Hi William, welcome to VENTS! How have you been?
Yes Captain Escape Hatch! We are all good and fair thee well. We are haloed in afterglows sire! Brimming with our grins, so be it! Grand and ready to rock with you about meaning and design in music! Commence the rock.
Can you talk to us more about your latest single “Faith’s Soul (Live)”?
Thankfully many likes on time’s scale for “Faiths’ Soul”, it’s solid in musicality and just enough complexity as dense and meta logical, a fugue-esque coda-dreamer song that can loft us up on high to reveal revelation.
Did any event in particular inspire you to write this song?
Yes, it is the cataclysmic end of all life on Earth song, if we do nothing different, and the only thing left will be statues of stone that will mock our unconsciousness. The video explores the new emigrants of space and a faith we can’t possibly muster to save ourselves perhaps? The continuum of faith’s soul does not exist as yet, and we cannot know the faiths’ that prevailed to encompass all faiths or potential faiths, or faiths potential. Or is bereft of faith for the best? The future is not now. Is it a faith in science, a God, a people, a civilization, culture, governments, Artificial Intelligence, Corporations, or an alien form? What does Faiths’ Soul encompass? It is not yet revealed and the only path is Faith in our steps forward with in us, or without us. The lyrics muse between our galaxy and the black holes with the deadly gamma rays that could whoosh away our atmosphere leaving only a thermosphere. Like Mary Magdalene and Shiva engaged in loves last dance just before the final revelation. They muse of hungry ghosts of relationships lost, the gleaming eyes of ecstasy, the noble moments we feel in love on that lost afternoon of love making, humanities inability to hold out their hand paling yet to save the world with love? What can we doubt when we cannot accept doubt? Can we believe doubt is not an ultimate concern?
How was the film experience?
We thought it best to show our actual live performance along with the cinematic video of the stage overlaid with imagery ascribing the lyrics and song concepts in an Art Film genre approach. The video has some stunning choice footage of 1080p HD multiverse as an exploration into all light forms so the stage comes alive with the selected tasty bits that warm the dimensions of the heart; the heart of love vs. the heart of darkness also shown. Victory only lasts when from the heart that is truly in love.
Our supreme video mixeditor-ess went to LA film Institute and tolerated my meta mixes that endured the flagrant use of natural light sources know in space, oceans, suns, black holes, super computer simulations, on Earth and beyond. For the shows we had HD scopes projection on stage for our light shows and cinematic storylines per song, and even had the “big” laser from Australian Floyd’s kindly lightmaster for the last of four Seattle shows.
In the video mix we added more delightful feasts of imagery that magically or bluntly syncopated the dimension shifts or patternizations for the beats, transitions, and lyrical and/or musical flourishes. It was an experiment in all forms of natural light in the end. From lava and ice moon volcanoes to many colorizing light sources in a mesmerizing artistic mix. We’d often find ourselves sharing a growler and making the light do tricks and haunt the song themes with it was sped up, slowed or flickering strobing effects. I love it. I always wanted to do film, as they say. But damn I love it. It’s like sculpting, you just knock away all the imperfections until you have a piece of virtual actuality staring you in the face. Film is very forgiving., Music… not so much.
The single comes off your new album Thermospheric – what’s the story behind the title?
The meaning behind the album title “Thermospheric” is the universal planetary realm defined as atmospheres where no rain nor clouds dwell. The art de novo renders as obscuring electromagnetic clouds emerging as waves of light in stead. Now no longer obscured by clouds of particles but illuminated by waves of energy obscured by clouds. If you are looking up seeing the Aurora Borealis or Saturns Aura, that wave of electromagnetic energy appearing as clouds of purple and green light, or red on Saturn; among all the colors of the spectrum of visible light they produce — then you are seeing these clouds of light in the thermosphere above the thermal rain clouds as light-waves through the atmosphere flowing into space.
“Psycheclectic” is upside down and backwards under our band name on the CD/Blue-ray cover, but if you hold it to a mirror it appears forward. As these waves of chaotic energy above form electromagnetic clouds obscure the atmospheres as they escape into the solar winds beyond this Thermospheric unclouded right reason, we stand facing the galactic center of all being. So that is the big idea.
How was the recording and writing process?
We had great help from the insight of the venue that was run by the same engineer Chip Butters who built and hard wired the adjoining top-flight recording studio. We played that venue expressly for the prospect of recording everyone performing at once with a full-on regular studio board. It proved to build in the sound quality through big fat preamp channels that are typically lacking at most venues. We played two shows there and recorded both, among some other shows recorded with hand cameras and lit with HD lens projectors. We also had a laser light show on film, but that footage was lost when the venue suddenly shut down — but we were able to salvage the audio recordings. The laser show is out there somewhere on a hard drive.
How has Pink Floyd influenced your writing?
Many people have influenced my musicality and taste. Pink Floyd was like your first bike or car, you always remember how it looked, sounded and felt. Floyd is a cosmic vehicle you can pull out of your pocket and traverse ethereal planes with sheets of feedback. It’s proof of the unconditioned, especially the early works. It was meant to be an onslaught of the psyche with dreamy meanderings and atonal cracks in the sky for all to be encompassed and melt into cognizance. The early Floyd said, all your thoughts are thwarted by this vast flock of metallic pterodactyls and ominous alien tribe of throat singers with their dark haunting lullabies and rhymes. There was not a shred of commercialism present early on — not an easy listen at all ha! As a matter of fact people had a stigma about Pink Floyd. Often telling people you liked Floyd made you unpopular on account of their fantastic strangeness. It spelled out crowd, so I left. And I found people that thought like I did, and they are still my friends today. I don’t live in anxiety about much, especially trying to please everyone out of fear or ambition.
What role does LA play in your music?
I am not sure if I am staying in Seattle or not? Seattle seems too smart for it’s contributors, and that is not a continuum recipe. I’m thinking of mixing and mastering my next CD in Los Angeles if Seattle does not work out, and then releasing it as an LA recording. Not Sure. Come on Seattle, let me in! I won’t eat much. I like beer, music and stuff. It’s easy like that.
We played a very satisfying show at The Whisky a Go-Go! and I must tell you LA has some grand open arms for dreamers man, I like it! It’s quite a geo-grid, but LA makes up for distance with a big heart. I have booked other shows at Silver Lake Lounge, and The Space Room for Psycheclectic Records bands, and those shows were fun. We had a great time.
LA has an undeniable energy, and likely the sunshine that grows the goodwill down there by the sea. Seattle is not the easiest town to penetrate, but we did it and it felt great. I’m a knocking. When there’s more goodwill in the intentions you can feel it. I’m not sure if I’m welcome for the long haul in the Emerald City, but what great knockers! Tribes don’t like outsiders, and it’s the 1% of the 1% who keep the gate often. Some of the tribal gauntlets seemingly haunt every town now and betray love of music for something else, money. It used to be people offered some kindly greetings for your travels, now it’s a bit darker than I like. There’s good people everywhere, you just have to work a little harder to find them sometimes. It’s all that matters now. Who can love.
Where did you find the inspiration for the songs and the lyrics?
Ultimate concern. Faith is ultimate concern. The ultimate concern of any faith is the soul. The future faith of the universe on it’s cosmic scale of forever is still yet to be truly revealed to us. That is why it is Faiths’ Soul in the vaster continuum of time forgotten and to come — including what is not yet, and not just within our own singularity of our faith or our soul. Or God above God. Or Buddha below Buddha. Or Quantum Space-Time and consciousness like Dune. The depth of our spirit and the vast outreaches of the light-years of our known universe have a vast scale of faith to reveal to our souls. It’s about that. We’ll need another interview for all the songs.
Any plans to hit the road?
This is a live recording representing on the road itself. Why don’t we do it in the road, indeed.
Next is the new album! We have built a new studio out among the mountains and the next CD and Blu-ray/UHD videos will be recorded and produced there in the shadows of the mountains of the Pacific Northwest. We’ve got some great clouds out there! Really F’ing Loud is just fine way out there. You know, in case I want my guitar to mimic the sound of a comet. To complete the raw recordings I may mix and master it in Seattle? But maybe Los Angeles, New York, or London — I haven’t decided, haven’t decided. It hasn’t got a title, hasn’t got a title. But there are three new songs close and a couple of lingerers. Maybe master at Abbey Road? I just want a photo of me laying down on that Beatles cross walk. A plankie not a selfie.
What else is happening next in Obscured by Clouds’ world?
We are reeling from Chris Cornell’s death. I don’t blame Chris, I blame an engineered system that is bent on controlling our celebration of music and freedom by only rewarding the systematizers. The new systemology of music is short circuited by greed bent on money, control, and destruction. No great music can escape the blackhole that draws away the creatives from their process.
You mean the continuum? Why we continue? Without continuity wisdom is undone and forgotten. Fulfilling our devotion to musics’ passion wards our sovereignty revealing our individuation in the unconditioned, the unspoken and the unknown. So it is absolutely the message we wish to receive and produce in our ultimate concern, the future.
We don’t have to fulfill the past to be fully present now. But a past that fulfills the present is still something we are reaching to guide us — we need that revelation in our consciousness and participation in life. It always was our best new being ideating formless form into meaningfulness that holds our ultimate concern for continuity of music and dreams.
It was the outcrowdishness that defined all those outcrowd bands. We are on our journey off and away to new horizons. We watched everyone else fold to fit into music molds while we were accepted in our unacceptance. So our unity and divergence are an univocal ebb in this continuum. What is known is what we love. And I love our cure for the unknown.
Identity is not a mystery to me anymore. So all the lush vagueness grants me ghost writer privileges of my own material as I’m not trying to be famous or popular. Works great, less filling. I can carry on doing what I love with no care or worry about anything but loving the music. Perfect.