A lot has been happened since my last entry. It appears, I have dropped the ball on reflecting the activity in real life on the blog, eh? Well, as soon I really got settled in at the studio, and started cranking. Tons and tons have been created and catapulted into the reality tv actualité of New Vague City since last September. This is the sole reason why there is such a show as a matter of fact, to harness my intellectual output as an event horizon that should devastate this culture of tits, ass and algorithm. Anyway, this post is a just a reentry to the habit of documenting the musical aspects of my ‘Invasion from Within’.

This is a good moment to get out of NY for a hot minute, feels very much like a chapter end as I am ramping up towards the period I refer to as ANNO ZERO, the first appearance of 9 in manifolds of his expression. You should know that the self-referential terms I use in abundance are there to create a lexicon in a mythology one day. All I have been emitting since 2001 are the bits chipping away from a monolithic work with three different dimensions. In practical terms, I have been living the script that I have been creating only by retrospective vision by constantly importing sequences from different times/locations and roles in my life. Now, I am in the phase of the megastar KiNo, a rockstar, NY persona who is about to shatter the image-reality. I can confidently say that in the interim of the past 6 months or so, since I started the studio, the work which will make me infamous have been already done. This time I am just configuring the sequencing. The mode of operation itself is transitioning from gestation to actual birth. Let’s leave the background information at this and move along what the hell I did with this machine on my lap going from NY to DC to visit family. 

I wrote two songs on this coach trip with this mighty machine Octatrack by Elektron.  The second track happened so fast, I think it was written with all parts in 15 minutes. The working title I gave to save the session was HIT 002. 

Thematically, the song is about Ionia, a region in Turkey and the root component Anatolian peoples and mythology, we come to term as Greek, even though this period predates Mycenaean formation on the island of Crete. In other words, what I am saying is, Anatolia is the land where everything in Crete and much later in Athens appear from tip to toe.

Musically, the song is a mover and a shaker. It’s a dance track that serves a cultural lesson;
upbeat and syncopated like a ballistic ping pong. I have been aligning heavily with the ancient and modern music of Turkey. Harmonies and rhythms – in their original state – the root of what we term as the western music. As the vocal parts started to emerge, by certain word combinations like Ionia, Zeus, Troia, it became clear that I had to trace these words to their origin; Proto-Indo European Luwian Hittite. So now, the song is called Hitit Gunesi (Hittite Sun – the solar course.) 
— 9

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