Creativity is the act of creation. Invention is a creative act. Artists like inventors, are creators. The reason I consider myself an artist is because I create. As Lady Bedouin of Z Cosmic Tribe, I created an entire new concept. The vague concept of an alien female musician. The LBCT project began as a creative experiment, I delved into the world of electronic beats and synthesizers. I bought a Roland TR-8 drum machine, TC Helicon and mic. I began creating my own beats, writing lyrics and visualizing the songs during sleepless nights. The tunes were initially made with pure analog and digital sounds. We created the songs by having fun with a sense of direction. The songs each had a purpose to be fulfilled, but creation doesn’t happen without the spirit of experimentation and elevation. Of course, I had to relax and let it happen too. I was particular about the details of each song. When a certain sound coming out of my machine wasn’t right, it wasn’t right. The songs already existed, they just had to find the right path to me. Creation doesn’t happen without exposing a deep part of yourself that is not always shown in daily life.
Once an original idea is formed, imagination is required. I wanted each LBCT song to carry a concept and have character. I’ve spent time thinking about my psyche and connecting to my higher self. But I was able to reach the space of creation by letting go and going with the flow. Of letting the voice of my higher self speak through the music. What’s grounded in reality is connected to this other plane. Only my imagination can expanded my mind in different ways. For example, my song Extraterrestrial is psychical possession via illumination, like medieval illuminated manuscripts. An alien culture and iconography is interpreted and claimed through native imagery. An extraterrestrial is alien to us just as we are alien to it. The thematic idea is about claiming imagination itself, and by telling the imaginative events I’m claiming ownership of the story one and the meaning it contains. It relates to the LBCT track because it is about claiming a dimension. This can happen through one’s imagination. What does it mean to claim a dimension? It’s more about certain things can change how a brain functions on a physiological level. Even if normalcy returns, it’s only an imitation of the original; a mere simulacrum. What was once there has been irrevocably imagined. In its place, an imitator. When the brain alternates, one can pretend to go back to normalcy. But it’s an actor playing an imaginative role, a changeling in swaddling clothes. Extraterrestrial gives the idea of what’s in there and what’s not there.
An art project as experimental as the LBCT project was based on collaboration. The collaboration with my friend who is a producer, Digital Latex, in his home studio started off with the song Within. He was be able to navigate the endless possibilities of electronic composition with me, and that takes years of dedication, which is showed in our collaboration. Then I chose to travel back in time, and add a 60’s fuzz tone to the LBCT electronic beats, and descend from the futuristic digital & electronic mode. After Digital Latex, I began to collaborate with Mitchell Owens in his home studio in Allston, MA. Mitch is another member of DIY scene. A bass and a synthesizer is all it took. Mitch played his bass, recorded the lines, and distorted the sound of the guitar with software effects. The idea is to use whatever tools you can and not give a damn, as some of my lyrics suggest. We began our collaboration with the song Big Brother. It turned into a bouncing base and jazzy rhythm with a southern hemisphere flare. Next came colorful guitar to the song Extraterrestrial that I previously mentioned. It required certain hallucinatory effects. Mitch’s sampler gave this loungish feel to the song 258, like watching the sunset over a blue lagoon. The track Alchemy, thanks to Mitch’s efforts, combines pumping house beats, nocturnal vibes, and ethereal guitar. Though collaborating with Mitch highly improved my sounds, they lacked something still. It needed that raw & electrifying sensation. So I decided to jam with Michael Leyden of Whistle Jacket, a friend and musician. He suggested the Den. It was the perfect joint for my experiment. The Den was a barn turned into a studio of some sort in North Reading, MA. Walking through its door, you get a 60’s flashback. Doug Batchelder runs the place. His property seemed like a farm. The LBCT album was post-recorded and mixed there. I teleported to the Den. Found a 1965 Fender deluxe; a beautiful amp were another 60’s fellow, country gentleman, was tracked. We used roto-vibe that emulates a Hendrix univibe. To add a swirl and make the tunes more psychedelic together. The e-bow guitar visualizes an infinite sustain for an infinite Universe in the song Ageism. Ageism is the only blissful song in the album. It was a triumphant collaboration.
Manifestation is when your concept, idea, or project is released and produced. In this instance, it was my LBCT self-titled and first album. I couldn’t believe it when I heard the songs at my friend Jeff’s mastering studio. It was a fantasy made real finally. I had an entire album with nine songs. I created the beats out of nothing. I imagined a story in my head and wrote lyrics about it, and I collaborated with talented friends and artists. I produced it as it manifested. It was very much a DIY project. Every single person who collaborated with me are DIY artists, musicians, film-makers, dancers and sound engineers who worked for themselves. Most of them work and produce from their homes and personal spaces. I self-produced my album, as well as the music videos. I earned profit through bandcamp. I had people purchase my album and songs online. The earnings went directly to me. I promoted my own art, and booked my own shows, gigs and performances. I offered to the world music that transcends the abduction of a mothership. An album that’s long, sustaining and trippy.