. . | | \ | / | ___ \ | / ___ ____ ----___ ___--- ______ -----_______ ______----- -- --- ------____________ ___________------ --- -- _ ___ ____ ______________ o________________ ____ ___ _ / / | \ / | _ / / / | \ \ | / | /| | / | | | | _--_ | \ / \ | \ / \ | \\ / | ) ( \ '- \ \ \ \ | /\ \ | | | | | | | | | \ | | | __-----____-- ___-----____-- _ _ _ _ _ _ (_)_ __ | |_ ___ _ __ __| (_)_ __ ___ ___ _ __ ___(_) ___ _ __ __ _| | | | '_ \| __/ _ \ '__/ _` | | '_ ` _ \ / _ \ '_ \/ __| |/ _ \| '_ \ / _` | | | | | | | || __/ | | (_| | | | | | | | __/ | | \__ \ | (_) | | | | (_| | | |_|_| |_|\__\___|_| \__,_|_|_| |_| |_|\___|_| |_|___/_|\___/|_| |_|\__,_|_| _ _ __ ___ _ _ ___(_) ___ | '_ ` _ \| | | / __| |/ __| | | | | | | |_| \__ \ | (__ |_| |_| |_|\__,_|___/_|\___| T H R O U G H _ (_) __ _ ___ ___ ___ | |/ _` / __|/ _ \/ __| | | (_| \__ \ (_) \__ \ |_|\__,_|___/\___/|___/ SHADOW WOLF MEETS IASOS It is 1975 - a mysterious artist called IASOS releases his debut album "Inter-Dimensional Music Through Iasos" on the Unity records label - later released on his own label. It is a record that would - along with Steven Halpern's Spectrum Suite - pioneer the new age music genre. Music so different - so strangely majestic and otherworldly - that its influence would seep deep into the consciousness of numerous artists and music styles. In the 1980s the New Age music genre was quickly exploited by the record industry: a bunch of dolphin sounds under a synthesizer pad with some cliche mystical concepts were pushed to an audience hungry for any spiritual enlightenment countering their 1980s Reaganomics consumer lifestyles. IASOS however remained the real deal, in an ocean of endless new age drabble, his music remains particularly different - experimental and full of fresh and wonderful ideas. Whether you think his ideas are metaphysically peculiar or not, one can not deny the uniqueness of his music and the effect it has on the mind. Music historian Douglas McGowan's liner notes of the 2013 I am the Centre new age compilation says it all: "one of the most startling musical debuts ever...I would go so far as to say that posterity will gradually reveal this former Bay Area dollar bin staple as one of the 20th century's most significant works of music" - something that I can fully concede with. IASOS was born in Greece, immigrated to the USA and in the late 1960s, attended Cornell university before moving to California to immerse himself in the psychedelic counterculture. At this time -probably not entirely without cause - he started to hear strange music in his mind - music that didn't yet exist. He called it Inter-Dimensional Music and soon he figured out this was transmitted to him by a higher dimensional light being called Vista. It took him a few years before he was technically able to translate these transmissions into an earthly cohorent music 'format'. It is September 2015. I am in Marin County California, north across the bay of San Francisco - it is a beautiful - almost Arcadian place, a region with extreme bio diversity: Oak woodlands, redwood forests, green pastures all immersed in the scent of a pacific ocean. The land of IASOS - surroundings that fit his music perfectly. In the distance a car parks and a figure steps out. It is IASOS, still almost the same like in the 1970s footage I saw of him on youtube. We order some food at a Greek deli and sit down for a long conversation - one that will span many subjects - from heavenly reverb to the danger of distortion ripping holes in your consciousness to being a musical time architect and many many other topics. This is an edited transcription of that interview. It was presumed lost for a few years but was fortunately unearthed recently. ~'.'.' SW: What would be the best way to listen to your music? I: The closer you hear it the way I’m hearing what I created, the more you get my intended experience. And the closest way to hear the way I’m hearing it, is by listening with AKG-K240 headphones and with your eyes closed. They have a very flat response. Meaning they don’t emphasize some frequencies more than others. Many sound systems have an unbalanced EQ response. That means they boost the very highs and they boost the very lows but not the middle. But hmmm, I like the AKG-G240 headphones because they’re a balanced response throughout the spectrum. So if you do it that way, listen to that, and with your eyes closed, you will hear it the way I really intended it to be heard. Because that’s how I’m hearing it when I created it. So all the EQ adjustments are exactly for those headphones. SW: Should the listener be in a special place? I: Well, it depends on the music. For example, for Bora bora 2000, it’s tropical dance music so, put it on and dance, you know. Don’t wear headphones just put on loud speakers and dance. But for other stuff like meditative stuff like Angelic Music or Timeless Sound, you can have it on any reasonably balanced headphones, speakers, or headphones. You might want to lie down or sit in a meditation position and just, space out. It’s very unique, depending on the piece. SW: This maybe a strange question. I: Good, I love strange questions. Go for it. SW: I always like to have the outside sounds leaking into the studio ambience. Like the rain, storm sounds, my garden the birds, they seem to create some merging layer that makes everything more at place and less sterile. Like a green noise that glues everything together. I think it helps in a strange way even if it’s not in the recording itself. Do you have anything similar? I: No...I have my headphones on and when I use microphones. You know, for example if I’m recording a flute. A tiny mic is right next to the mouthpiece so there’s not going to be any outside sounds anyway. And I try not to have leaks of outside sounds. If I want outside nature sounds I will intentionally put them in. For example on my new album, I have a piece called Warm Tropical Rain. Yeah. And I record a lot of rain. And I record a lot of people splashing their feet in the rain. And I did that intentionally. So when I want nature sounds in there, I’ll put them in. But if I don’t want them in, then I don’t want any leakage. BUT...Both approaches; your approach and my approach, are perfectly valid approaches. Both of them are perfectly fine ways of working. SW: I want to talk about VISTA, your higher dimensional being that transmits information to you. How do you receive a new piece of music in your mind from vista. Do you open up for it in a special way or can it come at any moment of the day? Does it happen automatically? Is it always there? I: It usually happens in the evening when I’m focusing on music. And it doesn’t happen very often. Usually the way it happens is: I’ll get an idea to compose something. I’ll start working on it, before long I have a vision of the whole piece in my mind. And they honour my free will. Vista honors my free will, so he never forces me to do anything. But he tries to seduce me to do it. He tries to get me to fall in love with a piece of music so much that I say, “Ok, I commit to manifesting this piece of music, I commit to making it a reality.” And then if I commit to it, it will happen no matter what happens in my life. I will create it. SW: So, a large part of it is yourself that makes the music? I: Yes. Well, two things, first of all. They’ll sneak in the mental image of the overall piece, that’s the main thing. Which is the music technical ideas on how to create it, how it will effect people. And then when I’m working on it, he keeps giving me ideas on it. Like try this, try that, put it through reverb, play it backwards, you know, get the sound. I get a lot of ideas while I’m working on it. But to a great extent, I was trained by Vista very very clearly before I was born. So for a big extent we are on the same page. We have similar understandings, similar preferences. SW: Ok. Because he’s an angel? Or what, is he or she? I: No, in my understanding there are three kingdoms. There’s a human kingdom, when you evolve from being human you will eventually become an ascended master. There’s the angelic kingdom, when an angel evolves, it gradually becomes an archangel. And an archangel eventually becomes a Maha archangel. And there’s the elemental nature kingdom. Like fairies, elves, dwarves, when they evolve they might become a Deva of a mountain. And eventually they may become a deva of the whole planet. And eventually they may become a high level Elohim. And vista is the Elohim of the Fifth Ray. Which is a very high position, even higher than the Archangels, although it’s in a different level of the evolutionary scheme. But they separate it out like a prism. The spiritual energies that the sun radiates, and then they give it to the archangels, who then distribute it to the angels that then work with them. So, he’s from the elemental nature kingdom. But it’s sort of like an archangel but a little bit higher. SW: Ok. I’m gonna ask a few more questions about this if you don’t mind. I: I don’t mind! Just ask everything. Don’t be shy, go for it. SW: Are there any parts of the information that vista transmits that cannot be translated to music you can hear? Like do you get information about frequencies, melodies for sounds that cannot be heard or even comprehended by humans. Or that don’t even exist in our dimension. If so, could you even describe it vaguely or, is it impossible? I: Most of what he transmits is music that can be recorded. Otherwise what’s the point of transmitting it? You know we made an agreement to work together. We made an agreement before I was born. ‘Iasos you’re part of the game, you will incarnate on earth. You will become proficient with music and then I’ll transmit music ideas to you, and then youre task is to make it manifest it, get it out, publicly, so it can benefit people, so it can help them raise their vibrations, as our whole planet is raising its vibrations.’ So there’ll be no point in him sending me music that can’t be manifested. However, there’s certain things, that are hard for some people to catch. Let me give you an example. If a person is sad and depressed almost all the time, and you play music that’s happy, he won’t resonate with it, because happiness is not in his emotional body. It's outside his emotional range. Likewise, if you have a person that’s feeling very brave, and is never afraid; if you play music with fear in it, he won’t resonate with it because it’s outside his emotional range. He doesn’t feel fear. See? So, I created a piece recently that emotionally speaking, is so in high vibrations that I do not expect most people to be able to really sense it. For them it would just be strange sounds. It’s on my new album, Essence of Lumuria, and the piece is called, Infinite Mercy and Compassion. And it’s emotionally at such a rarefied high frequency that I don’t expect most people to really feel those emotions. There will be a few here and there that do, maybe two percent, but most of them, it will just be, you know, strange sounds. SW: How did you make that then? What is exactly the part of it that is so high? How does it translate into the sound?

 I: Well, most of the sounds are created with violin sounds, and later in the piece female voice sounds. But what makes it special is what I call paradox harmonics. Which is; each octave can have a different chords, but all those chords fit the same scale. And since each chord produces a particular emotion, different chords at different octaves produce different emotions simultaneously. All of which fit together nicely. SW: So like an emotional chord, or something? I: Exactly. Exactly. And that’s unusual for earth music. In fact, I haven’t heard much of it. I played with this idea a little bit when I did 'The Angels of Comfort'. But this piece, Infinite Mercy and Compassion is a much further developed version of that same idea. Yeah like an emotional chord if you play them simultaneously. But they all blend nicely. SW: Ok, and how do they blend nicely? Do you research that - is it some science? 

I: No it’s all intuition I don’t use science. I’m not gonna wait for science to catch up to what I’m doing. Maybe in another 50 years. See, science can’t even measure emotions. They can measure body responses to emotions, but they’re not directly measuring emotions. I’m talking about emotions, I’m saying things about emotions and they go, “How do you know? Prove it!” And I can’t prove it, because science cannot yet measure emotions, they can only measure your body responses. Like the galvanic skin response or electric brainwaves. But they’re not really measuring emotions. And emotions vibrate on frequencies. Negative emotions vibrate on lower frequencies, positive emotions vibrate on higher frequencies. The border between them is in the range of melancholy. Melancholy is just a little bit lower than that middle range. And from melancholy you keep getting lower and lower frequencies all the way down to zero. And zero is being frozen in fear. When you are frozen in fear your emotional body actually stops vibrating. It’s got zero vibrations, see. Now that’s a limited range because it goes from zero to only a finite range, but positive emotions go up up up many many octaves. Just like on a piano keyboard you can have a-flat, an octave higher, a-flat, an octave higher, a-flat, octave meaning twice the frequency. The same thing with the emotions. You can have octaves of emotions for example, you can have the emotion of, “I’m glad,” emotion an octave higher, “I’m happy,” an octave higher, “Joy,” an octave higher, “ecstacy” an octave higher, “rapture,” and it keeps going without any upward limit. So positive emotions have an unlimited range whereas negative emotions have a limited range. Now, the intensity is different than frequency. You can have a high intensity negative emotion like anger, or you can have a low intensity negative emotion of like, “I’m a little sad,” you know. And so intensity is a separate issue, likewise with positive emotions. You can have a low intensity positive emotion like, “I’m feeling good,” But you can have an intense version of it, high intensity, high amplitude, like, “I’m feeling extatic!”. _--------_ oooooooo _- -_ -_ __________________________________ / ooooo -________-_____- _________________________________ / ooooo || || || || || ________________________________ /---_ ooooo || || || || || ________________________________ / =__ ooooo ---------------- / ooooo ------------------ /__ ooooooo ----------------- |--) ooooooo o ------------ _, o oooooo ooooo oo oooo ooo/ o |oo o / |o ______/ |________ / \ SW: Your music is always quite ecstatic, right? 
I: Yeah, it’s my specialty. SW: But in your structure of your music did you ever think about first making a part melancholic and after that more ecstatic? I: I would never, in my life, even if you pay me ten million dollars, I would never ever ever create any music that has negative emotions. Because that exactly contradicts the whole reason why I’m here on earth. SW: But wouldn’t that make it stronger if you use it as some kind of contrast? I: No, you can have plenty of contrast without having to go negative. As a matter of fact my music does have that. Example in my Realms of light you can listen to Rapture of the Heart, or on my new album you can listen to, Smooth Sailing Over Enchanted Lands. It has three orgasms in it, it has three emotional peaks. It gets really intense, it has quiet parts, as a matter of fact it get very very quiet, then it gets really intense but it’s all positive. It’s all positive emotions. You don’t need to go negative to have a contrast between high intensity and low intensity. So those are examples of two pieces that have wild contrast. SW: I’m gonna ask you a question about your first album, 1975 Interdimensional Music Through Iasos I: Hahaha yeah 1975 SW: With the music technology that was available to you it must have been... I: Let me tell you what I had then. I had a stereo tape recorder, a Sony 7,5 inch quarter-inch tape stereo. You could record two channels, flip it over. Record another two channels. And I had another one that was like that with only four channels, so I could be recording all four channels. Fill those channels, mix it into stereo in the other machine, then put that back on here, so two channels are full and the other two channcels are empty...and then I’d record two more, mix that, and that would be the piece. So basically, you get the result of six channels. That’s how I did it. And a lot of it was electronic processing of acoustic instruments. And the electronic processing of acoustic instruments is very simple, like spring reverb, or univibe to give it vibrato or phaseshifter...very simple stuff. SW: Did you have a synthesizer that you used? For that album? I: Not really, I had an organ that I used in a few places. SW: Oh, because some if it sounds really like a synthesizer I: Yeah, not really a synthesizer. SW: Just effect boxes? I: Yeah for example, I borrowed a vibraphone from a friend of mine, and I’d record things on it and I’d play the tape back at double speed and you’d get these wonderful tinkly bells. THen I put an Echoplex through it, so wonderful tinkly bells with a very high fast echo. I’d record piano runs and put the tapes backwards so you’d get twiiuuup twiuuuup twiuuuuup... SW: And as the music technology advanced I guess it became easier to translate the information you got from Vista? I: Yeah that’s exactly correct. SW: Could you give us some examples of things you couldn’t translate at first but now its possible? I: Sure I’ll give you two examples. On my 2015 album, "Essence of Lemuria", you can listen to the second piece, Smooth Sailing Over Enchanted Lands, which sounds like a symphony orchestra and you can listen to the fourth piece, Buddhic Spherical Consciousness, which sounds like a cosmic universal space. I couldn’t do those before. SW: Ok and that’s because you can use computers and VST's? I: VSTs primarily, yeah. SW: In the 1980s you started using synthesizers? Or late 1970s? I: I don’t keep track of time, for when I started. But I can tell you that when synthesizers started coming out I didn’t like them at all. To be honest, they sounded very very cold, I didn’t like them at all. SW: Sterile. I: Yes, sterile. I didn’t like them. Finally, one came out: it was the RMI-Keyboard computer, it was made by an organ company, but, you could change the waveshape, by sticking these computer cards, you know these old computer cards that have holes punched into them? SW: Yes, punch cards I: Yeah, and each card has 32 numbers on it, and those 32 numbers define the first 1/4th of a waveshape, and then by playing it backwards you’d get the second 1/4th, then the negative gives you the third 1/4th, then the negative backwards gives you the fourth 1/4th. So you'd create a waveshape with those numbers. So I could get different sounds just by slipping in different cards, and I could have combinations of four sounds that way. SW: And what album did you start using that for the first? I: Elixir (listen here). SW: And you never used MOOGS or, you used an ARP right?

 I: I used, and I still have, an ARP PRO DGX, I like it very much. It’s monophonic, only one note, but it’s great for melody work. SW: It has really nice Aftertouch and stuff right? I: it has the best aftertouch of anything. Because Aftertouch and Breath are very intuitive ways to emotionally control music, because if a person is feeling more intensely emotional, it’s natural to press harder. And if a person is feeling more intense emotions its natural to blow harder. So both Breath controllers and Aftertouch are wonderfully intuitive way to modulate the emotionality, the emotional intensity of whatever you’re creating as a melody. SW: Do you also use other controllers like, for example hand controllers? I: Yeah, I have a harp controller. it’s a metal box that has two plastic strips and each strip has many buttons underneath it, and each button corresponds to a different note on the scale and you can program what scale and what key. Like drrring, I get the note and scale, drrring, I get a different scale. And so just by strumming it with your fingers it’s like strumming a harp. Although it doesn’t have to sound like a harp. It can sound like anything. SW: Did you make that yourself? 

I: No I worked with a company that produced it. I was their musical test pilot, gave them ideas on how to improve it. But then they decided to not actually market it because they figured it wouldn’t make any money, which I think is a crazy idea, but I got to have one. Hahahaha. SW: What’s it called the machine or it never got a name? I: Harp controller as far as I know. I personally call it the golden harp. SW: Your music is mostly high frequency...they always sound very soft and round. You never use a lot of harsh distorted low frequencies. I: I would never. I try to create beautiful sounds – when you go to heaven listening to music, there won’t be any distortion there. So if you’re a lover of fuzz guitar, you’ll be very disappointed when you go to heaven because there’s no distortion there, at all! So right now distortion is very fashionable in earth music, but it’s gonna be totally absent when you go to heaven because, believe me, it’s not there. There’s no distortion. Just harmony. Just just just only just harmony. And extreme harmony. SW: And why is that? That distortion...? I: It rips holes in your emotional body, in your etheric body, it’s very harmful. You can kill plants with it. SW: Hmm. I: Just put on distortion guitar in front of a plant and play it for a few days,the plant will shrivel up and die. It’s bad for you. It creates holes in your aura. Now the reason guitarists like it is because it creates passion. But you can still create passion, in fact, if you start with distortion guitar and you filter out the high frequencies, which amounts to smoothing out the corners and the sharp edges. If you look at a wave distortion it’s got sharp corners, because they clip it. Those sharp corners, like a chainsaw, it cuts holes in your emotional body. But if you filter out the high frequencies, it’s like rounding the corners. If you look at it through an oscilloscope, it like, rounds the corner , and so it makes it a smoother sound. That way you can still get the passionate effects which is what fuzz is good for, without having the effect of really ripping holes in your etheric body and your emotional body. And so sometimes, in rare cases, I might start off with some distortion but then I will significantly filter out the high frequencies to round out the corners, so it’s not harmful. _ _ _ _ _ _ _ | | | | | | | | | | | | | | __---__ __---__ __---__ _| | | | | | | | | | | | | |__ - - - - - - | | | | | | | | | | | | ---- - - - - ---- |_| |_| |_| |_| |_| |_| - - SW: Are there any particular angelic scales, chord-harmonies that are typically, like angelic, or come from the world of Vista? Like certain scales? I: No, they can use many different scales. The interesting thing is, each scale is a relationship of frequency-ratios, and it doesn’t matter what the actual frequencies are. You can change the key, but the relationship of frequencies remains the same, even though the actual frequencies are different. If you go from C-Sharp to F-Major you know, etc. But each scale, which is a relationship of frequency-ratios, produces a unique emotional effect. So, a classical composer that is a master of harmony, has a palette of emotions at his disposal. And if he wants one particular emotion, he can use a scale that will generate that emotion, and if he wants a different emotion he can use a scale that generates that emotion. And it doesn’t matter what the key is because no matter what key you’re in, that scale will generate that emotion. Now, the angelic beings- they use many different scales but there are certain scales that they tend to not use because they have a depressing effect. The most significant one they won’t use is the Blues scale, because it has an extremely depressing effect. After all it is called the Blues scale. What does that mean? It means you get sad. So it really does have a depressing effect so, they wouldn’t use something like that. But they use many different scales though. The important thing is harmony. The key word is harmony. And the key thing is, listen to your heart. See how it makes you feel, if it makes you feel good; use it. If it doesn’t make you feel good, don’t use it. Simple. SW: I wanna talk about the sounds themselves a little bit. The ones you synthesize and program. How do they evoke certain emotions, like certain sounds do you have tricks for that? I: Well the main trick is that I have a library, as a WORD document. And typically a musician creating music will be hearing a sound in his mind and will be looking for a sound right here that is close to the sound in his mind. And if you waste a lot f time trying to find that sound, you forget the music you were initially trying to create. The idea is to find that sound quickly and efficiently. So, I developed a system to find it quickly and efficiently, which is that I have a sound library as a Word document. You know a word processor. And just like on a webpage you can have links that can go to another part of the same page. Likewise in Word you can have links within that page, so at the top I might have. “Strings brass, woodwinds" etc. But if I click on "Brass", it will go to sub-categories. It might go to trumpet, French horn, flugel horn, trombone, etc. And then if I go further, I click on French horn, there’ll be further subdivisions, single French horn, or "French Horn ensemble" If I go to single "French Horn", then I’ll have all the sounds from all my synthesizers. All my software, VSTs, all my hardware synthesizers, they’ll be all in the sound that I like, and it will tell me the address of where to find it. It will say, go to this synthesizer, go to this bank, it’s program number 23, stuff like that. And it also has a description, how it compares to all the other French horn sounds, and I also give it a number from 0-100, scaling how likely I am to be using that particular sound. And so the first thing on the list is the highest number. I have all these numbers at the top of the list. So if I see a French horn sound I might see one at 98, which means I’m very likely to want to use that one, I might have another one from another synthesizer which is 95, I still might want to use it so. I check them out, that way I can quickly find the sound I’m after. SW: Ok, what I wanted to know is how do you evoke certain emotions, with the sound. Like with the use of vibrato, tremolo or filters, or do you have any systems for that or? I: Well intuition is the only thing I can answer to that. I let my intuition guide me. Of course when a person is feeling something and then the feeling gets more intense. There’s certain sound equivalents to the feeling getting more intense. One, the sound gets louder. The other is there’s more high frequency content in the sound. And the third one is the vibrato becomes more predominant. So those correspond to feeling something and then the feeling gets more intense. Louder, brighter and more vibrato. But in general, I just let my intuition guide me. There’s no set answer for that. SW: I wanna talk about echo and reverb effects. For me echo and delay effects are very important, because it does something strange with time I think. I: What’s strange is using pre-reverb. Where the reverb precedes the sound. SW: How do you think this echo or reverb effect changes the sound. Is it some kind of uhmmm, something in a space-time dimensional or in a higher dimensional context? I: Both. First of all, what’s the difference between reverb and echo? Reverb is having so many echoes that are so closely spaced that it’s one continuous sound. So reverb is really many closely spaced echoes. So they’re really the same thing but the spacing is primarily the real difference. In heaven, there’s a lot of reverb, because there’s a lot of space. When you add echo or reverb, it subjectively creates the sense of a bigger space. As a matter of fact, many people when they’re mixing, they can control how close or far a sound is by how much reverb or echo they add. They want the sound close: they don’t add any reverb or echo. If they want the sound far away, they make the volume less but add a lot of reverb to it. So it’s like a front back control to how much reverb you have. It’s a wonderful way to create spaces in different spaces and the wonderful thing is now with convolution reverb: it enters a magical world and for those who don’t understand convolution reverb, here’s how it works: Let’s say I want to create the s sound of me talking in a cave. Let’s say I go to the cave and I blow up a balloon and I have a portable recorder and I record the sound of popping that balloon. Pop! So the recorder records the sound of the balloon popping, which is basically all frequencies but very briefly. The recorder records the echoing through that cave. Now I can bring that sound back into my studio and I can record me talking, dry. No echo - no reverb just me talking. And then convolution is magic. What convolution does is it multiplies one sound with another. if I multiply the sound of my voice talking, with the sound of my balloon popping in a cave., with convolution reverb, the result is: it sounds like I’m talking in a cave. If I hit a timbale drum, BOOM, and I record that sound and I convolute the sound of me talking with hitting the timbale drum, it sounds like I’m talking inside a timbale drum. If I record the sound of a balloon pop or a pistol shot inside the Taj Mahal, then later on I convolute that into the sound of me talking or any sound really, then it sounds like me talking in the Taj Mahal. So convolution now is wonderful and totally magic because it allows you to superimpose the ambiance of any space onto any dry recorder sound. It's really really magic, really potent, but people use it just for reverb. You don’t have to just use it for reverb. You can use it for all kinds of wild effects. For example, I made a sound of just white noise and then I made that ramp up in volume. So it goes from quiet and then it ramps up in volume. If I convolute that with an other sound, it’s like hearing that sound with pre-reverb. You can get all kinds of incredible wild effects. Outrageous playground. SW: Is there any kind of higher dimensional context? I: Yeah the higher dimensional context is; there’s a lot of heaven, there’s a lot of reverb in heaven. There’s a lot of reverb in the music of the higher dimensions. So here on earth if you play music with a lot of reverb, it tends to remind people of heavenly realms. SW: And where do you see delay then? Do they also have delay in heaven or is it mostly reverb? I: Mostly reverb. When Paul Horn released Inside the Taj Mahal, for the first time many people were hearing music that was like heaven music. Because it had a lot of reverb. Before you didn’t have a lot of music with such a long reverb. It’s the reverb of the Taj Mahal, an eight second reverb, and for many people it triggered something deep inside them cause it’s like a subconscious reminder of music from the heavenly realms.. SW: I’m going to continue about the echo and the time, more about the time itself in tracks... I: When I did Crystal*White*Fire*Light, one of the pieces on my Elixir album, there were a lot of time manipulations in there. But especially pre-echo and pre-reverb. Which tends to stimulate a persons’ precognitive abilities. A persons’ ability to sense the future before it happens. Yeah you can stimulate that by letting people listen to pre-echo and pre-delay. And the way you do that in the old days was with a tape. You put the tape backwards on the tape recorder. While you record you put the reverb on another channel, on another track, and once you’ve recorded the reverb, you make it forward again; return the tape to it’s original direction, so now the echo or reverb precedes the sound rather than follow it. Nowadays, it's of course much easier. SW: That’s very interesting, I never thought of it. I: Yeah and when you do that, it tends to stimulate precognition in the listener. And "Crystal*White*Fire*Light" had a lot of that in it. SW: Do you see time as linear? Or something that just happens all the time? Do you see it more as a metaphysical thing? I: I can talk a lot about time. First of all, as a musician I consider myself a time architect. Someone that creates forms in time. According to many of the advanced scientists, time is a spiral spiraling within a donut, continuously in a loop, it’s spiraling within a loop. But the most profound thing is: Time is an illusion which each persons’ consciousness creates. The truth is there’s only the eternal now, all things that have happened in the past are happening now, there’s only now. But, our consciousness creates the sensation of the flow of time because we experience it one moment at a time. I can give you an analogy of this. In a movie theatre there’s a projector that has a big roll of movie film. If you put it in the film projector, the projector shows it one frame at a time, in rapid sequence, so you get the sensation of a smooth flow of time. But if the projectionist takes that reel out of the projector, puts it on the floor and opens it up, you can see all the frames at the same time. That’s more like reality, seeing all frames at the same time. There’s only now. But your consciousness is like the film projector, only one frame at a time. Billions of frames every second so you get the sensation of a smooth flow of time, which is an illusion that each persons’ consciousness is creating. And the irony for me is, well, if I’m a time architect and time is an illusion, then all I am doing is creating an illusion hahaha. Makes me feel funny about my career. SW: Would it be possible to give an example of that with sound, in music? If you would do that with music, it would sound very chaotic, of course, it would be white noise, basically? I: No no no, you can’t do it that way because you’re experiencing music through your consciousness and your consciousness is flowing through linear time. And you can only experience linear time while you are functioning in your consciousness. Now, there are people, sometimes with psychedelic drugs sometimes with high states of meditation, who achieve a state of sensing, ‘it’s all happening now.’ Many years ago I had a lady friend here in Sausalito, she kept saying to me, ‘it’s all happening now!” and I had no idea what she was talking about, it just seemed like crazy talk to me. Now, I understand what she was referring to then. Because there really is only now, so what this means is. Have you heard of past life readings? You go to a psychic and they tell you what you were doing in a past life. Well, you can have a past life reading, you can just as easily have a future life reading. Because its all happening right now. All your lifetimes are happening right now. Well, what does that have to do with free will, then I don’t have any free will. Yes, you do because you pick how your going to steer that because it can go infinite different ways. So, while you’re in your normal consciousness, you can only experience linear time, because that’s one of the definitions of having an earth consciousness is; experiencing linear time. And when we reincarnate we agree to experience it that way. You’re higher self, you are a projection from your higher self. I’m a projection from my higher self. Your higher self is outside time, and it projects many parts of itself as incarnations in many places. One might be 3000bc, another might be 1967, another might be 2015, anther might be 4312, and from the point of view of the higher self all those incarnations are happening at the same time, getting information through all of them simultaneously. But for each one of us, we're in a time-space matrix. When you’re in a time-space matrix there’s past present and future and there’s space. When you’re outside of it its all happening in the here and now. SW: As a musical time architect, is there some kind of control you can do with the music? I: Absolutely not. I’m a linear consciousness. I can only do the linear rate of time flow. I can speed it up, you can play a tape double speed, you know, I can ramp things up faster or slower but its still linear time; past present future. It’s vector, it can only go in one direction, I can't really play with that too much. I can do funny tricks like pre-reverb and pre-echo. Jimmy Hendrix playing guitar backwards, it had great emotional effects that most music on earth didn’t have. Because with normal earth music you either get a sound that builds up, sustains and then goes down like playing a violin. Or you get a sudden beginning and a gradual fade like plugging a guitar string. You don’t get sounds that build up and suddenly stop. That’s what you get when you play guitar backwards. So certain sounds are pretty rare. And when I do my harp controller, one of the sounds I use is the sound for every note builds up gradually, then suddenly stops, well, fairly suddenly stops. And when you do a whole stream of these, like strumming a harp, you get all these overlaps, beginnings of notes, which has a very unique emotional effect. SW: Sort of like an arpeggio, a polyphonic arpeggio effect? I: No nothing like that. It’s many sounds where each goes like *whhaaAAA, you know, very gradually. But they overlap because you’re strumming the sequence. And so as one is building up, the next one is building up, whilst the first one was still building up. So when you’re playing them simultaneously, all at the same time while strumming them, that has a very unique emotional effect that very little earth instruments have, none that I’ve heard, have that emotional effect. Very rare. SW: Ok, almost the last question, on the paper. I read somewhere that you’ve been visiting alien worlds and hearing their music in your sleep? I: (LAUGHS LOUD) You talk about ‘Nighttime .. sounds on planet allura?” is that what you’re referring to? Yeah. At the bottom left corner it says, one. “All this is purely imaginary, and two, your imagination is real.” However, this is what I do do. If a musician wants to stimulate their idea of what music could be, rather than staying in the rut of the conventional ideas of what earth music is, like chorus versus chorus and stuff like that. What you can do is this, just before you go to sleep at night, intend, “While I’m sleeping tonight I intend, that I’m going to be visiting other civilizations around the universe and I’m going to be exploring and experiencing their idea of music.” Now if you do that every night before you fall asleep, when you wake up, changes are you wont remember any of it, but that’s ok, just keep doing it. If you keep on doing it for about two to three weeks, pretty soon unusual music ideas will bubble up to your consciousness from your sub-consciousness. Things that you experience then, that you don’t remember consciously, will gradually start bubbling up to your conscious mind, from your subconscious mind. All these unusual music ideas. And all you have to do is experience them when you’re sleeping at night and all you have to do is set out a clear strung intention just before you fall asleep. SW: That’s lucid, right? It sounds like lucid dreaming. I: It can be lucid, but it doesn’t need to be necessarily. Even if you wake up and don’t remember anything, even then you’re benefitting from it. If you can do it lucidly that’s even better, but it doesn’t have to be lucid. SW: Can you remember sometimes? Or is it all unconscious? I: Let me give you an example. I heard music that sounded like a beaded curtain and how can I do that with sound? I finally figured out a way and you can hear that in a piece of my new album "Essence of Lemuria" in the piece called Warm Tropical Rain where each raindrop, coming down independently of each other, and all the drops fit a chord with the notes and as the chords change, the notes change, but it’s all just beaded drops of sounds coming down. So that’s an example. I got that idea by visiting other civilizations, exploring their idea of music. SW: But do you also see the architecture these civilizations have? I: If my intention was: I want to experience the architecture of other civilizations, then I’d probably remember that. But that was not my intention. I could start tonight saying, I want to explore other civilizations and explore their architecture. But I can tell you this already, they tend to have curves and avoid right angles. Because angles are very unsupportive to life. So you won’t find right angles at all. And many of their buildings are made by crystalline substances controlled by consciousness, and they can grow their homes, for example they’ll have a crystalline home, a clear wall where you can see the backyard. And if you want to have privacy you can telepathically tell the wall, ‘please go opaque,’ and the wall will go opaque. Please, I want to have a couch now, and a couch will grow out of the wall. A couch you can sit on. And its wonderful. You don’t need anymore, you need the space. "You can go away now", and it will retract back into the wall. It’s crystalline material that is highly responsive to consciousness. And a lot of them I know, have that. SW: You are kind of like an alien dream anthropologist? I: [laughs out loud] I’ve never been called that. Once, a woman said, “You’re an animal from another dimension.” SW: You were talking about how VISTA gives you inspiration, he also tells you what equipment to use? I: No he tells me technical ways to achieve the sound effects. SW: You also said that at the same time, the technology has evolved. So then would you say that because the message was the same right? Or would you say that, while the technology evolved, because the earth is vibrating on a different frequency, that the messages are automatically tuning in into those developments. So it’s all one flow. I: Yes, it’s all one flow. Basically, VISTA adjusts his technological suggestions to what equipment he knows I have available then. He knows I have this; I don’t have that. He’ll adjust it to what’s available. SW: So you could say that you’re music evolves, and the equipment you use evolves, we can mirror the involvement of the earth- I: Yes, see, everybody is going really fast pace now. For example, no one can keep up with all the VSTi’s that are available. They keep on going faster than anyone can keep up, because they keep on going faster with their mind, whilst they are creating these wonderful synthesizers. In one synthesizer, there’s a whole galaxy of sounds. It took me three months to explore the sounds in Omnisphere...to explore every single one of them. And I logged the ones that were of interest to me. Which were maybe 2 or 3% of the sounds. But it was worth it. And so I go through all of them, and it takes a while because these synthesizers have such a vast realm of possibilities. SW: What other art forms can be inspired through VISTA. Film? I: Yes, as a matter of fact, there’s one called" Crystal Vista" HAHA. If you’ve seen my DVD called "Realms of Light - the DVD", you can see examples of it on YouTube. SW: You get the images also from VISTA? I: Oh yeah, I had my music album … after I finished I thought this is very visually inspiring music. I’d like to make it into a DVD .. but nobody was doing the kind of celestial visuals that I wanted to see with my music. So I, thought, I will do it myself. So it took me four years to master video special effects, and another 3.5 years to create the visuals to synchronize with the music. So it was a 7.5-year project for that DVD. BUT, if you want to see Vista's ideas on visuals. Go see Realms of Light the DVD.. You’ll see SW: Do you do that on a computer? What kind of program? I: Yeah I was also using Premiere and After Effects. But most of what I did was through plugins in After Effects. Most of the time I was studying plugins. They don’t call him VISTA for nothing. His specialty is the All Seeing Eye of God, which really means a highly evolved third eye. And they call him VISTA because his specialty, even more than music, is god vision. Divine visions. The musical outpour of divinity through sound and visions, through visuals. And the reason why I like to do visuals, like in my DVDs, but also in all my concerts...since 1973 I’ve always had visuals in my concerts. The reason is because they’re very powerful when they work together. Because music has the potential of, not the obligational role but the potential to induce divine emotions. And visuals again, not the duty or the responsibility, but they have the potential to induce divine thought forms. And when they’re working together: the music creating divine emotions and the visuals inducing divine thought forms, when they’re working together synchronistically and synergistically, their combined influences can ignite a person into a higher and more expanded state of consciousness. And that’s the whole point of my multi media concerts and my dvd’s. SW: One more last question. Do you think there are also demons, that some people have a demon evil minded being controlling them? I: Yes, of course just listen to heavy metal...See there are many floors to reality. From the lowest frequency negative, to the highest celestial angelical heavenly. And each person gets to pick where he focuses his attention. It's his life - every single human being. Musicians are merchants that selling emotions served on the platter of sound. What musicians are really selling is not sound, but emotions, and people get the emotions through the sound. And so for every emotion that you can imagine, there are musicians who specialize in exactly that emotion. For example, I specialize in inducing the emotion of ecstasy. ~'.'.' Time's running out on the recorder and we decide its time to stop. We make some pictures and say goodbye. Iasos drives off into the forested distance of Marin county. Indeed like the wild animal returning to his own dimension. Visit IASOS homepage check out his bandcamp here S.W transcribed by Sierra Nobo III \ | / /\ /\ /\/\/\/ \/ _/\/\ \ / / /\ / \/\_ | /\ __/ /\ /\ /\/\_ /\ /\/ /\ \/\ \ / -|- /\ / /\ /\ / \\ /\/\ /\ \ . -----/ \ //\\ //\\ ///\\\ /\/\/\ /\ /\ \ | --- | ///\\ //\\ //\\ ///\\\\ ///\\\ /\\\___/\__________|___| ///\\\ ///\\ ///\\\___ ////\\\ /\ //\\ /\\\ / \ . | ///\\\ ///\\ /////\\\ ///\\\\/////\\\//\\\\ . . / \ . | //\\\ ///\\ ////\\\\\ /\///\\\\/////\\\\\\\\ . ./ \ . | || || || || || / \ / \