Living Room Music

I have been thinking about space a lot lately, and especially since the Artemis II rocket took off, but for years. I have also been thinking about philosophies about the many potential universes which are out there. So this week's episode, I present some psychedelic sounds which feel very spacey to me.

Thirty minutes of handmade electronic music in 7/4 time at 150 BPM — a time signature that shouldn't work at this tempo, and that's exactly why it does. This session pulls from dubstep's weight, drum & bass wubs, and psytrance's hypnotic acid layering, but refuses the drop. Every transition is gradual, earned over bars rather than announced with a snare fill. The drums are hand-programmed with riddim tonality, and the textures — Dominator, Dark Edgy Lead, Slow Winding Acid Loop, Dark Gliding Bass, periodic Big Wide Reese — build a landscape that rises and falls like breathing.Free-form vocals float through the mix, half-buried, drifting between intelligibility and pure texture — pulling your ear sideways just when the repetition might take hold. The whole thing was rebuilt from scratch after a Logic Pro X crash wiped the first fifteen minutes, which means everything you hear was played with the memory of what was lost.Progressive psydub bass. You weren't looking for this genre because it didn't exist until today.

Listening to music in the car on the way to work, sometimes, just sometimes I have to make an episode of my own driving music. I like the flow, the boom, and the bang. I like the mixed of textures and tones that feels like nothing I have every heard but at the same time like it fits in any set that I could hear at a Summer Dance Festival.So this week, I indulged and mixed of a treat for my eardrums. There is a fresh set of loops that I was playing with, after I went diving for some new things to tickle my ears with. I am particularly pleased with the transitions, the builds and the drops that I put together. Say you like it, share it with your friends, and have fun driving in your car, dancing in the bedroom, or where ever you enjoy new music.

This week things ran behind because I was doing lots of watching old versions of Ghosts in the Shell. Then reading philosophy about the Noosphere and writing other things. But I have these thoughts about Memory and Meaning and Identity. I will have more verbose things to say about that in other places. But this is an entry point sonically into that space.

If I have one idea in each episode that is a good thing. If I do anything new or different, that is a good thing. If I make changes that do no bore me, but everything has a very continuous feeling to it, that is also a good thing. I think that this one is a good thing.This weeks' technical specs:130 bpmmultiple textures and tonesB minor

This week's episode was completed several days ago, knowing that I had obligations away from the studio which would interfere with my completing it last minute. However I forgot to schedule it when I was done. So here we are 18 hours late.

Today I woke up and realized it was Friday and I owe you guys a new episode. Since I had not done anything towards this all week, I started arranging sounds with synths and making beats. After I had gotta pretty far along, I realized that I wanted piano in it. Then when I started with piano, I realized I wanted piano all the way through, so I extended the beats and synths and textures further and then played along with it on the keys. Voila! Episode complete.

Coming out of a tough spot psychologically feels like going through a cold spell in Florida. Like a literal cold spell that is the result of an Arctic blast that covers the whole continent and we experience real winter coat level cold. So this week's episode is the actual result a of couple weeks of sitting on tracks and then finally thawing myself out to get them completed.

In this episode, we pose a question that emerged from the creative depths of the studio: when robots write symphonies, will we even be the audience for these sounds? As artificial intelligence increasingly participates in creative work—from generating images to composing music—we find ourselves contemplating not just what machines can create, but whether those creations are meant for human ears at all. This half-hour journey explores that question through sound itself, rather than through words.The sonic landscape unfolds through layers of dubstep textures woven into an ambient framework, built on a foundation of highly washed-out reverberation and chopped signal noise. These signature background elements create a bed of ambience that serves as both canvas and conversation partner for the various synth textures that emerge, build, and decay throughout the piece. Each sound interplays with the others in a carefully orchestrated dance, where no single element dominates but all contribute to an evolving whole.What makes this composition particularly resonant with our central question is the process itself—a coordinated team of sonic agents, each interpreting and reinterpreting the musical message within their own designed parameters. Like AI systems passing information between layers, each texture hands off to the next, rephrasing and iterating the core idea until reaching the final coordinated rise and fall. The result is music that asks whether creation itself requires consciousness, or whether beauty can emerge from pure process and iteration.

I started this episode off thinking that I would play around with this chord progression. Do some rock and roll writing, but then I drifted into much more electronic experimentations. As things went along, I realized that I had just gone on a musical journey and while we dipped through samples and fragments from the originalk chord progressions, it morphed thematically into a bizarre little journey through genres and lands of electronic expression which seem to be a specialization of mine.

I spent the day yesterday, the whole day on this project. First I made the music, all thirty minutes of it in one sitting at the console. There was heaps of mixing and editing, recording, performing. Building beats, laying down harmonies, and ripping out melodic lines on piano, synth, and guitar. Then. Then. I drew the title card by hand in my black book. I also recorded this process on video wearing a GoPro on my head. It was the first time doing this, so I think the video turned out not so bad.The editing of everything was what took the most time to get done, but here we are releasing it the next day! Hooray for Art!

For months now, I have been consumed with some worldbuilding ideas and concepts that I have been exploring in a textual context. This is beginning to leak into my podcast here as I try to make my creative methodology more concrete across all the media that I regularly interact with. This was not apparent when I started this episode. In fact, I was on a different angle when I started this episode, just trying to get back to meeting the deadline of Friday 6pm which I have struggled with the past few months. This is all to say that I have been reinvigorated in the process of cutting down the massive amounts of creative output artifacts. Let me unpack that. I have made 14,000 notes about the world which I am building. I have in the last couple weeks been cutting down, merging throwing out and otherwise trying to boil away the fat and get down to the essence of what I want to create. In that vein, getting back to making this podcast on schedule and on time, I have thrown out some ideas which did not further my creative abilities and really only hampered them. They were interesting lessons to learn and I look forward to applying them in future elements. Anyways, today I present four tracks:SabathiaHold Mestarting overWest 168th Street

Do you like Trip Hop? Do you like your Trip Hop beats with some weirdness mixed in? Well you are in luck. Here you go a half hour episode of Trying EverythingHeart of StarsLet Me Love YouSuch is the LifeThe PivotTake DownI had fun making this. Can't say I will do it again, but you never know.

Just me and an instrument.

In my studio, I'm actively experimenting with several overlapping workflows that blend a wide spectrum of creative disciplines. Rather than focusing on a single medium, I find myself drawn to a dynamic interplay between music composition, visual arts, software development, and narrative creation. Each of these areas offers its own unique challenges and demands, from the tactile energy of sculpting soundscapes and the intuitive mark-making of drawing, to the meticulous logic of coding and the subtle craft of story construction. Embracing this multidimensional approach not only keeps my process fresh but allows insights from one discipline to naturally inform and elevate the others.At the heart of this experimental environment is a drive to push boundaries and discover new methods for integrating creativity and technology. The studio pulses with activity as I move from refining a new musical piece to iterating on code for a custom application, or shifting gears to sketch concepts that may later evolve into larger visual works. Each workflow is tailored to its own rhythm, and yet, they often overlap—snippets of melody shape visual motifs, while lines of dialogue influence both music and code structures. This ongoing process of cross-pollination creates a fertile ground for innovation and unexpected breakthroughs.Presently, I’m developing projects in music, visual arts, the digital realm, and long-form storytelling, all while producing a spoken podcast that serves as a connective thread throughout. The podcast has become a reflection of these behind-the-scenes efforts, not just reporting outcomes but exploring the raw creative process itself—the trials, the pivots, and the key insights that emerge from pursuing multiple goals side by side. Listeners are welcomed into the nucleus of this ongoing laboratory, where creative outputs feed into each other and no idea is siloed from the rest.This week’s episode represents the culmination of all these processes working in tandem. It is a snapshot of what happens when diverse workflows are layered, challenged, and harmonized in real time. The result is a tapestry—sometimes chaotic, often surprising—where music, code, visual art, and narrative blend into something greater than the sum of their parts. By sharing this convergence with the audience, I hope to illuminate not only the finished work but also the collaborative energy, experimentation, and cross-disciplinary dialogue that make the creative journey worthwhile.

In this episode, N8K99 reflects on the relationship between music, technology, and creativity while sharing thoughts on his ongoing musical projects with Radio Poets. He explores how technology has always been intertwined with music creation - from ancient bone flutes to modern electronic instruments - and discusses his fascination with AI as a "cognitive space" for exploring ideas.The episode takes a deep dive into worldbuilding and storytelling, as Nathan shares his seven-year project creating the planet Orbis - a fictional world he's been developing with the help of AI tools. He discusses the challenges of creating an entire planetary history spanning 10,000 years, complete with cities, dragons, and narrative templates for epic adventures.Drawing connections between fan fiction, creative gaps in storytelling (referencing works like "Rosencrantz and Guildenstern are Dead"), and the collaborative nature of audience participation in creative works, Nathan explores how AI tools have allowed him to systematically expand his creative vision. The episode concludes with his excitement about finally translating this long-held mental world into a novel format.A blend of musical philosophy, technology commentary, and creative process insights, this episode offers a unique perspective on how modern tools can enhance rather than replace human creativity.

I was lost but I found myself again and here is new episode.

Like sliding puzzle pieces around on the table and finding the order required to create an aestheically pleasing picture that matches the one on the box, except in this case there is no image on the box, it is just what is in my head. So these musical patterns, form an expression of the ideas which I have no words for, so they have to come out in some manner. ease into itClassic SmooveWhen you Wake up and realize the Dream is overReality Hits the RoadWhooHadone fast

Sigh. Last night, I worked on this episode, well the music for it. It is essentially four tracks. Orchestral strings, French Horns, a woodwinds section and the Grand Piano. It is dynamic, dissonant and boisterous punctuated by moments of calm clarity where everything comes together. I am not proud not ashamed, nor any other feeling about his other than, I have it complete and ready to push into the the online ecosystem which I maintain. I have limited emotional connection with this at the moment. Mostly because I limited emotional sensitivity within my self- as I was explaining to someone who had once been very close to me the other night, my emotional range of awareness really only happens when they begin to spike above say, an 7 or 8 on the scale of emotional amplitude. Most times low level amplitudes no matter what the emotional flavor is, I am unaware of them until they begin to push around mental bandwidth.