abbreviate a personal meaning to me. H.E.B.E. = Health, Eternal youth, Beauty, Everlasting Life. Her image, from ancient statues and paintings, are used in this video and are superimposed upon other symbols of immortality, magic healing power, perpetual renewal, regeneration and rejuvenation. In one of my images I have created, a pentagram and full moon are one... they become a circle around the deity’s face as interpreted by artists from ages past... and then the circle that surrounds her image becomes a variation of the Ouroboros, which is also an RNA DNA consciousness trigger as such. I could go on and on and on. However, it’s more important to understand that the deeper meanings of all of the symbology I use, are pulled from a more profound place where they can’t be expressed in words. This is the place beyond words, the place of the collective unconscious where symbols and archetypes live. Of course, the last reference is what I’ve understood more clearly from the teachings of Carl Jung. In other words, I would still be an artists and using symbols, knowingly or unknowingly, even if I never heard of Campbell or Jung! They, however, gave me a more clear understanding of my process and a way to articulate it more precise.
Why did you choose Carl Jung as opposed to other philosophers for research? How did those dual elements of Campbell and Jung create something unique for you and HEBE Experiment?
I have been influenced by others as well. I mention Carl Jung, because his theories about our minds, the collective unconscious and the significance of symbols and archetypal energies resonates with my own personal experiences. They also explain perfectly why, as Joseph Campbell demonstrates so well, that artists of cultures from various times and locales isolated from each other, share common symbols and themes in their art. Also, many mythologies also contain very strikingly similar story lines and deities.
Are there other publications from by Campbell and Jung you would recommend to the readers? Who else in addition to Jung have you been influenced by?
You could read it all and, if you are like me, you will never get enough of these two men. I'm influenced by too many to mention.... authors, artists, poets, directors, musicians, and even people you have never heard of but have come into my life at the exact point in time and space that I needed them to grow. I do want to specifically mention two artists, though, that have profoundly influenced what I do and how I create. One is the avant-garde director and playwright Rezah Abdoh. I had the incredible fortune of having known him and worked with him as an actor among other things back in the 1980s. His pure genius, and the way he created, taught me to release my creative force in a liberation to plunder the senses of the world, if that's what the creative energy flowing through me wanted to do! Don't worry about what people think. They can take it.... and if not... then my art is for them even more. A documentary was made about him in 2015, by the film maker Adam Soch Williams, and is still making the film festival rounds. It’s called Reza Abdoh - Theatre Visionary. I went to see it at a private screening hosted by Adam and the film's other producer Anita Durst (http://www.chashama.org/about/contact) at the Anthology Film Archives in New York City, I was surprised to actually see clips of me in the documentary of experimental videos of Rezah, that I performed in back in the late 1980s. The second is also a man of visual art, another filmmaker / director. I only met him briefly at an exhibit of his art many years ago, but his moving images burned a fire in my soul from the moment I was introduced to his creations. His name is Kenneth Anger… And of course songwriting and music wise, I am especially thankful to have known the work of Jim Morrison, Kate Bush, Roger Waters of Pink Floyd.... and so many more!
How many projects did you work on with Rezah Abdoh in the 80s, and how would you describe his documentary Theatre Visionary?
The documentary is an amazing work about his life and his artistic process, with interviews from actors and those who worked with him and knew him well. The documentary maker is my lifelong friend Adam Soch who I also have worked with and is a true visionary artists and genius in his own right. Rezah was taken from us by AIDS in the mid 1990s, after a brave fight with his illness. His theatrical works and process of writing and directing are now part of the theatrical and dramatic curriculums of Universities across the world! Including NYU. I was one of the lucky and rare beings who had an opportunity to actually know him in the late 1980s and early 1990s. He was a friend and I worked for him as an actor in a series of experimental videos he did in the late 1980s and early 1990s; one being called as I recall “Sleeping With The Devil” (http://youtu.be/81P60FrJjEI). I also assisted Adam and Rezah, on and off the camera, in the videos that were shown on a large screen in the back of Rezah’s critically acclaimed avant-garde theatrical play series “ The Bogeyman Trilogy” , originally debuting at the prestigious Los Angeles Theater Center. I was also his assistant artistic director for his one and only feature film “The Blind Owl”
I have heard a lot about Kenneth Anger but haven’t seen much of his work. Which of his films would you personally recommend?
I would recommend any of his works! My personal favorite is Lucifer Rising.
Describe what most spoke to you about Lucifer Rising and why you consider it a favorite of yours.
You mean besides the beautiful nude actors, blood covered resurrection themes, images of ancient Egypt, magic wizards and satanic rituals as well as U.F.O. flying saucers above ancient Egyptian pyramids and temples... uh.... let me think. hahahah.
What most speaks to you about the writings of Jim Morrison, Kate Bush and Roger Waters? Specific examples?
All these songwriters are different. From Jim Morrison, it was his longing to get people to realize that we are all living here for the moment, and to really appreciate this moment we could choose to dare to expand our minds, and live life testing the boundaries. “Riders on The Storm” is one of my personal favorites, but I love them all! He did, well all three of these writers did (and do), write in words so masterful that you are transported to their inner place, but yet feel the lyrics personally as they apply to you.
Kate Bush’s lyrics are highly personal, and her music is true art, her melodies, the way she uses chords and her voice.... it’s borderline Music Theater but still remains rock. Running Up That Hill, Withering Heights, Cloud Busting… it’s all so brilliant. She is like a goddess to me as a songwriter. Her songs as well as Jim Morrison’s, and Pink Floyd’s are among the few who I can say have really been the soundtrack of my life. Roger water’s was actually one of Kate’s mentors, I have heard, Comfortably Numb is an all-time masterpiece. Perhaps I relate to these writers because all three write poetically, not like much of the vulgar and mindless things I hear on the radio today. Hahah, They also had experimented with mind expanding, consciousness altering drugs, and it shows in their lyrics. Perhaps I can identify with them more because of that.
We talked about some events you were involved in around the NYC area. Are those still active in the city or have you gotten involved in some new events?
I am still planning on throwing events, although my time has been consumed with “Tame The Wind” coming out next month, and co-writing a title song for a new documentary in the works. It’s about the New York rock scene of the 1990s and is being made by Michael T. Darryl Hell and Wolfgang Buch.
Is this documentary you mentioned strictly covering the NYC scene or are other areas in New York being covered? From your own experience, would you say the coverage is true to life and unbiased?
It is a rockumentary strictly coving the history of the New York City rock scene of the 1990s and how the scene evolved and influenced music world wide, this includes rock, punk, new wave and the gothic scene. The documentary is not finished, and I have not seen any part of it yet. I was commissioned by the award winning director, Wolfgang Busch, to co-write the theme song to it. I was asked because of my unique contribution to the 1990s New York City Art Rock and Goth/vampire music scenes.
In our last interview we covered your working relationship with Goddess Rosemary of Temple Sahjaza. Are you still involved in any collaborations with her?
Goddess and I are constantly talking about ideas, as well as other “Undead A-Go-Go” events in other cities. Goddess Rosemary is my sister. We are kindred spirits and have walked the same paths in so many ways. It’s amazing how we’ve arrived at very similar places in our understanding of our magic and enlightenment.
How many Undead A Go Go events have been held in the past couple of years? What are some of the new ideas you have been discussing with Goddess Rosemary? How much of a buzz has Undead A Go Go generated on Facebook since the birth of the event?
There has been only one so far, in New York City in the fall of 2014, and the concept took on a life of its own and kept going. There is a buzz still happening about it to this day and all kinds of beings interacting on the Undead A-Go-Go Facebook page even now. facebook.com/undeadagogo. Goddess and I are discussing other cities as well as other countries. That’s all I want to give out until it happens again... and you will be one of the first that we announce it to, you and Autoeroticasphyxium Zine members and readers. People are still viewing and liking and participating in daily posts. I’m being asked often by people I see out at other events, “...when is your next one?” ”the world needs ‘Undead A-Go-Go’, but I haven’t set a date or place yet.
Why did you decide to make a departure from Dark EDM and Goth with the new projects you are working on? Is this the first time you have done so or have there been other departures?
I deviate from what certain audiences know me for all the time... but whatever the musical style, you will always recognize the magic I put into it. It’s a thread of my soul in the music or lyrics and production that I weave unintentionally, through everything I create. I won’t be put into a box just so a mass herd mentality audience gets me. Understand, I’m an artist with many different musical influences and what I express at the time when I write and record a song is a combination of what flows through me... where my creative energy is coming from at that moment, and who I was collaborating with. Michael O’Hara, co-wrote these songs with me, and produced these recordings some 26 years ago; also, the songwriter philanthropist Denise Rich, co-wrote the bulk of songs with me and Michael. Between them they have 8 Grammy nominations, number one songs on the America’s Billboard charts, and about 20 top 10 hits. They have written for and/or produced R&B and pop legends such as Anita Baker, Patti LaBelle, Donna Summer, Cee Cee Peniston, Celine Dion, Aretha Franklin, Hannah Montana (Miley Cyrus), and many more of recording legends. Gregg Parratto, who co-wrote the title song (Tame The Wind) with me and Michael, has a music theater background. So when you combine the forces of us all in this CD, mixing their talents and styles with mine, you get something unique. “Tame The Wind” is that kind of album.
What made you decide to resurrect the songs on Tame The Wind after more than two decades?
They were part of a body of demos for songs I co-wrote and recorded from 1990 - 1993, so actually the first song on the album, “Tame The Wind” is 26 years old! It’s amazing to think about that. They were never meant to be released commercially. They were part of a package that was being created by myself, Denise Rich and Michael O’Hara, to be shopped to record labels to be picked up for a record deal for me as a recording artist. You see, I was signed to their production company as an artist in and signed a production deal. However, their company disbanded just as I was finishing my project, so the songs sat on a shelf for all these years. There was nothing I could do, until now. Now 26 years later, I found myself in a new position, thanks to the new cyber world infrastructure making it possible for recording artists to release their records themselves. I went to Michael asking for his blessing to release the demos on my own small indie label, and he was more than happy to give me permission. We both thought it was cruel and such a waste for such beautiful love songs to never be heard... so here they are out in January 2016. Now you can hear selections from three years of my life’s work of from 23 to 26 years ago.
Why did the production company of Denise Rich and Michael O’Hara disband? Did you remain in touch with them after that?
Their company disbanded because of inner political struggles.... it’s a long and sorted story I’ll save for my auto-biography if the right author ever comes along who wants to ghost write it with me. I did keep in touch with them throughout the sorted years, and also kept tabs on them. In fact, Michael recently signed a contract with my company OsiriStar, giving me permission to shop our songs that we wrote together and collect money for sync licensing in TV. Films and Commercials.
There was a point in my life, shortly after their company broke up that I found myself homeless in the middle of winter, walking through the streets of the East Village with my big duffle bag, cold and dazed. I passed a news stand with Denise on the front covers of New York Times and Daily News, with the headline “She Pleads The Fifth”. I had to laugh because of the irony of it all. Here I was homeless, and there she was, a billionaire’s philanthropist, being called before congress to explain the large donations she made to Bill Clinton for the building of The William J. Clinton Library and museum in Arkansas. It was all because of a White House scandal she found herself in the middle of involving a presidential pardon given to her ex-husband Mark Rich by President Bill Clinton. She had always been a big democratic donor, though. I laughed because it was a reminder of how fast my life had changed. Just a few months before, I was living in a luxury AAA apartment on the Upper East Side at York and Riverside Drive. It was a black glass tower at One East River Place. I was riding only in private cars and limos, working and hanging out with the rich and famous, dining with millionaires, billionaires and royalty, and now... I was just trying to stay warm and find a safe place to sleep for the night.
How much time did you spend homeless before you began your new endeavors? Would you describe this period in your autobiography?
I was only homeless this time, for about three months. There were other times in my life that I experienced this, once when I was living in LA back in the late 1980s. I actually slept on a park bench at the Griffith Observatory very close to the Hollywood sign. I hung around the hills and cliffs near the sign and just beneath the letters on the famous landmark. You see, when you are homeless the stars are your roof, and the earth is your unbound home. Perhaps these experiences led me to where I am now, and the why and how I have evolved my prosperity consciousness over the years. I have dreams of helping the homeless someday, by creating a bed and breakfast chain across the world. I say someday, because much capitol and planning is needed for such an endeavor. It is a goal I have set for myself. Of course I want all of it in my Autobiography. The good and the bad. I think the entire truth of what I experienced is the reason I would even consider having my story told. To take out parts just because they were seemingly sometimes painful, sorted, sleazy or dysfunctional would not serve any good. Haha, if I were Snow White, I think I know the names of at least four of my seven dwarves. The rest would be magical, musical, and resilient.
In what ways did living in Los Angeles contrast New York? How much homelessness did you see there around that time?
LA and New York were very different for me. New York is hyper energy, in your face, fast paced and like our weather that can change on a dime, very unpredictable. L.A. is mostly dry and sunny all year round, except for a short rainy season. Without real seasons, years blend into years. It’s a much slower pace. More reserved, than in your face. The energy is just so much more laid back. There was quite a bit of homelessness when I was there in the late 1980s. I remember there were many homeless runaways and street kids, but at least we did not have to deal with ten degree nights like we do in New York in the winter. I’m not saying it is easy there by any stretch. To be homeless is very challenging for your body and mind, no matter where you are at. I love both places, New York City and Los Angeles, but tend to gravitate more toward hot, humid and stormy places. Like parts of Peru in South America that I go to every year to study magic and meditate among ancient ruins and energy spots.
When was the last time you visited Peru? What are you usually studying over there? Describe the ancient ruins you’ve seen there.
Peru is another world. It is my second home. I can only touch upon what I do there, because there is so much. I have been going there every year for the last eight years. I believed some of the clues to the mysteries of our history, and my own spiritual awakening, are in this part of the world, and there is a tangible physical pulse I feel there. You see, unlike the United States, magic is very much woven into the very fabric of their culture. Even the most conservative Catholic there lives with a deep knowing of the magic in their life. Myth is still real down there. Legends live as if they are happening even now... and they are! Ayahuasca rituals are still performed with Shamans in Peru. I study and perform magic rites with the local people. I have meditated among the ancient Inca ruins of Machu Picchu... performed spell work and meditations among the Nazca lines that ancient alien theorists believe are ancient runways. I pray to the spirits of the three major volcanoes towering above Arequipa, and have walked along the ancient pumice carved city streets and buildings as if I had time traveled to the past. I have laid hands on the people of a remote area, psychically diagnosing their conditions for eight hours straight, and taking their aliments into me before psychically discharging the unwanted energies into mother earth. I still do my healing work when I go there. People wait for me, and when I start, word travels fast and people start flocking to me. I feel it’s my service to the cosmos to heal everyone who asks. NEVER for money of course! Above all, I pay homage to the deity Pachamama. If you look at the beginning of my music video “Ghost Dance” you will see me among some of the Nazca lines, and I also used other footage from Peru in this video, as well. https://youtu.be/zEcEos1X4aU
How much feedback has your video for Ghost Dance received since its release?
It has had an incredible response. I think it’s up to over 20,000 views, which is great for a music video instrumental of tribal / progressive house dance music, especially from an indie artist. It’s one of my personal favorites. It has dancing skeletons, original Native American Ghost Dance footage from the 1890s, nuclear explosions, and footage of me in Peru among the Nazca lines! If anyone hasn’t seen it yet, you are missing out!
What was the nature of the contract you signed with Michael worked out for OsiriStar? When was OsiriStar formed?
The company “OsiriStar Entertainment” was officially formed in 2010, but I am still launching child companies from it. Companies like OsiriStar Records, OsiriStar Productions, etc. The contract I did with Michael was a simple agreement giving me the power to shop our songs and recording masters, negotiate on his behalf with any music supervisors or persons I was shopping our songs to. In today’s fast paces world, people, like music supervisors of films and TV, are more receptive when they don't have to go separately to each writer to make a sync license contract work for them. They are very busy people and you have more of chance having your music placed in a movie or T.V. shows if they can take care of everything with one person. That's why it was important that I had the right to do so on Michael’s share of the recording.
How recently did you start putting together a record label and production company from OsiriStar? How soon do you expect them to be up and running?
OsiriStar is my creative vehicle. Songwriting, recording, producing, making videos and films, and any other creative endeavor I pursue. It is me. It is my business entity that I create through, and earn money through. It was legally formed in 2010 and will be running as long as I am.
How have those songs been reworked from the first time they were written and compose in the early 90s?
These are the original recordings Michael produced and I sang on. The sounds were not updated or anything like that. I love the magic the decades old originals captured. I was given what was left of recording that were saved to DAT tapes and transferred to CD. The original two inch studio tape masters were lost somewhere through the decades. I mastered and even remastered the recordings, as best I could with what I had. Tape can degrade over the years because of environmental factors. Tape expands and contacts among other things. So when I mastered the original mixes from the DAT to CD versions, I had to work with little pops, hisses and white noise. Probably only my trained ears would hear this because of the thousands of times I have listened to the recordings. Not to mention the fact that the songs were recorded as demos and never meant to be the final commercial releases. Some things on them were allowed to slide through that never would have been allowed if I was being released on SONY Records for instance. I did not do much to the originals though, because I did not want to lose their charm. I did however, compress them to hell to give them a sound that is today’s radio standard, I hope it was the right decision to make. I also fought against other trends. I did not want to give in to the loudness wars that are being waged in the music industry today. I kept the overall sound at the lower DBs used for records in times past, and preserved the dynamics... the peaks and valleys of the songs.
How does your material from that time differ from that of artists who are involved in the loudness wars you mentioned?
I started recording in the 1970s. I have seen the recording arts and technology change in ways I could not have even imagined would be possible. The records of decades past were mastered at lower overall volumes. This meant they needed less compression and the dynamics of a song (the softer and louder parts) could have more peaks and valleys to them (more feeling). Gradually producers began to compress the songs more and more so that they could get a louder and louder volume. Consumers began to associate "louder” with “better", and so every record is now competing with the next to be louder than the rest. This equates, in reality, to losing the peaks and valleys, because more compression is needed to keep this really loud record from distorting when played at the loudest levels of whatever monitors you hear it through. Lately the music industry has been re-evaluating this and is coming to the conclusion that the way producers use to approach this, makes for a better quality record.
I read Anton LaVey make a similar point to the one you’re making, in that less compression and less volume makes for more nuances. How do you feel that style of recording is making a comeback?
It will be making a comeback. Producers around the world are coming to the conclusion that their records just sound richer that way. It may take a while, but I’m sure the industry will come to its senses. The only thing that will stop it, is if sales go down because consumers are so use to hyper-compressed, louder music. Even the overall DBs of older Metallica albums are softer than most albums today... and that’s fucking Metallica!!! When Taylor Swift albums are louder, overall, than Metallica, something is really fucking wrong!
Why do you think so many record companies are competing to make their records louder than others? What sort of an effect is this having on fans these days?
Studies have been done, and it seems that people who are played records at different volumes equate the louder record with being better. It’s just about money. The modern consumers just are more inclined to buy your record if it’s louder than the next, because in their mind that equates to a better record. That’s not necessarily the case, of course. Better does not mean louder. It just means.... duh.... LOUDER! Hahaha. I tried to keep the integrity of my new album “Tame The Wind” and have faith that the dynamics and feeling will trump any other record’s loudness.
How many examples are there of subtle nuances existing on your current full length?
The nuances on my new CD are all throughout. I put my heart and soul into these songs and as I sang them on the mic in the recording studio, I had to stop and start again several times, because the experiences that I was drawing from on each one was too emotional. Everyone will have to hear the songs for themselves.
What new projects, album and video wise, do you have in mind for the future?
I have so much in mind that I have to constantly prioritize myself so things actually get finished. Like I said before, I am also working on a Modern Baroque Album I composed for virtual orchestra ensembles. I also have several more albums in mind. I want to continue the HEBE experiment with a second full length video “HEBE Meditation #2” and so much more! I have to concentrate on promoting my songs being streamed on Spotify. On Wednesday, January 6th, at 6:00 PM I’m premiering my new music video “Gabrielle” which is the first single from my new CD. Don’t miss that! I will also be celebrating my new CD release “Tame The Wind” by meeting people and signing CDs and posters at the Iron Garden event, Hosted by Madame X , at QXTs night club in Newark, New Jersey, February 26th.
Jerico De Angelo