You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
If you go into a complete, like a cyberspace model of some type, in which… you know the discussion about the mind and the interaction between the mind and the universe as a holographic phenomenon.
It’s pretty clear now that what looked like it might have been some kind of counterculture is, in reality, just the plain old chaos of undifferentiated weirdness.
I think the Muslim religious is a little too tight. It doesn’t fit humans. Humans can’t possibly fit into it, so there are a lot of really unhappy people, terribly repressed.
The thing about music is that nobody listens to it unless it’s real. I don’t think that you can fool anybody for too long in music. And you certainly can’t fool everybody.
The context has to come from the human first, rather than bits and pieces of fragments of old religion and all of the old moral superstructure, whatever it used to be.
