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Welcome to the DelingPod with me James Delingpole.
And I know I always say I'm excited about this week's special guest.
But before we meet him, a quick word from one of our sponsors.
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Welcome to the Delling Pod.
Foundering, as I know you, although I know it's not your real name, is it?
It's Kylan.
Is that right?
Kylan?
You got it.
That's it.
Kylan, that sounds like a character from a 1970s TV sci-fi series.
Is that where it's from?
Absolutely, no.
I think it's an old Irish name.
It's also some sort of dragon in some lore, maybe some Eastern Asian lore as well, but it's like a musical dragon of some sort.
But no, it's an Irish...
I'm part Irish, so...
So is this nominative determinism that you were...
You were named after a musical dragon, and then you became literally, well not quite, a musical dragon.
I love that.
That's good.
My daughter right now is in a dragon phase.
She's reading this novel series about dragons, so that would be great.
I'll take that label and embrace it.
Have you told her that dinosaurs aren't real yet?
How old is she?
That's great.
She's 12. I have a great relationship with her.
Being a parent is its own glorious thing, but it's tough when you have to be that role model and teach the kid, but then the kid wants to rebel against you, right?
So she's sort of in this...
I'm in this nether region right now of trying to, this purgatory of, is my dad cool or is he batshit crazy?
So we're kind of in the middle of that right now.
And so, yeah, she knows about some of my songs singing about dinosaurs and stuff.
And she laughs at it.
And I think she doesn't quite know when I'm serious and when I'm not, when I'm actually just joking, which is part of the fun of my character.
I'm Kylan, right?
But I'm also, I've created this.
This persona where it used to be back in the day where you could have an artistic persona that could push the boundaries of whatever, and that was accepted, right?
And now the internet has morphed into this hardly recognizable thing where...
Everything that you joke about or say online, well, that actually is more real than who you are in real life.
So that's where I've gotten to this position, not to get ahead of myself, but of where I have maybe sung some offensive or whatever you want to call it, things online.
And even though I know people that I've worked with for decades and who know me, Kylan, then this...
Morphous creation becomes more real to them, right?
Because the digital is now replacing the in the flesh, for better or for worse.
And so it is we are in this weird situation where we're trying to figure out who we are in this world.
And then we have this extra digital world to compete with.
And we're creating these personas on it and getting canceled.
And there you go.
So there's my life story.
Yeah, but that's interesting because I can tell already in the three and a half minutes we've been speaking that you're not quite the same person in IRL, as we techies say.
as your persona on Twitter.
Your persona on Twitter is just that little bit more sort of sassy and sort of slightly smug and naughty and what else?
How else would you describe it?
Well, so let's back up to the beginning of the internet, which for me...
It's most of my life, right?
So we are part of...
When I say we, I mean my generation.
I'm turning 40 next year.
I was born in the mid-80s.
But I grew up alongside...
Well, thanks for saying that.
My daughter points out every gray hair and every bald spot that I have right now.
So we grew up in this time, this wild west, as it were.
There were no filters.
It was a little bit crazy.
But we were able to create these...
And I should say that this is in the 90s when comedy still existed, at least in the sense that everyone could make fun of each other, right?
I grew up watching Monty Python, watching South Park, back in the early days of South Park, when they were going hard on everybody.
And I liked that, and it was okay to joke about certain things.
And we were able to create...
These personas, these identities online, and they were separate from us, and they were anonymous.
The adults at the time said, don't put your personal information online.
Don't put your real name online.
And somewhere along the line, it went from, you can't trust Wikipedia, to Wikipedia is gospel.
You need to put your personal information behind every single thing you do on the internet.
The shift that happened, I lived through it.
And now it's like you, everything that you do online needs to be associated with who you are as a real person.
The idea of an internet, a non, these things are considered to be taboo and they're shunned.
But back in the day, we could create these personas and I did and I had a musical one.
When I first started YouTube, I didn't...
I didn't want to use my real name at all.
For many years I didn't associate my foundering YouTube persona with Kylan.
I didn't want that.
And so we were able to craft these personas and speak what we wanted without fear of retribution.
And that, somewhere along the lines, got taken away from us.
Foundering, is that something to do with Wagner?
No, but I like where you're going with that.
Of course, one of my big influences.
No, it's a...
Someone made a comment recently trying to insult me, saying, wow, you're just like Wagner.
And they were trying to insult me, I guess, because I guess that's a bad thing now for some reason.
But I, of course, I was happy with that comparison.
Yeah.
Well, look, one of the many reasons, I mean, I love your stuff.
I think you're very funny.
The feeling is mutual, by the way.
Oh, well, thank you.
You're super talented.
I mean, as you've been the first to point out, almost nobody could play that ragtime piece that you played.
What's it called?
The Fingerbreaker, maybe?
Yeah, the Fingerbreaker.
I mean, it's a horrible piece of music.
It hurt me listening to you play it, but I was full of admiration.
But you really are a very, very, very talented musician.
I was thinking, in another world, in a parallel universe, you could be selling your soul right now.
You could be Taylor Swift.
Except you write better tunes than Taylor Swift does.
That's true.
I'm not as pretty, but maybe some people would disagree with that.
Look, there was a moment...
Yeah, that's right.
Yeah, right.
Hmm.
Hmm.
There was a moment though, yes, when the early days of YouTube, when there was this chance, and I feel like we all got categorized by the big tech whatever, when Google bought YouTube, but there was this moment when there was these Justin Biebers, and but there was this moment when there was these Justin Biebers, and that they were just kind of kids like me in their basement, and we had this chance to actually To actually break through.
And that's how I ended up, I was doing this, what I would call ragtime, right?
So that piece, the finger breaker is not ragtime, it's more like early kind of jazz style.
But my specialty from a very young age was the, was ragtime piano, the Scott Joplin, the Maple Leaf rag, the entertainer, a lot of, you know, the ice cream truck jingles that a lot of people are familiar with, which...
Basically, there was this, not to go all musical history, but there was this moment about 100 years ago in America where we created the first before jazz.
This was around 1900. The first...
Truly American style of music, where we took the beautiful American tradition of, sorry, the beautiful European tradition of their harmonies, of their structure, of how they constructed the pieces, and then we added this syncopated rhythm, and the syncopation is just, you know, the beats on the offbeat, right?
Instead of counting one.
We're on the off-beats, on beats two and four, right?
So we infused these awesome European harmonies and traditions and styles and created something fresh and new.
I was really drawn to it as a young age, and in the early days of YouTube, hardly anybody was playing it.
So I had this moment where I was starting to get seen and starting to get, not popular, but I was starting to break through a little bit.
And at the same time, you have the Justin Biebers and them all getting picked up by the record industries.
But at the same time, for example, I was actually named after Kylan, my neighbor, whose dad was German.
His dad fought in the Vietnam War.
And had a bullet in his back.
And Kylan was a few years older than I, and he enlisted during the Iraq War and was, I think, the first Special Reservist to be killed in action, or one of them, of Marines, in Iraq in 2003, I think.
And it was a shocking moment for me.
I mean, this guy I grew up next to, I'm named after him, and then is dead.
I couldn't believe what was happening.
I learned about the Vietnam War and how retarded it was, and yet here we are.
We were repeating the same mistakes that I learned about in the 90s, and I had to grow up with that.
It radicalized me more than anything.
Once I started putting up these ragtime videos on YouTube, to make a long story short, I was sneaking in.
Some anti-war song.
Some anti-bankster song.
Because we had the financial disaster of 2008. And that affected me.
I was a college dropout trying to make it.
And then my life just got way worse.
I was trying to make it as a musician.
So, in a nutshell, there was this moment in time when we had this freedom to actually reach people.
If you were just a random person.
But they got rid of that really fast.
And I noticed that my channel...
It was starting to get censored back in 2007, 2008. And I kind of gave up on that and ended up just playing ragtime and went to play in ragtime festivals.
And I was fortunate enough through my connections in the ragtime music festivals, I got picked up by the band Postmodern Jukebox, which is a pretty well-known pop jazz band.
And I ended up touring the world with them a bunch of times.
And it was a really fun experience.
So I kind of...
As much as I like to complain, I did make it in the sense that I am a college dropout, and I end up getting picked up by a big band.
Of course, they won't give me the time of day now, especially since when COVID happened, everything shut down, obviously.
I got fired from my church for not being vaccinated.
I was a church organist, salaried for 15 years.
No.
No, yeah.
Listen, I know how rare and special.
And in demand, church, I don't know whether it's the same in the US, I imagine it is, we need our church organists really badly.
We're desperate for them.
It is a highly sought-after gig and a highly rare one, yes, to be trained in that.
I did, like I said, I was a dropout, but I studied the organ in college, but that, you know, I put...
What I did was I played for basically 20 years.
And like I said, I was a salaried church organist here in town.
I've told this story before, but it was pretty wild how it all went down.
But it started with that I wrote a song called You Will Never Be a Woman.
And they basically put me under a struggle session.
Let's just put it.
So I have a group of people that stalk me and hate me.
Our haters out there, right?
They really got mad when I still had my YouTube channel and I was starting to just not give a fuck anymore.
And I just really...
I started not holding anything back in my songs.
And I think it was Dave Chappelle did a...
A special, and he did a joke about the trans issue, and they were trying to come for his head over that.
And this is 2021. This was during the hysteria, the mass formation hysteria that COVID brought, and we had the summer of love with the George Floyd riot.
So everyone was just...
We were locked up for two years, basically, here in California.
It was brutal.
So I'm sitting at home, and I have no gigs and no income, really.
And I started writing these songs, and I saw Chappelle getting nailed for this joke.
I'm like, I'm going to write a song about the trans issue.
So I wrote, You'll Never Be a Woman.
I thought it was a tame...
Tongue-in-cheek, a loving little romp through the issue, trying to bring everyone together.
Oh, but no.
And it got some people very mad.
They doxed me and found my church that I worked at.
Now, granted, we're locked down, so we weren't even allowed to have services during this time.
And this is December 2021, so we'd been locked down for almost two years at this point.
So they called my church and they said, you are employing a...
Transphobic bigot or something like that.
And they all freaked out.
So they brought me in for this struggle session.
And of course, they know that because I've already expressed to them that when we open up, because it was going to be soon, I said, I'm not wearing a mask when I'm playing organ because we're trying to sing.
And so they brought me in and they're all...
I feel like this is Monty Python.
No one expects the Spanish Inquisition, right?
They're all in this line up behind this table, and they had to open all the doors because they're all wearing masks, right?
And I'm not wearing a mask, so they're all afraid of me, and they're all sitting near the exits and everything.
And here I am...
It sounded more like Eyes Wide Shut or something.
Well, it was like that, really.
And so there, keep in mind, this is an Episcopal church in California with trans flags.
Yeah.
Or the LGBTQ flags flying out, right?
I mean, I'm not...
It is what it is.
I'm there to play music.
I've been playing there for 15 years, so before all that happened.
But anyway, beside the point.
So they bring me in.
I think that we're going to talk about COVID stuff because that's what my issue was at the time.
And they said, you know, we need to talk to you about your transphobia, Kylan.
And I'm like, what?
So they basically were like, you need to make an apology video.
You need to remove your song from YouTube.
Yada, yada, yada.
And I'm in there.
I couldn't believe my jaw drops.
But I didn't really say yes or no.
I just sort of let them have their spiel.
And then a few days later, they announced that when they were going to open up, everyone five years older and up had to be...
Vaccinated with the COVID shot to enter the building.
So basically, my daughter wouldn't be allowed in.
I mean, it was shocking.
So I basically said, no, I'm not going to.
And then they fired me.
And that was the first of a long string of me losing my job for not doing the vaccine, not doing the mask.
But what was just so shocking was that it was a church, and I had been so good.
And they've been good to me, and it was just a very mortifying experience, and really right then is when I went hard, and I started writing my most...
I think that week I wrote Oy Ve Shut It Down, which is now probably my most notorious and well-known song.
So thanks to them all for shutting me down repeatedly, because it ended up me producing some of my best work, which I wouldn't have done otherwise.
Before the show, I was just listening to your fairy tale of New York.
That was last year, was it?
Yes.
Yeah, so that was actually a cover that I did of a great songwriter from across the pond.
His name is Dr. McHonk-Honk.
He's very good.
Oh, I love him.
I love him.
I don't want to dox him or get him in trouble or anything, but he and I are very close in just age.
We found out that we have a lot of parallels in our lives that were actually pretty stunning.
And he was one of the first.
So when I got banned off of YouTube a couple years ago, finally, I had nothing.
I mean, that was where I put everything for 16 years.
And I didn't even have a Twitter presence.
I had maybe 50 followers.
So I came here to Twitter as a life raft, essentially.
And there were a very few...
And people, the American songwriter named Five Times August, who does a lot of – so he was one of the ones that sort of took me under his wing and also Dr. Dr. Mick Hong Kong.
They had substantial followings and they were like, support this guy foundering.
He just got banned.
So I really, really respect them and really give them a lot of credit for it was a dark time for me and I was basically ready to give up.
And then I was – I found – it was a new leaf and I had a new chance and I – And the rest is history.
Here we are.
I mean, I could have just gone gently into the night there, but I didn't.
So is this how you earn your living, actually doing this?
Well, so I've always been a musician, and earning a living is a funny way.
That's right.
So I've always done that.
Yes, I've been very obstinate, very stubborn.
When I dropped out of college when I was 19, I'm like, I need to be a musician.
I don't care.
And even if I can be poorer forever, which I basically have been.
And so I have been trying to make that work.
And when I say musician, I'm a piano player, but I'm trained classically.
And one of my strengths is sight reading, which is I can play basically any music for the first time, which is very useful when you are doing accompaniment work with schools, with choirs, with musicals.
And so I started going hard on that in my 20s, but I started to notice that those gigs that were plentiful, even when I was a kid, were becoming very scarce.
And we were being replaced by orchestral tracks, just pre-recorded stuff for the musicals.
And part of it was a money issue, but part of it was...
Not to give it, oh, woe is me, but we are taken for granted, the musicians are, especially the ones that are actually trained, not just the ones who are busking, which is a great important thing to be able to do and to have, and they're neglected too.
But the trained musicians, I noticed that we were being replaced.
And I, again, was saying stayed stubborn, and my parents were like, come on, you should just get a real job.
I'm like, no, I'm going to make this work.
Get famous someday.
It's going to happen.
And it took some time, and until I was 30, was when I finally was picked up by Postmodern Jukebox and ended up touring the world, which was a big moment for me.
But it also was a wake-up call, and that was a little bit selling out.
I felt like I sold out, but it was a corporate behemoth.
Basically, the band was more of a corporate entity than an actual...
And I started to realize that they cared more about the business than the artistic side of things.
And that's when I sort of realized I needed to part ways with them.
I came back into town, and by that point, we had all been replaced by DJs and everything.
So all my live gigs were gone, basically, because I had left for two years to tour.
So when COVID hit...
That was the nail.
It was the nail in the coffin of our industry.
And we saw musicals, everything like that died out.
So, yes.
But pre-COVID, I was a church organist.
I worked with local universities.
I worked with local middle schools and high schools, choirs.
The live gigging wasn't as lucrative.
But really, what we've seen is that we have been paid the same.
Rates basically for the last 15-20 years.
So I'm still making the same amount doing this work as I was in like 2010. And that's just unconscionable.
It shouldn't be that way.
Everything else has gone up.
So we're seeing now locally is nobody is left.
They all moved away during COVID especially.
But there's no...
When I was a young...
Younger man.
There was a group of us.
When I wore a younger man's clothes, as Billy Joel so beautifully put it.
That's right.
Exactly.
What a terrible line.
Oh, Billy.
When I was younger, there was a competition.
For these positions and for these gigs.
And now there's no younger kids.
Not saying that people aren't playing piano.
Lots of people are learning from YouTube or whatever, which is great, and we need that.
But there's nobody trained to do what we do, which is accompanying singers, which is a whole different experience.
You have to have a lot of experience and training for that.
After, you know, when everything started opening up again, I started working, doing these gigs again.
But now, since everything shut down, I started doing the spicy songs.
I have this online persona and these people that hate me.
And so they keep trying to find where I'm working.
And they're calling, they're doxing me to my jobs.
And then the jobs keep freaking out.
So I was working with UC Santa Cruz.
They fired me because someone complained, I guess.
And I was going to do some jobs with the local symphony, and then they said, oh, I couldn't because I'm anti-Semitic.
And then I became musical director for a local theater company earlier this year, and I was in the middle of directing two different musicals at once.
I like the full director.
And then someone complained and said I was trans.
I lose track about it.
It was a trans thing.
One of the kids that I was teaching, or actually several of the kids that I'm teaching are trans.
And what's interesting is they love me.
They don't care.
The kids love me, right?
Because I treat all kids, they're all...
I love them all, right?
Because I'm a teacher, right?
So I'm trying to inspire them to be musicians and to do that.
And so it was the parents.
The parents freaked out.
They came from my head, and they fired me right a few weeks before the show.
And so they had to scramble.
They ended up losing thousands and thousands of dollars.
And I was like, look, guys, we can just make this.
I will just...
I will direct these shows, and then we can part ways.
Afterwards, we don't have to have any of this nasty stuff.
But no, they wanted to make it as nasty as possible.
So yeah, they got rid of me.
So right now, I'm in this place of...
I'm starting to get hired again, but it's almost like they're out of desperation because they don't really have anybody else.
And I could just say, fuck you.
I don't want your stuff.
I can only be angry and vindictive for so long, right?
I'm still pissed about the COVID stuff, but they're going to win if I'm just angry all day and just want to hate the world.
And that's why, for me, the music is therapeutic, right?
So what did I do during the horrible lockdowns?
I wrote a song called Speed of Science, where I'm like, did that jab ever work?
Oh, no, it never did work.
And it's a funny thing, and it was a way for me to have an outlet for this.
This horrible experience and just singing with this light-hearted, syncopated beat was a way for me to do that, and it works for other people.
It's not for everybody.
I get it.
Not everyone likes that.
But for a lot of people, I would see the response of, you know, I'm so angry and so mad and it's been so traumatic.
It tore my family apart.
Not to give me credit, because a lot of people approach this stuff with comedy, like Dr. Dr. McConcock, right?
But they're like, for the first time, after seeing your song, I was able to laugh.
The absurdity of the COVID experience.
And when I started seeing those comments, and even for that You Will Never Be A Woman song, I got comments from trans people that said, I love your song.
You're right.
I'm a trans person.
I'm not a woman.
And I also agree that we shouldn't be transing kids.
So here we are.
I'm actually reaching.
On the other side with my songs, I'm not an extreme person.
I grew up in a liberal household with Democrats for parents, right?
And I come from this place of totally different, right?
And that's part of the reason why I think they don't like me.
Because they look at me, I'm kind of this theater kid, piano fag, like this personality that they look at me and they expect that I'm on their side.
And when I'm not, it really pisses them off.
That's a really interesting story.
I was thinking as you were telling me that going back to ragtime for a second, in those days people would have sold sheet music and most households in America would have had one or two people who could play the piano.
With a piano in their house.
Play quite complicated tunes.
And you look back even further and you look at the sort of things that, say, an educated young woman would have been capable of in the Victorian era.
She'd have been able to write poetry.
She'd have been able to draw and paint.
I mean, pretty much everyone of the leisure classes certainly had this set of skills.
I mean...
I couldn't draw to save my life.
But 200 years ago, my equivalent would certainly be able to do that and would have probably had a musical instrument and would obviously be able to ride horses and all the other stuff.
I think that whoever runs the world, they don't want us to have skills.
They want a white craft out of existence.
And what you described happening to music.
I mean, it ought to be a really marketable skill, being able to sight read.
And instead, they've created a world where there's not much room for you because you've got skills, but they don't want those skills to be valuable.
It's true.
And to go back to what you're saying about 100 years ago, there was this time when instead of a chicken in every pot and a car in every garage, there was a piano in every parlor.
And now pianos are an inconvenience.
They take up space.
I used to have pianos all around town and various businesses, and they, over the years, just decided to get rid of them because they wanted to bring a DJ in or they wanted an extra table over there.
And yet, 100 years ago, for example, in the 1920s, there was this awesome era, pre-jazz, post-rag time, of really exciting types of piano music.
A lot of it was written for...
So it was very difficult.
But there was this new breed of musician.
In particular, it was white women who were classically trained.
And they are some of my favorite musicians and composers in the 1920s.
They were prodigies.
It was incredible, the level of talent that they were.
And again, it came from this Bygone Victorian era that their parents grew up in, and they learned how to do all the different skill sets.
They could do the sewing, but then they could sit down at the piano.
They could play some Chopin and Mozart.
Speaking of that, this idea of, oh, this is a specialized skill.
Oh, there's only one Justin Bieber.
I have a term for this.
I call it the Mozart Conspiracy.
And what I mean by that is, We have been incorrectly told over and over again that talent is a once-in-a-generation thing.
I'm not saying that people don't have talents and they're saying, oh, no one's talented.
I'm talking about the Mozarts, the Shakespeare's, the Einstein's, right?
So there's certain names in these fields that are considered deified, right?
Not to take away from Mozart, because Mozart was a genius, right?
He was a child prodigy, absolutely.
However, there was a period of time when Mozart was so popular that aspiring musicians who wouldn't have name recognition would compose a piece and slap the name Mozart on it.
And then, hey, all of a sudden, their piece was now being spread and actually performed.
Oh, here's a new Mozart, right?
Not to say that Mozart didn't write all of his music, but even his Requiem, which is a gorgeous masterpiece, was mostly written and completed after his death by his own students.
Was it?
His original Requiem was very incomplete, and some of the best parts were actually written by his students, right?
But it's all ascribed to Mozart.
And again, it's not to take away from Mozart, but they have created this persona of, oh...
There's only one Mozart in a generation.
Shakespeare.
Well, I don't know what your opinion on it.
Shakespeare didn't write a list of that.
No, he didn't write any of it.
So you can say, oh, it was De Vere, it was Bacon, it was all these people.
But really, it could have been a group of people, right?
That were, you know what I'm trying to say?
But they created, oh, this, oh, no, you're not a Shakespeare.
He only happens once.
So I think there's a conspiracy here.
Behind that, behind being like, well, you can't be famous or a genius because it only happens once in a hundred years, when actually there are scores of brilliant people out there.
Again, I've met many pianists that I would say, oh my god, I can never be as good as this.
But at what I do, I'm definitely one of the best.
It's a very specialized thing, what I do, right?
I'm just one example of someone where I'm like, I didn't have anything that special.
I mean, I had parents that were musical, and they made me take piano lessons, but I don't feel like I'm such an outlier that there must be so many out there like me.
And just a few months ago, I met this local guy, this 26-year-old guy, and he doesn't have any social media, and he's playing this modern jazz, which I'm not as good at, but just light years beyond most of the, quote, famous people today.
And I'm thinking, How many people are out there like that?
And then they created this false echo chamber with social media and with the internet and with big tech.
And they're only pushing these certain studies, Taylor Swifts and the Justin Biebers, when really there's so many people out there with so much to say.
And they are trying to dishearten and discourage people by when they don't make it or if we only see.
These certain ones that they pick out for us to see, and they're like, oh no, you're no Mozart.
Well, that's part of the disillusionment, this discouragement, which I think is by design.
Yeah, yeah, yeah.
I was thinking as you were saying that, are you familiar with a poem called Grey's Elegy in an English country churchyard?
I think so.
It was a huge poem in the 18th century.
And the author is sitting in a graveyard and he's musing on all the graves of all these villages and stuff.
And there's a line in it where he says, For many a flower is born to blush unseen and waste its sweetness on the desert air.
In other words, there are loads and loads of people out there who could have been something, but circumstances conspired against them.
So I think he got it.
And I think you've answered something which has often puzzled me.
About the music industry.
Which is...
What it does is precisely what you say.
It promotes this notion, which I think I agree with you is a false one, that there are only very few really, really talented people out there.
And these are the ones who scrabble their way to the top due to their raw talent and so on.
And you and I... Being down the rabbit hole, know that this is not the case.
The real way to get to the top of the pyramid, so to speak, is to go to a diddy party, spread them, and engage into all sorts of humiliating acts.
And once you've done that, you're part of the big club that we're not in.
And suddenly you get your music career, you get the budgets, you get the marketing, you get your allocated your special producer to...
Shag you every now and again and promote your records and so on.
And you join the One Eye Club and you sell your soul to the devil.
But in reality, there's lots of people out there who are just as talented who just haven't sold their soul.
That's the difference.
Or they were predetermined to be not...
It's malleable, if that makes sense.
I feel like, like I said, there was this time where they were looking for the Justin Biebers to bring back that, right?
Poor kid was brought in, and then we all know what happened to him.
I really do feel for him.
I'm grateful that I wasn't picked up.
I spent most of my 20s and even early 30s just bemoaning the fact, oh, what if I had been picked up by something and I could have had a career?
But now that, I mean, even though I knew a lot of this to be true, but now that it's really coming out, I can see that I must have been protected.
There must have been an angel looking over me instead.
Well, there probably was.
I feel the same way about my career.
I spent...
Probably, well, from about the age of 20 to about the age of, yeah, maybe 30 years of my life, feeling lightly bitter and mildly resentful that I had not achieved the fame I thoroughly deserved.
And now, I think, thank God, literally thank God, that I was spared this, because now I know the price you pay for earthly...
I don't think anyone gets it without making that awful compact with the devil.
It's wild, because, like I said, it depends on how you look at it, but I do remember being in high school, and I was the top of my class.
I was captain of the varsity soccer team.
I was composing symphonies.
I was...
Really, I mean, it was...
I felt like...
I mean, I felt like I was just the cream of the crop and I was all full of myself.
And then I got rejected from every single college that I applied to but one.
And I couldn't believe that.
I couldn't believe it.
And I was also winning competitions, winning international piano competitions.
But there were times when I didn't win or they just didn't give...
A first place, because they didn't feel like it, I guess.
But I would see more diverse...
So really, if you think about it, this is right in the thick of affirmative action.
Late 90s, early 2000s, in California, it was all about your identity and not about your talents.
And I feel like I was like, hey guys, look how good...
I'm like 10 years old, I'm playing the Grieg Piano Concerto.
I'm like, hey, look at me!
There were some people that were like, oh, this is great.
But mostly it felt like, and I didn't realize it at the time, but it was like, oh, look, another white upper middle class kid.
You know what I mean?
I was unremarkable to them because of who my identity was.
And I didn't realize that.
It wasn't until much later that I looked back and I'm like, oh, so that's what was going on.
And so I'm grateful because...
Then I was able to just forge my own path, right?
I would have gone to a music conservatory, and I would have been whipped into shape by them.
And instead, I ended up having to go to the one horrible school that I didn't want to go to.
It was my lowest choice, the only one I got into.
And it was such a horrible experience.
It was so woke.
Before that was even a thing, I remember when I tried to apply for housing in 2003. There were 10 gender choices on the housing application.
And this was before that was even a thing.
This was over 20 years ago.
And I had never heard of that.
And I'm like, what's up with this?
And all my friends were like, oh, this is amazing, right?
And I'm like, let's protest the Iraq War.
And they're like, what?
We're going to dress in drag and go party at the drag ball and choose a different gender.
And I'm like...
And this is 2003. So I peaced out.
And then all of a sudden, I had been a straight-A student.
I worked really hard.
I went to a pretty aggressively difficult, very small, private college prep high school.
And it had totally burnt me out.
And so I peaced out from college, age 19. All of a sudden, my mind had been completely...
occupied by school, by soccer, by music for my entire life and all of a sudden I had the early days of the internet based still the Wild West, the early 2000s and I was able to then research.
I started going down the rabbit holes and I started learning about how the world really works and I had time to do it and I then became who I am really now and I started my YouTube channel and everything but I would never have done that.
If I hadn't been shut down, if I hadn't been rejected, I would have been playing the game.
But something inside of me always knew that there was something missing from it all.
And I started to get disillusioned in high school for sure.
But it wasn't until that experience in college and after college that it really...
So I guess in a nutshell, everything comes and goes in cycles, right?
Hard times create strong men, weak times create whatever, right?
Yeah, yeah.
Experiencing that with the big tech censorship juggernaut is now directly responsible with creating an artistic renaissance.
I think that it is going to blow back ten times over in that I wouldn't have even written my best songs until I got censored, until YouTube kicked me off.
If YouTube had just kept me...
Slightly shadow banned for, like, forever.
I would have just been in this purgatory and kind of just not caring.
But it wasn't until they really started putting the boot down, we saw that during COVID, where they went so hard that so many people that normally, heck, my own family, not everybody, unfortunately, some of them are still asleep, but some of my close family members who never would have questioned this stuff now are like, I'm grateful Trump won.
I'm not vaccinating my kids anymore.
So we never would have seen that.
And like I said, I never would have made some of my best stuff, in my opinion, if they hadn't kept trying to shut me down.
So it's like, fine, keep censoring me.
More people are going to spring up.
Yeah.
I've heard so many stories like this from different...
I mean, you described my journey in a way as well.
And Bob...
Bob Moran, the cartoonist.
I love him, yeah.
He's great.
And we're all people who've said, I don't want to play other people's game.
I just want to do my thing.
And I don't care if I'm going to be marginalized and isolated and rejected and demonetized or whatever.
It's what I want to do.
And it's so much more fun.
I was going to ask you.
Because we could, there are so many different, you know, we could talk about dinosaurs and we could talk about, you know, chemtrail stuff.
But while I've got you, you know, it's not often that I get a musician on the podcast.
And I wanted to ask you about stuff like composition and how, you posted the other day about how pop music...
Pop songs are often a form of brainwashing.
The chord sequence and stuff is designed to do something to the brain.
And so many pop songs use the same chord sequence.
Is that right?
Yeah, that's right.
And to go back to what you're saying about Bob Moran, people can use these different mediums, right?
Whether it's cartoons or...
Podcasts or whatnot to push back, and I feel like music is one that is very important, obviously, sacred in a lot of respects, but it's one that they guard very jealously, and why I feel like people like me who, honestly, like I said, I'm just some piano fag playing ragtime on the piano.
I don't feel like I should have been that much of a target, but I feel like so few people, And there's lots of others that I've mentioned.
There's a lot out there.
But are using music for this purpose because there's something about it that creates this mindset of being more susceptible to...
I mean, look, they've been talking about how metal bands put in satanics messages, and oh, if you put this Beatles song backwards, it's a secret message.
So all these things people have discussed for a while, but I think it's less abstract than that, in that it is, there's just something about a catchy tune, and then lyrics, which is, words are spells, right?
Language is, I mean, they call it spelling for a reason, and even to go back to Shakespeare, Who did a lot to craft the English language as we know, essentially.
And a lot of these words that we use, again, they're a form of a magic spell, right?
And so when you combine the magic spell of English language...
With the already magical, ethereal, wonderful aspect of sound, of frequency, you basically get double magic.
It's compounded, or maybe even exponentially so, right?
And so that's why we can talk about Christmas music, and the modern Christmas music, and how it has strayed, and it's about consumerism, and these actually good, catchy jingles, they're very well-crafted tunes, are put with these words that, and then it's a form of, Mind control.
Not in that, like, oh, we're being, oh, it's mind control.
But it's more of a very highly suggestive, what is it, NLP, neurolinguistic programming.
It's a type of thing that gets you into this state of, again, being more susceptible to information.
What I was saying before, where during the worst of the COVID crazy Nazis and whatever, they were going nuts on us.
If I said, oh, the jab doesn't work, then they would get rid of my YouTube channel.
But if I sung it, oh, that jab doesn't work.
It was able to get around the sensors, at least temporarily, right?
Because when you sing, you're supposed to be able to have that freedom, right?
Look.
Look at rap music, gangster rap and all that, and they sing about shooting, doing whatever, all sorts of illegal stuff, but they get away with it because they're like, oh no, it's just rap music, right?
So I don't understand why I can't use the, the satires can't use the same thing, right?
So everything that I sing, they say, oh, you must believe everything.
We're like, no, I'm just, this is just a song about this.
So to get what you were saying about the pop music, right?
About how they are...
Basically jealously guarding this industry is because they have learned to weaponize these certain formulas.
Now look, you can go back to...
Before Bach, so we're talking 400 years, when you have people like Pachelbel, Johann Pachelbel, and he wrote the very famous Pachelbel canon in D, right?
And it's one of the more overplayed chord sequences in all of Western classical music.
But honestly, I like it.
It's smart.
It's well-crafted.
It uses some good chord changes.
But my point is that it basically became the pop.
Chord sequence in classical music and that if you used it in Mozart's time or Beethoven's time, they would roll your eyes at you, right?
They're like, okay, come on.
Like, Pachelbel did this.
We all know this.
Very good.
You're smart.
You're a good musician.
Nice job.
So it's this thing, but it's recognizable.
It's good.
A lot of Christmas songs and a lot of Christmas music uses it.
One of the worst examples of COVID propaganda during the height of things was This song by Ariana Grande called It Was a Mask Christmas.
She did it with Jimmy Fallon.
And the whole thing is basically get your booster.
And it's just a sickening propaganda.
But they used Pachelbel, Cannon, and D as the chord sequence, right?
So they just straight up took that.
So it's something that's recognizable that we all love to hear.
But then they put their...
Pernicious propaganda on top of it.
It's an affront.
I feel like it's an evil thing to do.
It really is.
Not to turn this into a music theory lesson, but yes, there are certain chord sequences that are recycled in pop music.
The one that is the most well-known is called 1564. Now, again, not to get into the thick of it, the weeds of it, but...
It's basically just you have a chord.
You're in a key of C. We'll call that one.
And then if you change to the chord that's five notes away from that, we'll call that five.
And then you change to the one that's six notes away, and that's six, and then four.
So the idea is you can do the C chord, and then the G chord, and then the A minor chord, and then the F chord.
Whatever.
It's four chords.
It doesn't seem like it's that big of a deal.
But what they've done is they've taken these four chords, and they have used them.
In about 90%, maybe not that much, but about 80-90% of pop music today.
And I get a lot of people, because I've said, okay, these four chords are being used for evil, satanic purposes, and people are like, music isn't evil, these chords aren't inherently bad.
And yes, that is true.
The chords themselves aren't inherently bad.
What is bad is that they...
Get you into this suggestive state, and without the context and the training of a musician, it reminds you basically of every other pop song you've ever heard that uses these same chords, and you hear this new, oh, this new fresh pop song, and they've changed the rhythm, they've changed the lyrics, they've changed the melody line a little bit, so it sounds fresh and new, but really...
You aren't hearing anything new.
You aren't hearing anything stimulating.
You aren't hearing anything artistic, really.
I mean, maybe a little bit.
And so it becomes more of a spell and a type of programming that gets you into this suggestive state.
Like when the Mass Christmas song uses the Pachelbel Cannon chords, right?
You recognize them.
You're not like, oh, that's Pachelbel Cannon indeed, right?
Unless you are a trained musician.
You won't hear that.
But when I... And I've trained my...
Daughter.
To notice the 1-5-6-4 chord sequence.
So that whenever we hear it on a song, she's like, oh, there's another one, Dad.
And I'm like, yep, you got it, right?
And again, it doesn't mean that the musicians that are writing these songs are in on it.
They're part of a conspiracy.
They're just trying to sell a song.
And then the record industry will pick up on those ones, the ones that use these familiar things.
And again, not to go too into the music theory aspect of it, but in that chord sequence in particular, look, Wagner, Beethoven, all these guys, they were masters of their craft.
They understood...
The complexities that this Western musical style brought, right?
It sacrificed some things, and this is a music sort of history discussion that we can have at another time, but we used to have this Pythagorean...
This is a form of tuning that dealt with these perfect ratios.
You have a string and then you make it twice as small and it's an octave higher and it's this one to two ratio.
And it created this perfect harmony and these perfect notes.
But when you try to tune a whole instrument to that, it actually fell apart.
And you can't...
Change between C and G and all these different keys, so you're stuck with this modal one, which is nice.
It's great for the Gregorian chants and stuff, but it prevents you from exploring different moods and ideas.
You're sort of just stuck in this one mood, which is great, again, for worship and other things, but not for...
Exploring new ideas and stimulating, right?
So around Bach's time, they developed a whole new system of tuning with the new mathematics that they were able to do, and they created the keyboard, and so Bach's some of the first works that actually was using this new system of tuning, and while they had to sacrifice some of these perfect ratios of Pythagorean's time, it opened up music for Beethoven and for the Vogners, and so they were able to use...
These clashing of chords and switching between all sorts of exotic harmonies and modal stuff.
And it really can be used to make you uncomfortable.
And so what we see, like Stravinsky, the famously, Stravinsky, Russian composer, when they first performed his famous work, The Rite of Spring, which is well known today and a staple of classical performances, it was so dissonant.
and wild that it there was literal riots at the the premiere of that show because it was so no one had ever heard anything like it before and it literally broke their brains like it wasn't like we're writing because this is so bad it just made people crazy because they had My point is it goes to show how effective,
especially wielded by a talented composer, you can really affect people's emotions.
And it can go both ways.
I'm not talking about just making intense, bad-sounding music.
I have busked, I play live all the time, sometimes happy music.
We'll make people just furious, right?
They will get in your face because they don't want to feel good.
They don't want to see someone else like me having a good time, and this is what I'm doing.
I'm loving life when I'm performing, and it's the frequency, it's the vibrations that it causes.
So just to tie up this whole stream of consciousness, the idea of how they use these four chords, these chords, again, aren't inherently evil, but they To go with the Johnny Cash, the Hallelujah song, there's the minor fall and the major lift, right?
So it's the hero's journey.
It's that we all go through.
Well, they have been trying to take away this hero's journey and replacing it with you either are born a hero or you're not.
And we see that with how Disney is remaking all their movies and stories and they're creating these Mary Sues.
They're replacing the, for example, in just the top of my head, the movie Mulan.
The original Mulan, she was this kind of weak woman, and she had to work her way to the top, and her male counterparts were stronger than her, and she had to use her wits.
To be better, right?
Well, the new remake of the Mulan movie, it's like, she's born perfect.
She has all the powers right away.
She's got a high...
She doesn't have the journey, right?
Was it Rey from the new Star Wars?
I never even watched it, but it's the same thing.
She's a Mary Sue, and so...
They took away this challenge, the Wagnerian hero's journey of going through the trials and the tribulations to get to the triumphant end.
And this chord sequence that they use, this 1-5-6-4, it gives you the sense that you start out in a major key, and then it briefly goes to this sort of minor.
So there's your black and white, and then you end up at the major again.
But not to go too much into the theory aspect, The minor key that is used in the 1-5-6-4 is the minor 6. It's actually the same scale.
It's called the relative minor to the relative major of the 1 key.
So basically, you're just using the same notes over and over again.
You're using the C major scale, which is all white keys, basically, if you're in C. And my point is, it's a fake hero's journey.
It gives you this sense of a rise and a fall, but it's really this...
Feedback loop.
And it's why all these pop songs use it.
And again, the sequence isn't inherently evil, but the fact that it is used all the time, now it's morphed into this homunculus type thing of where it's not...
It doesn't sound like music to me.
It sounds like a spell.
And it's programming.
And it's important for people like me, I think, to speak up about this, how music is spellcraft.
And it is part of why people like me, again, we are attacked.
Because we are showing people how to use these weapons against them.
Briefly, you mentioned Hallelujah, which I know you've parodied.
Is that, there's something special about those chords, isn't there?
According to the lyrics of the song, anyway, the chords that David used.
Is that true?
Yeah, well, so you're talking about like, you mean like ancient times, David?
Yeah, yeah.
Yeah, well, so those chords, like I was saying, we didn't have the tuning system that they had back then.
So no, there was no way that they would have been able to use something like this.
This is a modern phenomenon.
So David never sang psalms.
That sounded like Leonard Cohen.
Nothing like it.
They didn't have the vocabulary, the musical.
They didn't have the mathematics, actually.
To split up the piano into the octave that we do, the 12 notes, you have to be able to use the 12th root of 2. It's more of a complicated question than you might think.
Again, we are dealing with a modernization.
The bastardization of older, more sacred harmonies, but if used correctly, can be incredibly inspiring and stimulating that we saw from the great composers of yore.
But something happened around 100 years ago where this shift to...
Jazz and rock and roll and then pop music today, where some of these traditions were successfully kept going by the luminaries of those fields, but for the most part, it got bastardized, essentially.
It's basically the lowest common denominator.
The easiest stuff ended up being what became popular.
So you slap those four chords on anything, and you can be a star.
Can you explain something to me?
I used to be, I still am kind of, a massive, massive fan of Led Zeppelin.
And I used to, you know, the Rain song or whatever, you can really get sucked into those songs and the intricacy and stuff.
But there was, even when I loved Led Zeppelin more than anything else, I could tell that there was something within that music which was not quite right.
There was something sort of melancholy, something that kind of sapped your energy rather than...
That was essentially, I suppose, I wouldn't have used that word at the time, but satanic.
Can you identify that and explain why that is the case, or not really?
Yeah, I don't think...
Them specifically, hard to say.
I think it's really just there was this era.
That's a little before my time.
I grew up listening to Led Zeppelin and enjoying Led Zeppelin.
I would still listen to Led Zeppelin today.
I feel like they're one of the better groups in terms of all the stuff that came from that era.
I like how you said something about sapping your energy.
There is something about that.
It comes from this stuff.
I feel like that's not necessarily a bad thing.
When you listen to some of the Wagner stuff or whatnot, it really pulls you in.
And you do feel that taking away of your energy and the emotions being drawn into that you are expelling it.
I feel, though, that a successful work will restore that to you by the end of it.
Does that make sense?
So I feel like there should be this give and take between you and the art.
And it should give you the emotional highs.
And I feel like that is part of a successful piece, really.
It shouldn't all just be happy.
It shouldn't all just be bringing you down.
And so I feel like I have to walk that fine line sometimes when I don't want to be...
The negative Nancy, right?
I don't want people to come away from my music feeling disheartened and depressed even.
But at the same time, I want to challenge people.
I want to make people a little uncomfortable.
And certainly words can do that.
But there is a musical aspect of that too.
And a lot of it is very hard to put into words.
I've been writing songs for 30 years, right?
And so...
A lot of this stuff is not tangible.
I might try to write a book on it someday.
But there are certain chord sequences that are challenging.
They're challenging to write.
They're challenging to play.
I'm not saying challenging is as hard to do physically.
It's more emotionally.
And it gets you into a state.
So as a musician, you have to be aware of that and respectful of it.
And I think I am even guilty of abusing that sometimes where I will use Particularly poignant or powerful chord sequences as almost, I feel guilty about it.
In fact, I get angry when I hear words, not angry, but I get annoyed if I hear a popular song, what I think abusing certain sacred...
I'm not talking about the 156-4s, but there's certain ones that I feel like should only be used in the most powerful and important things, contexts, and I hear them being used in very light ways that doesn't seem right, right?
So when you have groups like Led Zeppelin, I think a lot of them were exploring this, and they were...
This was a newer time with what was being done, what was production quality with the technology was now being with the Pink Floyds and stuff.
So, I mean, I was a big Pink Floyd fan, right?
And so, I mean, I never really listened to the Beatles that much, but I mean, I appreciate what they did.
They bring to the generation.
For sure, yeah.
But it seems like a lot of these were manufactured.
Like the Beatles, they were kind of like the Mozart conspiracy of what I was saying.
It was like, oh, there can only be one group called the Beatles, right?
And they were created to do that.
But at least they made some good songs, right?
So just to get back to what you're saying about Led Zeppelin, I feel like...
A lot of that, this was this time of, even the record industry was trying to figure out what is a good formula for this mind control, and they have since...
Now, almost perfected it, really.
And so any groups that make it are vetted thoroughly by these industry people who aren't necessarily musicians themselves, but they have learned about these formulas and about who wants to play the game, essentially.
This is an easier question for you to answer, I think.
Why is Taylor Swift so awful?
I've listened to a lot of her music.
I've really never found any of her songs which was better than Meh, you know.
Or are you going to contradict me?
I'm going to push back on that.
I'm going to push back.
Are you?
Yeah, yeah.
Wow.
Well, okay.
I don't listen to Taylor Swift.
Let me just put that out there.
That's right.
Well, I guess so, right?
I'm not even insulted by that.
So I will say, the band that I got picked up by, Postmodern Jukebox.
Have you heard of PMJ, Postmodern Jukebox?
You might recognize some videos, especially a number of years ago.
What it is, is they take pop songs, for example, even a song like Radiohead's Creep, which I'm a big Radiohead fan, but that song annoys the hell out of me, right?
But then they took like...
A really sexy singer, woman, and they do this lounge piano, and they're all dressed up, and they're all nice.
It's very well produced.
Oh, I quite like, yeah, those sort of rehashes.
So that's what...
They do them in a kind of bossa nova style or whatever.
Exactly.
So I, again, would not...
Be surprised if you hadn't seen some of these videos from this band before, right?
So this is basically what I was doing before that band picked me up.
I was reinventing pop songs but then being like, hey guys, look it.
I can put a little syncopation in here.
I can change the melody.
I can repackage it and it's actually not so offensive, right?
But let's just say if you had told me that I would be touring the world, Playing Justin Bieber songs, I would have punched you in the face, but that's what I ended up doing, right?
So the band picked me up partly because I was one of the few who was a younger, slightly charismatic, you know, I'm just some dude playing piano, but in this very specific style that is not done as much anymore.
So they picked me up in 2016, and I ended up touring, like I said, around the world with them, and it was...
It was awesome to have that experience, but so what we do, we don't do any of our own stuff, right?
We would take Taylor Swift songs, but then recreate them and reimagine them, and I found that we were playing these songs around the world, and here I am in Russia, in Tasmania, in Singapore,
in Norway, in Czech Republic, and we're playing these I'm playing taylor swift and and everyone out there is is is shouting they know all the words and everything but we're repackaging it in this sort of americana this traditional way and i found myself warming up to the stuff in that not that it was i like the song it was more like I like the ability that I can communicate and
reach people because they don't necessarily have the training.
They don't necessarily understand all this nuance.
And if we can reach them using these figures like the Taylor Swifts, and here I am, I'm playing a Taylor Swift song and someone is like, oh, actually, I know this song and they're listening.
And then...
I can play Oy Ve Shut It Down.
I've already got their attention.
I've already reached them.
I'm not trying to come at them with something extreme right away.
And just to finish what I was saying about what I was on tour is, yes, we're going around the world and we're playing Justin Bieber, which was kind of like a little bit of my soul died a little bit when I was doing that.
But in those concerts, I was also given the opportunity to...
Do whatever I wanted and perform my own solos, right?
Even though I was the piano guy, I'm like the main person on stage.
And I used that chance to, in addition to playing the Bieber and the Taylor Swift, to then play...
A little bit of my interpretation of the music of the culture where I was.
And these were the highlights of my life.
The highlights of my musical career were the moments where when I was in Russia, I played them Rachmaninoff.
And I played them Tchaikovsky.
When I was in Norway, I played them Edward Grieg because that is their god.
When I was in Finland, I played Sibelius.
And you would think, oh, they're not going to recognize any of this.
No.
These are heroes to these cultures.
They are worshipers because they are the expression of who they are.
Music is such an important part.
Of course, there's food and there's literature.
But in Czech Republic, Smetna.
Bedrick Smetna is a hero, the composer, and he wrote this piece called The Moldau, which is a beautiful orchestral work about the river that runs through there, right?
So when I was in Czech Republic, and I go up there and I start playing the Moldau in an opera house with 10,000 people, and it was the loudest sound you will ever hear in your life.
Like, nothing.
Like, the band on stage, of course, they had no idea.
What's Kylan doing?
He's playing some random piece again.
But everybody in that place knew what I was playing, and they were just, it was, the whole place erupted, and it was, again, like the highlight of my life.
It was a chance where I showed them, like, look, we appreciate your culture, and we are bringing that to you.
And I remember when we were in Moscow, this was before...
Trump, well, this is before everything went to shit, when it was like, oh, Russia's evil again.
This was pre-Trump's election, right, 2015, 2016. And they told us, they said, this was the first time we felt since the fall of the Soviet Union that you brought America, that we felt like America was brought to us.
And it was this chance of, like, we're all joined together.
And so to finish what you're saying about Taylor Swift and, like...
Even earlier this year, I wrote a parody of her song, Shake It Off.
You know, Shake It Off, Shake It Off, which is kind of an annoying song.
But when we were on tour, we did this sort of Motown version of it.
And it was actually kind of like we reinvented it in a way where it was palatable.
We made it palatable.
And I was like, oh, this is actually kind of good.
So I rewrote Shake It Off.
Yeah, I've seen it.
Yeah, yeah, Mazel Tov.
I love that.
That's one of my favorite ones to play.
And here it's a Taylor Swift song.
And so I'm like, actually, I like the song now.
And I'm like, I'm not putting on Shake It Off.
But now I have this new association in my mind with it where it reminds me of touring the world.
It reminds me of reaching people around the world.
And then it gives me this awesome parody, satirical opportunity.
And now I can use this melody, which is kind of mind control.
I'm like basically using their weapons against them.
And they hate that.
They really do.
They hate that.
I have this training, this pop training, and I can recognize these formulas and I can repackage them and use it to red pill people.
And it's part of the reason, I think, why folks like me are aggressively silent.
They don't even try to discredit me.
I don't even have my own ADL article.
I'm bummed about that.
I keep checking.
But no, they won't do it.
And it's not because I'm like, oh, I'm so good.
Like I said, there's...
Tons of people out there like me, but it's like they don't want to give recognition, even negative recognition, to folks that have learned to use their formulas against them.
Yeah, yeah.
I really want to talk to you more.
I haven't got time at the moment.
It's a real bummer.
There's so much more that we have.
Like I said, we didn't even talk about dinosaurs.
Would you promise me that you'll come back?
Absolutely.
I just wanted to ask you briefly about 432-440.
Are you up on that?
I am.
I think it...
I won't say to be an expert.
There's a guy It's another one who inspired me.
His name is Conspiracy Music Guru.
Are you familiar with his work?
No, he sounds good.
I like the name.
You need to look up Conspiracy Music Guru.
So really, one of my more darker times, before I wrote Oy V, Shut It Down, before I started really going hard on all that, it was right when I was fired from my church.
I found his channel on YouTube, and he has a song called Flat Earth Man.
And so a lot of his stuff is more like nasty.
NASA-related stuff.
But he was making these videos on YouTube, and it's very well-produced stuff.
It's a little country-western.
I believe he's English.
I believe he's British.
I could be wrong about that.
It was like, this is amazing.
I love that.
Someone else is writing songs about this kind of stuff.
I asked for permission to use one of his songs called...
I Told You So.
Go listen to I Told You So by Conspiracy Music.
You're going to get a big kick out of it.
But I covered that, and he gave me permission to use it on my album, and the dude is so amazing.
So the reason I mention him is he has whole songs and does whole – he records all of his music in the – he changed the hertz, right?
So the whole 440, 432 hertz thing, right?
There's a whole conspiracy there about how they changed it 100 years ago, and I think – I haven't done the deep dive into it, but all of my intuition says that there's something serious there.
I have not tried to change my recording into that, converted into that, but I feel like there is a frequency conspiracy, and a lot of these, it's used against us in a way, it's weaponized, so I would not be surprised if that...
Has a lot of merit to it, and it's something that I would like to do more research into.
Okay.
Did you find a new church to play the organ in?
I have, but I have to be really careful about anything that I say.
And even like, because I was like, I was...
There was a tornado in California a couple days ago, which is totally wild, right?
It just doesn't happen, right?
I've been living here for 40 years, and there's never been a tornado.
It just does not happen.
I was at a gig the other day, and 20 minutes before I was supposed to start, it was just a block away.
Half a dozen cars caused millions of damages, and it just went right by us.
So anyway, my point is, people were like, oh, where were you?
I can't say anything.
I can't say anything that I'm doing right now, because they'll find them, and they will get me fired.
And that's just what happened.
So I am at a new church, and I do have some new gigs.
But like I said, it sucks.
I feel like...
It shouldn't matter anymore, right?
I feel like if you do a good job at your work, you should continue to do it.
Unless you're doing anything illegal, right?
But I have never been accused of saying anything illegal.
Just offensive.
I want to come and meet you in the flesh sometime.
Well, maybe I'll come on tour someday.
Yeah, come on tour.
I miss seeing Vikunga Olafsson do his Bach thing.
Can you bone that up for me?
What is that?
Have you not checked it out?
I don't think so.
It's really good.
I think it's a Bach organ sonata which he transposed for the piano.
Oh, I think I have seen that.
If you look it up, Vikunga Olafsson.
It's good.
It's so much fun.
I love stuff like that.
You can do it.
I can't.
Thank you for all your Your stuff.
It's very entertaining.
And yes, please come back on.
Where can people find you?
Oh, yeah.
Well, thank you.
I appreciate it.
This has been a long time in coming.
And I feel like there are very few people that I really, I agree with basically everything you say.
I don't think I've ever seen anything that you've said.
I'm like, oh, yeah, actually, I'm not on board with that.
So it's rare for that.
So it's very cool to find a like mind.
And it's also, it's very...
Humbling that you would be interested in talking.
This is all, as someone who's just sort of been making music by myself for 20 years, it's been a little bit of a whirlwind.
So anyway, I've been banned off of YouTube.
I was banned from Twitter for half of the year last year, and I'm back now.
Who knows how long that, I'm going to knock on wood there.
So I am on, my main place right now is X. I'm foundering one.
At FoundryOne on X. And after I was banned on YouTube, I'm on Rumble.
I'm FoundryOnRumble.
I have a Bitchute channel.
I have Odyssey channel.
And then Bandcamp banned me.
And they didn't tell me why either.
It's so pernicious.
They just ban you.
They don't tell you.
You're left like, oh, what did I do?
It's a psychological warfare manipulation more than anything.
I now sell all my music on Gumroad, which a lot of people haven't even heard of.
Gumroad, G-U-M-R-O-A-D. It's a band camp alternative, free speech.
People have been reporting.
My stuff to them to get me banned for a long time, and they still haven't done it, so thanks to them, I guess.
So I'm foundering.bandcamp.
Sorry, oh my god, look at it.
Foundering.gumroad.com.
I'll get it right.
So that's where I sell all my music, and that's a great way to support.
And I have a subscribe star.
Which is the Patreon alternative for people that just want to give me a few bucks a month and they can see exclusive stuff.
So that's basically it.
I'm trying to figure out what to do next.
Like I said, I was fired from a big position earlier this year, so I'm still trying to recover from that.
I need to start doing a podcast.
I need to stream more.
But it's more about just me.
Just getting over myself and biting the bullet and just doing it.
Thanks to folks like you.
My main career advice would be come back on the Delling Pod and your career will just rocket.
It'll be a bit like signing to being signed by RCA. Hey man, I don't doubt it.
Which we know is owned by the military-industrial complex.
It's been great to talk to you, Kylan.
Kylan.
And if you've enjoyed this podcast, of course you have.
Please do consider supporting me on Substack and on Locals and Patreon and Subscribestar.
I try and spread it out so that if one of them shuts me down, at least I've got some other ones.
It's the way to do it.
Yeah.
You can buy me a coffee if you don't want to.
You get early access to my stuff with all those.
Otherwise, you can buy me a coffee and support my sponsors.
I'm always told that I don't push hard.
I don't do the hard sell hard enough.
It's because I'm English.
Hello?
I'm not American.
I can't sell myself.
I just make good stuff that you like and then you kind of, a lot of you just cruise on my product because you think, well, he's not that desperate.
Well, I do appreciate the support of those who give me support.
Thanks again.
Kylan foundering and the best of luck making it work.
Well, it's an absolute pleasure.
I really appreciate everything that you do.
Thank you.
That's really nice.
Okay.
End recording.
That was great.
Great talking to you.
Are we still recording?
Yeah, I'm saying end recording.
Global warming is a massive con.
There is no evidence whatsoever that man-made climate change is a problem that is going to kill us, that we need to amend our lifestyle in order to deal with it.
It's a non-existent problem.
But how do you explain this stuff to your normie friends?
Well, I've just brought out the revised edition of my 2012 classic book.
Watermelons, which captures the story of how some really nasty people decided to invent the global warming scare in order to fleece you, to take away your freedoms, to take away your land.
It's a shocking story.
I wrote it, as I say, in 2011, actually.
The first edition came out.
And it's a snapshot of a particular era.
The era when...
The people behind the climate change scan got caught red-handed, tinkering with the data, torturing till it screened, in a scandal that I helped christen ClimateGate.
So I give you the background to the skullduggery that went on in these seats of learning where these supposed experts were informing us, we've got to act now.
I rumbled their scan.
I then asked the question, OK, if it is a scan...
Who's doing this and why?
It's a good story.
I've kept the original book pretty much as is, but I've written two new chapters, one at the beginning and one at the end, explaining how it's even worse than we thought.
I think it still stands up.
I think it's a good read.
Obviously, I'm biased, but I'd recommend it.
You can buy it from jamesdellingpole.co.uk And I hope it helps keep you informed and gives you the material you need to bring round all those people who are still persuaded that, oh, it's a disaster, we must amend our ways and appease the gods, appease Mother Gaia.
