Thursday, 8 October 2009

POSTHUMAN TANTRA (Interview)


POSTHUMAN TANTRA is a sci-fi dark industrial soundtrack to the "Post-Human Aurora" – a visionary brave new nightmare world based in mix between DNA & SYLICON, with a new kind of creatures that will mixture human, animals, vegetables and machines.

The first POSTHUMAN TANTRA´s album – "Pissing Nanorobots" - was released as a CD-r in 2004. In 2005 POSTHUMAN TANTRA sign a partnership with legendary french act MELEK-THA and realise the KELEMATH TRILOGY (2005/2006) - with 3 boxes , 9 CDs and 1 VCD. In 2006 the independent label SONOROS RECS edit the 3" CDr "Teknogenetik Australopitekus" including 6 POSTHUMAN TANTRA inedit tracks, also in 2006 the project signed the deal with the european label LEGATUS RECORDS to release its first full-lenght pro album called "Neocortex Plug-in" , it is out in april 2007 with a poerful production. In january 2007 are released "Asylum of Slaves", 3 CDs box set - new partnership with french act MELEK-THA. The POSTHUMAN TANTRA music are influenced by acts such as AESTHETIC MEAT FRONT, LUSTMORD, NAPALMED, MENTAL DESTRUCTION, STALAGGH, BRIGHTER DEATH NOW, ANTIMATTER, ASHTOOL, MERZBOW, DISSECTION TABLE, MANES, MELEK-THA, RECALCITRANT, ALL SCARS ORCHESTRA, SEVEN PINES, THE VICTIMS SHUDDER, THY VEILS, ULVER, DANIELE BRUSASCHETTO, HOLLOWING, METANEMFROST, AGALOCH and others.

But POSTHUMAN TANTRA is influenced also by the ideas of the masters R.A.W., Blavatsky, Leary, Giordano Bruno, John dee, Rupert Sheldrake, Ken Wilber, P.K.Dick, Stanislav Grof, Crowley, Spare and all CHAOS MAGIK lovers. Also the creations & reflections of the posthuman artists:Orlan, H. R. Giger, Mark Pauline, Natasha Vita More, Stelarc, Roy Ascott, Diana Domingues, Eduardo Kac, David Cronemberg, Enki Bilal, Caza, Gazy Andraus, Antônio Amaral & some aspects of Extropy, Transhumanism movement &, Immortalists.

Edgar Franco – the man behind the project - is architect, master in multimedia,and PhD in Fine Arts at USP (University of São Paulo - Brazil).

He studies the posthuman perspectives in cyberart. A research about the controvertial artists including the development of a poetic/artistic work based in a possible mix between flesh, sylicon, biotechnology, nanorobots and virtual reality.

Franco also is a multimedia artist with a lot of creations, like illustrations for CD artwork/books/magazines/web, poetry, comics, e-comics and music, with the past projects: MU (ritual ambient), ESSENCE (experimental),and now his another project POSTHUMAN WORM (cyber grind). The follow interview is conducted by Edgar Kerval with the sole purpose to inform everything about one of the best experimental/Ambient acts coming from South america...and the whole planet!!!


Kerval: Greetings Edgar, and let us explore the futuristic structure of POSTHUMAN TANTRA... Could we say that it is a posthuman dimension that converges your visions into new forms of life developed through genetic manipulation, clonation, technology, just as complements of a superior level of consciousness which we must explore in order to transcend in this universe?

Edgar Franco: Technology might be something wonderful if allied to the transcendental aspects of the universal essence that inhabits the human specie. The complete hybridization of man, machine, animal and vegetal cannot be faced only as an apocalyptic point of view since it is true that, if this hybridization takes place aiming profits for the rotten monetarist system (the real beast of the apocalypse of modern time), we will have indeed a scenery of collapse. Unfortunately several biotechnologies are being developed in order to disseminate sterile and patented living organisms, which is an egocentric subversion of the true magic character of biotechnology: the transcendental search for the omega myth! That is, to hybridize ourselves with other species in order to comprehend once again that we are really connected to Gaia. All the other vegetal and animal species have our blood. The nucleotide bases (Adenine, Guanine, Cytosine, Thymine) which compose life on Earth are the same for all creatures. We are all one unique organism that is linked to the universe by the umbilical cord named Gaia! Technology might be one of the channels to reconcile ourselves to our cosmic essence. I believe in the possibility of singularity: the moment of technological convergence that will raise a new human race - the post-humanity - which will abandon all the egocentric and restraining values of our old humanity, and promote a quantic jump, the quantic transcendence.

So, we can observe a kind of hybrid genetic manipulation between humans and other forms of organic life in your artistic expressionism (visual), and in which way does it represent your own nature, from a visionary perspective? Do you see this process of hybridization in a not so distant future?

E.F.: Since my childhood I‘ve been drawing hybrid creatures intuitively. I believe that by hybridizing into one being human, animal and vegetal traits I‘m iconographically saying that they are all equal and important. I set our species in direct connection to the others, and not only with the living species of our planet, but also with several other cosmic species which I see through my artistic trances. To good or evil, transgeny will become true. There exist already several transgenic animals, and also a sheep with 15% of human genes has been created. I foresee the moment when biotechnology will give us the ability to transmutate into mythical beings such as mermaids or centaurs! And this moment won‘t be that distant if we think of the exponential growth of technoscientific advances. Visionary scientists such as Ray Kurzweil and Hans Moravec believe that this process will begin within the next 30 years.

My hybrid images flow directly from the universal unconsciousness, therefore I believe that they symbolically translate messages of the cosmic structure.

In which way does exploring the different facets of your artistic consciousness through music, visual arts, magic and other deconstructive inner realities help you generate a more eclectic, visionary, futuristic expressionism, which is obviously reflected in your existence, and also in the Posthuman Tantra?

E.F.: We live in a world corrupted by dogmas, dogmas of every nature: ethnic, religious, cultural, social, moral and even artistic! The cartesian system teaches in all pseudo-universities of the planet that we must dedicate ourselves to only one activity - we must act like uni-functional machines, repeating always the same activity throughout life, becoming boring and empty specialists. So, if you draw, you must always draw, if you play music, you must only play, if you make sculptures, you must always do it. This is an alienating and sick reductionism, a way to rot faster the spirit of people, to transform them into robots and deviate the focus of happiness from “being“ into “having“, making them obsessed with consuming, taking from them the pleasure in making and learning new things, and focusing only in the pleasure of obtaining objects. The happiness of having destroys the happiness of being! See that great artists, real alchemists of arts, such as Dali, Da Vinci, William Blake, Buckminster Fuller and Jodorowsky are adept to multiple expressions and keep their mind and spirit young when they create within wide and unlimited multiple forms of artistic expression! I believe that the one who masters one form of art masters all of them! Therefore I am open to creating with the most diverse forms of expression, since poetry, drawing, painting, sculpture, music, up to conceptual arts and web art. For me, arts is the greatest of all sciences and also the greatest magic channel that exists. The arts allow a wide and unlimited dialog between all topics and talks directly to the universal unconsciousness that exists within each being by means of symbology. When I‘m creating I do ritual acts of deep connection with the cosmos, and for me, my creative process is the deepest and most legitimate form of ritual magic! The Posthuman Tantra is one of the dimensions of my ritualistic art, and was born during my Ph.D research in arts at the Sao Paulo University (Brazil). It is the sound dimension of my post-human visions.

How do you try to expand your consciousness to highest levels, with your own universe, based on your experiences and learnings in this mundane world?

E.F.: Throughout the years my rituals of artistic creation have kept me in touch with the intimacy of the universal essence. By means of creating continuously and having a libertarian love for the cosmos as basis for my creative processes, I‘ve gradually realized the raising of my interior sweetness, of my respect for all creatures. When I experience other spheres levels and parallel universes during my artistic trances, I realize the limitation of our 5 senses, which were elected by the materialist Cartesian ideas as the unique basis to comprehend all phenomena. I‘ve also realized the importance of the complementary opposites, of positive and negative energies that have to harmonize, and that sweetness can exist within a strong spirit. I respect both ways: the mystic (that abdicates life in order to search transcendence) and the occultist (that searches such transcendence in every day life). Yet, I‘m an occultist who has the arts as an alchemical process. I am in search of the ideal of the "civil saint“, a concept of the artist and occultist Alejandro Jodorowsky, which summarizes the idea of having a normal life, and yet try internally to help people and all living beings with their search for balance and harmony, to develop the concept of unconditional love from a point of view that gathers the idea of love towards those next to us and love under the wish of avatars such as Jesus, Buddha and Crowley. Of course I also suffer with the evils of the ego and fight constantly to free myself from the materialist attachment and the publicity's seduction that connect happiness to obtaining things. Actually, my art is white magic disguised as black magic as a means to combat the black magic of publicity (that works with the monetarist monsters, the multinational companies), which always disguises itself as white magic and objectifies the world.

The album "Neocortex Plug-in“ is an eclectic magic dimension where all possibilities are open to creating a vortex of eclectic nature, always dynamic and going into all directions. How is each track generated here?

E.F.: All the songs of "Neocortex Plug-in“ work the idea of which possible ways our relationship with technological advances and transcendence might follow. The album was strongly conceptually influenced by the works of visionary artists who think over the imminent post-human condition, such as Orlan, H.R. Giger, Mark Pauline, Natasha Vita-More, Stelarc, Roy Ascott, Diana Domingues, Eduardo Kac, David Cronenberg, and some aspects of movements such as The Extropy, Transhumanism & Immortalism. The techno-transcendentalist view is inspired by thinkers such as R.A.W., Terence MacKenna, Buckminster Fuller, Teilhard de Chardin, Aldous Huxley, Madame Blavatsky, Joch C. Lilly, Tim Leary, Giordano Bruno, John Dee, Gurdjief, A.O.Spare, William Blake, Rupert Sheldrake, Ken Wilber, P.K.Dick, Crowley, Stanislav Grof, Alejandro Jodorowsky, Alan Moore, among others.

All the lyric concept of "Neocortex Plug-in“ is part of the fictional universe called "Posthuman Dawn“ which presents several possibilities for this hypertechnological future. Together with these fictional aspects I include my investigations and experience on transcendence and technognosis aside with my searches as a chaotic magista. Each track deals with a concept within this context. Below I underline the concepts that originated the lyrics and sound of some of the album‘s tracks.

The Omega Neocortex: Track that opens the CD, with a heavy oneiric feeling. Instrumental music with which I tried to capture the essence of the visionary Teilhard de Chardin's views. He foresaw the emergence of a global net that would connect the conscience of all men and living beings on the planet and named it Noosfere. Once it is complete, Gaia will wake up as a conscious planet and we will be her trillions of neurons, neurons of Gaia's great Omega Neocortex.

Visions from the Abyssal Neurogenetic Circuit: Instrumental track based on the possibilities of trance reached through [computational] virtual reality, technological trances similar to those caused by hallucinogens. Trances that might be able to make us reach the universal truths through our Neurogenetic Circuit (existent in the DNA). This track deals with the discovery of the cosmic conscience with help of technology. It is inspired on the thoughts of Roy Ascott & Robert Anton Wilson.

Glorification of our Nanotechpain: A dense and obscure song with various participations in the vocals. The concept deals with the menace caused by nanobots, which are firstly created to eradicate diseases but later are produced illegally in large scale in order to spread new illnesses and make the future drug industry even more powerful due to the commercialization of “antidote nanobots”. It is a continuation: high technology allied to the old human egoism.

Downloading my Universal Conscience Through Cyber Pulmonary‘s Pranayama: The millenarian technique of the Pranayama used in connection with new devices that allow immersion into virtual realities with the aim of reaching the universal conscience. It is another technognostic track that proposes such possibilities.

Biotech Antenna To Receive Morphic Resonances From The Mu Continent: This track - which melts atmospheric, noise and industrial together - treats of biotechnological implants, uniting silicon ships to neural connections. The creation of technological devices that simulate vegetal realities and make it possible to reach a neuroatomic connection with ancestral circuits of the humanity. It takes from the knowledge of the first conscious races that inhabited the Earth, such as the race of the extinct Mu continent, described by Madame Blavatsky. It also involves the concept of "morphic resonance“ defined by the English biologist Rupert Sheldrake.

My Eternal Avatar: A digital creature that represents us in a virtual reality world will be able to live forever, carrying our memories and desires even after the death of our biological body. It is the oldest track of the album, and also the shortest. It was the first one that I recorded, so I worked my vocals for a long time before I got the texture I wished.

Hymn In Praise Of The new Hyper Conscience Receptacles - The Flesh Rots And Disappears, Image And Memory Still Remain: Sometimes we feel terribly distant from what we were in the past. We look at pictures, hear records of our voices and cannot recognize ourselves. Every seven years our atoms are completely substituted, the matter we are made of does not contain anything of what we were, but the memory still remains and gives us identity. If we find a way to transplant the memory and the mind with its net of universal morphic resonances, we will be able to live for the whole eternity. I guess this is my preferred track in the album. It starts with a record made in 1976 of me and my father talking when I was 5 years old. It closes with my mother singing one of the songs I loved to sing when I was a child. Besides that I included in it the sound of my wife‘s laughs - for me, one of the most pleasurable things of this world. I can‘t help feeling deep emotion when I listen to this track.

Tell us a little about the video clip included in the "Neocortex Plug-in“ and your need to express yourself through a multimedia work in order to show the nature of the album.

E.F.: This work is not an ordinary video clip. It is a kind of electronic comic that involves reactive interaction with the user, so that he/she are able to enjoy it thoroughly. It is a work that uses multiple forms of my artistic expression, such as drawing, animation, music and poetry. It is a multimedia production that really summarizes the proposal of the album. Game-o-tech 2.0 is an interactive track created from my drawings and assembled with the Flash software. For this work I counted on the help of the web artist Fábio FON and special participants on the electric guitar and vocals. Its title is a word game / neologism in which the letters G, T, C and A refer explicitly to the DNA‘s nucleotide basis guanine, thymine, cytosine and adenine. The 2.0 refers to the new version of children‘s "brinquedoteca“, a post-human playground.

In this work the hybrid humanimal creatures and androids are presented as products, living objects produced and sold to serve as toys to children in a future context. The playing in this new playground is sadist and cruel, it involves the suffering and pain of these living creatures - mere objects for fun of their users - they are a metaphor to contemporaneous technological toys, specially to computer games that show extreme bloody violence.

In the Game-o-tech, the sadist destruction of enemy avatars from computer games is substituted by the vivisection of new biotechnological toys sold by multinational companies. Old virtual choreographs become new experiences of playful cruelty for these children, who have had their morality restructured by the technological processes. Eventually, the pleasure of having power over such "objectified hybrid lives“ mixes itself up with the feeling of an orgasm.

Game-o-tech 2.0 thinks over the acceleration of life‘s objectification by means of the creation and commercialization of living hybrid beings. It also deals with a possible new structuring of the moral and ethic human order from the point of view of technological advances.

It is known that the album "Pissing Nanorobots“ has been inspired and influenced by films of David Cronenberg. Which of his films inspired you as to enrapture the essence of such an album?

E.F.: Pissing Nanorobots was the first independent CD Posthuman Tantra released in 2004. The work was conceived as a conceptual reflection about a possible renewed and reformed sexuality within the context of the Posthuman Dawn. Within my conceptual post-human universe, the technological and mind evolution allowed the psychosexual migration of the desires of today‘s Freudian age - structured over sexual traumas and taboos, and repressed desires -, the advance to a Jungian age - access to the unconsciousness of all species - and eventually, to dive into a Groffian age (Stanislav Grof), which is marked by the penetration to the universal unconsciousness. But in the first stages of technological acceleration, the transforming sexuality will produce new perversions and multiple insanities, such as sick robot-copulation, the creation of sexual slave androids and the degeneration of some humans, which vibrate only on low frequencies. Along the decades the posthuman sexual liberation will have positive results, for it will free humanity from the Freudian stigma.Within the fictional universe of the Posthuman Dawn, the creatures‘ sexuality is varied and iconic. Imagine that there are several humanimals, such as woman-dolphin and horse-man hybrids, and all of them can be hermaphrodite and possess multiple male and female sexual organs. You can get the penis of a donkey on your forehead and your partner can get the vagina of a whale between her eyes. In the Posthuman Dawn genetic engineering is so advanced that it will be able to produce and supply such aberrations and also create new multiple neural connections, and with it expand the cerebral region responsible for the orgasm. Sexual taboos will be broken and lived freely. Within my universe the total sexual liberation proposes that the sexual barriers have never been a real problem, that all sexual moral were simply an ancestral blocking based on archaic dogmas. And with the liberation and complete realization of all sexual desires, the creatures will finally be able to focus their thoughts and desire on a real and true evolution of the consciousness in search for transcendence.

The album Pissing Nanorobots uses this concept of posthuman sexuality as starting point for the creation of music. Tracks such as Cum Nanochips and Cloneborg Chamaleon‘s Body translate the multiple forms of posthuman copulation into ambient industrial sounds. The track "Penetrate the Virgin Bioport" is deliberately inspired by the movie eXistenZ (Canada, 1999), by David Cronenberg. In this movie the "bioborta“ is an opening on the spinal column used to connect the plug of a biologic game which is fed by the player‘s blood. In the movie the "bioborta“ has a double meaning, that is to say that it opens a connection to a world of virtual illusions at the same time that it represents a new body opening with sexual connotation,, something like an anus. There exists something of grotesque and curious about Cronenberg‘s fascination with technological openings, it is a kind of technofetishism, which also comes up in other of his great movies called Videodrome (Canada, 1983). Penetrate the Virgin Bioport is a musical elegy inspired on this posthuman fetishism. There is also another homage to Cronenberg in Pissing Nanorobots, it is Allegra Geller‘s Memorial, created in name of the movie‘s game programmer called Allegra. In one of her games the player literally assumes the role of God, a strange and brilliant proposition of neo-transcendence: To live as God within a virtual reality universe, to spend your life in it, in a divine matrix.

Could you give us your opinion on the following structures: Virtual realities, robotics, hermaphroditism, hypertechnology, technofetishism, and which of them might help us reach superior levels of consciousness to be explored in the next millennia?

E.F.: I will briefly discuss each of these topics:

The virtual realities allied to the experiences with old vegetal realities (transcendence through the use of "enteôgenos“, the plants of power such as the Ayahuasca) and to artistic trances might open the doors to a wider and more dynamic comprehension of our place in the universe.

Through robotics, the creation of bionic and biorobotic limbs, and the easy substitution of organs, we gradually realize that our essence goes far beyond our physical-material body, and eventually as we reach the point of the transbiomorphose technology (the transference of our consciousness and memory into a biochip) we will realize that we are immaterial and immortal beings.

As we transmigrate to a hybrid biotechnological body we will have the chance to experience the multiple aspects of sexuality, to being Yin in a moment, and Yang in another moment, and bring back the hermaphroditism of one of the first races of the Earth, according to the cosmogony of Blavatsky. Once more we will be able to have the complementary opposites in one unique creature. It would be a great opportunity, a living poetic! It is always important to remember that this might come true if the idea of profits do not contaminate the biotechnological evolution by transforming it into one more product of the egoic monetarism.The technofetishism might reach a glorious point when it finally solves all sexual diseases and fixations that have been impressed on the collective unconsciousness of the human species in the last 5 millennia. As soon as we get the first hypertechnological biobots that imitate humans with perfection, we will have the chance to make all our darkest sexual desires come true and completely clean such desires, transforming them into something pure, because, for the transmutation to occur, it is necessary to descend as deep as possible into the abyss of the self!

But all these ideas are conjectures, possibilities which I foresee. Yet there exist lines of multiple realization. The destiny of our species depends on our comprehension of everything, on our reconnection with the universe. If this comprehension flourishes in time, we will have the chance to truly experience divine ecstasy through technological processes.

Could you please introduce us to your project called POSTHUMAN WORM and talk about its relation with sexual copulation among humans and robots?

E.F.: In Japan company robots have been developed and there has been deliberate interest in giving human expressions to them in order to make them look almost human, that is, like humanoids. But in the American falocracy most robots are still inhuman and stupid, metal monsters made for the war. In the Posthuman Dawn the first posthuman sexual slaves (robots like those in the movie A.I. by Spielberg and Kubrick) rise from the further east. In my fictional world, in the transhuman beginning, there still exists a great resistance to cloning and biotechnological creation, therefore biotechnological sexual dolls - made of flash and bones - with a positronic brain appear only in a second stage. In my sci-fi I try to jump into the future, to make a real quantic jump in order to get into the skin of the beings that inhabit such hypothetical world, and at the same time, metaphorically think over the contemporaneous reality and

the relationship between man and technology. I add a bit of myself and all my questioning, uncertainties, contradictions into each of my beings. The characters I create are multiple fractions of my soul, holographic fractal pictures of all that is inside me.

The Posthuman Worm is a parallel project with which I have released only a few CDs. This second band is an aggressive and furious "sci-fi cyber gore“ minimalist manifest, which has as leading topic the perverted and unimaginable sex among posthuman creatures during the stage of sexual decay, which will initially come with the technological advances.

For this project I tried to imagine the most rotten and grotesque forms of robot-copulation and sex among hybrid humanimals. I also show "normal“ humans meeting such creatures in order to make their sick fantasies come true. This project is referred to the alchemical nigredo, the bottom of the abyss which humanity must reach in order to eventually begin its ascension to a real cosmic consciousness. For me it is a storage place for my most obscure side, cruel, bloody and sick. I expurgate this side of mine and purify my essence by creating such music and imagining such aberrations. It is a very powerful cathartic creative exercise. All of us must be able to balance the complementary opposites of our ID. For the Posthuman Tantra to be able to exist - every day more technognostic - there must be the Posthuman Worm - the rotten and obscure side of my soul. Here are some song titles of the Posthuman Worm and their meaning:

Cyborg Siamese Real Doll Penetration: this track proposes the hallucinated copulation between a human and a cyborg doll, similar to the "real dolls“, only here it is a siamese real doll, in which the siamese twins are attached to each other in an inverted form, so that while the human makes sex with one of them, he can make oral sex with the other... a real insane perversion.

Dog Human Transgenic Girl: This track gives account of sensual sex with a girl that is a hybrid of human and dog with long tongue and tail used to caress her partner...

Fucking Fat Hole With Bionic Killer Dildo: This one shows a sexual slave robot attending to the desires of its owner - an obese woman with 180 Kg - with a kind of bionic penis of great performance, able to satisfy her for endless hours.

See that everything is really taken to the limits of the impossible, it all dives into the obtuse repressed and sick sexual desires of the contemporaneous Freudian stage. By transforming my Freudian stage into art I purify a bit more of my spirit, playfully I expurgate this side of mine.

Dreams are portals to reach entities of stellar dimensions, and the use of sexual copulation between us and such entities is a way to obtain certain knowledge, see for instance Spare and Crowley, just to name a few... Are you getting into contact with such vast distant alien forces, or do you think they come from the subconscious?

E.F.: I‘m constantly in touch with such entities within my artistic trances and I prefer not to define its origin - such as ETs, extra-dimensional spirits or aspects of my unconscious mind - for if I decide to believe in one of these hypothesis I would eliminate the possibility of the others, and therefore, I would transform such experiences in dogma. I simply prefer to live such fantastic experiences freely, and try to transcend to other levels of consciousness through intimate and affective contact with these beings, no matter what they are, without the Cartesian need of naming and classifying them.

Do you foresee a highest planetary consciousness, when all minds are connected to each other into a hyperconsciousness called Gaia? And how do you visualize the actual process of evolution of the mankind, knowing their mental limitations and fears created by religious and political illusions?

E.F.: This is a very complex question. Teilhard de Chardin foresaw the rising of a Noosfere, a net that would connect all minds in the planet, and would result into a kind of singularity, a hollotropic mind, a global hyperconsciousness. Some thinkers, such as the French Pierre Lévy, the Canadian Derrick de Kerchove and the English Roy Ascott, pointed out, in some way, the internet as being this rising form of planetary consciousness which is expanding. Somehow I believe it, and I hope that the libertarian, anti-monetarist and fraternal character of the internet will resist to the constant capitalist attacks that are disturbing completely its structure. Take for instance the grotesque entertainment industry, which has transformed all art into product. This industry is falling apart because all arts flow freely within the internet, it is from everybody, and to everybody. The essence of the internet puts down the idea of profiting - it seems to have come up from the technocapitalist anxiety to profit, nevertheless it goes completely against this ideology, it is anarchist and libertarian. Yet, the battle will be hard, and I believe in the hackers, the real sacred angels of the web, who fight to keep it pure and avoid its corruption. If the anarchic libertarian character of the internet goes on, we might watch the rising of the Noosfere, and this myriad of information will put down the fragile structure of the dogmatic, archaic and reductionist religion, politics and economy - all rotten dogmas which the transcendent posthumanity will be proud of having buried in the past!

Is there any new material ready to be recorded? And tell us more about the split CD series with the French MELEK-THA. Will there be any other collaborative releases in the future? Perhaps with my project EMME YA, jejeje?

E.F.: Yes, the new Posthuman Tantra album is being worked on in Switzerland, and we expect to release it still in the beginning of the next year. It is my most daring and creative work: 14 songs, and an interactive track including a new video clip and also a new e-comic such as Game-o-tech. The new album is called "Transhuman Reconnection Ecstasy“, and the concepts of technognostic and cosmic reconnection were worked in the finest way, from the cover and lyrics up to the music.

About the partnership of Posthuman Tantra and Melek-Tha (France), our most daring work until now has been the "Quadrilogia Kelemath“, an extensive work of music and image creation, which took three years being developed. The Quadrilogia is formed by four boxes, with 3 CDs each, plus especial and exclusive cards and stickers. The concept dealt with in the Quadrilogia is an alien invasion to the Earth during a period of great technological advance of the planet, when moral and human character have been deeply decayed. The alien hybrid race from Sirius - in the planet KELEMATH - comes to Earth in order to completely destroy the human species and the Extropian and Technogenetic subspecies. The saga told in the four boxes - through the industrial ambient music created by the bands - lasts longer than 12 hours, and counts with 25 exclusive cards created by me. The cards illustrate the invasion with alien creatures and symbolic images of domination. The third box includes a 30 min. video, edited with my illustrations and images created by Legeune Ludovic for the saga. The Quadrilogia is formed by the boxes: Legion from Kelemath (2005), Doctrines From The Kelemath New Empire (2006), Drums of War (2007), and Alien Emperor Eternal (2008). Beside this work, I also worked with Melek-tha in the box set Asylum of Slaves (2007), and the double album Necronomicon Gnosis - HP Lovecraft Series.

In the beginning of 2009 the 3“ EP "Nanorobots Remixed“ - a partnership between Posthuman Tantra and Sobota - was released by the Brazilian label Sonoros Records. In August the English label Black Pyramid Records released the 3“ EP "Transbiomorph‘s Necronomicon“, a partnership with the Polish writer and occultist Asenath Masan - who collaborated with voice and lyrics.

The comprehension of the transcendental aims of the Posthuman Tantra you have shown with your questions has made a partnership of our projects to be very welcome! Lets talk about it!

Well, Edgar, I guess this was a short, yet informative interview referring to some of the most relevant elements regarding the Posthuman Tantra.

E.F.: Yes my friend Kerval, you‘ve shown a wide understanding of the concept of the Posthuman Tantra, and your questions were some of the most intelligent and sensitive I‘ve ever answered! Thank you very much, and a posthuman hug for you and all creatures and species of this universe and all parallel universes. Those interested in knowing more about the Posthuman Tantra and my work as a multimedia artist may visit:

Myspace: www.myspace.com/posthumantantras

Official Website: www.posthumantantra.legatusrecords.net

Web Art Website "The Omega Myth“: www.mitomega.com

E-mails: oidicius@hotmail.com / edgar@legatusrecords.net


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