Hieroglyphic Being 4th November, 2014

Creating an untraceable sphere where intersections of searing Chicago House, Astral Jazz and Noise meet, Hieroglyphic Being’s singular sonic palette is both baffling and compelling. His prolific work rate (30 full lengths in 8 years) has allowed him to explore marshy, primitive dissonances and straight-up acid belters in equal measure. Evident with psychedelic techno decrees like Return 2 Saturn, or something altogether different, like the astral suites of Le Jardins Des Chemins Bifurquants. His searching, unstuttering commitment to entwining the human and the mechanical into an improvised lucid clarity is second to none.

Although some of his music has its strands, or roots, clearly embedded in the traditions of his hometown Chicago and the early tutelage of acid house pioneer Adonis, they cannot be strictly held within the cities boundaries. They have a cyclical, elemental perplexity about them, akin to Pekka Airaksinen’s flowing New Age moments, microsonic mutations are often paired with phased 4/4 kicks or interchanging cambers of a motorik beat. However, this exploration is better experienced than described.

Ahead of his 4 hour takeover of the Vic Bar on Saturday for FOAM. We spoke to Jamal Moss, aka Hieroglyphic Being about his connection with Sun Ra, his everyday and being a “rhythmic cubist”.

What extent would you consider your work to be, associated with or coined Afrofuturistic?
Only in the aspect that I am of African Descent and that I am not as primitive as some would like believe. And that I’m way more Modern in my approach of creativity that’s ahead of the curve than most –that would come of as more futuristic .

What are some of the most significant learnings or methods that Adonis bestowed to you?
Patience in creativity. Learning thy self. Nurturing others and giving back —and don’t get caught up in other peoples delusions.

What is it about Sun Ra’s work that’s most important to you?
Sun Ra carved and manifested his presence sonically and esoterically without hesitation upon this realm after traveling to the next.

What recordings of his do you hold closest?
Not so much his works but his work ethic and abstract creationism.

If music is a medium used to talk to people, as Sun Ra claimed, how do you think you would respond to its language?
Through Sound and Noise with whatever I can get my hands on, and have a conversation back. Like anyone would when they wish to communicate in Music as you would in linguistics/phonics/visualization.

Could you expand on what you meant by the term “rhythmic cubist”, is there something about the approach or practise of the cubists that you relate to? Are there any particular artists or works from that movement that you privilege?
What you do visually as a painter, muralist or sculptor, I do it sonically. It’s a term I came up with because people kept asking, so I gave them an answer.

What are some of the most enlightening experiences you’ve had in a club?
Where people cried and screamed and made love romantically on the floor to what was played it’s far and few when that happens. The universe was properly aligned for it to be that way.

In Chicago, where do you spend your time when you’re not in the studio?
At University or in my home, or I just walk about —nothing monumental.

How has the way you produce music changed over the past ten years?
It only changes by natural selection and emotional engagement of life circumstances. I try not to analyze it too much because it becomes to self propagating so I wanna keep the myth or hype to a minimum.

What do you think is the biggest danger facing the planet today?
Destruction.

What gives you hope?
Finding, developing and nurturing in life with that special Energy.

For more: Mathematics Recordings, or Groovedis.com