My process is imaginary, obviously, so make of this what you will. It’s not to be taken literally but I believe there is an underlying reality to what I am doing. I view imagination as a portal to the Otherworld which is another class of realities accessed by dream states, shamanic journeying, psychedelics, psychosis, trance and meditation. It may be that my descriptions are quite arbitrary. I use symbolic language as this is the only way to approach and interface with the realities of the Otherworld. There is no “literal” way to be found as it is not a physical world. It is a world of meaning. Symbols and mythology are the “operating systems” of the Otherworld. The ordinary logic and physics of the mundane world does not apply. There are autonomous intelligent beings in the Otherworld that can be communicated with.

Over the years I have developed a working relationship with collaborators from the Otherworld. We have developed a set of practices and “ethereal technologies” that allow us to produce tracks together. We have developed a multidimensional musical instrument that is part physical and part metaphysical. It’s abstract and concrete at the same time. It’s a living sonic servitor with real world controls and ethereal connections to play with. It was called the Psiloscope but with further evolution the instrument has changed its name to the Psionic Auraculum.

To successfully interface with the mundane world my collaborators in the Otherworld need to be given imaginary forms to work with. I offer stories and appealingly wild ranting conjecture for the beings on the Otherworld to play with. I offer incense, food, drink, crystals and my very breath as well. If there is enough emotional charge and interest in my offerings then my Otherwordly friends will demonstrate their autonomy and animate the forms that I give them. They will answer back through the Psionic Auraculum. After the initial creation of the imaginary forms I’m no longer in control of the process and the beings will exert their own will. It’s as if I am creating animals in the clouds and watching them miraculously come to life and gallop away across the sky.

Central to the process I use to co-create these tracks is something I call sonic scrying. I have a sound generating system with enough random complexity in it to generate a base material of raw sound to play with. The sonic complexity is the communication “screen” of the Psionic Auraculum. In a kind of alchemical process I mold the sonic material into forms that want to be birthed into this world. As best as I can I give them the expression they want to have and set them free. Through the portal of imagination I “stare” into the patterns and perceive a passing parade of interesting life forms, compelling communications and alien contact.

The Psionic Auraculum is good for divination. It is a sonic Tarot deck that deals an infinite variety of sound cards. I pose questions and get answers in a symbolically felt sense. I conduct two way conversations and get synchronistic answers through the Psionic Auraculum that sometimes turn into whole tracks.

Lyrically and poetically I use the Cut-Up Technique of Gysin and Burroughs. It’s a natural method to work with alongside my sonic scrying. I stare into the cut-ups and look for the signals being sent to me. I see and sense them into being. The poetic forms demand their place and I put them where they belong. There are signals here that I can feel my way into but they essentially assemble themselves once I get my ear tuned into what they want to say. I’m a medium of sorts and I regard myself as a servant to the process. I try to keep out of the way of the musical dream weavers and just facilitate the physical needs of the Psionic Auraculum.