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c0smicfunk-blog · 6 years ago

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Soundrs: Iasos

My name is Iasos (pronounced ya’ sos). I am a music-creator. I specialize in heavenly, other-worldly, inter-dimensional, celestial music. Many in the New Age field consider me one of the original FOUNDERS of “New Age Music”, since I released my first such album in 1975.

Here is a “Celestial Soul Portrait” of me, created by the artist ➜ Erial Ali.

People can listen FOR FREE—to the FULL version of ANY of my songs, from ANY of my albums, by going to: ➜ iasos.bandcamp.com

People can see VIDEOS of me performing live by going to: ➜ iasos.com/videoclp/#performing

People can watch VIDEOS of me speaking (on various topics) by going to: ➜ iasos.com/articles/#talk

If people are curious about my live multi-media concerts, they can go here: ➜ iasos.com/public-concerts

What are your inspiration sources?

I have ONE inspiration source: A higher-dimensional being named Vista. He is an Elohim—a highly-evolved being from the Elemental Kingdom. I love him very much! At a certain point in my life, I had a FLASH-REVELATION-MEMORY, where I remembered that he and I had made an agreement to work together. We made this agreement before I was born. Basically, the agreement was: I would incarnate on earth. I would get up to speed on music. Then Vista would telepathically transmit musical visions into my mind. Then it was my job to RECEIVE these visions, and MANIFEST them (as actual air sound waves), and get them out publicly far and wide.

The whole PURPOSE of this collaboration, was to create and make publicly available, music that had a consciousness-raising, vibration-increasing, emotion-uplifting effect—for the purpose of helping people raise their vibrations, so they can stay with our planet, as it is also currently raising its vibrations. When I first started hearing this music in my mind, I originally thought of it as Paradise music. Now, I think of it as Inter-Dimensional music.

Tell us something about your workflow.

1. I receive (telepathically hear) a music vision from Vista.

2. I figure out the chords, melodies, etc.

3. Vista also gives me technical ideas on HOW to create the special-effects needed for that piece.

4. Vista also gives me a read-out on HOW this particular music will effect people in general (such as stimulate their 3rd eye, or open their heart chakra, etc.) His read-out on the effects on people ends up ALWAYS being 100 % accurate.

5. While I’m actually working on the piece, Vista is frequently whispering ideas into my mind, to help me manifest this music more effectively.

6. I create the music.

7. I get it out there—which, nowadays is easy, thanks to the internet.

How would creative rituals benefit your workflow?

No idea. I use no rituals in my work flow.

I simply FOCUS on music, and WORK on it.

How do you get in the zone?

I simply FOCUS on music, and WORK on it. CONCENTRATION is very VERY helpful in this regard, and Vista has taught me MUCH about concentration.

How do you start a track?

In the beginning.

Have you ever encountered a creative block?

Yes, but only ONCE in my life.

How did you deal with it?

When I graduated from Cornell University,

and decided to skip my post-graduate scholarship in Anthropology,

and instead, focus my career on music,

I moved to California to begin my music career.

After the first two months, I had a most frightening creative block

where all my creativity came to a halting stop. Terrifying!

So I PRAYED FOR CREATIVITY.

With all my Soul, I PRAYED FOR CREATIVITY.

And boy or boy, did that prayer get answered!!!!!

I had SO MUCH CREATIVITY, that I had to develop and evolve

“traffic control” for “ideas over-flow”—where many great new ideas

were all hitting me at once, and I tried to not lose some GREAT ideas,

because of new GREAT ideas coming to me.

But I did manage to develop an internal TRAFFIC CONTROL

for IDEAS OVER-FLOW.

Since then, I have never experienced a creative block.

In fact, now, my creativity is “on tap”, like a water faucet in a sink:

I turn it on,

when I want to receive creative ideas,

and I turn it off,

when I want to FOCUS on IMPLEMENTING ideas that I have already received.

MOST convenient arrangement!

(It’s distracting to receive new ideas, when you are FOCUSED on manifesting already-received ideas.)

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Have you ever tried singing or using a voice in general? Is there a message that’s better conveyed through words?

WORDS/LYRICS are a left-brain logical mental communication.

The TONE OF THE VOICE and singing (varying the pitch) is a right-brain intuitive emotional communication.

The sound of a voice has embedded within it,

the person’s EMOTIONAL STATE and SPIRITUAL STATE—at the moment

the voice sounds are being made.

So the sound of the voice is a profoundly useful and flexible sound source.

Also, the voice is THE MOST FLEXIBLE MONOPHONIC MUSICAL INSTRUMENT!

It can do portamento (sliding between notes).

It has an enormous dynamic range (softest to loudest).

It can do very flexible rate-changing & depth-changing Vibrato.

And (most unique of all) it can morph through timbre changes (tone changes).

(Which is what happens when they sing words or change vowel sounds).

I personally do not have good voice control, so it’s rare for me to use my own voice.

But I have used my voice on two pieces:

I’ve used my voice throughout the entire piece ➜ “Lueena Coast - II”

from my ➜ “Inter-Dimensional Music” album.

On this piece I experimented with blending flute and voice together.

And, more recently, I used my voice (doing multi-tracked harmonies)

on one particular part (3:15-3:52) of ➜ “The Gates of Opal”

from my ➜ “Realms of Light” album.

I’ve also used two female singers - Sophia and Joie Favier -

on the second half (6:06 to end) of ➜ “The Diamond-Heart Center of Creation” from my “Realms of Light” album.

Do you work exclusively solo (except for your collaboration with Vista)?

I typically/normally (about 99 % of the time) work alone.

However, there are two exceptions:

On my “Inter-Dimensional Music” album, I had Carl Schwindeman play electric guitar on ➜ “Maha-Splendor” and ➜ “Siren Shallows”. (This was all pre-1975)

Dear Carl is a MAGNIFICENT electric guitarist.

Vista typically guides me to steer clear of other musicians, since their influence usually tends to make the music more conventional and earth-like.

And so, WHY should I use other musicians when I can do it all myself?

(Analogy: Why should a great painter use another painter to help him paint his painting, when he can paint the whole painting himself?)

When multi-track recording became feasible, then working with other musicians became a preference, an option, but no longer a “necessity”.

So, the other exception happened more recently, when I was working on ➜ “The Diamond-Heart Center of Creation” from my “Realms of Light” album.

The basic idea, for the second half of this piece, is the idea of

EXTREME HARMONY amidst EXTREME DIVERSITY.

Well, I can create a lot of diversity all by myself, but Vista suggested that I actually use three other musicians for the second half of this piece, to further extend the “diversity”.

This was so unlikely Vista, that I responded:

“Am I hearing you right ????!!!????”

Yup, I was hearing him right.

So, following Vista’s suggestion (never a command), this piece also became graced by the exquisite musicianship of:

· Steven Kindler (violin)

· Sophia (female voice)

· Joie Favier (female voice)

You can hear how nicely all four of us blended together in the second half of this piece, beginning at 5:58.

How would you ideally like people to listen to your music? Like describe the ideal scenario (in the disco, at home, with headphones in nature, …)

Listen in a quiet non-disturbing environment.

Listen with good headphones and eyes-closed.

NEVER listen with speakers (because this blurs the 3D hologram that could otherwise be created in your mind, from using headphones).

Yes, it can sound “nice” with speakers, but you’re really missing the “3-D-hologram-in-your-mind” show that way, and just getting stereo.

Which DAW or software environment do you work in?

Steinberg Nuendo (the more professional version of Cubase).

Can you recommend any audio soft- and/or hardware?

I could spend DAYS talking on this one. Let me just say that the most under-appreciated and under-used piece of hardware-or-software is the vocoder, since it allows ANY sound to morph its timbre (tone) as easily, effortlessly, intuitively, immediately, as you can change the vowel sounds with your voice.

You were talking about a music school in your videos, can you elaborate on that? I’ve read in an interview that one branch is situated above Luxor. I understand this is not really a place where one does literally ‘go’?

It’s not on the physical dimension. It’s on the etheric dimension (just slightly higher than physical), and it’s about two miles above the surface of the physical dimension. So, if you want to get there, easiest way is to INTENT it just before falling asleep. But those that are adept at out-of-body travel or remove-viewing can possibly also get there.

It sounds very special and exclusive. Could you describe the ambience there, the kind of knowledge that is taught, maybe you know of other scholars that attend?

This “art school” above Luxor is directed by Serapis Bey, who is now an Ascended Master, but he used to be a human being on the physical dimension as the High Priest of The Ascension Flame Temple in Luxor, Egypt. BELIEVE ME, Serapis Bey is the only scholar you need when you go there. And this temple is for ALL the arts—not just music. Even architecture and sculpting. In terms of “exclusive”, YES, there are CRITERIA to get here (and to stay here).

CRITERIA to GET here: Must be at least somewhat adept in whatever is your chosen art form. Must be at least a bit psychically receptive, to receive ideas regarding this art form. Must INTEND TO USE YOUR ART TO RAISE CONSCIOUSNESS and to BENEFIT/UPLIFT OTHERS !!!!! CRITERIA to STAY here: They have LOADS of things to study when you get there. But if you just meander about, and don’t really exert yourself, and make a SOLID EFFORT to learn something, you will be asked to leave. If you don’t have FOLLOW-THROUGH, you will be asked to leave: This means that if they manage to get some art “idea” into your physical mind here on earth, you won’t “drop the ball”, but instead you will stay FOCUSED on it until that “art idea” becomes manifest on the physical dimension.

What was the hardest thing to overcome in the beginning of your music career?

Your beliefs determine what you attract into your life.

So, in the beginning, I had the BELIEF that, initially it would be hard and an up-hill battle.

So, sure enough, I created for myself IMMENSE amounts of poverty and struggles of all kinds.

Eventually, I grew out of this (when my beliefs suggested that I had had enough of this).

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What are your thoughts of people being able to listen to music telepathically in the future?

As our planet is now raising in its frequencies, and as our local star cluster (including our solar system) is entering an area of our galaxy that has WAY MORE high-frequency energy particles, these effects are ENLIVENING all life on earth—including minerals, plants, animals, and humans.

So animals are becoming WAY more conscious (and some pet-owners will attest that their pets are down-right telepathic).

And humans are raising into all kinds of enhanced psychic abilities, including:

· telepathic hearing

· telepathic seeing

· telekinesis (moving things at a distance)

· remote-viewing

· bi-location

· out-of-body conscious experiences

and more.

Every day, these abilities are becoming more and more prevalent to more and more people of earth.

And this is increasingly evident in the amount of channeled videos now populating YouTube.

So, yes, of course, more and more people are getting sensitive every day to “hearing music telepathically”.

Are there other ways for people to raise their vibration other than listening to music?

Who ever said music was “the only way”? Not me!

There are INFINITE WAYS to raise your vibration!

And music is merely a humble ONE of those INFINITE possible ways.

Can you share anything that Vista has taught you about concentration? Focusing seems very hard these days with smartphones and the Internet.

I condensed what I learned about CONCENTRATION from Vista into this article: ➜ “Concentration”.

Do you have a special template?

No. Each piece is WAY TOO UNIQUE, for any template to be of any use.

What effects do you put on the master channel?

None, other than adjusting the over-all volume level throughout the piece.

I definitely do NOT use any compression or multi-band compression, or EQ on the Master channel.

How do you arrange and finish a track?

I let my Heart and Intuition guide me—from the beginning, to the middle, to the end. To be more precise, when I am recording any particular part, I might have to record it many times before I get it “just right”.

So HOW do I know when I get it “just right”?

I listen to my HEART while listening to this recent recording, and NOTICE how my Heart feels about it.

If my Heart has an uneasy feeling about it, I try once again to record it.

If my Heart has a comfortable relaxing “Ahhhh” feeling, then I know I got it, and I then proceed to the next part that needs to be recorded.

How do you deal with unfinished projects?

I have never experienced an “unfinished project”, so I have no idea.

How do you store and organize your projects?

In my computer, using a logical lay-out of folders and sub-folders. (Don’t all musicians do it this way?)

How do you take care of studio ergonomics?

Ah, ergonomics is an EXTREMELY important issue!!!

I FOCUS very strongly on MAXIMIZING the man/machine interface.

For example, many keyboardists optimize space (many keyboards on the same one keyboard rack) rather than optimizing ergonomics (having many foot pedals for just-ONE keyboard).

I’m not interested in optimizing space.

I’m interested in optimizing the man/machine interface:

For example, I might simultaneously have five channels of information between me and the keyboard:

1. Left hand => mod wheel and other controllers

2. Right hand => music notes on the keyboard

3. Left foot => mod pedal -or- portamento on/off switch

4. Right foot => volume pedal

5. Mouth => breath controller (typically assigned to Vibrato-depth)

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

In the ancient Mystery Schools, they always did their important teachings at night. Why? Because the influence of the sun is to keep you grounded and earth-bound. Whereas, the night allows for consciousness to get much more spacey, out-there, and inter-dimensional.

So, in the morning,

I wash up.

I meditate.

I deal with emails.

I go out and do mundane business (like going to a food store or bank or post office).

Then, at night, I FOCUS on my music and WORK on it.

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Share a quick producing tip.

For ANY type of complex project, it is extremely useful to use your mind

as a zoom-lens, where you can ZOOM-OUT to get the over-view,

and then ZOOM-IN to see the details on just one part of the project.

Creation Technique of “Cycling between Zooming Out and Zooming In”

With sufficient effort, self-control of your thoughts allows you to use your mind like a controllable zoom lens for your thoughts:

Zooming Out - (fish-eye lens)

for the over-view,

for seeing the inter-relations between all the parts,

for grasping intuitively all the steps necessary &

the optimum order of their execution.

Zooming In - (telephoto lens)

for seeing just one small part in tremendous living detail,

for understanding in great detail what needs to be done for this part.

For concentrating all your thoughts

to powerfully manifest & materialize just this one little part.

Manifesting any complex reality can occur most effectively, effortlessly, and quickly through this

Technique of Cycling between Zooming Out and Zooming In:

To manifest or materialize any reality,

First you Zoom-Out to get the over-view.

To understand how all the parts fit together - their inter-relations.

To understand what needs to be done and

the order in which these steps need to be done.

After grasping the whole,

you create a MANIFESTATION SEQUENCE -

A Sequence of Steps - to materialize your project in the most logical & efficient manner.

Then you determine the very next step that needs to be done -

whether it is a momentous step or a casual simple one.

Then, when you have clearly determined the next step in manifesting,

you shift from Zooming Out to Zooming In (like switching from wide-angle to telephoto) - on this next step!

You Zoom-In by concentrating all your thoughts only on

the one next step that needs to be done!

During this phase, you do not scatter your thoughts

by considering the entire plan or by thinking about other steps.

With the thought-force of all your mind focusing on just this next step,

you begin to intuitively grasp and understand this reality in very great detail.

You increasingly understand what needs to be done and the best order in which to do these things.

You are understanding the microcosm of how all the parts fit in—within this bubble of reality.

With all your thoughts focused on just this next step,

with the tremendous manifestation-thought-power this accumulates,

you easily and quickly realize

what needs to be done and how to do it,

and then you do it!

(Once again, Concentration does to thoughts what a lens does to light.)

Once all the steps within this microcosm are finished, you once again Zoom-Out—Ah yes, the over-view. It has changed now, because one step has been fulfilled since last time we viewed the over-pattern.

Again, while zoomed out on the whole,

we quickly and irresistibly begin intuiting and understanding the full reality,

noticing the interrelations between all the parts,

realizing in great detail what needs to be done,

and then realizing what needs to be done next.

Once contemplation of the entire reality reaches a “ripe understanding”,

the NEXT STEP becomes “crystal clear”.

Once this step has been determined, we Zoom-In once again, on this next step,

and repeat this process of grasping, understanding, determining, and doing.

And when fully accomplished, we again Zoom-Out to see once again

the full picture—seeing all the patterns and how they interact.

This contemplating eventually inevitably “ripens” your grasp