Hieroglyphic Being The Urantia Project Rar
Review: Jamal Moss, aka Hieroglyphic Being, returns this time under the alias Africans with Mainframes. With fellow Chicagoan Noleian Reusse they have been releasing music under the name Africans with Mainframes for over 15 years now. The KMT LP is the debut album from the group, a collage of apocalyptic Chicago acid meets industrial and transcendental post-house machine funk. Both intense and unique, the album of forward-thinking, experimental, boundary-pushing Afro-futurist electronic music shows why Hieroglyphic Being is regarded as one of the most serious purveyors of experimental electronic music today.
Hieroglyphic Being discography and songs: Music profile for Hieroglyphic Being. The Urantia Project. Le jardin des chemins bifurquants. Jamal Moss aka Hieroglyphic Being will release his definitive solo album of 2016 – The Disco’s Of Imhotep – via Ninja Tune’s Technicolour imprint on 5th August. Sketchup 8 Pro Mac Serial Number Free, Text.
Review: Jamal Moss, aka Hieroglyphic Being, returns this time under the alias Africans with Mainframes. With fellow Chicagoan Noleian Reusse they have been releasing music under the name Africans with Mainframes for over 15 years now. The KMT LP is the debut album from the group, a collage of apocalyptic Chicago acid meets industrial and transcendental post-house machine funk. Both intense and unique, the album of forward-thinking, experimental, boundary-pushing Afro-futurist electronic music shows why Hieroglyphic Being is regarded as one of the most serious purveyors of experimental electronic music today.
Review: After a veritable deluge of cassette releases within the space of the past few years, Vincent @DRVG CVLTRE' Koreman's New York Haunted label has latterly begun issuing vinyl too. A recent 12' from Biosphere kick started this new phase for NYH, and the label swiftly returns with a split release packing some heavyweight contributions. Quite appropriately named The Real Deal, this 12' pairs together productions from Terrence Dixon, Pete Swanson, Hieroglyphic Being and Drvg Cvltre himself! Despite his apparent retirement from production, Dixon remains a powerful presence in techno and his 'Stardust' is every bit as mind-warping as the music pressed on his recent Reduction releases. Swanson's 'Dirty Work' is the epitome of abrasive, yet there is a beat discernible amidst the stew of white noise, and it sets the tone nicely for 'Speaking In Tongues' by Hieroglyphic Being.
For a finale, Drvg Cvltre lays down the ominous 'Torn Apart By Teeth Or Bullits'. Review: If Brian Eno has Ambient1: Music For Airports, than Hieroglyphic Being has Imaginary Soundscapes 9. Hieroglyphic Being's 2013 LP, released through his + + + sub-label of Mathematics, gradually proceeds from outer-planetary electronics, jilted ambience and Cagean influences to the raw and unruly drum productions that Jamal R. Moss has made his own.
It's the first LP for Moss on the + + + label - an imprint inspired by 'Alternative Theory's & Formulation's of Mathematics with Principles of Regrouping' and highlights the complex and cosmological thought that goes into the American producers productions. One for the adventurous DJ, eclectic mind or Hieroglyphic Being completists. Review: The multi faceted, relentlessly interesting Jamal Moss returns to his Hieroglyphic Being form to deliver another four track EP that explores the experimental side of tribal techno. Out on his Mathematics label, 'A Visitor From Someone Else's Memories' contains all the trademark Hieroglyphic Being cassette fuzz, abstract acid lines and wild and delirious synths. Toning down his industrial influences for this release, here we find Moss operating in a lush, psychedelic mode enabling him to turn in some of his most fascinating sounds yet. In a recent interview with Juno Plus, Moss said he 'had never been in the now or the know', and with yet another superb and inimitable release under his belt, let's hope he stays that way.
Review: Anyone with a firm grip of Jamal Moss's output in recent years will fully understand that the Mathematics boss reserves his most twisted and messed up productions for the rarely used label, but you still need to approach this latest edition with caution as the A Side is mangled audio in the supreme. Originally founded as an outlet for HG material recorded during the 90s and rediscovered from the archives of his Galaxy Studios, it's hard to say where is at now, other than in a place all on its own. It's a challenge in itself to sit through opening track 'How Wet Is Your Box' which is more akin to hearing a neighbour rotate through the FM airwaves. 'Siddhartha (part 1)' is just as obtuse, sounding very much like its been dredged up from some dust caked tape and pressed direct to vinyl, though at least there's some semblance of a saturated beat to hang onto. 'Long Live The Flesh' is quite brilliant, one long loop of jack hammering disco replete with barely audible screams of joy that seems like it could go on for infinity.
Proceedings end with the title track 'The Human Experience' a production that exemplifies perfectly Moss's unchallenged art of mastering the sonically deranged. Review: The Lost Transmissions marks a second dosage of Hieroglyphic Being wrongness on Rabih Beaini's Morphine Records label, arriving some months after the Mathematics boss' bewildering take on Madteo's 'Freak Inspector' as part of the Redose-1 release. It's the first full Jamal Moss Doser release in some years however and finds the Chicago native in typically uncompromising form, opening with a reworked version of the title track which originally surfaced on one of those limited Mathematics CDrs in 2010. Markedly slower and cut down in length slightly, this new version still frazzles brains all the harder, trudging slowly towards sonic oblivion and adopting a harsher and increasingly more schizophrenic approach as it progresses.
Urantia Project
It still doesn't prepare you for the mangled thump of B Side track 'Cosmic Bebop' which is best described as the music you might expect gleefully emanating from a grinding carousel ride on a fairground pitched up deep into Dante's Hell. Review: Jamal Moss steps up to the Alter stable with some of his masterful Chicago-via-outer-space house music, kicking off with the subtle rise and fall of the title track which works off a dizzying array of interlocking melodies to create a truly intergalactic synthesiser journey.
'The Man With The Red Rhythm' is a more jagged affair, maximizing on cowbell hits and a delirious clashing of harmonies between organ notes, rubbery bass swells, and all manner of sonic mess flung at the canvas and falling into a mad jack all by itself. 'The Ischiadic Nerve' deals more in a grotty, industrial sound palette wielded to a tough techno purpose. The drum pattern is unforgiving, the synths drifting like aimless wraiths, the intensity never letting up. It's exactly what you went when signing up for the Jamal Moss experience.
Review: While any new album from Jamal Moss under his Hieroglyphic Being guise is an event, the frequency of their appearance makes keeping up almost a full-time occupation. This is, for example, something like his fifth CD-length release this year alone. Still, given that he consistently delivers, you won't find us complaining.
Somewhere Else sees him in full-on intergalactic mode, layering vintage interstellar synth melodies, glacial electronics and far-out noises on top of off-kilter rhythms and his usual bombastic, intense drum machine jams. It's enjoyable, out-there fare, once again confirming his prodigious talent.
It would be nice of him to slow down a bit, mind. Review: Most recently responsible for the Dopplereffekt-featuring Die Reisen 12' from Visonia, the Last Known Trajectory label adds another certified legend to their line up in the shape of Jamal Moss. Featuring two productions under his widely-known Hieroglyphic Being alias, Acid Rain Under The Stars sees a title track taking the form of a psychedelic 303 jam which indulges his more mystical qualities, while 'Free The Energy' lives up to its name, a stomping piece of crushing acid techno only he could have made.
Jamal Moss aka will release his definitive solo album of 2016 – The Disco’s Of Imhotep – via Ninja Tune’s Technicolour imprint on 5th August. He has built a sterling reputation both as a producer and live performer of deep, mesmeric experimental electronics and free jazz rooted in his native Chicago and his relationship with the city’s fertile underground club scene. Inspired by the likes of Ron Trent, DJ Rush (residents at The Reactor where he danced week in week out) and Ron Hardy, Moss was mentored by visionary producers Steve Pointdexter and Adonis, who showed him the drum machines that were the backbone of the Movement and whom encouraged his early forays into music production. Releasing prolifically on his own Mathematics Recordings imprint and a clutch of other imprints including RVNG Intl.
And Soul Jazz / SOTU; collaborating with Marshall Allen of Sun Ra’s Arkestra and Noleian Reusse (as Africans With Mainframes) – Moss has cemented his stature as a unique creative force. He balances his ancient heritage and musical DNA with a passion to experiment, create and channel music as a healing force, which has resulted in his art being tagged “Afrofuturist”. Moss, however, prefers to describe his output as Synth Expressionism / Rhythmic Cubism and would rather be viewed simply as a promoter of Nubian Rights. Describing The Disco’s Of Imhotep he says: “The Disco's Of Imhotep is about creating Frequencies and Vibrations for the Listener that are conducive for him or her to Heal The Mind and Body and Enrich the Soul by creating Hemi-Synced Harmonies and music that contains embedded Binaural Beats. We have been made to believe that electronic sounds are just for Movement, Enlightenment, Primal Afflictions and Entertainment purposes, but it's much more It's Sound Healing, but the ancestors would call it Frequency Medicine. Medicine is Healing and this project is dedicated to one of Earth's first Healers: High Priest Imhotep.
The One who comes in Peace, is with Peace.' Ninja Tune set up Technicolour as a singles label. The Disco’s Of Imhotep is only the second Technicolour album release in the wake of 12”s by, and the first longplayer on the label. Jamal Moss aka will release his definitive solo album of 2016 – The Disco’s Of Imhotep – via Ninja Tune’s Technicolour imprint on 5th August. He has built a sterling reputation both as a producer and live performer of deep, mesmeric experimental electronics and free jazz rooted in his native Chicago and his relationship with the city’s fertile underground club scene.
Inspired by the likes of Ron Trent, DJ Rush (residents at The Reactor where he danced week in week out) and Ron Hardy, Moss was mentored by visionary producers Steve Pointdexter and Adonis, who showed him the drum machines that were the backbone of the Movement and whom encouraged his early forays into music production. Releasing prolifically on his own Mathematics Recordings imprint and a clutch of other imprints including RVNG Intl. And Soul Jazz / SOTU; collaborating with Marshall Allen of Sun Ra’s Arkestra and Noleian Reusse (as Africans With Mainframes) – Moss has cemented his stature as a unique creative force. He balances his ancient heritage and musical DNA with a passion to experiment, create and channel music as a healing force, which has resulted in his art being tagged “Afrofuturist”.
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Moss, however, prefers to describe his output as Synth Expressionism / Rhythmic Cubism and would rather be viewed simply as a promoter of Nubian Rights. Describing The Disco’s Of Imhotep he says: “The Disco's Of Imhotep is about creating Frequencies and Vibrations for the Listener that are conducive for him or her to Heal The Mind and Body and Enrich the Soul by creating Hemi-Synced Harmonies and music that contains embedded Binaural Beats. We have been made to believe that electronic sounds are just for Movement, Enlightenment, Primal Afflictions and Entertainment purposes, but it's much more It's Sound Healing, but the ancestors would call it Frequency Medicine.
Medicine is Healing and this project is dedicated to one of Earth's first Healers: High Priest Imhotep. The One who comes in Peace, is with Peace.' Ninja Tune set up Technicolour as a singles label. The Disco’s Of Imhotep is only the second Technicolour album release in the wake of 12”s by, and the first longplayer on the label.