O — The study of ritualistic and folklore sounds sometimes focuses on the altered state of consciousness that those sounds can provoke. I can see your sound provoking that feeling in your audience, if they are fully present and let themselves be taken on that journey. What’s your take on that?
AD — I don’t think I fully understand the question, but I feel like quoting some of my lyrics:
“Hung up in the tip of a tongue/felt like fiction/bit the bowl off the spoon for fantasies fruition”
“I don’t belong to a sect/too much comfort wrecks the intellect/devils advocating disguise/I see all things from all sides/fictional processing/this novel is getting to me/this author knows beauty and the beast/both psychologies/both psychologies/fictional processing for peace”
O — You’ve mentioned that while working and writing new stuff, you are constantly teetering between composition and chaos. What exactly do you mean by that?
AD — I’m reading and writing the book at the same time. I obsess over hypercomposition, and for my work to be exactly right. I’m brutally self-critical and scrutinizing in the studio, and in creating the recorded portal. While on the other hand, in performing or conceiving, I am a wild creature with every follicle elevated to receive signal. This is my dance between possessing the introspective consciousness of my human mind while still being a wild animal harnessing the energetic truth of the moment— the tension between control and letting go.
O — What’s the ultimate feeling you get while working on a song?
AD — Autonomous Sensory Meridian Response—ASMR. I always like to think about the ancient Latin meaning of genius. They used the term to mean a deity or spirit guardian that would exit and enter one whether spontaneously or with an invitation. They believed that one’s genius would actually live in the walls of their houses and then enter the body which would induce inspiration. In the moments when a song suddenly presents itself to me and essentially appears out of thin air, I like to entertain the idea of channeling, which relieves the ego somewhat. It’s a very special magical feeling.
O — Throughout your lyrics you are always addressing certain topics, communicating with your audience. How do you decide which topics you will bring to life?
AD — The poetry and the topics are constantly brewing. I scribble down little notes or mantras all the time, some of which develop over months and months and aren’t harnessed until years later. It’s fun to see these little ideas suddenly come together as a whole record. That’s another fun thing about performing, I am constantly including topics and information, my new revelations, new ideas from the day, or the day before, and splicing them into the written content— just to keep it fresh. I am easily bored, I have to keep myself inspired. If I am not inspired while performing, that’s when it turns into a job. It’s like the difference between making love or like, blowing for some cash. [laughs]
O — Some of your songs are entitled Put a Head in a Head, Gnarly Nipple, Youniverse. How do you narrow everything down to those few words that somehow characterize the whole thing?
AD — I love to name things. We inform our reality with words and language, so when I get to come up with new groupings of words I feel like I’m carving out new meanings of our perceived reality. Sometimes the name just happens and is totally clear and unarguable, while other times I have to write out all the layered meaning of a piece, sometimes even with graphs and flow charts, and boil down the essence to extract the correct title. It gets scientific.