Symbolico
by Mister Mime
September 21st 2020
Very few artists that I know of are as enthusiastic and enterprising about their music and life’s mission as Symbolico. The soul-child project of Or-Ron Stern from Israel, the Symbolico sound is a surreal amalgamation of ambient vibes that bear the promise of magic and mystery, with groovy tribal rhythms which take us back to the humble developmental beginnings of human culture and cutting edge technological production. The indomitable spirit of the human ‘bean' comes together with a purposeful expression of ineffable insights, and not to forget an eternal love for Hummus, to give us the music that will empower and enable us to manifest our ideal lives in the here and now, amidst the infinite points of views, infinite ‘me’s, and infinite ‘you’. Let’s Spiral!
MM: Hi Or Ron! What have you been upto this year?
Symbolico: Just before this world crisis began, I was at a new point in my career with Symbolico. All of my work got extended, my fees got extended. I made a new website and established new ways of communicating with the audience. I had begun a Kickstarter campaign to come out with some Symbolico merchandise, and I had some very important gigs that were supposed to be the highlight of this summer. For example the Street Parade in Zurich that happens once a year which is attended by almost 800,000 people in 7 stages. And every artist who performs there receives a proper press service to get into the news and the culture of the Swiss people. In addistion to all this, a good friend of mine Ace Ventura was told by another friend Liquid Soul that he managed to extend his audience by getting many gigs in a lot of places where they didn’t know about psytrance or progressive trance music. And I had the opportunity to share the alternative side of psychedelic music in one of those stages during the main hours.
So many good things were supposed to happen that were meant to expand the work, not only for me but for this whole scene of alternative psychedelic music. So obviously now, most of the gigs are cancelled till the end of the year. And it's a really hard and challenging time because it’s not only about the financial aspect but the psychological part. I had developed an image based on my actions and lifestyle. And as you will see, I have lot to say. And it’s all just the connection of my heart with, to me, what is only the source of all creation expressed in many different interesting and creative ways.
I like to do it in words too, but people are often closed minded to words, because words are terms and lines in a certain language that happen in parallel to what is happening in life. When we observe life without naming anything, everything happens all at once and we understand it. We don’t need to explain anything. But when we try to explain things in words, it gets more complicated. So I understand why some people would have difficulty listening to some words, and why those types of conversations can create disagreements between people that have different beliefs. But ultimately, music is different from words, especially psychedelic music because it has the capacity to share with you something about life as it is but not in a linear way. It’s not about reaching from point A to point B. When I am on a dance floor and there is music, I’m not dancing in order to get to a certain point. I am dancing for the sake of dancing itself, in the moment.
So, not being able to perform in front of people and share my art with the world is frustrating. I have a need to share things through music and performances. Now however, the opposite is happening. Suddenly there is a new idea imposed into our society that gatherings are dangerous. I don’t believe so. I believe that gatherings, especially when they are music, creativity or art based, they are the source of our evolution since the times of the tribes. It’s like a ritual that we do. For example, from Africa hundreds of years ago, it has then travelled to South America through slavery; the consequence of taking a culture to a different place is that it gets re-adjusted into that new place. So some African culture has got adjusted in a Brazillian area and it became samba. Then it travelled to Central America and it became Cumbia, and Reggae and so many other things. Then it travelled to North America and became jazz, swing, blues, RnB, rock n roll and all of those forms. But all of them are telling you the same story: the story of dance music as a ritual that came from Africa.
There are other places as well, but we are talking mainly about this one as an example. So the African dance music is a ritual that allowed the tribe to connect with themselves, socially and express their being through art forms like music and dance. It is a celebration. Many tribes are still doing it. And the kind of events we do are the updated version or the same rituals. And now that they are not happening, it’s quite frustrating. For me, I believe there is supposed to be a law that protects gatherings. It is a basic, civil, human right to gather. If my message goes anywhere, I would love for it to go there. I feel a need to protect it since I feel there is something important there. So this is what I’m doing when I’m not performing right now, I understand that I need to serve people in other ways. But the message is still the same.
MM: Well I can tell from your music and what little I know about you that you are someone full of good energy who feels immense joy in sharing your energy with others. I would like to talk about psychedelic music and psychedelic culture. I realised at a relatively early stage that it is not about drugs, or staying up late and being irresponsible. There is a higher level that the condition of psychedelia operates in. How you perceive the psychedelic culture?
Symbolico: I would like to begin at the end, or what is the main meaning of ‘psychedelic’. Many people use this term, but not many people actually understand what it stands for. So, ‘psy’or ‘psyche’ is the mind. ‘Deli’ comes out of the word ‘revealing' or 'to reveal’. So when I say I have a psychedelic experience, I mean to say that I am revealing my own self. And many of those experiences happen in many ways, right. So people can have a ’trip’ and they can sense the unity of everything. This is one way. But they can also have a very good look in the mirror, or under a microscope, and see something that is very hard to digest. It may be an emotion that is easy to resist and hard to digest, and when we do digest it and learn to not resist it, again it reveals ourself and our own mind. And this is what I love about it. I didn’t grow up to understand it the way I understand it now. I tried many psychedelic substances, and I had many experiences, but I actually got introduced to psychedelic music before I tried any kind of substances. I was very young.
When you ultimately get the message, you realise that the message is not something that you added into your pool or collection of messages. It’s telling you that it was you the whole time, and it will be you. It’s not something new, and this is why it is so hard to grasp it. Because we are using to grasping things that are not us and adding them into us. In the physical way it’s food, in the mental way it’s conversation. But this message is not a type of 'food' that you add to yourself, whether it’s physical or mental. It is just remembering something which is very easy to forget, and also remembering WHY we chose to forget it.
Because I believe, we need to forget it in a certain way, in order to remember it again. For example, let’s assume that the both of us, we wake up absolutely, on all terms. Now that we are are awake, we will fast realise that what is real is not a ‘What’, but a ‘Who’. So you realise, that without someone to observe life, there is no life to be observed. So, the moment you know that, everything in life feels less real than you, and the way you sense life. This is why people having a psychedelic experience sometimes experience the world as if it’s a dream. Because they are self revealed and they now know, without having to explain or recognise it, that they are real and this outside world is their own reflection. But, we may not like to do this, because if we find that it’s true, we may destroy the physical world. The fact is that we make ourselves a little blind so that we have a tendency to look, search and learn, and there is a drive towards life. Some people get to a certain point in a psychedelic experience where they realise that life has no point whatsoever. It sounds like a paradox but it's only because we are using language. Language tries to describe life in a linear way, while life happens peripherally and all together. So in this way language is very problematic.
So anyway, when you realise this, you not only value the awakening, but you also value the falling asleep. It has to be both ways, you cannot see the ecstatic world as separate from everyday life. The opposites. This is where art, music for example, comes in handy, because art will take the ecstasy or ‘heaven’ and bring it to earth. This is speaking in certain terms, but it can be translated across any type of languages. The thing is to understand what is important. This is where singing, painting and all kinds of art can be a tool to take the ecstasy, heaven, salvation or awakened perception, anyway you may want call it, and bring it here to Earth. To give an example, I would like to use Alan Watts’ words on this. He was a great philosopher and master of expressing with words, things that cannot be expressed easily in words.
That was his art. So he gives an example of two people, one of which is on LSD and the other is not. The one who is on the trip right now, his eyes are open and he understands that everything connects with everything else, and that things that may seem contrasting, good and bad, white and black, subject and object, they make each other. We just perceive them as two, and we need both the sides to exist. So this first person, he sees that, and he doesn’t even need to express himself. Then he looks at an ashtray, and he is looking at it in absolute awe because he sees the whole of creation in this ashtray. He is amazed by this, and he asks his friend, the second person, if he can see it. He sees himself looking at himself looking at himself looking at himself in this ashtray, and the other way around as well. But the other person, his friend, who didn’t take LSD would sit down with his and ask him if he is okay, and think that he is a bit cuckoo. This ie because, the guy who is having the experience, he is in heaven. But he doesn't have the skill to express heaven in terms of earth. So this is where art for me serves the evolution of humans and our self awareness. This is why we need artistic culture, and more specifically, psychedelic art culture, in order to bring heaven to earth.
If you take Alex Grey for example, who is one of the most respected psychedelic visionary artists in the world right now, and if you ask him to paint this ashtray, he will be able to paint it in such a way that every little grain of ash would look like a diamond, and every cigarette stub in it would look like a mirror within an endless array of mirrors. And even the ashtray itself, will have a similar equivalent appearance. And then, when I am not on the effects of LSD and I look at this picture of an ashtray, I will see something similar to what the person who took the LSD saw, and I will realise the deeper message. I have a greater chance of being able to see the insight of that perspective. So Alex Grey goes to 'heaven', and brings it to earth.
He brings the ecstasy into the everyday life. So this is what we are supposed to do after we have a psychedelic or surreal experience. Its about learning to understand what we saw, and developing a skill to bring that into the world. So I like to do it with music. I recognised something very true, which was beyond my opinion, or an opinion in general, because it unifies all opinions. It gives you a story in which all opinions can exist and have equal parts. I sense a very deep truth when I feel something like that. So I realised that the unification of many different opinions will bring awareness to the one who gives attention to it, whether it comes in the form of music, visual art, or even in the form of conversation. It’s something that you can’t describe but experience and just know for sure. And your personal opinion can be a part of it. So this is mainly my work with music, and I developed this concept called Symbolico to help myself and others observe how we can take heaven and bring it down to earth; how we can take ecstasy and combine it with our everyday life. How we can take the highest potential of creativity that we have and make a whole lifestyle from it. So when I go to festivals, it’s not only in the music that I play, but in every conversation with every person, be it the dancer, the organiser, or the one who cleans the place, I will have the same attitude and the same kind of talk that I’m having with you right now.
MM: Can you tell me about how Symbolico started specifically, and what it means?
Symbolico: In around 2010, I was beginning to experiment with something that was not psytrance. As a kid, I only knew psytrance. I never knew other types of music and I wasn’t interested in the word ‘music’. I was just interested in ‘psytrance’. I was closed minded towards other types of music. The more I began to investigate about how I could take my psy sounds, which were the only sounds I had on my computer, and try to go in different directions and to different places, I realised that something very original was coming out of me. But it wasn’t enough. Together with a very deep season in my life, I felt like I was being soaked with insights. Everything got connected, and I didn’t even know how or why, but suddenly I was able to express myself a lot easier and connect with people and take them into a trip, without taking any substances, but just being open and allowing myself to share the story that I liked to share. So I realised that there was a message that I wanted to grasp by myself, and the message was that you are not only the main character in your life story, you are also the one who writes the script.
Deepak Chopra was the one who influences me to this point of view. I was reading many of his books and listening to his tapes, and the more I got connected with this, the more I managed to have a closure within my life, with the good things that happened with me and the bad things. And I saw how together, they created a beautiful story in which I play, or, the play plays me in the story. And this was the beginning of the idea of Symbolico. This is what what I wanted as the main intention of the music, to help myself and everyone who listens to the music to connect with the point of view that we are not only the ones who act out the script, but we are also the ones who write it, in a much higher or deeper sense, although both these words are mostly useless or meaningless in this point of view. It’s not really ‘higher’ or 'deeper’ but we use those terms. It’s just a point of view, right. So the music was meant to direct the attention to this area through dancing and movement.
This is why I call it ’Symbolico’, because when you are looking at your own life from the point of view of the one who writes the script, the script feels very symbolic. Think about it in the context of your own life for example. Look at all the things that happening with you, and the way they happened, the dramas and everything: It’s all very symbolic. It’s like a book, and things have happened so methodically, if you look at it from there. It was very good, and also very challenging. But when it all comes together, that’s what makes it so special. So this is why I chose the name “Symbolico”. I also wanted it to sound Latin, hence ’Symbolico’ and not ’Symbolic’, or even in a different language. Because I have a strong connection with everything that has to do with movement, and with the Latin world. I used to practice and give classes for Capoeira, the Brazilian martial art. I did this during the times when music and psytrance were just hobbies for me. So I got very influenced from the culture, I speak those languages, and a lot of my work with movement through music got influenced through that. Hence, Symbolico. This is how the name came about.
Now we have the hand with the serial on the palm, which is the logo. For me it represents that in order to connect to the one who writes the script, I need to stop, and enter that state. So the hand, in our subconscious, signifies a stop sign in our modern culture. But it does not to stop you in order to limit you. It stops you in order to direct you. So it’s stop, and then direction. So this is why I chose the logo, because I felt that when I stop and direct my attention, I go there and I am connected.
The whole idea was to take the honest and truthful messages I learn from life, and from the teachers by whom I was influenced, Deepak Chopra, Alan Watts, Eckhart Tolle, Bruce Lipton and quite a few others, and induce it into my music. I also sample them live into the tracks I play. Because they are not talking about a specific truth or a specific opinion, but rather a point of view in which all opinions collide and exist together, like in yoga. I know enough that I will be authentic in my creation. I don’t have anything personal to say but I will express their messages and give them authentic musical expression. I feel these messages are truthful since they are unifying everything and including everyone. So I knew for sure that this was going to work, the message is going to resonate and expand and my life was about to change. I never had a 50/50 feeling about this project, i just knew it. It was completely clear. And this is how it was born.
MM: Can you talk a bit about the attitude of inclusion, in music and in life?
Symbolico: In my project, you can hear there are many genres. I will have some global beats, I will have some dub and dubstep aspects, some psychedelic aspects, hip-hop aspects, but I’m not really doing any of them. I’m trying to find a way in which they all can speak a common language. In terms of a musical vision as a producer, this is how I took the unification or inclusiveness and put it into action, by trying to do a combination of many worlds together. . Some music is more cerebral and others connect more with your body. And I’m always trying to find the perfect balance between the two: between the ambient, magical vibes where anything can change and there is not too much structure, and the vibes that communicate with your body and move you. I really believe that we need both of them. Usually, when I would go to festivals, I saw that some dance floors would only connect to the body without too much magic beyond that, everything was so structured. And other dance floors, maybe in the chillout stages, I felt that the music is so magical but my body doesn't know exactly what to do all the time. And I felt that I wanted to a unification of those two, and as many genres, if I can use the term genres, as possible. That was the main idea behind it.
MM: Your music, makes me want to make music as well! Apart from having a fine balance between a state of trance and a state of ‘dance’.What is your approach to music production and how did you evolve your process? Everyone wants to make the coolest, most trippy, magical or banging tunes, but that needs to be backed up by an equal level of skill in production and the technical side. What was your music production journey like?
Symbolico: I didn’t grow up with a musical background. Maybe just a little bit, my mother used to play the piano. I know how to play the guitar a little bit, and to play the Brazilian drums along with Capoeira, but I never had a serious, classical music education or skills. As I told you earlier, I fell in love with the world of psychedelic music as a kid and I would just go off into my own world of imagination. So my approach to music production technically began in an alternative way. I didn’t have the money either to allow myself to have a proper studio with all the equipment and good teachers or mentoring. I didn’t know the people who were doing the parties. So I didn’t have a lot of connections. But I need to figure out a way to transcend my difficulties. It got my into a journey of exploration, like a type of research. And with time I realised that the research had a pattern. The more I wrote music, I saw that there was a pattern. There were some things that I would always do but along with it there were many many small things that were not really needed. They were part of the process of learning. But I realised that there is a root, that I call the root of connection, which is based on 3 principles: Exposure, Recognition, and Loyalty. We can see them as three human values.
I noticed that when I looked to exposure in every sound that I make, I expose it in every way and at every level. I normalise these sounds to make them as loud and clear as possible. I take out the message to be directly in your face, not to leave it as a dilemma. Whatever is there to say, I will say it directly. Direct communication, that is exposure for me, to be honest and open. It’s the beginning of any connection. Like we are connecting now. I am a sound, you are another sound, and we are open and speaking directly. So it’s the same with music.
When I give recognition to every one of the sounds, for each of them to have their own place and it’s own time. So it's a matter of editing. For every sound to have it’s own time. And also in the matter of sound, for every sound to have it’s own area, or space: dynamically in the front or in the back, panoramically to the sides of the spectrum of the sounds that we can sense.
Loyalty is when I take a sound and begin to manipulate it in order to connect it with the rest of the sounds. And I don’t want to manipulate it very much. I want to be loyal to the source of that sound and make it connect with the other sounds naturally. The same as you and I are connecting right now. We are not using any manipulation in order to do something. We are simply connecting.
So in the same approach with which a good and healthy communication between humans can appear, I look for the same thing technically in the music program. I am looking for those values, and there are practical ways in which I can do that. And the effect that occurs when I am doing this, it may be a loop, or it could be a few sounds that repeat themselves beginning with a loop, it makes me listen. It opens my attention, because each sound has it’s own place and it respects the other sounds. Every sound is open, clean and clear, and there is not a lot of manipulation happening between them. It’s very very organic, how they are connected. There are less plugins and other manipulations as possible. So it make you listen. For me, the definition of good music is music that makes you listen. Because in the end, music is just vibrations in the air, in different spectrums, and the one who translates them is the one who enjoys or doesn't enjoy it, and says that this is good and that is not.
But it depends on his or her level of attention. So the better the music learns how to attract your attention in a way, the better. For example, when you are sitting with your friends and there is some music playing randomly, everyone is just talking. Then suddenly, this track plays and you have ask your friend which track it is. This track was the track that made you listen. And this is why you tagged it as ‘good’ or ‘interesting’. But you can listen to the same track after two or three years and it may not be that interesting anymore. Did something change in the music? Not at all…its the same music. Its only the way you listen that has changed. So I realised that to make good music...there is no such thing as good music. There are good listeners. So if you take that into consideration when you take music, you don’t think about the music. You think about how to listen, and automatically the one who knows how to listen will recognise it. And this is what I’m aiming for technically when I’m writing the music: how to attract the listener’s attention, not for a specific sound, but to expand the attention itself. To notice every small detail and to feel every small change till the end.
Technically, this is what my approach is in everything I do in the studio. It begins way before the studio. Even in this conversation of ours, and in every other thing I do, when I cook food, socially connect, or spending time with a loved one, I’m still Exposing, Recognising and giving trust. Every branch of our tree will flourish and give fruit when you give these three values to it. We are the tree trunk, the root is these three values and the fruit is the creation, the piece of music for example. We have many aspects in our lives. I have the musical world, the kitchen which I love, my social connections, my romantic connections, my gardening, and many other aspects, but all of them are speaking in the same language. Its a common language cause I look for the same values in all of them. The three values which I call the root of connection. Then we are the trunk, the branches are the different aspects or areas of our lives, and each one of them is destined to bring fruits. And finally, flowers, when the season is right! And we also have the soil or the ground, which would be your studio for example, and your connection with your body. The water will be the ‘food' that you feed yourself, whether physical or mental food, and the light will be your openness and connection to something that is beyond everyday life. And this analogy gives me all the inspiration I need.
MM: Can you tell me a bit about your sound selection and sound design process? Also, how do you incorporate vocal samples in your music? Especially the Indian and Eastern Vocals. The way you interpret them is really unique!
Symbolico : I design my own sounds mostly. I have many sample packs and libraries, 99.99% of which I don’t use. But if there is a sound I find that fits into my sonic world, then I have no problems with using it, after some little bit of processing and moulding it to bring it into my world. For example some specific one shots, or a rim click. For my snare sound for example, I would layer a snare sound, a rim click, a layer of white noise and another layer over it to create my own snare sound. I'm very open and not rigid at all when it comes to this. Some people may feel that they must make each and every sound they use from scratch, but even though I mostly do, its not an absolute thing for me. I try not to impose any sort of conditions on myself.
So the way that I go about the sound design is with all the things that I mentioned earlier in mind. I love tribal beats and sounds, as well as the energy of modern beats like in drum and bass and heavy bass sounds. So I conceive a sonic realm where all these sounds that I like can coexist and flourish alongside each other. I keep these sensibilities in mind when I am selecting, designing or searching for sounds for my tracks.
The Indian and Eastern vocal samples are mostly from some sample packs. As for other vocals, I sample the various people like the ones I mentioned earlier who inspire me, or record the vocals myself in many cases.
MM: Since you mentioned cooking, are you a legitimate chef? I saw some posts of yours with some hummus bowls that looked VERY appetising!
Symbolico: Well everyone in my family is good with kitchens, and my brother studied and worked in the industry so he taught me some stuff, but I just had a passion for it. I do it with love and it’s really the same reason why I like to do everything else. I like to speak, I like to make music, and I like to make food. It’s just the connection to my heart.
As for the hummus, it’s for the promoters and the people in other countries to know what will happen if they bring me for a show…what kind of breakfast they will have. Just for their knowledge…hahahaha. I’m joking! It’s from the heart. It’s a passion, I love it. I go to pick chickpeas for the hummus, and I pick them one by one, wash them and play with them. It opens something up in my heart that I absolutely have no reason to explain! It just happens, it's an unconditional love for something. Who am I to stop this process, you know?!
MM: Hummus is love. Pure Love.
MM: Speaking of electronic music again, it was nice to know the amount of thought that you put into everything, not just in the music, but for the whole of life. I think this kind of perspective needs to be share with as many people as possible.
Symbolico: You understand me. There is so much, this is just the tip of the iceberg. I have the whole philosophy. I already have five books that I’m writing about this at the same time. I just don’t have the skill to write books at the same level that I can write music. But I’m learning. But the messages, the philosophy and how they all connect, I see all of it. The vision is clear, clearer than it was when I first started with Symbolico when as I told you, I just knew it would work. It's the same with the books that I want to share with the world. I see them, but I need to develop the skills, so one thing at a time. Now it’s the music. The books are more about philosophy and interesting points of view to observe the world in a way that connects everything to everything else. But without spooky knowledge. It’'s not like I’m saying that I’m connected to this alien or this God and channeling the information through me, or that I have seen my past lives and now I’m here to tell you something.
Everything is based on common sense, which everyone has access to and anyone can understand and relate to. Because it connects everything to everything else. One of the ideas that I want to speak about is the connection of ecological systems with our understanding of the cosmos. It’s a term that I invented because I didn’t find any term like that, and I call it Eco-cosmology. In this, we observe the cosmos in an ecological way, and the book on this one specifically is supposed to give you metaphors that can explain not how this cosmos is, but what it’s like. Metaphors from the world of ecology and ecological systems and how they are developing, and the understanding of our cosmos. Because I believe that with the eyes we won’t learn much about these millions of dots that we see. Each point of light is coming from a different time showing you a multidimensional view. You see everything as distorted, and you don’t see this moment. It’s too far out.
So we need to develop an intuition which is not linear, but peripheral. It takes into consideration everything and it's unification. So the ecological system works like that, all the levels are dependant on one another. Just like we say “As above, so below”, I understood that the most efficient way to learn anything about the cosmos is to understand our ecology and our communication between one another. The more we develop a collective self awareness as a human race, only this collective will be able to grasp what is happening in the cosmos. The same way, there is a cosmos between you and I. You are a collection of cells, which re divided by organs and systems, and I am a collection of cells as well. The unified self awareness of me is communicating with your self awareness, and we are recognising one another. But some of my cells, I don’t know if they are aware of your cells. They are too far away and the connection is not there yet. So in the same way, I believe that by understanding the cosmos through an ecological system, we will develop a unified sense of self awareness as a human race, and begin to communicate with other races which may be already communicating with us.
And my belief as to the reason why we don’t see it is this: imagine that you are a young father and you have a new born baby who was born today. You baby is not aware of you, because he has not opened his eyes yet. His cells are still unifying in order to walk as one and begin to create. In order to walk as one and have self awareness, you need to have an ‘other’, you need that separation. Then you begin to be aware of your surroundings. The you realise,”Okay daddy was here the whole time. Mommy was here the whole time.” And now your eyes are open.
MM: You do all of the music production as well the as mixing and mastering yourself for all of your music. What about the artwork?
Symbolico: For ‘Connectika', I did, yes. For ‘Perceiving All’, the artwork was done by an amazing Romanian artist Gyuri Lohmuller §auras. I found him online and he had relatively less of a following when compared to how good his art was. So I asked him if I could use his art for my album and he said I could pick any piece I liked. So I chose this particular one, which if you see it, has all these chess pieces on the board which represent the different pieces of the puzzle, or players in the game, with a reflective orb in the centre to signify that all the perspectives are being seen and reflected by it. It’s a visual art form known as surreal art. In fact, I would like to call the kind of music we make as well, surreal music, instead of psychedelic music. I feel that psychedelic is a good term in itself but the term surreal better describes the tool that this music is, which connects ecstasy or ‘heaven’ with our ordinary daily lives, or the earth.
MM: Can you tell us about the psy scene in Israel?
Symbolico: The Israeli audience is my favourite to play to! The people in Israel have a lot emotions and a lot of energy. So if you give them good music, an outlet to express themselves, they will let loose like nobody else. I have seen this on the dance floor, the festival crowd in Israel is one of the best in the world I feel. The way they react to music is just amazing.
I have thought about making a new genre, if I can call it that, because it best describes the music I make and the objective. It’s called PDM - Psychedelic Dance Music. And I have a vision that all of the relevant psychedelic acts from around the world will unite and spread their music under this banner. I believe it’s a term that does justice to the energy and vibe of our music.
MM: Do you have any new music is store for us that you will be releasing this year?
Symbolico: Well, that’s a surprise! You will have to wait and see. It will be worth it.
MM: Well now we know there is some surprise coming up! What final message would you have for the inner child in each of us that is longing to be open and free?
Symbolico: Well, time as we know it, does not really exist. It only exists as we perceive it to be such. So if there was a way to go back in time, which I believe could very well be possible since it is a construct, and meet yourself when you were 8 or 10 years old, what would you say or what message would you give to yourself? This is an experiment of sorts that I do for myself every once in a while, with very good outcomes. It's something that I would like each and everyone out there, and each and everyone reading this to ask themselves, and apply into their lives.
You Can Follow Symbolico on:
https://open.spotify.com/artist/5TXIqQcocmSW74GaVfu86E
https://symbolico.bandcamp.com/
https://soundcloud.com/symbolico
https://www.youtube.com/c/Symbolico
All Images courtesy of Symbolico
