An Interview with the Maverick Mind Behind the Potential of Music’s Science-Backed Evolution –

After 25 years spent dissecting the science of sound, the creator behind DEFNOX is proposing nothing short of a rewrite of music’s DNA. His discoveries stretch far beyond traditional theory, revealing a binary relationship between the human mind and reality itself, and unlocking an “Omega Key” of harmonics that could change how music is written, taught, and experienced. In this interview, he explains how these revelations might birth new instruments, genres, and compositional methods, and why the industry’s stubborn reliance on safe formulas is holding it back. From futuristic “Ill-Tech” collaborations and odd-bar structures that feel as natural as 4×4 beats to plans for a global Music Science tour, he lays out a radical vision for music’s future; one where art and science collide to propel us into a new creative era.

Q: After 25 years immersed in music science, what would you say is the single most groundbreaking discovery you’ve made that challenges how we currently understand music?

A: I had theorized that I would be able to use the DEFNOX to make music after I invented it, but discovered soon after that, that the electricity it uses to cause a voice, also naturally shimmers its own ‘8 key set’ of harmonics. However, that’s not the groundbreaker- the big discovery is that Reality- or ‘Energy’ in this case- parallel to the electricity being observed as a nature in it’s auditory state; Reality itself is not only a magnetic Binary code, but the human mind has a binary relationship to reality, because the human mind recognizes all 8 harmonic keys electricity uses to create a voice in the DEFNOX. (They are the keys of A, B, and all the black keys on our current Pythagorean, but also produce an extra discernable key coined as ‘the Omega Key’). Another way of looking at this is Netwon’s Law of Gravity for example; the reason we know gravity exists is because reality presents it to us, and therefore we reflect reality by being the ‘1’ to Reality’s ‘0’- we know because it’s shown. AND, because the mind appears to also think in binary, we know that reality and the mind have a natural relationship that has to do with binary comprehension. This is a great first question, because the answer to this one, will be used as a tool to answer your other upcoming questions.

Q: If the industry were to fully embrace what you’ve uncovered, how do you think it could transform the way music is created, taught, or even experienced by listeners?

A: The Binary concept alone is a path that can be taken, but the understandings that the general topic of Music Science has presented, shows that there are several doors, so many they can’t be counted, and they’ve never even been opened. Right now, there is a Music Science Community on WhatsApp that I created with a Drum and Bass musician in South Africa that covers the Psychology, Mathematics, Physics, Acoustics, Composure, Production, Culture, Marketing, You name it- this Community has it, and most of these topics are not taken seriously enough but, there is substantial material to worked with in each area for music. Because my personal focus was Composure and Production, and basically breaking all the Music Theory Rules and creating terrible music, My self-officiated Profession is ‘Ultra Modern Music Writing’ in terms of Music Science. The Community is currently discussing a Psychic Genre, and I have no idea what that would even sound like as a completed song, but the practical notions that it can exist are literally materializing as usable sound sample in the Group Chat. That’s not even my focus, but this is my point; what I do and what direction I could go in, would only leave a scratch on the tip of this Ice Berg.

a) I want to go in to a Hip Hop and Electronic Music Direction (Personally) and create a new Ill-Tech Genre with DJ Q Bert, DJ Craze, Mix Master Mike, DJ Shadow, RZA, Busta Rhymes, the Beastie Boys, as well as several Drum and Bass and Dubstep Producers, just to name a few; to basically reeducate ourselves on the sound of Ill Beats themselves for even more complex reasons, and then create off of that reflection with our 21^st century equipment.

b) I want to be able to walk into any Music Instrument Production Company and they drop everything because I’m there, or set a better appointment even, so we can discuss THEM building music instruments that we just currently don’t have, that they would profit off of highly; Music Science is saying these instruments should exist- the DEFNOX was one of them.
c) I want to be able to create a Music Science tour where I pick all the music acts that are going on this tour and show everyone what the future of music is going to be, verbatim.

d) I also want to teach a one-day class that goes over all the new music science information I have that begins with the Binary concept and the phallic geometry of nature.

And trust, that once I’m done doing all this… you will open all those brand new doors and take the torch I’ve passed to you.

AND… AND… to top it off…

e) I have a solution to help the “little guy musician” make money on an honest playing field, without disrupting the structure of the current Music Industry, in fact it would bolster the music industry over time.

Q: Where do you see the most urgent need for innovation in music today – and how does your research address those blind spots or outdated assumptions?

A: You’ll notice that music today isn’t making the impression it was during the 60s, 70s, 80s, 90s,… somewhere along the way, people got played out on it. But I can tell you why, because the Music Industry refused to step outside of ‘Mary Had A Little Lamb’, which is another way of saying, “This formula, and this formula only, because it sells!” Pretty understandable, we’re just trying to keep the business alive so we can continue to make music. Well the reason they haven’t stepped outside of the formula is due to the fact that they don’t know HOW to use other formulas that you find in classical music; because classical music is the capacity of harmonic writing. What I’m telling you, is that I know NOW… how to use these other formulas so that the public will listen to it and enjoy it. In fact, the music will be noticeably different but comfortable to hear, and therefore, a sellable product. I’ve proven that this is possible with the album I just released on October 1^st this year, called ‘Space Time’, where I demonstrate all of these new writing technique approaches, I prove how seamless they are to listen to. This is an example of what I would change. Once they know this stuff, the way music is written will be noticeably different, and the music writers themselves will be addicted to writing in these new ways.

Q: Many people still view music primarily as an art form rather than a science. How do your findings challenge that divide, and what new possibilities emerge when we treat music as both?

A: Music will always be viewed as an artform, there’s an obvious relationship that components of music have to science and finding how to make them work together for a new result is what created the topic of the Psychic Genre. Ultimately, the work I have personally done with the DEFNOX and understanding the Binary Relationship to music writing, is what the Music Industry really wants, but it’s in my head, and there’s a lot to go over. I don’t think it would take more than a day to disclose everything, but I do know students would be calling me up afterwards with questions… for years… hahaha and that’s why there’s a Music Science Community. My findings don’t challenge anything, they are significant additions to the music writing concept completely, and it opens up the possibilities of create instruments we don’t currently have because the possibilities could be seen on a map of sound. The possibilities are literally endless, but the first possibilities I have in mind are for Electronic Music and also new acoustic creations including cymbal types and modifying the current Piano and Guitar to the DEFNOX harmonic series of 13.k.o.

Q: Your work was initially dismissed by those in education, science, and the industry. What do you think they’re missing by refusing to engage with the evidence you’ve presented?

A: They didn’t respond to me, and those who did, didn’t even review anything I gave them or cared about anything I said. According to a Professor I spoke with at the University of San Diego in their Music Science department, what I was describing to him, he had never heard of… but it wasn’t significant to him either. This is generally the way people treat this altogether, it’s not any form of disagreement, I think a majority of it is a lack of caring or acknowledging it even matters. No one really cares. I spoke with Jon Philips, manager for the band Slightly Stoopid, and I didn’t even think he would represent me, but he did talk to me, and he just didn’t know what to do with me, or how to help me. I was interested in showing the DEFNOX off because it was the beginning of a revolutionary direction in music, but that’s also a lot to explain to him, which I am barely scratching the surface of with you here in this interview. It’s huge, it’s massive, it’s literally a Fighter-Jet shooting across a blind man’s sky, they JUST. CAN’T. SEE-IT.

Q: If a major label or conservatoire were to adopt your discoveries tomorrow, what immediate changes would we see in how music is written, produced, or understood?

A: The changes would be obvious, significant, and comfortable, as I pointed out earlier. Imagine all the music you hear right now, sounding like nursery rhymes to you… and then… one day, all this new music comes out, and it sounds… mature… different… but good… and then you hear it for the first time and you feel inspired, “Whoa, I want to do that… How did they do that…?”

There are several methods to go about this, including Parametrics, Odd Bars, Tempo Combinations, but ultimately, it’s the new odd bar concept that the music industry will want the most. All the music you hear in based in 4×4 timing, and the reason NO ONE ventures too far beyond that is because “ODD BARS SOUND TERRIBLE.” Oh they certainly do… you can make them sound interesting but the mind wants binary, that’s 4×4. None of this weird odd bar stuff works in a brain that is dominantly ‘EVEN’s. BUT WAIT, Hahaha… what if I told you, I know how to make an odd bar sound to the listener, as comfortable as a 4×4?

No Way!

Oh Yes Fucking Way… yes way indeed.

And this is the stuff I’m talking about. To the average person, this is some bullshit nerd stuff that doesn’t make sense, but make the music based on these new formulas and show that song to said average person and watch the looks on their faces when they hear that… *eyebrows lift* “Wow, that’s actually really good…”
I seent it.

Q: You’ve spoken about wanting music to grow beyond its current bounds. In practical terms, what would that evolution look like if your research became part of the mainstream approach?

A: So, There would be new instruments based on a sound map, additions to music composure and the music method, a Music Science Tour, Futurize Hip Hop with a new EDM genre, possibly create a new foundation for no-name musicians to still make money, and also possibly a Music Science Continuation or Reality TV Show of sorts that explores the topic, because the topic will be opened and I’ll have exposed so much of what the world is currently capable of and appears to be oblivious to.

Q: Looking ahead, how do you hope your findings will shape the next generation of musicians and thinkers – and what would it mean for the future of music if they did?

A: It’s highly unlikely, due to the past I’ve discussed with you concerning the DEFNOX or the binary concept, that any of this will happen. Who am I- you don’t know me- no one does- and I just randomly come here and say, “Make me your Music President and I’ll make it all better.” That sounds like the Monorail Salesman on the Simpsons to me, but if by some chance… if somewhere in this pile of words I’ve sent back to you, someone in the music industry realizes I am the key to the future… I can tell you right now, we’re headed into a new 1980s for music business, and it’s gonna be booming AGAIN, because I will present the next “industry race”. True results are easy to hype. It’s just ironic that I’ve fallen into this position where I need to have some kind of music career in order to ascend above it and give the entire music zeitgeist a make-over.

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Interview by Amelia Vandergast