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0:00🎵 🎵 🎵 🎵 🎵 This isn't my secret spot This isn't my actual sight I can't get you, I can't get the buttons My hands are ringing This is my life, students To do what the fuck I love My time to change My time to tell you, my time to tell you

1:00Where the hell's going? I'm a housewife My house is going to lose My house is going to lose My house is going to lose My house is going to lose They very much. These legs slacken off the last hour of the day. A little bit in full post-amounts group. So I went to Australia, hoping to speak to someone new. He's got just no way. I'm watching to the tent here. Who's gonna ask me?

2:01This night follow. Get on the bar. Hold it, hold it, strike the man. Hold it, hold it. And a little bit. Wait on the way to the side, for all of you. I'm off the hook, and I'm going to take this. You're not going to be. I can't do all the stories you get what? Take back the next day. Why I have to take quick. What should I do then? So I'll hold on my phone. But I'm just taking this back. He said, I said, I'm going to take my name. Take it on your videos. It's a little bit of a run. He said, what? I said, what? He's gone.

3:01He has free land. Left, I said, I'm going to take my name. Wait a minute. I have a little fake. Is it normal, I believe? You have to suck it. Let's go save him. Let's go save him. Let's go save him. I have to take my name. Let's go, boy. 低 ieux whoah bits of death all came to the death all the claim is like Hat put him down the wall though money feels

4:02sek he said he saw my night you will kill Academy ofTech wait wait a minute When I teach no to этой you which house have the risk I almostbutted myself and won! Have I done that?! You thought that wasÉ I pulled myself! Brigittáí bringing back the plane money!!! I'm back in the room. I've got to look at it with me. I'm down to two grounds. I'm keeping it back. That's the me. Time to leave. So I made it to the door. How did you chance

5:05it? One fuck to totally go. oh along I'm going to go right there, watch it go! Oh! Oh! Oh! Oh! Oh! Oh! Oh! That's good, my girl, this is bad. Oh, you're a new year, Jason.

6:06Yeah, all this way. You're so glad you couldn't know what you wanted. You could have been a doctor, you could have been... And you could have been watching today. What do you want for? Line it out. How old you used to act yet? No. Oh! Oh! You're so good! You like the little girl now?

7:22Oh! I'm gonna be on my side, you know. Sitting on a plastic chair, the sun is flowing, and I'm too late. And me, this is still it. I'll just be there. Shhh! Shhh! Shhh! Shhh! Shhh! Shhh! Shhh! Little girl, the little girl, in a church or in a school, a little Jesus I want to be. So, you know, just take some. Shhh! Shhh!

8:22Shhh! Shhh! Shhh! Shhh! Shhh! I don't know if this is the smell of the fire. There are always new requirements, but none are beneficial for you. They say the opportunity for advancement has seen it. Desire disappeared long ago. Soul is depleted with no discharge of intentions inside. Soul, you need change. But you can't cope with change any longer. Soul, what happened? There's no more energy to address the issues head on.

9:26You put off tasks, you forget to take care of your papa's soul. You bored and lonely, not at your online friends. No longer answer. The soul, you got intoxicated last night. But it's no longer possible to get high. How do digital souls survive? When perseverance means nothing anymore, anymore, Once you're too tired to manage your life, with planetary dyspophobia, there's always the fallback option called gopium. Gopium. Gopium. Gopium. You got intoxicated last night.

10:27Gopium. You got intoxicated last night. But it's no longer possible to get high. You got intoxicated last night. Gopium. Gopium. You got intoxicated last night. Don't be charged of intentions. Falling in the dark. Toxicated soul. You got intoxicated last night. Even in the opium. You got intoxicated soul. Don't be charged of intentions. No more. Any more. Go opium. Soul. Soul. Soul. Soul. My next step was I still have some things I want to do with this sort of so-called brutal Prague thing. At the same time I was getting ready to move to the West Coast because when we went out

11:32and toured the West Coast in 2002 there was basically a welcoming committee for us there. All those bands, particularly John Dwyer who was in a band called Pink and Brown at that point. Now he's in the O.C. He's among the other things. John was also kind of white trashy guy. He was from Rhode Island but I think he kind of related to me in some ways and he got into this head that he was going to convince me to move to West Coast. So when we went, we played to show in Oakland, to show in San Francisco on one of our 2002 tours and after one of the shows John and a bunch of people took us out on this pub crawl and we just went fucking nuts and we got kicked out like six bars. It was like a trail of tears. And at the end of the night we were laughing so hard because it was just so insane. John Dwyer puts his arm around me and he goes, hey buddy, you got to move here. And I said, yes I am because I was super fucking sick of Chicago. Yeah. Super sick of it. Sick of the politics, sick of the weather, sick of the people.

12:33Well yeah, because when I moved to Chicago I was there from 2001 to 2003 and you were still there but I don't think you were really playing much. No. You know, other than like Chicago sound. No, I had pretty much, when I walked into the room by the end of my Chicago thing people would kind of roll their eyes and go, oh God, he's here. What's going to happen now? I was really living up to people's expectations of me being a fucking asshole at that point because I was just so angry and disgruntled and poor and felt like things weren't working out and lay, you know, I was just a really angry, unpleasant person. And the only people who thought I was cool were people who were basically angry and unpleasant. The last few years I was in Chicago. I was a real terror when I came into the room people. Definitely were looking for the escape route. And I had a few assistants in that regard. You know, basically it was made very easy for me to move to the West Coast. I moved to Oakland. I put out all my shit in the fucking van, drove out to Oakland and moved in with Jenny from

13:40a race orada. I took Mike Green from Burmese's old room and the guys from XBX were moving in. We had kind of a cool little loft that we were living in in Oakland that was pretty cheap. It was very supportive. The scene was really happening in the West Coast as far as experimental rock at that point. I mean, it was so fucking fun. People get still afford to live there. The bands were great. I mean, that's still kind of in some ways like the best scene that I think I've been part of was that whole thing. It wasn't sustainable because eventually the tech thing took over and the rent started going back up. I even came a little late on it. By the time I got there in 2003, it was kind of like the prime years were kind of waning already. So there was like a few more years left of the party vibe. I joined XBX Rats. Yeah, yeah, yeah. Basically started touring with them immediately. I was finishing up the Solo Flying Lootinbockers Records system. It emerged from complete disorder, which was very LSD influenced.

14:42From sound to look at the whole thing. Yeah. Everything. I was doing LSD all the time because Vash had his exhausting. It's not. I was never a serious acid head like you hear about people who did acid every day for a year. I know a few of those people. I wasn't like that, but I was pretty much kind of straight edge until I was about 30. And then finally reality set in. Well, no, Alex Perkallup was doing a lot of acid. He was what I would call a guy who do acid for a year. And it finally caught up with him. I love that guy, but definitely affected him. I tried it and I never imagined I couldn't, I wasn't prepared for what it was. And I think it really was very therapeutic to me. I think it helped me become more in touch with my intellect and my feelings. And I think it helped me cope with reality. And I think it gave me lots of new ideas about what my life could be.

15:45And it encouraged me to take a lot of chances that I don't think I would have taken otherwise. I think it really opened me up. And honestly, you can't really get LSD 25 anymore. So when people sell acid, it's usually some kind of psychedelic speed, which is not necessarily very euphoric or good for you or anything. LSD 25, particularly in liquid form back in the early 2000s, this should change my life. It honestly took some emotional shackles off my psyche. So yeah, I don't want to rapsidize about it too long, but LSD at this point is pretty important to my, the path I was going down. I had worked on the composition rise of the year. It doesn't be hemef for about three years, programming midi, furiously on and off for years. And I finally just decided, well, I'm going to play out this brutal prog thing myself. Right. I'm just going to do it myself and take it all the way.

16:46And systems emerged, which was the second record I did for Trouble Man in 2003 was done. It was basically finished in Oakland in my bedroom and mastered on a studio. And I nailed it. Yeah. I just say, I think it's one of my greatest achievements artistically because I had no limitations at the point. And I just said, I don't care if this music's playable by humans. I don't care if it's reproducible. This is what's in my mind. And I'm going to do this. Yeah, and I'm going to inhabit it. And I'm going to use all the meta text is going to be there. And it's just going to be as metaphorical as I can possibly be with my approach to music. And I think it was as well received as an album like that would be received. Was it in any way due to also that there weren't people you felt could necessarily inhabit that music as well as you yourself could?

17:48I mean, not just an economic standpoint, but also a compositional standpoint that, you know, it's not even worth taking the time to bring other people in. Good question. Learning to use MIDI was a big thing for me. I was introduced to MIDI programming by Jonathan Cho, who I played with in a kind of unpopular glam rock band called Vanilla. And Jonathan was about 10 years older than me. And he is definitely one of the people who was the most influential on my life when we were really involved in our lives together. He was kind of a mentor in a way. And I owe him a lot. We're still in touch. We're still friendly. He introduced me to computers because I've always been an agronistic and I've always been a little obsolete. I've been more into having good ideas and been working with rocks and sticks. Yeah. I've never been into the current technology, as I say with my flip phone. So the thing was Jonathan was like, hey man, you know, all the stuff that you want to do, I'll give you a computer and you're going to be able to do recording, whatever you want.

18:52I was like, what? And I started getting into it and I was like, oh my God, I can do everything I want to do with this stupid machine. Yeah. And he basically showed me how to program MIDI and I was like, wait, you just enter it and it plays it back perfectly. I'm not even exploded. And so I would say about 2001 or 2000 is when I really started upping my compositional game because I really had the tools to do it. I basically had a robot that I could tell to do anything and it would play it back perfectly. So there were no limits. And systems emerged was basically a farthest extreme of investigating that modus operand. I could basically apply every possible compositional approach rapidly and hear the results instantly and edit and fucking edit and edit and edit until my brains just exploded. So I mean, to me that was such a major turning point in my life. I was able to start writing music that was a lot more complex than I had been before.

19:55But systems emerged. I just decided I was going to go all the way. I was just going to take it as far as I could. Some of that stuff was intended to be played and was played by the band, but by the time you get to this 20 minute long piece, it's literally physically unplayable. Although for the drumming thing, there are some techniques where you could approach it. It possibly could be played, but it's no one's going to write. It just exists as a realization of the idea. And then the improvising on that album is very specific to me. Like a lot of the sort of 12 string, art, or Lindsay types are on guitar stuff. It's really so specific what its purposes and what the densities are of. I mean, it's not going to be transcribed and it's not going to be played the same. So I know a pretense of ever caring if that stuff's played. It's just my self working at a really high level of inspiration and not putting any real formalized limitations on myself.

20:56So I'm really proud of that record. But once I got to the West Coast, my living situation was really stable and it was affordable. And I had, it was having great times. I was in love. There was a lot of things going on that were very positive for me. And the thing with Chicago was mind blowing to me because I was just like, oh man, I can fucking breathe. I can like, I have new energy.

22:15I'm walking and I can go. Just give me a countdown. Cause I'm out of time. Just give me a countdown. Thank you very much. Just got a fire, put that low. I'm walking and I can go. Just got a fire, put that low. I'm walking and I can go. Just got a fire, put that low. I'm walking and I can go. Just give me a fire, stay on the level. I'm walking and I can go. I'm walking and enjoy going I'm walking and I can go. I'm walking and enjoy going. I'm walking and enjoy going. This black's with knives and whites with clubs, fighting at how to beach.

23:24There's no such thing as human rights when you walk to New York streets. A cop was shot in the head by a ten-year-old kid named Putin Central Park last week. Well, fathers had done his line up by the conference by the statue of Bigotree. Hey, you better hold on. Something happened in here. You better hold on. Well, I'm reaching a top and scratch. The dopest and a message to the cops last week and they shot him in the car where he sat. An Eleanor bump is Michael Stewart must have appreciated that. There's a rampaging rage rising up like a plague of bloody vines washing up on the beach. They take more than the angels by an Mike Tyson to heal this bloody bridge. Hey, hey, you better hold on. Or something's happening here. You better hold on. I'm going to meet you and talk to Square. A junkie ran down a lady of pregnant dance. I shouldn't have a dance but the baby was saved. We shot up some China White and knotted out at the wheel and it doesn't remember a thing.

24:24They shot that old lady cause they thought she was a witness to a crime. She didn't even see. Whose home is the home of the brave by the statue of Bigotree? You better hold on. Or something's happening here. You better hold on. There's a riot in talking Square. You got a black 38 and a gravity knife. You still have to ride the train. There's the smelly essence of New York down there but you ain't no burn on it. Get some. There's no mafia lawyer to fight New York corner for that 15 minutes of fame. The havin' have nod to bleeding into tub. That's New York's future, not mine. You better hold on. Or something's happening here. You better hold on. If you're the something's happening here. Hold on. Ooh baby.

25:31Ooh baby. Ooh baby. Ooh baby. Ooh baby. Ooh baby. Ooh baby. Ooh baby. Ooh baby. Thank you.

26:43Ah yeah. Oh yeah. Oh. The love Welcome Qur'an see you tomorrow Other Healing

27:56The last city is a lot of plays for a honeymoon in the whole channel world. So you are sitting as a play sonarist and we're about to say something that you may be twice. New Yorker, I'd be lots of you, I run very much. I couldn't have never left to swim in the top as given time. I keep the time, I keep the time, I keep the time, I keep the time, I keep the time, I keep the time. This aren't thecore çocuk, you know, this isn't the general age. We only got uth öğ dont laugh before. No.. we are not gonna get lucky. But... I guess we will get a instantitch! For real, I guess it is like that we're getting it deception again. we are la del si dyme, la del si dyme, la del si dyme вот la del equip estaban, e leverage la intensity les duos. Hey have fun yet huh you name him ma! T. E. G. M. V. A. G. Young, the second you don't know why the first time I am all that knock. Move like you don't know. And you must be proud as long as you're here.

28:57And so you're new here. You're new here. You're new here. I love you. You're new here. You're new here. We are truly in the hottest place for honey food in a whole show. So you're soon. Soon I have everybody's message that they have to make me twice. Should I go there? It's true. What I'm gonna say is that you're so sweet for me and that's the truth. You're the best time when you are there too.

29:59I'll get you by the house. Can you get me a snack there? I'll get you a snack. I'll get you a snacks. That's my favorite food. Now I'm gonna show my favorite food. But I can't get me any Korean, any Korean food. Cha, I'm so... I can't get me any Korean food, any Korean food. Cha, I'm so... You can't get me any Korean food, any Korean food. Cha, I'm so... I love you. I love you. We are, we are you, we are Oh, we are, we are

31:03Oh, I am your new love Oh, we are You know, you know, you know You know, you know, you know You know, you know, you know You know, you know, you know You know, you know, you know You know, you know, you know I create the stress like it might sound like This is because I know Who I am That's definitely not I am I'm standing there and you feel like we've got these shoes Hey, as I told you already saw how We act, we act, we act, we act, we act, we act And we dance again next and again And we do, are you and you We have made everybody You know, making it what I want to say is We are, stop, stop

32:06I'm gonna say I am your new love I'm gonna say I am your new love

34:13I'm gonna say I am your new love I'm gonna say I'm your new love

37:12I live up to 25% that is gone Why do I keep the flow? I'm a middle star We live with one of 40% that is gone For when I can turn it down, boys, boys, boys, boys I live up to 25% that is gone Why do I keep the flow? I'm a middle star We live with one of 20% that is gone You're like a dirty rock, you're a hoist, you're like a dirty rock If you love rock, you're why I kept the flow, just be alright Don't like these calls, boys, boys, always Boys, boys, boys, boys If I give you a girl, I can start it now! Don't worry about my stumbling

39:08I'm a big star, we play one of point, that ain't stop You're like the dirty South boys, you're a star Now we play one of point, that ain't stop I'm a big star, we play one of point, that ain't stop You're like the dirty South boys, you're a star Now we play one of point, that ain't stop You're like the dirty South boys, you're a star

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