Ikipr spoke with me recently at great length about his music and the inspiration behind the label Aleph9 on which he releases his work and work of other various musicians, (here’s part one) and what follows is the rest of the interview. After the fold, before the transcript begins, I’ve included his appearance on Esoteric Sciences Roundtable from earlier this year, where he gave an informed discussion of the recent history of occultism and radionics.

The interview itself began as a discussion of his music and associated label, but we talked for over an hour and wandered off-topic somewhat into a dialog about the future of humanity and the idea of a technological singularity.

If I was in the middle of making a creature/sci-fi/horror film, something that’s really fucked up and far out there, I would be looking for something that sounds
like the music you make to add into the soundtrack.
The 8-Bits album (8bit signs of affection.rar) certainly seems to have as a narrative
a kind of nostalgia for Nintendo…

It’s Nintendo, Atari, and Gameboy all teamed up.

Nice. Yeah, it’s very video game, very fast, and almost a nostalgia for a future we haven’t had yet.

I Like that term. People always say even the other stuff is sci-fi/video gaming, and I’m actually making
an album for a label in Chicago. The guy who runs it, Metaphysical Playroom, is also on Aleph9′s label, although he’s
not released on it yet. He’s a pretty busy guy, and he does some pretty interesting circuit-bending stuff.

But yeah, I’m working on an album based on a chemognostic session, where the only way to really describe it is
‘Evil Aliens vs. Future Machine Robots,’ and it was actually something that we managed to pull out of the Abyss
and experience in a kind of like fifth or sixth dimensional sort of manner. I’m still working on transmuting that into sound.
But that particular album has that sort of direct aesthetic and influence. I can kind of see the sounds being like a
shifting, morphing, biological robots, or a nanotech infection spreading with their own sentience and self-replicating nature, things like that.
Some of those themes are directly played off of in the album, it’s a score for a sci-fi movie that doesn’t exist.

That’s
another thing too, going back to the alphabet of desire, that tends to imply to me, in like a
Peter Carroll-ish kind of sense, manifesting for the
self and for the ego. Sometimes I’m just experiencing something and putting to sound, because anything that was given to me I’m trying to give back three-fold to the world that provided it to me, and so it’s not so much a direct
attempt to manifest something in the material plane. I think art is kind of free-flowing like that, which is good, it doesn’t suffocate it. It lets
it grow, and gives it life.

I did do the Foolish People soundtrack, at least part of it, for Dead Languages. Victoria did a lot of the really good low growling rumbling sort of things in
audacity.

Okay, so she did the lower stuff then she mixed in what you were doing up on top?

I was mixing at the actual performance at Esozone. It was her stuff, rendered into a digital mixer that we output to my computer into a real mixer, and I would mix there based on the cues.
We did have a couple of collaborative pieces, I think we have a couple more for ICA possibly based on stuff I’ve sent her. That ICA event was Friday the 18th, and I’ve been working
on sound for it too, reworking certain things, and actually utilizing the audio that came from the
Greylodge video, which I’ve run through my set-up. Then post-process to
kind of like build a non-linear time window from the ICA performance to the Esozone performance, if you will, kind of like a bridge.

A secret knot?

Yeah. You know, it’s not something necessarily identifiable in sound. Genesis P-Orridge asserts in his article about splintering that you can mangle something and it’s still the original thing being
evoked by it. And I’d say that by mangling it you’re actually revealing more of the magic within it by shifting and altering the waveform.

On some level it seems that people who are working in sampling and this deconstruction of media into new forms, especially in hip-hop and industrial music but it shows up in lots of other places,
I can’t help but wonder if this is on some level a digestion of culture and we are all just agents aiding this process. Musicians from all over the place are all sort of attacking the same body of
media, breaking it up into smaller and smaller chunks, and then sort of re-integrating it. It almost seems like, on a macro level, that people are using media to facilitate human evolution.

It is kind of a caretaker thing. I’m sometimes limited in what I choose to sample. I try to be really selective, I sample things like Regardie’s Golden Dawn stuff. I’ll take like a snippet of him saying a single sacred word and pitch it up to be a one-hit that corresponds to the overall pattern of the sort of hypersigil that I’m working on.

But how infective and representative of the entire source piece is that one specific sample? It’s almost like audio memes. I can’t tell you how many Skinny Puppy one-liners got stuck in my head in my youth just from them sampling one line out of a horror movie.

Right, and you’d never even see the movie until years later, if at all.

Right, and it stood out. It was the point you recalled in the song, in a lot of ways. If you take that in splintering rules, that is the invocation of the entire piece of media. And not all things are sampled
from copyrighted media now either, per se. Youtube is an excellent example of that, I don’t know how much crap just gets caught on tape you know? And that’s also kind of scary too, because that
opens the door for a lot of radionic non-linear time warfare. All magic, all technology is in the hands of the user and what they make of it. I kind of want to make it do good things.

Of course I’ve always been recording circuit-bending stuff, and I’ve got like 500 samples that I kind of want to put out here as a sample pack, it keeps growing. But I kind of question, you know like the Amen break, I question if will people just be lazy and I’ll be hearing the sounds that I made in other people’s tracks, or will they actually fuck it up enough that I’ll hear something in a new way.

The conversation continues in the podcast below, as Ikipr and I discuss Paul Laffoley’s utopian visions, the ideas behind Ikipr’s albums The All Encompassing Singularity I and II, and his blogging on Phase II.
We touch on spukhafte Fernwirkung
, biohackery, and even

billboards in space. The audio runs about a half hour and includes music from The All Encompassing Singularity I and II, available from Aleph9.

 Ikipr: Regarding Phase II: Play Now | Play in Popup | Download