You were involved in a recent event that happened in New York City, Undead A-Go-Go. Can you describe how this event was arranged and whether it was a success? In what venue was Undead A-Go-Go held and how many people attended?
Undead A-Go-Go was an event with many facets. It was the celebration of my new dance record label launch, CD release party and Temple House Sahjaza Gathering. The event was held at Bocca Di Bacco, 191 7th Avenue in the heart of New York City on September 28. When I recorded my first song "Undead A Go Go" from my new CD of the same name, I imagined a fictional place called Undead A-Go-Go where the undead hung out. The CD is music that would be playing for the undead go-go dancers. The CD is a journey to that go-go club and the nine songs are playing while the go-go dancers dance. The production is not typical EDM because it has goth undertones and my humor added to it. I made it sound like the 60’s TV show The Munsters meets 21st century electronic dance music (laughs) with lyrics written from experience. The undead go-go dancers were a metaphor for being resurrected after life has killed your spirit. So you come back stronger than the living’ you come back undead. Even before my CD was done, I had the idea to make the fictional Undead A-Go-Go that my song was about into a real place. It was an example of life imitating art. And with the help of members from the magical Temple House Sahjaza and council of Goddess Rosemary we did just that! The go-go dancers male and female were transformed into beautiful undead. The crowd was an untypical mix of goths, vampires, witches, and gay houses, models, and fabulous people. Many photographers and magazines loved the visuals of it all. Everyone was dressed to the max with makeup. They were beautiful. With images and my name playing on a movie screen behind me, and go-go dancers on platforms at the four corners around me, I got to sing four songs from my new CD! It was beautiful. And it was not the last you will hear about this party. I plan on repeating it. Where and when is still to be decided.
Are you part of the goth scene in New York? Or what underground scene have you referred to as your second home? For how long have you been involved in city nightlife to date?
I don't like to identify myself with one scene. I have a long history involved, and performing, in the New York City Goth scene and Vampire scene since about 1990, but it was never just a "social subculture" to identify with. I was in search for the truth of who I was and I was leading an urban shamanic path and spiritual quest to know my magic; who I was, my power, my possibilities, my immortality. This quest took me into the vampire worlds. The ritual of death and resurrection is an ancient one, leading to these self-discoveries (or memories) of who we truly are. So to get dressed up as undead, go out where the ritual drums played on a dance floor, with lights inducing psychedelic trance was just part of this awakening, among many other practices and rites too many to talk about here. In my stage show I would invoke into me the god Dionysus and transform my dancer angel into the Goddess Lilith as I sang my songs, with my band, from my CD "Into Infinity”, and performed sex magic rituals onstage. In the beginning, the Goddess Lilith whispered in my ear her name, even before I knew who she was, and that was the beginning of it all in a major way. At one point the vampire mythos was so strongly invoked in me that sunlight did actually hurt my eyes and affect my skin. I came out at night and slept by day in a sun-proof room with a sarcophagus made of my image in gold, fashioned by the artists Janusz Gilewicz and Kaori Kao, The sarcophagus was made of paper mache’ that was unintentionally made from the obituary of the famous vampirologist Dr. Stephen Kaplan. We only discovered this fact after it was completed and we were clearing our workspace. This sarcophagus was made world famous by photos with me in interviews on the cover of The New York Times, Daily News and TV media around the world. I was just submerged into a dark and beautiful reality that called to me.
While your spiritual quest led you to the vampire world, were you reading classical vampire literature or watching movies created about the mythos? Which of those did you find you related to most strongly?
I had read the Anne Rice books years earlier for amusement. But I was looking for the truth about vampires in reality, and their occult secrets behind the myth of blood and immortality. I did not believe I would find that truth in literature and Hollywood. My knowledge is experiential and from performing very secret rites of Lilith (Mother Of All Vampires).
Are there any occult secrets you have discovered about vampires you would be able to hint at in this interview?
I have discovered the existence of different vampiric beings... different species, if you will... throughout the ages. Some even now feed on us from other dimensions... unseen. However, don't let that knowledge bother you TOO much. WE ARE VAMPIRES AS WELL! We are vampiric in these ways: 1) We sustain our lives by taking the lives of others and ingesting their bodies to convert into energy to live. We may not all drink human blood, but cows’ blood and meat? Even plants... are they not alive? 2) We also sustain our lives from the energy of others in the form of conversation, sex, love and other emotions; sharing memories and many other ways... if you think of it. 3) The cells of our body are dying and being replaced by new cells constantly. This is not the same flesh you had a few years ago; you have died and been reborn continually through life. Also we die and are born again constantly in other ways as well... our personalities and who we are. You are not the same person you were just a moment ago. The fact that you have even read these words has changed you, and there we have it. DEATH AND BIRTH are just states of change, but we go on forever. The question is, what kind of vampire are you? One that strives to keep their energy exchange consensual and equal, and thus the beautiful ageless being? OR are you one who TAKES like a black hole, becoming monstrous and withered like the Nosferatu? This is a vampire world! A sentiment I was the first to explain to the press in the mid-90s and then echoed by The Smashing Pumpkins in a song of theirs, “Bullet With Butterfly Wings” It starts out with the words “The world is a vampire”.
Your explanation of the secrets you discovered make sense, since I have heard of psychic vampirism and psychic vampires. I also had a similar idea in mind about how humans who feed on animals are like vampires. Would you like more people to understand the differences between consensual vampirism and psychic vampirism?
Even if someone thinks it's bullshit. So be it. But one thing is undeniable... the effect on everyone.... the entire planet.... that it would have, if we all became aware of our energy exchanges and tried to keep them consensual and equal. It would be profound. I'm not saying we must be perfect at it.... but just start to be aware of it and strive for those goals. That would do so much good in our lives, the beings around us, and the world. If you must cut down that tree, plant another to replace her. Be aware of how you are communicating to people... are you talking at them? Are you coming from a place of fear and feeding from the energy of their reaction? Or do you really listen and then speak? I'm not saying I am a master of this by any means, but I am a master of being aware and a student on the way. There are so many examples of energy exchange. The two examples I just mentioned may be frivolous, but I think people get the point: consensual and equal vs against their will (or unknowingly victimized) and one sided.
Do you still have the articles featuring the sarcophagus made for you? How personally do you know Janusz Gilewicz and Kaori Kao? Are these two close friends of yours? What can you say about the art they create?
I still have those articles. I love press. I love the spotlight. It's the performer in me. I'm what I call a "media whore.” I speak to Janusz occasionally but lost touch with Kaori years ago when she moved back to Japan. We were once very close. I loved them like a family; we were part of a spiritual family, part of my coven. Their art I found to be transcendental, visually everything I was expressing through my songs from my CD "Into Infinity." So I chose their art for the cover of my CD and they actually projected the art on my naked body for photos and my stage shows. it was like tattoos of light as I sang. You can see clips of a photo session with their art projected on me here.
Have you been creating and recording your own music for as long as you’ve been involved in the underground? What is EDM? What musical genres are you most into these days?
I have been a singer/songwriter for as long as I remember. I had my first copyrighted song as a pre-teen, I was trained in six different instruments: viola, bassoon, guitar, trombone, piano and classical vocals. I have been recording my own songs since the early 1980s and the underground was where I found my home as a performer. People in certain underground scenes are more receptive to what’s “different.” EDM stands for Electronic Dance Music and has many sub genres to it but I use the term generally so people won't pigeon hole me into just one type of EDM. I also write and record in other forms of electronica, including modern compositions I write for virtual orchestras, and new age mystical ballads. However, my more vocal productions are released under my punk/goth name Jerico Of The Angels. My more instrumental pieces and classical modern composition music is released under my composer name "Jerico DeAngelo.” I even have these two separate pages of Itunes, Jerico Of The Angels and Jerico DeAngelo, as if I were two different recording artists (laughs).
How familiar are you with the club Bocca Di Bacco where Undead A Go Go was held? How do you view the state of the club scene in the city next to the 80s, 90s or 2000s? What other clubs did you frequent for as long as you’ve been part of the goth and vampire scenes?
I had never noticed it before. I was out with my friend Lara and partner Valentino looking for a venue that night. We had been all over Greenwich Village and Chelsea searching for a place where I would be happy hosting the party. Not only did I need a place where I could see my concept coming to life, I also had the members of Temple House Sahjaza to consider. I wanted a place worthy of their wonderful energy. It just so happened we saw it from outside and decided to go in. I first went down to the marble bathrooms... they looked like catacombs. I wanted to have a party there (laughs) in the bathroom... but the entire place was so beautiful. I was grateful to the manager to offer the entire club to me to do with what I wanted. However like I said, I would like to bring Undead A-Go-Go to other cities now. I grew up in the club scenes. I was going out to clubs and bars at the age of fourteen. I was here in New York for the large legendary parties in all their glory at the Limelight, Saint, Palladium, Tunnel, Sound Factory, Twilo and more. I have always been at home in New York nightlife. I actually performed on the main stage of the Limelight for a Vampire Ball in the 90s, CBGBs, The Bank, and many other places that are no longer around. I also hosted my own party that ran for a time at a place called Downtime where the Goth and Vamp night "The Bat Cave" used to be. I called my vamp/pagan party "Club Cybersex".
Describe what Club Cybersex was like when you hosted it?
Club Cybersex was a Goth/Punk/Vampire night with go-go dancers, DJs and bands that I hired weekly. At midnight, in my tradition, I would be at the end of a procession to the stage lit with real torches that those who partook in the procession held. Then I would go on with my band to sing my original material while I invoked the God Dionysus and evoked Lilith into my dancer angel. We were both only wearing chains and G strings. I would pour wine on her body with candle wax... all the while singing, culminating with the finale of my show when I would emulate sex with her on stage. She would lay me on my back and straddle me until we literally climaxed and I died on the words "Your Sex Has Taken Me, Into Infinity" from my CD “Into Infinity”. I made the space sacred as I did for the Undead A-Go-Go Party. Then I performed this sex magic ritual on stage... music and immortality.
Do you remember the song you had copyrighted before you entered your teens? What interested you in recording songs as early as you began and what interested you in learning to play so many different musical instruments?
It was called The Fools Waltz. I still think I have the original sheet music somewhere. Back then we actually had to notate the music by hand. Today computer software does that for us. I was born with music in my blood; I wasn't only interested in it. It has always been who I am, and I was interested in all the instruments. The instruments I chose were just those that spoke to me at the time... but believe me, I would play more than that if I only had spare time to learn… and I still might! (laughs)
Explain the statement you made that people are more receptive to what is different. Did you mean that what is different attracts or fascinates people, compels them in some way to want to know more?
What I meant by the underground crowd being more receptive to what I do is that I have always been ahead of popular culture in everything I do, so pop culture would never have gotten me at the time that I created my stage shows and CDs. Then all of a sudden Marilyn Manson was doing dark and freaky shows like me, except with the budget and team of a major label behind him, so he was able to appeal to the masses. He made what I was doing in the underground POP. Mainstream audiences are never ready for what I have to serve. I create on the edge... with edge... I always have... but there are elements in the underground that crave artists who are different. These are the people that are too intelligent to be fooled by commercial ripoffs and watered down art, meaning music, videos and shows in my case. These are the people of the underground subcultures I play to. They are my audience and I wouldn't have it any other way.
Is The Munsters one of the television programs you watch religiously or have watched religiously? I can remember catching it on WPIX channel 11 when I was much younger. How much has horror been ingrained into your imagination?
I remember watching the Munsters reruns as a child. One of my favorite things about it was the theme song with its bass line and groovy 60s feel. This is one of my influences in my song "Undead A-Go-Go." It's probably where I find the humor in my productions. I was always drawn to the old characters of horror and fantasy. I remember as a boy of eleven I initiated the Monster Club made up of neighborhood friends. My room was full of the models of old glow in the dark Universal Movie characters I put together and spooky novelty items purchased from the back of comic strips etc. I was like the character "Evil Ed" from Fright Night! (laughs) I was always an odd one.
Which episodes of The Munsters do you recall as personal favorites?
I can remember the characters and actors that played them more than specific episodes. It was a very long time ago since I've seen a show. But one thing that is vivid to this day is the theme song that played as the credits showed.
Was Fright Night another of your favorite programs? In what ways did you relate to the character of Evil Ed?
I have actually met Steven Geoffreys (the original actor who played Evil Ed) though we have lost touch with each other years ago. We had traveled in the same circles for years until we finally ran into each other in New York City. He was the one who got me into running; he showed me all that went into the sport. He introduced me to the free feeling of running on the tracks at Central Park. I still run to this day. The room of Evil Ed was full of monster models and charms, spells and curiosities, like mine was growing up. The character of Evil Ed was the outsider; the one who did not fit in. I can definitely relate to that.
Do you remember Chiller Theater that aired weekends on channel 11? How often would you watch that if you remember? What movies do you remember watching on Chiller Theater? I remember a movie released in 1966 called Queen Of Blood about an extraterrestrial vampiress who was spearheading an invasion of Earth. Did you get to see that?
I watched it as a toddler from about three to six (laughs). I loved that show! It was a highlight of my week. Vampire Aliens… I think I experienced that in real life! (laughs). Again, life imitating art? Or the other way around? This I do remember... The House On The Haunted Hill (Vincent Price). Not sure why that movie remains part of my conscious memory. Remember the hand that came from the ground at the beginning of Creature Feature... as you heard the voice "CHILLER”?
The intro to Chiller with the six-fingered hand was creepy but aroused my interest in horror cinema and TV all the same. Queen Of Blood was one of the first sci-fi/horror movies I saw, and the imagery has stayed with me to this day. What movies do you recall from your youth?
Horror movies from my childhood that I know have affected me include: The Wicker Man, Night Of The Living Dead and Don't Be Afraid of The Dark. My entire life has been stranger than any movie though; books could be written on my life, but no one would believe it.
How long were you hosting your Monster Club and how many neighborhood friends would get involved in these events? What sort of activities usually went on in the Monster Club each day it was put on?
There were five of us. It was our life for a period of our childhood. We woke up every day and went to the Monster Club held in my garage attic. I'm very sad to say the youngest member Timmy is no longer with us. He had a lifelong heart condition. If you are reading this from beyond, Timmy, I often think of you. We would make potions with berries and herbs that we gathered from around the property, imagine what magical purposes or poisonous plots they were meant for. We would use Ouija Boards. Keep in mind we were all pre-teens with wonderful imaginations.
Have you known Goddess Rosemary of the Temple House Sahjaza for a long time? How much input did she have when you were developing Undead A-Go-Go into an actual location?
I have known Goddess Rosemary for at least two and a half decades. She is and always was my spiritual sister. Our paths in life have many similarities, including but not limited to our love for theater, film acting and dance... and our pagan, magical beliefs and spiritual experiences influencing and permeating our art. We (Goddess and I) were part of a selective group of heavily publicized beings in the New York City Vampire, Pagan and Goth scenes of the 1990s. We were even together during the BBC news documentary interviews about Vampires in New York, when our session was called short the moment the interviewer got word that Princess Diana was killed. I'll never forget the look on his face as someone came in and whispered the devastating news in his ear, so Goddess and I, of course, went out to find some debauchery of our own (laughs). When I decided to do a club party, she and Temple Sahjaza were my first thought of who to involve, and it just so happened Goddess was looking for someone to put together the Temple House Sahjaza annual gathering so it worked out perfect. Goddess mobilized her team of trusted members who helped with amazing efficiency with everything from building a website, social media, ads, flyers, door people and other positions for the night, and even a general manager I chose who had great ideas. EVERYONE on the team contributed with great ideas to make the night a fun and magic night. Members even flew in for this special occasion from as far as California and Florida.
How much publicity in addition to the BBC documentary did you and Rosemary receive? Were your interviews enough to give people a greater understanding of the local vampire scene in New York?
We were very famous for a time. Camera crews and reporter were coming to my shows from all over the world: Italy, Brazil, Japan, The Netherlands, etc. The New York Times and Daily News actually came to my basement apartment in Astoria, Queens to take photos of me and my coven. News stations interviewed me in my Crypt (that's what I called my domicile at the time). At one point, you could not turn on the news without seeing me and Goddess Rosemary. I had news station reporters and camera crews parked outside in vans overnight just to get a shot of me, or an impromptu interview. The problem was, these news shows needed ratings and the papers had to sell, so the producers and editors always wanted to slant their stories to cover the blood and sexual aspects of the Vampire world. It was all about blood and sex to them. I'm not saying that this wasn't a big part of the Vampire scene, but for me it was a small part and the blood ran much more deep than this. It was spiritual in nature, a means to know our own personal power, knowledge, enlightenment. It was a way to learn the truth of our own immortality, to break free from the illusion of this mortal coil.
Does it disappoint you that newscasters are more concerned with sensationalism and ratings than giving the public an accurate view of the vampire lifestyle? This is where most misconceptions about many lifestyles come from. Granted it’s a business and the purpose of a business is to remain financially viable; regardless they are making money by spreading disinformation. What can be done to disprove said disinformation?
What bothers me is that even those living a so called vampire lifestyle are clueless to what that even is. They don't know why or where these practices came from. They read a book by a so-called expert... listen to some dark music... drink a little blood.... and completely miss out on secrets kept from profane eyes... for all of history. As far as the news... well... the news IS NOT the news anyway (laughs).
What interests in theater, film, acting and dance have you and Rosemary shared as long as you’ve been friends?
We both studied at HB Studios for acting. I studied with Uta Hagen and Herbert Berghof. Goddess was in films and a film maker as was I. My first role was with a horror film starring Traci Lords and Troy Donahue called "Shock Em' Dead" under another name I used for acting at the time. I also won the New York City Pill award for a documentary montage I produced on Octavia St. Laurent. I also love dance and choreograph my own shows. I've worked with great dancers like Benny Ninja and Javier Ninja. Goddess also dances and has a series of videos where she dances; a very mysterious and magical dance. We both also have supported and worked in theater, as with Troy Acree and Tony Sokol in "The Vampyr Theater”
How were your experiences studying in Rosemary’s class at HB Studios?
It really was an honor to study with the living legends, Uta Hagen and Herbert Bergof. He died shortly after I started with him, so I auditioned for her class (it was by audition only) and was chosen. I did not stay there long before I landed in the camp of Michael O'Hara and Denise Rich, signed to their music production company and was groomed to be a star.
Who is Octavia St. Laurent and what is the nature of the documentary montage you made about her?
Octavia was the transgender star of the 1990 movie documentary “Paris Is Burning”. It was an award winning film about the New York City underground gay ball competition scene of the 1980s. The members of this once underground scene have made major contributions to society in art, dance, music, fashion, literature and more. In fact Madonna’s music video and song “Vogue” was inspired by this then new dance form originated by Willy Ninja. Now this scene has grown very big and is international, with even people like Elton John hosting his own ball competition in Italy.
At what age did you become interested in magic and decide it was the path you wanted to travel?
I was always on this path; I did not choose it. Magical knowledge is carried with you from one life to another, so I was contemplating my place in this world and where I came from while I was still in diapers. I was performing athame grounding rituals at the age of five and practicing candle magic spells by the time I was ten.
What were your experiences working with Traci Lords and Troy Donahue on "Shock Em' Dead" like?
It was her first legit film, the first movie she did before she became a cult movie star and worked with John Waters. She was sweet and extremely beautiful. I remember talking with her on the movie set in the Hollywood Hills about her new record deal and singing to her my songs with my guitar in our downtime. She, many years later, did go to #1 on the Billboard Dance Charts. When I read that, I remember looking back on our conversations about her future goals. From afar I watched her achieve those goals one by one. She is very special. The thing that struck me the most about Troy was his grey hair at the time. He was much older in his career at this point, but still very handsome and dapper.
How many roles did you have after appearing in "Shock Em' Dead"? How well known have you become as an actor?
I'm not a film star by any means, although I have had some people recognize me from parts I've played in film and TV. That's amazing considering my roles were supporting at best. I even played myself in an Unsolved Mysteries episode about an open case I was actually was a character in..... and I got the role after I had to audition against lines, and lines of other actors (laughs)... that's a long story, though, for another time I have a huge resume of film, TV and stage credits. I am still in SAG, and a member of the SAG awards nominating committee, but that's not good enough for me. I'm really itching to play a role in a worthy project again.
What sort of movie roles would you most want to be cast in nowadays?
I look for roles that allow me to really walk in another's shoes for a time. It makes me a better person... acting is amazing like that. It can really expand your awareness. I love to play roles that allow me to express the many facets and deep emotions in me... it doesn't matter if it's a witch, a villain, a lover, a vampire, or what as long as I know I can dig deep and honor the character I am playing.
Describe The Vampyr Theater to the readers of this zine and indicate how well known it currently is.
Tony Sokol made history by writing the original plays of the Vampyr Theater in New York City. Troy Acree directed and stared in these plays. It was Macabre to the max, with very edgy scenes, and scary for many audiences. I remember a few people would actually walk out of some shows; it was too gruesome for them (laughs). All special effects of course. One guy I remember even freaked out one night, convinced that we were not actors and out to get him as soon as the play ended (laughs).
Do incidents within the Vampyr Theater in which people think it’s real happen often? Where in the city can people attend if they are interested and know it’s just theater?
It was in a theater... a legitimate theater with a stage and tickets sold... with ushers... quite obvious it was a play, but I think the person had dosed LSD or something like that. I don't recommend hallucinogens and too much gore. That was a long time ago. I don’t think any theater troup is around like that today.
When you first started to envision Undead A-Go-Go, what were your sources of inspiration? Describe what you were picturing at the outset and how you developed your ideas?
My CD "Undead A-Go-Go" is a trip into an undead go-go club, where you could enjoy life after being resurrected when life has killed your spirit. You come back stronger than the living; you come back undead. The undead dance is a metaphor for saying "fuck you" to all the assholes that have brought you down or made you feel like you aren’t worthy. Fuck you to all the challenges and trials of life! You’re saying, “ I’m still alive and dancing at the Undead A-Go-Go." It's a celebration of resilience. So my concept was to make the fictional place of my song and cd into a real place with undead go-go dancers, magical beings, witches, shape shifters, fashion, art and music... and we did just that! We found a place and created this Undead A-Go-Go party to celebrate life resurrected and strength! It is an example of life imitating art. We took an imaginary place and made it real! The place itself was also our art and part of my performance. The entire place was a stage and, at the same time, a sacred space consecrated through an opening rite led by the priestesses of the group!!!! Quite a different party for New York City! So now as I go out to sing and share my new EDM cd with the world, I take with me the elements of that party and may actually travel to other cities repeating the "Undead A-Go-Go" party so others can also celebrate with us... being survivors.
How long has your CD Undead A-Go-Go been available to the public? Are you offering physical CDs or internet downloads or both? Describe some of the other tracks appearing on this recording.
Since October 2nd 2014. Digital downloads are available as well as physical copies from online retailers like Amazon, CD Baby and iTunes as well as from my record company site OsiriStar.Com. The first song “Undead A-Go-Go” is a very EDM 1960s A-Go-Go meets 21st Century EDM with rock influences. The second and eighth track “ Flow Affair: DJ Chip Chop Remix” is a very tribal house music mix of a song I released in 2010. The “ Flow Affair: DJ Man Parrish mix” is a bit more of a feel with a hypnotic drone production, both a bit on the eerie side and perfect for my Undead Go Go dancers. I was writing it about being in the flow of life, but that also includes blood flows. Tracks three and four were my only co-writes and productions with others. “ Know No Shame” was written by Moshe Daaboul and I, and he produced it for a change. “ Wherever You May Go” was co-written and produced with Laray Collins. It was also on my earlier CD "Into Infinity" but I added new synth parts and remastered it. I must confess to all EDM purists out there, these two records do have live guitars, bass, drums etc mixed in there with the electronic instruments (laughs). “ Ghost Dance” is a tribal house favorite. I released this record on my 2013 CD “SBLMNL MPCT” and thought it was perfect to include on this CD. It is truly music for the undead. Track six “Night Crawlers” was written from an experience I had driving through a small old town in upstate New York. The town was empty... no people at midday time. Just a sign swinging over an old wood building reading, "Night Crawlers For Sale." Of course my creative juices pumped into high flow mode.“ Vampires Rise” is track seven. I actually recorded most of this and sang the vocals in one take. I was just messing around and producing this cool sensual beat. I was hearing a melody and decided to put down a rough vocal of it. When I got behind the mic these words began to flow and this is the record you hear on the CD. The lyrics, production and vocals were done in one take, in one night (laughs). The last song, track nine, is called “The Spell”, which was also written FROM EXPERIENCE! and is an actual spell.
Describe the experiences that led to your writing and composing The Spell.
The Spell is obviously a call for passion.... for lust.... an invocation of Incubi and Succubi... and more. But I do not want to give out all my secrets... Let's just say I want all my listeners to love each other, lust each other and love what I do. I want you all to want me and my music, hahaha.
What can you tell the readers about your previous CD Into Infinity?
Into Infinity was written and recorded at the height of my spiritual journeys into states of life everlasting. It was a time when I did change forever... mind and body! I would write from these spiritual experiences I had from rituals and go into the recording studio and try to recapture sounds and music I had heard while in other worlds and other dimensions. The entire CD is a journey to death, to the underworld, and the process of renewal to be born again... and at the end the process repeats. It is using sex magic and vampire mythos to induce a lyrical and musical psychedelic transcendence (the effect truly enhanced while partaking of hallucinogenic sacrament), to bring you in touch with the infinite part of yourself... not by denying your senses as some paths do, but by opening up all your senses by experiencing the sensual aspects of life, becoming ecstatic to the point that you experience the God/Goddess within you.... to live and love into infinity! The CD works on many, many levels... as a work of art and as a magic tool. To this day, I am so proud to have created that CD with my many co-writers and producers and musicians and artists: Laray Collins, Michael O'Hara, Denise Rich and many others who contributed to my vision and really got who I was, and trusted me enough to follow me to that very personal place inside me.
Are you longtime friends with Laray Collins, Michael O'Hara, Denise Rich and the others who contributed to Into Infinity? How much input did they have when they were involved in the recording sessions? Did any of the contributors to Into Infinity lend a hand into the making of the songs on Undead A Go Go?
These people are part of me forever. To collaborate on music is like making love. It's intimate; the only ones I have kept in contact with though are Michael O'Hara, Andy Redmond, and Janusz Gilewicz. Laray Collins moved back to Scotland and then I heard Israel. Denise moved to England and changed her Citizenship from American to British, and Michael moved to Texas where he is now a reverend and doing music again with his rock band in New Orleans where he commutes. Laray was a co-producer of most of the songs on the CD and played a large percentage of the parts and arrangements. He and I wrote or co-wrote 90% of the album. It's as much his as it is mine! The contributions that they all made as producers... co-producers, playing parts... and co-songwriters was invaluable to me. And there were many others involved with the making of this magical CD as well, too numerous to mention now, but all listed on my Into Infinity CD credits. Laray and I wrote “Wherever You May Go” , and we produced it for Into Infinity. I just added a few modern Synth parts to the new version on Undead A-Go-Go.
What was your song Wherever You May Go written about, and how does it fit the concept of Into Infinity? Explain how it was reworked for its appearance on Undead A Go Go?
It was about loving someone so much that you would follow them even through death, to be with them on the other side of the veil.... or even in their next incarnations.... forever and ever.... into infinity. Of course it has a really cool bass line, and the percussion was perfect for my undead go go dancers to dance to at Undead A-Go-Go, so it was great to re-release on this new Album. I added more real sounding strings, violins, cellos and bass to the orchestrated intro, and basically kept the original production, but added the newest edgy synthesizer sounds in parts of the record to beef it up and keep it up to date.
What sort of feedback was Into Infinity receiving in the press (print and the internet) following its release? Did most reviewers understand where you were coming from on that recording? Did the material on Into Infinity pave the way to expand on your work for Undead A Go Go?
They loved the music and the concept; the reception was good, but college kids, goths, vamps, witches and those on spiritual paths really GOT IT. Especially people exploring their consciousness and minds using psychedelic substances to induce trance states while listening. Mushrooms, LSD, MDMA, and hash bring the listeners of my music on a real journey. My music and words, as I have said before, were written from these other dimensional experiences I had. There are so many levels to this CD; hidden spells, bagpipes, real sampled bear growls, wolf howls, harpsichords sampled from a castle in Scotland, channeled entities I used for my vocal backgrounds.... and in my opinion it all comes together in such a beautiful tapestry of songs. I often listen back to it and say to myself "who wrote that? who sang that? who did that CD? It couldn't be me because it is so deep... beyond me" I can say this CD was divinely inspired. Every work I create expands my way to the next. No work is lost... even songs that may not ever be released to the public had to be done for me to be able to create what I do tomorrow.
Since Undead A Go Go was released, what publications has featured it in reviews and/or interviews? How much have you been able to discuss it in print this far?
So far, a handful of New York publications and blogs have written about the CD release in coordination with my Undead A-Go-Go party. But you are the first giving me a chance to talk about it in depth, and I am so grateful. I really want people to know about my music and the inspirations behind it... the many levels to my art. Thank you for giving me this chance. I really give my blood and soul into my music and it's for you and your readers I do it.
How long has your official website OsiriStar.com been active on the internet, and what materials besides your recordings are you offering there?
OsiriStar.com has been around for several years now. OsiriStar Productions and OsiriStar Entertainment came first. Now, the launch of OsiriStar Records as of September 30th, 2014, at OsiriStar.com, people can find more information on me: press, news releases, calendar dates etc. JericoDeAngelo.com and JericoDeAngelo.info will also bring you there. Not only can people buy my physical CDs there, I also have T-Shits and merchandise for sale. AND MY HEBE PROJECT MEDITATION DVD! My Hebe project, also known as the HEBE experiment is an attempt to decode the hidden language between the subconscious and conscious mind. It’s a way to communicate to your eternal self.... what you would have manifest in your experience. It’s a way to tell that part of you that governs the working of the world... your RNA, DNA... systems and forces of your body etc... what you want, in a language it understands... you instruct it. I use over 20,000 subliminal messages woven into my musical composition "SBLMNL MPCT" and have it playing to the meditative images on the video chosen for their symbolic and occult resonants. The meditation is lush with subliminal affirmations for rejuvenation, health, immortality, beauty, wisdom, personal power, prosperity, love, awakening psychic powers and much more. I based this experiment on over thirty years of research, my personal experience, myths from different ancient religions and the teachings of Dr. Joseph Campbell.
Joseph Campbell is a name I remember from college. How many books by and about him have you read, and how influential were they on this new project you are developing?
I have read all of them, and watched the Power of Myth interviews many times. He really opened my mind to the universal archetypes and symbols used in art and myth throughout the ages. He made me realize that we may choose to be aware that our day to day activities are all rituals that do affect us on a subconscious level. The color of your toothbrush… brushing your teeth… is a ritual, going to the gym… a ritual, watching television… a ritual… etc. Soon you become aware that you are the character of your own myth, and you begin to realize there are ways to guide that myth, much like a lucid dreamer can control the outcome of their dreams.
Interesting that you discuss everyday doings as rituals. I kind of thought of watching TV and movies that way, only not exactly as deeply. Which is why people should be more careful about the information they take in these days?
We are being manipulated in many ways by many different organizations and companies bombarding us with subliminal messages and guiding our daily rituals. Once we are aware, we can begin to take control back.
You stated the music on SBLMNL MPCT is ECM (Electric Classical Music), a genre you created exclusively for the album. Can you explain in greater detail what ECM is and how it differs from electro and classical music?
I use the term classical music to invoke an idea in the listener that the compositions are more orchestral in their makeup, but actually classical music is a type of music from a specific time period from the past. More specifically, although I call it ECM, the music is more correctly identified as modern composition. It is the classical of today. I compose these compositions for virtual orchestra. These can be original piano and orchestra compositions or guitar and orchestra, etc... perfect for film and TV soundtrack kind of stuff. I then produce it with my club music sensibilities, so you could play it on a dance floor. Electronica could mean danceable or not. it’s just electronic music. But I actually take these lush, orchestrated pieces and blend them with tribal House Music beats, and Trance. The sound is not like what anyone else is doing quite this way.
Provide insight into your promotional video Eternal Youth Meditation that can be viewed on Youtube.
The ten minute Youtube mediation is actually just a part of a much longer thirty-nine minute version. The Meditation began as a personal reprogramming technique I was creating for myself. I decided I wanted to change my life for the better. In the fall of 2009 I started recording a positive affirmation every day for 61 days, each on its own track and then looped them over and over for 39 minutes, becoming over 20,000 subliminal affirmative messages. Affirmations like: “ I am more successful than I have ever dreamed”, “My RNA/DNA is repairing itself, my cells are rejuvenating, I am in a state of perfect health, I am beautiful, happy, loved and prosperous”..... you get the point. As I said, this started out to be something for me only. The 61 tracks of repeating affirmations became a wall of chatter that together was for the most part not discernible consciously. It is my belief that the messages nevertheless reach our mind, subconsciously. This belief is backed up by many decades of scientific experiments backed by large corporations to gain insight into ways to better promote their products in ads and such. I then composed “SBLMNL MPCT” as a musical piece to induce a trance state and to overpower the wall of affirmative message chatter that I made. This would help me more easily relax into the drone like, atonal, trance music and forget about the underlying subliminal words, opening my mind to receive the messages on a more unconscious level and subconsciously affect my outer conscious reality! After a couple of months, I started hearing dance beats on it (laughs). I should have predicted this so I produced a shorter eight minute version that became my EDM song on my new 2013 CD SBLMNL MPCT. But that’s neither here nor there. As far as the meditation video was concerned, I stuck with my original self-life reprogramming composition and decided I wanted to go farther, I wanted to put my years of knowledge of symbols in art and the occult, and their relation to the artist’s, and practitioner’s, life to work. So I began methodically recording footage and editing the symbols in an order and in ways that I could watch while listening to the subliminal messages... images that would also be communicating to that part of me that understood the language of colors, of symbols, of myth, and of dreams. This is what became my HEBE experiment. Hebe was the Greek goddess of youth, and the letter of this name as it pertains to my experiment is Health, Eternal youth, Beauty, and Everlasting life. It changed me and my life in too many ways to talk about here. The info is all on my website. But I decided, sometime after I started seeing results, to actually share the meditation video with others to use… to better their lives as well. The full length version is available from my website. Although I promote my CDs for sale. The HEBE project is one thing I have not promoted at all. I think it’s a real new age magical tool that will come to those who it’s meant to at the right time.
Recently you have been making an impression on the Reverbnation charts. Fill the readers in on this?
The Reverbnation charts reflect the popularity of an artist based on online song plays, music video plays, social media interaction, number of fans from social media sites, press, online chatter about you, and actual tour dates. Currently I am #2 in the category of Electronic Dance Music (EDM) for New York City. Quite an honor when you think about all the DJs and dance music coming out of New York. Reverbnation has also charted me as #12 nationally and #16 worldwide.
Anything you want to reveal about the promotional video you released for your song Night Crawlers?
My video "Night Crawlers" was shot in just a day by just two of us, then I edited the footage. It was based on my actual experience and original inspiration for the song as I drove through this empty town and saw that Night Crawlers sign I mentioned. I imagined it was a town of Vampires and Werewolves that only came out at sunset and rushed home before the sun came up... much like I and many of my friends. (laughs) There are many empty towns like that across America now... spooky in a way, even sad... no one on the street. No one interacting. Modern technology, internet, cell phones and TV have made us a society of recluses.
What sort of research did you do about the Greek goddess Hebe before working on SBLMNL MPCT?
I've worked with Greek and Roman Gods in reality, in my rituals since I was a teenager. The Greek Pantheon is one that is home to me at this point, so my knowledge of HEBE is also experiential. HEBE, Goddess of youth, was a cup bearer and served ambrosia (the nectar of immortality to the Gods on Mount Olympus). One way to honor her, although you may not find much about this in literature, is by colorful toys... toys on her altar.
Can you provide just one or two examples of how the HEBE experiment changed your life for the better?
My income increased incredibly, to the point where I am very comfortable today. Also, very serious, life threatening past health conditions that I wasn't aware of until recently were easily overcome, miraculously in-fact. My face and body appear to be rejuvenating in ways such as less wrinkles, tighter skin, thicker hair. My body is still changing for the better in many ways. My occult awareness and telepathic abilities have expanded and are still getting stronger. My energy is off the charts, and my attitude toward life has improved. My self-confidence is off the chain now. I don't let anything hold me back from living my dreams, and accept the challenges as they come without feeling totally defeated. These are just some of the drastic changes in my life that I do believe are linked to my participation in the HEBE Experiment. There are many other examples in every area of my life I can link to subliminal messages through images and affirmations that I intentionally put into this meditation DVD. I am also collecting data on others’ experiences with the meditation, and invite anyone who wants to participate in the HEBE EXPERIMENT to please contact me by email, and let me know how the HEBE meditation affects you and your life. The 39-minute version is available on my website for purchase; also ten minutes of it is available for free on YouTube. 10 minutes may work wonders for you. When I'm short of time, I do this 10 minute version.
Your HEBE Experiment sounds more intriguing as I read more about it. Do you in any way consider this the start of a new approach to making music?
This is just one of my approaches. I won't be limited to music people are used to from me just to sell records. I create what I am inspired to create... and "SBLMNL MPCT” just happens to be a new age mediation composition that I added a beat to for the dance floor. However, I will tell you that this first HEBE meditation video is just one of a series I plan to create into the future. There will be HEBE 2, 3, 4 etc.
How many videos do you plan to include in the HEBE experiment? Do you have any ideas to create beyond this once the series is completed?
I will create videos for this project for years to come. I will make as many videos as it takes to achieve the desired results for people… conscious manifestation of our reality we choose through symbolic communication with our unconscious self through conscious use of subliminal means. The volumes and data could last a lifetime.