"Hieroglyphic Being translates five years of experimentation into his best LP to date" Vinyl Factory

"Album of the week" BLEEP

"Chicago dance music hero Hieroglyphic Being releases one of the strongest albums of his incredible career" Pop Matters

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Stunning new album from Chicago’s finest electronic futurist Hieroglyphic Being, aka Jamal Moss, newly released on Soul Jazz Records. This is his third album for the label, following on from The Acid Documents (2015), and African With Mainframes (w/ Noleian Reusse) K.M.T. (2016).

Born and based in Chicago, Moss’s music embodies two of the cultural foundation blocks of the city’s musical lineage; that of Chicago’s original Acid House sound (c. 1986) - Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61, and the equally pioneering work of The Art Ensemble of Chicago in the 1960s and 70s.

The association with Sun Ra is by no means hypothetical, Moss recorded with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl’s ‘We Are Not The First.’ (2015).

Similarly, his relationship to Chicago’s original acid house pioneers of the late 1980s is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also runs his own Mathematics label, releasing a constant stream of new music by foundation acid house pioneers Lil’ Louis, Adonis and many others.

Moss grew up in the south side of Chicago. After being thrown out of the home of his adoptive parents, he then spent three years homeless living on the streets of Chicago, living a nocturnal existence as a gigolo in Chicago’s alternative clubs. He began his career as a DJ at the pioneering Liquid Love parties at Chi-town’s legendary Power House (home of Ron Hardy’s Music Box) around 1989.

What clearly defines Moss’s music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics – the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, The Art Ensemble of Chicago, it is simply ‘Great Black Music.’ And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit’s sci-fi techno artists (Atkins, Saunderson, Craig) and more.

‘Outsider House’ ‘Afro-Futurist’ ‘Rhythmic Cubism’, Moss’s near indescribable sound plays testament to the notion that he is perhaps the last of the line of producers directly influenced by Ron Hardy at the Music Box, uniquely qualified to write a new chapter of Chicago’s rich musical history.

Red Notes is the prolific artists new revelatory and unique project – in his own words ‘A homage to the Blue Note Jazz sound of Thelonious Monk, John Coltrane, Herbie Hancock’ fused together with the classic Chicago House and Acid sensibilities of Larry Heard, Armando, Adonis et al, into a newly imagined futuristic and barrier-less musical landscape.

Featuring organic and synthetic electronic instrumentation, Hieroglyphic Being here fuses real-time live instrumentation and over-dubbed technologies to dramatic effect, as analog and electronic worlds collide.

In honour and dedication: Thelonious Monk , Weather Report, Black Herman, Larry Heard, Herbie Hancock, Marshall Allen, Danny Thompson, Sun Ra, David Hotep, Daniel Carter, Orphy Robinson, Shabaka Hutchings, Mark Sanders, Evan Parker, Yaw Tembe, Pat Metheny, Miles Davis, Armando Gallop, Jon Hassell, Heldon, Pekka Airaksinen, Popol Vuh, Joe Zawinul, Moebius, Plank, Neumeyer, Adonis.

Instrumentation: with Organic Flute, Piano, Guitar, Drums, Alto Sax, Hammond Organ, Korg Triton, Linn Drum, Korg DDD-1, Dr5 Drums, Casio RZ 1, Ensoniq Mirage Fairlight CMI Series III, Moog Mother 3, Allen & Heath Zed 24 mixer, Auria App for Sequencing.

The striking artwork features stunning graphics and illustration from Paolo Parisi (who also created the artwork for the Africans With Mainframes album as well the series of Acid Mysterons albums all on Soul Jazz Records)

"Jamal Moss has composed a modern afrofuturist suite as though in a state of perpetual grace" QUIETUS

Read full review here

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