Hieroglyphic Being going back 2 his roots taking a break from the 4/4 beat.
Chicago’s Hieroglyphic Being’s Black Hands Vol. 3 presents more incredibly original analog sonics & organic swings.
Mathematics Plus presents the second volume of Hieroglyphic Being’s “A Synthetic Life” featuring uptempo electronics & simmering circuit boards stamped with Chicago rhythm patterns.
Hieroglyphic Being has materialized with the limited & stamped “A Synthetic Love Life Vol. 1” created a decade ago to cassette & sonically presented to higher plane listeners. Volume 1 of 9 for Mathematics Plus.
When asked about the story behind the tracks of ‘Journey Through The Outer Darkness from the Inner Light’, Jamal Moss answered with a laconic “No story. No dogma. No Hype”. After all, his despise of extra-musical paraphernalia is proportional to his productiveness in the studio. But there’s always a story. On April 9, 2016, Hieroglyphic Being played a live show in La Casa Encendida of Madrid within the festival Electronica en Abril. Some days later, the recording of the full set was uploaded to YouTube. When we watched it, we were totally captivated. Those eighty minutes of music had the raw power of all of Jamal’s body of work, but with a heightened sense of transcendence. Cosmic, spiritual and intensely beautiful, it sounded like a lysergic reinterpretation of Detroit techno transmitted from a galaxy yet to be discovered. As most of the material was unreleased, we reached Jamal in order to try to press it into vinyl. The result is ‘Journey Through The Outer Darkness from the Inner Light’, a 12″ that reunites eight of the individual tracks that conformed that Madrid performance. When inquired about AUM, the sacred sound all the tracks are labeled after, Jamal referred us to a book by author and naturalist Joseph Bharat Cornell. A book that the author himself presents with these words: ‘The sound of the Cosmic Vibration is AUM, and listening to it brings the greatest bliss imaginable. AUM is the Omnipotent Force that propels each soul toward Spirit. It’s the sacred, inner fire. As you approach the cosmic blaze, you feel at first its radiant, soothing comfort; then, as you come closer – AUM’s liberating flames consume you – and bring you to God”. There might be “no story and no dogma”, but, suddenly, it all makes sense.
A message to all listening: #DontjusttalkaboutitbeAboutIt. Jamal Moss aka Hieroglyphic Being invokes his JAI/MAHL alias with a message in the music. Reprogramming club consciousness with 4 transdimensional sonic incantations and rhythmic transgressions of the highest order.
The 105th record on Mathematics, freeform electronic artist Hieroglyphic Being aka Jamal Moss offers a selection of audio memoirs (Cosmic Bebop & Experimental House). ”The Language of Strings” features sonic madness, frequency enlightenment, & Hedonistic modulation.
For the first time since 2016, Jamal Moss has pitched up on Soul Jazz with a typically eccentric and mind-altering full-length excursion. As you’d expect, The Red Room is another triumph – an inspirational collection of otherworldly and melodious cuts that effortlessly combine elements from Moss’s many major inspirations. One minute, you’re wigging out to his jacking, piano-heavy fusion of gospel house and synth-jazz (“The Seduction Syndrome”), the next he’s laying down a chunk of deep space ambient with Terry Riley synthesizer cycles (“Awake and Energize”).
TV Showw is a new record label from Paris. Launching the label with an EP from one of Chicago’s most prolific and inventive electronic musicians : Jamal Moss a.k.a. Hieroglyphic Being or I.B.M., among others. JAI/MAHL is his fresh new alias especially created for this EP. The three tracks are made for the dancefloor (four-to-the-floor) while not diluting his signature oddity made of sonic textures and damaged rhythms. Moss calls his style ‘synth expressionism’ or ‘rhythmic cubism.’
Bio Rhythm returning to the mothership. Straight from Chicago Jamal Moss aka Hieroglyphic Being delivers two pieces of playful yet esoteric technosoul of the highest order. Enlightment. In the spiritual world all beings arrive as equals.
2017 marks 10 years of Lick My Deck and we are very excited to welcome one of Chicago’s finest and one of electronic music’s most singular visionary artists to the family: Jamal Moss aka Hieroglyphic Being. Jamal teams up with “The Truth Theory Trio” to deliver the “Materialized Psychism Of The Bottomless Void” EP. “Long Night Of Iboga” opens the EP and sees Jamal & The Trio create a DJ focused cut with unpredictable drum patterns, abstract melodies and psychedelic horns. A killer weapon for any seasoned selector. “Mystery Of The Changelings” is a mesmerizing 11 minute odyssey through magical harps, melancholic synths, and a piano riff that will stay with you long after listening. Truly music for the mind, body & soul. Praise be to The Sun God.
On ‘Azimuthal Equidistanta’ Jamal Moss aka Hieroglyphic Being & The Configurative Or Modular Me Trio serve up 3 tracks on limited colored vinyl. The title track is a jackin’ phaser workout, while ‘Discotic Compuserve’ is minimal bleep at it’s best and ‘How Far Back..’ is a contemplative lowbit riddim!
Two compositions, scored for trio: Papyrus is excursive and melancholic, with giveaway distorted kicks; the flip is more hard-hitting and propulsive, with an industrial intensity lifted by simple piano motifs.
Seriously strong Jamal Moss LP under his Hieroglyphic Being moniker. “The Disco’s Of Imhotep is about creating Frequencies and Vibrations for the Listener that are conducive for him or her to Heal The Mind and Body and Enrich the Soul by creating Hemi-Synced Harmonies and music that contains embedded Binaural Beats. We have been made to believe that electronic sounds are just for Movement, Enlightenment, Primal Afflictions and Entertainment purposes, but it’s much more… It’s Sound Healing, but the ancestors would call it Frequency Medicine. Medicine is Healing and this project is dedicated to one of Earth’s first Healers: High Priest Imhotep. The One who comes in Peace, is with Peace.”
Fresh out of the Midwest Keith Worthy (Detroit), Jamal Moss aka Hieroglyphic Being (Chicago) and Steven Tang (Chicago) bringing some of that notorious Midwest D.N.A. on this deep acid banger.
Jamal Moss doesn’t mess around. The legendary Chicagoan is impressively prolific, and seemingly able to knock out a new album or double EP in a matter of days, rather than weeks or months. Cosmic Bebop is his latest set of no-nonsense jack tracks; an eight-track assault on the senses forged from dusty old drum machines, occasional blasts of distant melody, and all manner of mind-altering special effects. It’s pretty much what you’d expect from Moss, and for the most part sits in the folder marked “box jams”. It’s a proper past perspective of works (1996-2014) from Jamal Moss of obscure experimental releases of unique analog sounds reissued other his other popular known alias.
Jamal Moss, aka Hieroglyphic Being, returns this time under the alias Africans with Mainframes. With fellow Chicagoan Noleian Reusse they have been releasing music under the name Africans with Mainframes for over 15 years now. The K.M.T. LP is the debut album from the group, a collage of apocalyptic Chicago acid meets industrial and transcendental post-house machine funk. Both intense and unique, the album of forward-thinking, experimental, boundary-pushing Afro-futurist electronic music shows why Hieroglyphic Being is regarded as one of the most serious purveyors of experimental electronic music today.
Anopolis are a collective of four Thessaloniki based producers (Dimitris Evagelopoulos aka DimDJ, Drum Machinee, Lowjac, Oldman Talkin’) coming together for their second release on Lower Parts. Three tracks of electro acid tinged techno with some serious drum machine tinkering. Also comes backed with an incredible Hieroglyphic Being remix.
Given the sprawl and epic that was the recent Principe Del Norte album from Prins Thomas, it is no surprise Smalltown Supersound have opted to think big for this subsequent remix 12″ series. Hieroglyphic Being kicks matters off with a pair of remixes of “D”, whose original 14 minutes made for one of the highlights of the album. In the hands of Jamal Moss, the track doesn’t transform into the corrosive monster you might expect though little of the original remains intact. The accompanying Beat Rework buries PT’s original krauty melodics deep below a killer barrage of drums and is our favourite of the two HB versions.