Ochelli Effect 10-27-2025 Erroneous Method

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Get ready for.

Speaker 2 (00:13):
October twenty seven, twenty twenty five, allegedly, according to that
thing we call a calendar, this the o'celli effect.

Speaker 3 (00:20):
You know that already because you found the show.

Speaker 2 (00:23):
Anyway, we are live here on a Monday or a Moonday,
but not usually. Now I push this particular discussion to
Monday because I got a lot of stuff going on
this week and I wanted to fit in a friend
who I just saw is releasing new music, so I
thought it would be a good time to get him
into the mix. And he'll definitely be different from the

(00:44):
rest of the material this week. And it's a good
thing because I don't want to talk about news every
single day. I don't want to talk about you know,
when I'm not talking news, I'm talking historical assassinations. So
you know, how about we talk about something that's creative
and interesting as opposed to history we need to revisit
and the current times, which I wish we weren't living in,

(01:08):
you know. So there we go anyway, doing this on
a Monday, And yeah, we went to stream late, but
that's because technology just wanted to revolt against me a
little bit today and teams is a pain in the ass.
So here we are anyway, erroneous method. Now, I'm gonna
give you the links in the show notes for his

(01:28):
social media and also where you can go to get
the new material, which has an interesting cover and interesting
title as well. And maybe I'll ask about the meaning
of that, because I see Venus and I start to
think about the esoteric aspects and the ethereal battle that

(01:49):
is indeed waging in front of us at all times,
you know, even though we are the flesh made or
dirt made, monkeys or whatever, enlightened by God, depending on
who you talk to, et cetera, et cetera. Sometimes it's
interesting to explore the esoteric. But then again, I might
be overthinking this as per usual.

Speaker 3 (02:09):
So let's hear from the man himself, Ironi's method. Man.
How you doing?

Speaker 2 (02:13):
Are you doing the podcast anymore? I mean, first of all,
how you doing tonight? But what's been up with you
since the last time we talked?

Speaker 1 (02:26):
Well, it's great to be here. As always, I love
chatting with you.

Speaker 4 (02:29):
We always get into some in depth stuff and that's great.

Speaker 1 (02:33):
I see that.

Speaker 4 (02:36):
Yeah, So the podcast is kind of on hiatus. It's
one of those technocracy things, right, They did this whole
podcast the dead End thing over at Spotify again, where
they knuked a bunch of people's accounts and made it
real hard to get back into them because of two
and three factor authentication.

Speaker 1 (02:53):
So I'm currently battling.

Speaker 4 (02:54):
With Spotify to get my account back and get Shut
Up Jeweled back on the air. And when we do
come back, I'm gonna have a large list of guests
that have been lining.

Speaker 1 (03:01):
Up to come on the show. So I'm excited to, like,
hopefully one day, get back into that.

Speaker 4 (03:07):
The other thing is, you know, this new album I've
been working on has taken three years because I've made
every piece of this from scratch myself. I even recorded
the whole thing myself. I didn't have an attack or anything.
I was literally hitting the record button myself. So it's
a different kind of piece of work, and you are

(03:27):
right to call out the set nature of it, and
we can get into that a little bit as we go.
All my albums have kind of a planetary body theme,
so you know, it kind of sends a certain message
for each each one.

Speaker 1 (03:42):
But we've talked about that a little more excellent.

Speaker 3 (03:44):
So what you're telling me is, do you.

Speaker 1 (03:47):
Have any specific questions.

Speaker 3 (03:49):
Yeah. Absolutely.

Speaker 2 (03:50):
What you're telling me so far is that you did
this without the benefit of a whole lot of AI slop,
Because I mean, people are pumping out music now, and
I'm not going to call out any names, but people
that I thought were, you know, working in the organic
world and we're old school musicians at a certain point,

(04:10):
some of them have turned to the AI now and
have gone all in where it's like, hey, you know what.
I was kind of nervous about this, but hey, it's
kind of fun and I get it because I've even.

Speaker 3 (04:21):
Played with it a little lately and created a little bit.

Speaker 2 (04:23):
Of music, you know, just because I don't have a
full band, I mean, and I'm just a bass player
slash vocalist, so what am I supposed to do. I
don't have drums even anymore.

Speaker 3 (04:34):
Nothing.

Speaker 2 (04:35):
So I generated a few things with AI, but then
I said, you know what, let's get back to literally
doing the work ourselves at least and put together a
few pieces. I'm still working on them, and I'm just
doing stuff that's going to be on the show for
like ten seconds, you know. I just but I wanted
to be authentic. So what you're telling me is you

(04:55):
actually sat there and did this entire thing on your own,
which is great to hear, first of all, because it
means it's literally your creation. So even if it fails
and it's terrible, it's like, you know what, that's my disaster.
You know, you can't blame the AI or you can't
you know what I'm saying. It's not like, oh I

(05:15):
didn't know how to operate the prompts, et cetera. You know.
So I mean, I'm not saying it's a disaster. By
the way, I've listened to a few pieces, and we're
going to listen to a piece tonight. But what about
that planetary body theme? If you don't mind, let's go
there first, because I mean, you just try.

Speaker 3 (05:34):
To remain within the milky Way.

Speaker 2 (05:36):
Or do you want to go past this particular patch
in the universe?

Speaker 3 (05:40):
Tell me.

Speaker 4 (05:43):
At this point, I kind of started this my professional
albums right with the album Jupiter, and it's kind of
I did a you know, a Star Wars type thing
where I went out of order. And the idea is
that when they're done, you're going to go back and
allays say to them in order of the planetary bodies
from first to ninth right, and it's going to tell

(06:06):
a Cohes's story from beginning to add and mostly so
it's taken a lot of work to kind of weave.

Speaker 1 (06:14):
In and out.

Speaker 4 (06:16):
The last few albums have been a personal series, so
I've been doing an extremely introspective look at myself and
what I've been through. So this current album, Venus, it
starts at the end of the pandemic, kind of coming
out of that emersion from that where my head was

(06:37):
at how scrambled I felt as a human being, all
the things I had been researching and studying, So it
kind of comes in with this pulp noir theme. And
as always in the Erroneous Method world, we're in a
dystopian science fiction landscape set just slightly in the near
future from us. So it's supposed to be kind of
like a reflective world of our own, a little darker,

(07:01):
and it's also supposed to emerge my own personal struggles.
And that's what I set out with this album to
make a blues album.

Speaker 1 (07:09):
And I made three or four blues.

Speaker 4 (07:11):
Songs, and I only two of them naturally made it
onto the album because it just didn't fit the theme of
where it started to go with you know, no matter what,
I always end up gravitating back to rap, which.

Speaker 1 (07:24):
I wish I didn't have to.

Speaker 4 (07:25):
I wish I could have stated that I wish I
could do other things. But the more I get away
from rap, the more I'm like, it just pulls me
right back in.

Speaker 3 (07:33):
See.

Speaker 2 (07:33):
This is interesting to me because you've gone through a
dynamic here. You haven't been entirely comfortable in your own
world personally for a bit. I'm not going to dig
too deep, but I'm going to say that you know,
you went through some challenges. Losing everything definitely creates a
different perspective. You know, when you end up, you know,

(07:54):
kind of face down for a minute, it gets you
to have to pick yourself back up. And that less
in and of itself is you know what, one of
the most common themes in music anyway, whether people are
doing instrumentals or they're writing lyrics, they've often related about
a struggle.

Speaker 3 (08:11):
That's usually the big thing here.

Speaker 2 (08:13):
You know, there's no movie without a conflict, there's no song.

Speaker 3 (08:17):
Without a struggle.

Speaker 2 (08:18):
Usually that's the way I see it anyway, at least
that's the stuff that has a soul, and you know
your soul has been through some challenges in the past decade,
you know.

Speaker 3 (08:30):
Like the rest of us. True, but also you had
personal stuff.

Speaker 2 (08:35):
There's been personal stuff superimposed on top of that. You know,
so you are in the collective, you know, trained record
reality that we're all in right now, but also on
top of it, you know, you lost a lot. You
kind of had plans, and the universe told you exactly
what you could do with your plans, you know, just

(08:57):
like it's done to me at various points here.

Speaker 1 (08:59):
I mean, yeah, you.

Speaker 2 (09:01):
Know, I've been on this journey doing this show for
thirteen years. Yeah, thirteen years of this and you know,
thinking about it, it's pretty crazy because I mean it
started out as just an.

Speaker 3 (09:12):
Idea that I, you know, barely knew how to do.

Speaker 2 (09:16):
And I've been on you know, various platforms, I've been
with different networks. I've done it, and the funny thing
is the show has kind of remained still at its
core what it was to begin with, despite the fact
that the whole world has sort of remade itself in a.

Speaker 3 (09:33):
Different form. I mean, if you told me that I.

Speaker 2 (09:36):
Was going to be staring at, you know, the second
non consecutive term of Donald Trump with a country that's
really heavily divided as it is.

Speaker 3 (09:46):
You know, ten years.

Speaker 2 (09:47):
Ago, I would have said, dude, you got to pass
that joint. You know, you can't sit there with it
all day, That's what I would have said, because you
would have been smoking a little too hard.

Speaker 3 (09:58):
I would have thought.

Speaker 2 (09:59):
But here we are, you know, and that's just the politics.
That's not even the rest of the strange you know,
psychosocial dynamic that we're dealing with here, which is another
part of the reality. Right people aren't even interacting with
each other the way that they did ten years ago.
So you know the fact that you're constructing this universe

(10:21):
where we're gonna go, you know, out of order, but
eventually it's gonna come together makes perfect sense to me.
Like you have to make everything in a pulp fiction
style order at this.

Speaker 3 (10:33):
Point, literally, like that movie, the fact that it.

Speaker 2 (10:36):
Was you know, not in its correct timeline, you know, chronologically.
You have to make things that way because that's the
way the world actually is functioning at this point, between
the nostalgia porn and the uh yeah, yeah.

Speaker 3 (10:53):
Go ahead to talk about that a little more, please, Oh.

Speaker 1 (10:58):
Sorry, no, yeah, yeah, you're nailing it. Yeah, you know,
I had a kind of.

Speaker 4 (11:03):
An affinity when I was younger for Tarantino, and now
that I'm older, I really don't like that kind of
like subjective violence. But what I do like is his
ability to kind of yes, take in choose the dynamic
order of things, and like this album that flows in
one direction right up until the second to last track,

(11:23):
and then you get almost a flashback to my younger self.
So the idea that yeah, we're going to go mostly
in order, but every once in a while you're gonna
get thrown off with a memory, thought.

Speaker 1 (11:36):
A smell, a trigger of this.

Speaker 4 (11:43):
And of course the next albums anna to get the
whole time element to it. So yeah, like, for instance,
you talked about the struggle, right, Like, there's this song
I have on the album called Jerry.

Speaker 1 (11:57):
Lewis Okay, And it's.

Speaker 4 (12:00):
Probabably on the surface the funnest like Club Rappie by
of all the album. It does not seem like a
very depressing song, but underneath chorus.

Speaker 1 (12:13):
Goes like I'm talking about how like it comes.

Speaker 4 (12:19):
From a movie that group line called Artists and Rodel's,
which is Jerry Lewis and Dean Martin, right, and I
stay in the chorus tough times, but I'm a beewater
and flow right through it.

Speaker 1 (12:35):
I talk about, you know, I'm not being Dean Martin
turning my Deans into steak because I'm Jerry Lewis.

Speaker 4 (12:44):
So the idea is from that movie, because like there's
this kind of comedic bit about how Jerry Lewis is
pretending that he's eating a steak, you know, like imagining that,
you know, and all they have on their plate is
this one bean and they're trying to pretend it's a steak,
and Dean Martin is not playing along.

Speaker 1 (13:02):
He just refuses to.

Speaker 4 (13:07):
Kind kind of do this exercise with Terry Lewis, and
he goes to the other room and he goes the
sleep tells him how badly the sty it has booked
him to the window and lands on Jerry Lewis's play.
And the idea is like manifestation, right, like conjuring up
what you want out of life. Pretend you're one bean
is a steak hard enough and maybe you'll get one.

(13:29):
And I wrote this in the middle of a flood.

Speaker 1 (13:32):
I was living in a storage unit. I was sitting
on top of my boxes and things.

Speaker 4 (13:40):
Because my cot had been so there was a flash flood.
There was about four inches four inches to four feet
of water throughout the process of the flood on the ground,
just destroying all of my stuff. And so I come
back to that theme multiple times of turning my beans
into steak in the album. And it's just a throwaway
line that you would never understand. It's like literally for

(14:02):
me and me.

Speaker 1 (14:02):
Alone, you know what I mean.

Speaker 4 (14:04):
It's this metaphor that unless I tell you the story
right now, you're not gonna do it.

Speaker 3 (14:08):
Well, you know, it's you know what's weird?

Speaker 2 (14:11):
I was, Yeah, let me let me interrupt you, because
what's really strange is that you are throwing me back
to something I saw as a little kid, which was
a Disney uh movie, and I don't remember which one
it was, but the characters like Donald Duck and Mickey
Mouse are literally dealing with a bean that they're trying

(14:33):
to slice into slices to share amongst each other, right, And.

Speaker 1 (14:39):
Like I'm thinking about you're talking about you, yeah, and.

Speaker 2 (14:43):
I'm thinking to myself, that reminds me quite a bit
about what it is, you know, I saw back then,
but it is metaphorically what we're dealing with right now.

Speaker 3 (14:53):
I mean, if you think about it, the high food.

Speaker 2 (14:55):
Prices and all this stuff, where you know, quite honestly,
it's getting harder and hard or to sort of just survive.
And even the crab food that we used to be
able to buy cheap is no longer cheap. So you know,
literally you wind up sitting there with friends or family
trying to cut up and divide amongst you something that
not too long ago would have been a side dish,

(15:17):
you know what I mean. It's like we've actually had
to adjust our expectations with our reality directly, and that
in and of itself is something that needs to be
memorialized at this time. And frankly, I'm not seeing artists
do that. You know, they're actually drawing into.

Speaker 3 (15:38):
Their own egos.

Speaker 2 (15:39):
Yeah, they're drawing into their own egos and not even
recognizing the thing that's forming their particular viewpoint on this
point in history. So we're getting almost nothing being memorialized
by comedians. A lot of comedians just suck right now.
I mean, they're they're terrible. I don't understand, you know,

(16:00):
Like I saw this recent thing with what is his name,
Tony Pepperoni, you know, became a viral guy for a minute, right,
and he's like terrible, He's doing a terrible Italian accent.
He's like this complete disaster as a comedian, and yet
he's probably one of the funniest things in existence right now,
you know. I mean, I'm looking at some of these

(16:22):
comedians outside of some of the best of the best,
like like Dave Chappelle is still funny. He knows how
to tell a story. But mostly nobody is telling the
story of now, you know, not the news, not the artists.
It's just it's sort of like people are just trying
to survive through this and they're not generating the images.

(16:44):
They're letting AI do it. They're letting their phones record everything,
and they're not creating a representation of what they're experiencing
in this particular time period. It's like this complete laziness
artistically out there. So what I'm saying to you is,
I'm impressed that you're even putting this thought process into
your work, because nobody.

Speaker 3 (17:06):
Is at this point.

Speaker 2 (17:07):
It looks like to me, it's sort of like they've
abandoned the work of actually generating a piece of art.
And I mean, it's across the board. I could talk
about the movies and how they suck because they're just
rebooting everything. I mean literally, they just put out another
series on John Wayne Gacy and you know, one of

(17:29):
them's a drama, one of them's a documentary. The same
network put it out, put the money on it, and
everything else, and they literally gave it the same title.

Speaker 3 (17:37):
That's how lazy everything is.

Speaker 2 (17:40):
And meanwhile, you know, Milania Trump gets forty million dollars
so that they can make a documentary about her, But
nobody is creating a piece of art to take a
snapshot of anything except what her.

Speaker 3 (17:53):
You know, like, it's really weird out there for real
reason for that, God tell me about it.

Speaker 4 (17:58):
You know. Well, here's my thing. I think you have
two factors. You have the twenty four hour news cycle.
People are afraid to comment on what is happening right
now because they are afraid it will be a no
name story in a year. One two the ego death.

(18:18):
Your artists today are egocentric. They've never bothered to kill
their ego. They've never gone introspective, and they've never bothered
to explore the world around them. First, you have to
visit yourself. Then you can visit your community, then your state, then.

Speaker 1 (18:34):
The world at large.

Speaker 4 (18:35):
But if you don't do it in that order, you're
going to screw yourself out of any kind of true
relevance as a human being. You aren't an individual at
that point. I don't know that's that's too strong of
an idea, but that's how I feel, you know. And
as an artist like I try and like this has
taken three years because I'd put out a song and

(18:56):
then i'd sit on it and i'd smell it, and
i'd listen to it, and i'd explored it, and as
I hit that point where I went yay or nay,
you know, sometimes a few months later it didn't feel
right anymore. And for the first time in recording anything,
I burned tracks. I've never done that. Everything's always gone

(19:18):
on an album. I create it and it goes on
the album.

Speaker 1 (19:21):
This time, about half of what I created disappeared.

Speaker 2 (19:26):
See, and you ought to just create it as bonus
content for a later project, you know what I mean,
put it aside.

Speaker 1 (19:32):
It's out there. Yeah.

Speaker 2 (19:34):
And because I'll be honest with you, is after people,
if they get into what it is you're doing now
and you get back to the podcast, you'll still need
more content, you know what I mean, Like it is
endless as to how much content you can dump into
these things anymore. And I figured that out because, uh,
you know, I did over two thousand podcasts and I
thought that was impressive.

Speaker 3 (19:55):
Nobody cares, you know.

Speaker 2 (19:58):
Like I got this huge library. Nobody cares, you know,
what did you do this week? You know, like they're
really not there's no preservation, there's no Like I said,
it's it's almost like we have really accelerated into the
disposable nature of all things, where nothing is retainable for

(20:20):
very long at all, you know. And you mentioned the
twenty four hour news cycle. That's part of it, but
realistically that's more about that's what the audience is demanding.
And it's because of this shift among the audience. I
don't blame the even the corporate media for doing it,
because they're only going to deliver what they can profit from.
They're only going to deliver what that waiting audience wants.

(20:42):
And I blame the audience. Now at this point, you know,
the reason why the rappers are lazy is because the
audience accepts it. The reason why the comedy sucks is
because they're still buying tickets.

Speaker 3 (20:53):
You know what I'm saying.

Speaker 2 (20:54):
It's just the reason why you know, Rogan continues to
you know, still remain in the top five of the
podcast is because laziness is okay with the audience.

Speaker 3 (21:06):
You know, they want to watch you flounder. They want
to watch the thing.

Speaker 1 (21:10):
You know, you're running up a really good point right now, go.

Speaker 2 (21:14):
Ahead, Yeah, I mean this is the conversation we're having.

Speaker 3 (21:17):
I love this, Please go ahead.

Speaker 1 (21:21):
Yeah.

Speaker 4 (21:21):
No, when it comes to guys like Joe Rogan, right now,
we've watched him get lazier and lazier with his presentation.
At one point he talked to the most important and
influential movers, shakers and people with original ideas, and now
he speaks to his two hundred and fifty comedy assassins lazily.
I might add, it's kind of sad to watch podcasting

(21:45):
in general go from the idea of.

Speaker 1 (21:48):
People in their basements doing this because they genuinely loved
journalism and getting to the bottom of the nature of
our reality, the nature of now here, the police that
we live in, and trying to figure that out and
turn it into an industry.

Speaker 3 (22:06):
Yeah, and now.

Speaker 1 (22:07):
It's funny that's making money or anything.

Speaker 2 (22:10):
No, listen, there's nothing wrong with that. But it is
a strange space we're in where Don Lemon leaves the
you know, the corporate media world all right, where he
had a you know, a look a decidedly you know,
cookie cutter sort of job. Every single day he did
the same thing and he was getting paid well for it.

(22:31):
He leaves that industry and then becomes an industry onto himself.
You know, you or I can't step into that world
and do that, right, We can't you know, create the
Lemonheads and you know, become Lemon World or whatever it
is he's doing over there. Even without the blessing of
Elon Musk, right, he's still a thing onto himself. And

(22:52):
I mean it's not even about the left wing, because
Tucker Carlson did the same damn thing right where he
just and not only did he become an entity onto
himself and an industry onto himself, he turned around and
also was like, oh, also, I'm going to snatch up
some of that credibility from all you people that have

(23:12):
been outside of the mainstream. And he became like a
hero to these people who were standing by truly independent
stuff for years and years they suddenly were like, oh no,
Tucker's okay, you know, and it's like wow, like how
did we get here? You know where you know, Elon

(23:32):
Musk's Elon Musk buys Twitter and now it's an all
in one platform. Alex Jones has two channels on there.
Right constantly, I'm getting Alex Jones pushed at me.

Speaker 3 (23:43):
On my algorithm. I don't know about everybody else, but
I mean, like that's it.

Speaker 2 (23:48):
Now you can exist on Twitter as an entity, and
that in and of itself, if you have the proper
blessing from the from the technocracy, you aughtundically have an
industry onto yourself.

Speaker 3 (24:03):
So I mean that is a whole.

Speaker 2 (24:05):
Different world from what I stepped into, you know in
the early twenty t you know, before the twenty teens really,
but like as the twenty teen started, right, uh, that's
a whole other world from where we were at there.
You know, back then, we were still the laughable part
of the media, podcasting and stuff, you know, online broadcasting.

Speaker 3 (24:27):
What is this? Oh, that's what people.

Speaker 2 (24:28):
Do when they're you know, when they live at home
in their basement with their mom, you know. And it's like,
well I don't but okay, fine, you know, like we
were the laughable ones, and now those people that used
to laugh at us are doing it and are doing it,
you know, to the tunes of millions of dollars.

Speaker 3 (24:46):
I mean, I was shocked.

Speaker 2 (24:47):
When you know, that Russian money scandal happened and it
was like, oh, gee, you realize you're being paid by
the Russian government, and it's like I didn't notice, well, yeah,
but they gave you one hundred and fifty thousand dollars
to do a podcast.

Speaker 3 (24:59):
Well, I'll give it back. I didn't really notice what.

Speaker 2 (25:03):
Kind of a you know, a money generating operation you
have where one hundred and fifty thousand dollars isn't even
a blip in your own head, in your you know,
supposedly independent organization. I mean again, I'm not calling out
names here. I'm just trying to say we are definitely,
you know, we're definitely no longer in Kansas, Toto, because

(25:26):
this is not this is not what the world that
I entered into, you know, and it's strange. It's very
very strange. And you notice most of the you know,
survivors from that period that we're doing it are no
longer here. You know what I mean, they're gone one
way or another. Uh, But you have Kansas Owens, you

(25:47):
have the Charlie Kirk thing, which you know, I don't
know if you want to say anything about that or not,
but I mean to me, it was sort of like, yeah, okay,
he's one of the right wing influencers. There are left
wing influencers. They all have a similar sort of mo
except that you know, Charlie Kirk was sitting there and

(26:07):
a text came out recently, it was a leaked thing,
and Candice Owens put it out where he's like, well,
you know, since I lost a two million dollar backer,
maybe I'll change my opinion on Israel on my podcast.
And it's like nobody stops to even say, wait a minute.
What you're telling me is there's a pay for play
situation in podcasting where you know, oh, well, among my backers,

(26:31):
I lost a two million dollar backer.

Speaker 3 (26:35):
Wow.

Speaker 2 (26:36):
I mean, I didn't realize that guy was even that important.
I knew he was a Trump guy and he was,
you know, part of the new young people whatever, but
I didn't even realize Charlie Kirk was that important until
he was dead, you know, and then that hyper reality
happened and it was almost like a WWE event.

Speaker 4 (26:52):
Good yeah, oh sorry, yeah, No. Unfortunately he was playing
hard and loose for a long time.

Speaker 1 (27:04):
And that's most of these guys.

Speaker 4 (27:05):
I don't think a lot of them have much integrity.
Not saying that, like from what I've seen of him,
he had all the right talking points, but we've seen
what happened on the back end.

Speaker 1 (27:21):
Right, And.

Speaker 4 (27:23):
The whole Israel thing is very interesting. It's very interesting
what you can and cannot say.

Speaker 1 (27:30):
That's all out. You really want to comment on.

Speaker 4 (27:33):
Kandace and Tucker joining for courses, turning point, basically turning their.

Speaker 1 (27:39):
Backs on Tucker Candace. It's very interesting. The whole thing.
You know what I always.

Speaker 4 (27:46):
Say, Chuck, and I've said it before on your show,
is follow the money.

Speaker 5 (27:53):
Right.

Speaker 2 (27:56):
Well, I'll tell you what we're going to do now
is we're going to take a little break from talking
because we've gone in a lot of wild directions here,
and I want to take a listen actually to the
title track if you don't mind, and we'll all.

Speaker 3 (28:09):
Listen to it together.

Speaker 2 (28:11):
I'll leave the microphones open so everybody can hear this
and you and I can listen together for a little bit.
Should I start at the beginning of the track venus
or you want me to skip? Or or should I
just roll it?

Speaker 3 (28:27):
Sure?

Speaker 1 (28:28):
Just yeah, just roll it, go for it?

Speaker 2 (28:31):
All right, let's do that and take a listen to
the title track.

Speaker 6 (28:34):
Now.

Speaker 2 (28:35):
I don't know how significant the title track is, but
is there anything you want to tell us about it?

Speaker 3 (28:39):
Before we just turn it on?

Speaker 7 (28:47):
I can just hit play, okay.

Speaker 6 (29:38):
Possibly the ashes the feeds the bloss on the ashes,
with bloss from the ashes, from the ashes, its supplass
from the ashes, stain, its supplies from the ashes, surpass

(30:00):
the ash for the ashes for the ashes.

Speaker 8 (30:07):
He has arisen, He has a risen. He is a
resonant coming after you passed us. They tried to mask us. Yeah,
they tried to see the last of us. See, they
thought they'd see the last of us. When we're back
demanding justice with a French pist from the dominant risk

(30:28):
all my freedom, love.

Speaker 1 (30:29):
And fellow man can get with this?

Speaker 3 (30:31):
Who can spit at eloquent as slog of a list which.

Speaker 8 (30:35):
Is nineteen eighty four And like Roden might have said,
you know I'm on the list.

Speaker 3 (30:39):
You know I'm on the list.

Speaker 1 (30:41):
We ain't falling for this CGC grift.

Speaker 3 (30:44):
We ain't falling for.

Speaker 1 (30:45):
This carbon scam. Drift understand the reader. People are pissed
January sixth was not in that selection.

Speaker 3 (30:52):
Why can't people have a legitimate concern.

Speaker 1 (30:54):
About the course of an election.

Speaker 2 (30:56):
Why can't we have a use of agreement with.

Speaker 1 (30:59):
A government that acts like a cancer or an infection.
Y'all need to look at governance, take close abstraction. But
y'all just trying to blop. Not ready to miss.

Speaker 3 (31:21):
Now.

Speaker 2 (31:21):
I'm gonna pausess for a sec because I'm listening to
it and it's it's it's wild, man, because I didn't
expect to hear the politics, and we got some politics
in here, but I don't think they're there for the
sake of the politics. I think you're talking about the
psychology here of what it is we're witnessing, and back

(31:42):
to what we were talking about regarding the communication, at
least that's what I'm hearing. And also the music itself.
The fact that it's kind of disconnected makes perfect sense
to me because it clearly demonstrates the background noise that

(32:03):
we're all dealing with, you know, whether it's the electronic
hum like I noticed when the lights went out in
my city for a little bit, and it was a widespread,
sort of just power outage, and I think a lot
of people were sort of shocked by the fact that
there was such thing as silence all of a sudden,
you know what I mean. And I feel like the
whole world is like that, where there's a constant noise,

(32:25):
there's a constant static, and you're representing it here with
the way that the beat and even the key that
I'm not sure which instrument that is, but it's like
an electronic instrument version of something else that should be
a memory. It almost feels like a memory of an instrument,
you know, kind of echoing through this.

Speaker 3 (32:45):
While you're speaking.

Speaker 2 (32:47):
And so I find this, Yeah good.

Speaker 1 (32:56):
It's a synthesizer. It's a very old synthesizer. It's called
a mood boog.

Speaker 4 (33:01):
But what I did was I used an electronic emulator
to recreate it, because it would have cost me thousands
and thousands of dollars to actually buy one, right.

Speaker 2 (33:13):
But like I said, it sounds like a digital capture
of an old memory, so perfect, that's exactly what it is.
But let me play, let me play some more of
the track. But I just wanted to give that impression
real quick, because it also reminds me of that that
track you gave me a while ago, Redneck Cherokee, which
I do play little snippets of, you know, during my

(33:35):
breaks and stuff as a transition, and uh, it's it
reminds me of that, by the way. But anyway, let's
let's go back to this one. It's still playing the
track Venus from Erroneous Method And like I said, I
just wanted to pause it per commentary, and this way
nobody can just cut it out and use it as
a song. Like you know, go buy the song. I'll

(33:56):
give you the link afterwards if you want it. Uh,
but you know, it's just interesting to me. Anyways, Let's
see what else we got on here?

Speaker 1 (34:05):
So fast from the.

Speaker 6 (34:07):
Ashes, the phoenix, so vast from the ysh.

Speaker 4 (34:12):
The feedings, so vas from the ashes, from.

Speaker 6 (34:16):
The ashes, from the ash, taking off the glasses.

Speaker 1 (34:22):
We've all been graywashed by the glasses. They lived because
you brought into the ads.

Speaker 4 (34:27):
Kids don't need to add live the workplace still mad
this calling me conservative, That's when I really start scaring them.
When I blast off into the stratus means saying I'm
a libertarian.

Speaker 1 (34:40):
I got thoughts and beliefs, but I'm too old to
be married to that. In the end, we all grow
and change.

Speaker 8 (34:47):
Hopefully we ascend instead of descend like the Jews did.

Speaker 4 (34:51):
From shem downtown, Canada, digg was getting bad.

Speaker 1 (34:54):
I just passed the crackhead hit in a stem.

Speaker 8 (34:57):
The town board likes to pretend says every things all right,
They just have some bandages they need to give men.

Speaker 3 (35:04):
But it's more like.

Speaker 1 (35:04):
A gaping wound that will close again.

Speaker 3 (35:15):
See.

Speaker 2 (35:15):
I think it's appropriate that it fades out like that too,
you know, like that's exactly what it should do. But
it's really sort of a disconnected piece, like you know, uh,
it's like it's not meant to be hard driven to
the current, you know what I mean. It's it feels
like a memory of a song as opposed to a song,

(35:38):
which is, you know, probably probably the strangest description you're
gonna get from somebody first impression on it, thank you.

Speaker 3 (35:45):
But that's that's the thing though.

Speaker 2 (35:48):
Look, you know me, I'll just blurt it out and
give you the you know, the most honest thought that
I've got in my head best I can.

Speaker 3 (35:57):
Uh. I like it.

Speaker 2 (35:58):
It is it is different, though, man, I did not
expect that from you, just saying, even though it does
remind me of that redneck Cherokee thing, and I might
play that before we're done tonight. But anyway, so this
is there a reason why this is the title track.

Speaker 4 (36:21):
I started the project again three years ago and we
were still in a bided.

Speaker 9 (36:29):
Administration and things were very confusing still, and I do
want to loose up in arms, you know what I mean,
at each other's throats.

Speaker 4 (36:45):
The way I've never seen politics in America. I could
not even express to.

Speaker 1 (36:53):
People my own.

Speaker 4 (36:55):
You know, hey, guys, I don't believe in your red
or your blues.

Speaker 3 (37:00):
That is.

Speaker 4 (37:02):
My own ideas, and people don't like that when you
don't play a team, you know. I was beginning to
understand the very professional sports nature of politics, and having
gone through my own political podcast for so many years,
I grew very disconnected with the kind of interviews I
was getting, even out of the people that I kind

(37:23):
of admired.

Speaker 1 (37:25):
So the title track, it starts off the album.

Speaker 4 (37:29):
It's supposed to start off the album in this kind
of getting you in the idea of questioning, and then
we're going to slide into some very personal stuff throughout
the rest of the album, and it just kind of
slacks downhill in tone and pacing.

Speaker 1 (37:48):
Wow, all right, it starts slow, it hits quick, and
then moves very slow for the rest of the album.

Speaker 3 (37:54):
All right, So here's what we're gonna do.

Speaker 2 (37:56):
We're gonna take a quick break here and I'm going
to try and straighten out a little technical issue. But
during the break, we're gonna also play Redneck Cherokee and
you know which is another track by Erroneous Method. Now
I don't usually play the whole track, but I might
let the whole track run during the break, or at
least a good portion of it during the break.

Speaker 3 (38:18):
But so you guys will hear that as well on
here if you stay tuned during the break.

Speaker 2 (38:23):
And I'm gonna try and improve our our quality sound
wise just while I'm doing that, So stick around, you'll
Chilli Effect with the Erroneous Method will return for another
maybe twenty minutes here on this particular Monday night. But
of course, if you're hearing the podcast, who the hell
knows what day it is, and anyway, on any given day,

(38:44):
who the hell knows what day it is. Stick around,
we'll be back.

Speaker 10 (38:56):
Oh Chili dot com.

Speaker 4 (39:13):
La La.

Speaker 8 (39:45):
La La.

Speaker 6 (39:55):
Turn.

Speaker 10 (40:14):
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(40:35):
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Speaker 1 (40:57):
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Speaker 6 (40:58):
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Speaker 3 (41:01):
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(41:26):
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(41:48):
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Speaker 2 (42:00):
Through conversations, soon I discovered that this rock thing was true.

Speaker 12 (42:06):
Jerry Lee Lewis's The Devil Jesus was an architect previous
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Speaker 1 (42:25):
Go ahead, call it the truth about the Jay of
Hay assassination.

Speaker 3 (42:28):
Right, Well, what do you want to know?

Speaker 4 (42:30):
Judy Baker's wild claim Oswald girlfriends he knew Ruby and
Barry cancer weapons.

Speaker 2 (42:35):
Really, I imagine I could claim I have four wheels.

Speaker 3 (42:37):
It doesn't make me a wagon.

Speaker 9 (42:38):
But okay, Oswald was on the building and trying to
prevent the murder of John Kennedy.

Speaker 1 (42:42):
Come on, now, has a.

Speaker 11 (42:43):
Real effort on the day of Hay assassinationlaim.

Speaker 2 (42:47):
Go to Amazon dot com enter Judith Baker in her
own words, you'll get the results for a digital copy
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(43:07):
signed if you request it by contacting doctor Brown at
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It's a fun book and it actually dissects the many
many fantastic claims Judith very Baker in her own words,
thank you.

Speaker 1 (43:22):
For all the great information.

Speaker 12 (43:26):
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Speaker 1 (43:47):
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Speaker 5 (43:50):
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(44:24):
by callers school.

Speaker 2 (44:25):
Is there anyone else who happens to get on the
air at OLLI dot com do not necessarily reply the
views of dot com or chef, and we are not
responsible for any stupidity which might issue.

Speaker 4 (44:33):
Thank you ready, get ready for.

Speaker 2 (44:46):
All right, second segment of the Ocelli Effect Here on
a Monday and erroneous method is with me. We've gotten
a little bit deep on uh some of his stuff.
Played the title track from his latest album, Venus.

Speaker 3 (44:59):
And uh three year long well.

Speaker 2 (45:03):
Labor in order to produce something that he actually produced
and didn't just you know, spit into an AI generator
and say, okay, manufacture a clone of something that would
be music for me, you know, unlike a lot of
other people that are doing that nowadays.

Speaker 3 (45:23):
It is what it is.

Speaker 2 (45:24):
And say, before we forget, tell everybody where they can
get the new album, how they can reach out to
you all that good stuff, if you don't mind, because
we didn't even get to any of that in the
whole first half of the show here.

Speaker 3 (45:42):
Tom, Sorry, you might have to unmute.

Speaker 4 (45:43):
Yeah, so you can purchase the new album everywhere music.

Speaker 3 (45:53):
Yeah, I got you go ahead, all right, So.

Speaker 4 (46:01):
You can purchase the new album anywhere. I mean that
they sum ten thirty one. I prefer if you go
to Spotify and give give me a follow, because I
think they're doing some funky things over at Spotify, and
I kind of want to experiment with how many people
I can get to go funnel to that particular site

(46:24):
for this album drop. However, you can't buy it on Apple,
I Tunes, Dun's dzer Pandora Radio anywhere needs to sold.
One word at Instagram or on x I'm very responsive
to people. I love to have conversations, So if you

(46:44):
want to talk about politics or anything like this, hit
me up.

Speaker 3 (46:49):
Excellent. So you sent me some other stuff.

Speaker 2 (46:53):
I don't know if I want to dig into it anymore,
to play anymore right now, but this is fast because
it's very personal. But at the same time, you have
the running concept. How many how many more pieces before
your your you know, your your entire saga here is
going to be complete? How many more albums does Erroneous

(47:16):
Method have coming for this saga?

Speaker 4 (47:25):
Well, for this particular series, I'm going to full albums
and possibly more because I started a thing with the
second album called Orion, so that expands into kind of
these consolation.

Speaker 1 (47:40):
Albums, which are like offshoots from.

Speaker 4 (47:42):
The Planetary Body set, and each one of those explores
a different specific BPM and a different instrument that I
layer throughout the entire album, like for instance, Orion was
nylon strings and it was set to ninety bpms, so
each one is very specific and kind of nerdy.

Speaker 1 (48:04):
Not to geek out too much, but so.

Speaker 4 (48:07):
Yeah, yeah, there's should nine elbums in this first set,
but we'll see how it goes to where it goes
from there.

Speaker 1 (48:16):
I don't ever plan to stop making music, so we'll
see where it goes.

Speaker 3 (48:21):
Right, I got you.

Speaker 2 (48:22):
Look, I'm not saying it'll be the end, but it
could be the end of this project if you complete it,
and then who knows what the next project might be.

Speaker 3 (48:30):
You know again, though, you.

Speaker 2 (48:32):
Know, some things start out like like Star Wars. You mentioned,
you know, what did Lucas do? He was pissed he
couldn't remake Flash Gordon, so so he created Star Wars
And the next thing, you know is there's a universe, right,
and a totally different story was made out of Star Trek. Now,

(48:52):
I'm one of those weirdos that does appreciate both, but
I think I'm more of a Star Trek guy because
it's just even weirder to me that there's this whole
imagined future and interconnected reality that's been going on now
for you know.

Speaker 3 (49:08):
Over over a half a century.

Speaker 2 (49:11):
Uh you know, so I appreciate that even though I
was alive when Star Wars happened, and even the first
time I saw it was on a drive in movie screen,
so you know, this thing that was the size of
a house was the size of you know, what was
being projected there. So when that first you know, Superstar

(49:32):
Destroyer rolled across the screen, uh, the.

Speaker 3 (49:35):
Damn thing was bigger than a bus. You know.

Speaker 2 (49:37):
To me, which size does matter, I gotta tell you.
And you know, the sound might have sucked because we
had those metal speakers and all that, but but it
was something man to watch that universe happen, and even
like Star Trek kind of you know, I mean, yeah,
it happened before I was born, the first series, but

(49:59):
then the movie became something and a new series happened,
and ever after the writers have interconnected this whole thing
so that there is a universe onto itself, an alternate
reality that is the Star Trek reality, you know, in
our future, allegedly, even though they've had to adjust stuff,
you know, like the Eugenics Wars. But stay tuned, we

(50:21):
might get there, just on a different part of the timeline,
you know, sci fi and the creation of art and
things like this. It's all very interesting to me because
it's simultaneously reflective and predictive. And I'm telling you, not
just the gene Roddenberrys of the world, but people like

(50:43):
you will turn around and find that they came up
with a little bit of not predictive programming necessarily. But
we're all making predictions. You know, everybody's trying to anticipate
the future one way or another, whether it's trying to
figure out what you're gonna do with the rest to
your week, or you're trying to create, you know, a

(51:03):
piece of art that's going to interlock eventually into this
one massive mosaic.

Speaker 3 (51:08):
One way or another.

Speaker 2 (51:10):
You know, we're all playing that game where there's a
bit of you know, prognostication and reflection and introspection built
into all of these things that we create. So I
really enjoyed watching the process with you and definitely want
to advise people, you know, look follow them on x

(51:30):
I'm not a big Instagram guy, but a lot of
people love that, and I would say, you know, check
it out because it is something different and it's actually genuine,
which is apart from, like I said, a lot of
the other music I'm seeing created even by people that
are in like the podcast spheres if you will, you know,
the different clicks, which bothered me about a week ago.

(51:54):
I said something about it on X but very few
people understood what I was saying. But they are like
clicks or clique if you will, among certain groups of artists,
and even they seem to act together. And I don't know,
I just see a lot of stagnation. And I see
a lot of stagnation because some people thought they were

(52:14):
fighting for something and they've won and they don't know
how to win. That's one thing. And then on the
other hand, you know, a whole lot of stuff just
gets thrown to the wayside and forgotten about. As per usual.
Almost everything in our society is disposable. And I hate
to think that we're going to have nothing worth saving

(52:35):
from this digital age if this keeps up, because nobody is,
you know, doing anything except let's see what the AI
can do, you know. And there's whole podcasts and YouTube
channels that are you know, AI voiced, AI scripted, you know,
and they're coming up with the wrong clips in some cases,
like I was cracking up, there were a bunch of

(52:57):
movie things that went by just you know, my algorithm.
I did to play them, and they were playing they
were trying to tell us about, you know, futuristic movies
in the sixties and how today you know, at the
time they were thought of to be too far out
of a concept, but today, with you know, the idea
of transhumanism and people combining with computers and stuff like that,

(53:19):
a lot of these movies seem like warnings from sixty
years ago instead of, you know, something.

Speaker 3 (53:26):
That was too far fetched.

Speaker 2 (53:28):
And the funny thing is it's definitely an AI driven
video because they were accidentally playing the movie time Machine
or Time after Time sorry from the seventies instead of
playing the damn things that they're talking about, because the
AI didn't separate the time machine thing with HG. Wells
from the other time machine thing with HG. Wells, which

(53:51):
cracked me up because again it points to how, you know,
the old ideas keep getting revisited. There's very little originality,
and even the AI is screwing it up. You know,
it's supposed to be smarter than you and everything else.
But I'm looking at it going I know that movie.
I watched it when it was brand new, and that
version of H. G. Wells was trying to chase Jack

(54:13):
the Ripper in the seventies. This is not from the sixties.

Speaker 3 (54:16):
What are you doing? You know?

Speaker 2 (54:20):
So I just crack up at the mistakes and the
sort of glitches in the current reality that we're dealing
with as well. So I appreciate the fact that somebody
is actually creating something that's organic and genuine to themselves.
And that's why I appreciate erroneous method. And I hope
that you guys will go and make those purchases. Now,

(54:42):
go to Spotify and you know, give it a stream
over there because he wants to see how that counts
and everything. Definitely do that, and I'm gonna put all
the links I can in the show notes here to
direct you to his work.

Speaker 3 (54:55):
I think we should keep watching it.

Speaker 2 (54:57):
And I've enjoyed it obviously, because I wouldn't keep playing
his song, you know, during my breaks if I didn't
think there was something interesting there. And it's not just
because he mentioned me in a song a while ago either.
It's because there is something to be said for somebody
who keeps creating something that is from them. Eventually, you

(55:19):
know what, if people create enough stuff, they might create
something new that somebody else is going to have to
copy twenty years from now, as opposed to just making
the again the copy of the copy of the copy
of the copy. I mean, it reminds me of that
movie Multiplicity, you know what I mean.

Speaker 3 (55:36):
Years ago?

Speaker 2 (55:37):
What's his name, dear god, Michael Keaton was in that movie,
and he makes a clone of himself through this special
method so that he can, like, you know, do more
work and do more things. And then the clones decide
to make a clone, and after a little while, they
make a really bad copy.

Speaker 3 (55:56):
And the guy's slow, so he.

Speaker 2 (55:58):
Looks just like him, but he's such a crap copy
that he just doesn't have the skills of the other guys,
you know. And I feel like that's like where we're at.
I mean, am I dealing with a whole bunch of
clones and nobody told me? I mean really, nobody speaks
the language, nobody communicates correctly, and nobody's got an original
thought anymore. I know, now I sound like the old

(56:21):
man and I'm about to start screaming about getting getting
the hell off my grass. But I mean, seriously, this
is where we're at. And I appreciate that you're you know,
bucking the trend man. So I want to thank you
for that. But anything you want to say in closing here,
or you know, the last little idea you'd like to
leave us with, I'd be more than happy to hear it.

(56:51):
Not hearing you now in case you're talking to your
mute button.

Speaker 4 (57:03):
Having that kind of rhythm and flow to my work
is important, right, And nobody does create original ideas anymore,
So I'd like to courage you guys out there if
you're living.

Speaker 1 (57:19):
Same like what I'm able to make something up this week.

Speaker 4 (57:23):
It doesn't have any uesday, take me any form of expression,
any form of art, because uh, this as it's it's
just that it's a slide. It's not going to take
up the world. So you guys, we'll going something special
for yourself. But I'm appreciating on thank you very muchell.

Speaker 3 (57:40):
Right, and I appreciate that.

Speaker 2 (57:41):
Uh And and like I say, I, I I do
feel like that's that's exactly the thing we should encourage,
is you know, create something because at this point I'll
tell you what the bar is low enough that you know,
some people feel like, hey, look, you know what what
I create? I don't have this much or that or whatever.
Here's the thing, though, if you you have your own idea,
you're way ahead of the game already. I promise you

(58:03):
that much, because you know, whether it's graphic work or
it's sound stuff, it's driving me nuts. There is so
much of the just sludge out there, and it always
leaves a bad aftertaste. It's it's clearly not something that's
been created by a creative person. And so that's something

(58:24):
that almost anybody can do. Given the right motivation. You
can find an outlet for creativity. And I say go
for it, even if you just share it with your
you know, your friends and the people at work or whatever.
I mean, hell, send it to me. Have you got
something you can send to me that we can play
on the show or talk about. I mean, let's do it.

(58:45):
Let's interact and let's get back to being legitimate.

Speaker 3 (58:48):
That would be nice.

Speaker 2 (58:49):
And I appreciate it and appreciate your sentiments and your work.
So there you go, guys, Erroneous method on a Monday
on the Ocelli Effect, And we got all of stuff
coming up this week, so hopefully you know you guys
stick around. We should have a special on Friday about
the Lancer conference because I'm gonna be the MC there
as per usual, but don't worry, I will plug the

(59:12):
conference plenty.

Speaker 3 (59:13):
This week.

Speaker 2 (59:14):
Larry Hancock will join us and a couple other guests,
perhaps along with a new pre recorded feature and the
usual Friday night call in show. So it should be
a busy week on the stream. And if Aaron Franz
can make it this week, then we'll have two more
podcasts that will produce on Friday nights, so you should
have plenty of original material not created by an ai

(59:38):
Autochelly dot com radio this week. So again, thanks to
a Roneus method, and thanks to you guys for listening,
I'm ocelly, you are indeed the effect.

Speaker 3 (59:48):
Good night

Speaker 6 (01:00:04):
Steam

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