Many people have asked me about the name Japetus so now there is a separate page specially for that here. You can read the All Music Guide biography or explore the iTunes Preview page plus an extensive page of info on New Paradigm Journal.
I was born and raised in Sydney and from a very early age I heard music in my head but had no means to capture it. In the school band I played side-drum and learned basic musical form and structure, but it was not until I taught myself to play a variety of instruments including drum kit, acoustic guitar and keyboards, as well as singing, composing and production, that I managed to capture it all, layer upon layer. For 4 years in the late 70's I worked in one of Sydney's most innovative music venues - And Now For Something Completely Different - where I was exposed to and involved with live music almost every day, with the cream of local talent.
One thing that came from all that exposure was the beginning of my desire to record and release my own music. This was first realised in 1979 when I recorded my first songs and then released two of the songs under the band name Social Comment. You can read the whole story on that Facebook link.
I continued to combine these skills into audio/visual production and worked for several years as an audio/visual producer/engineer where I also wrote theme music and jingles for corporate videos and ads. To assist in my desire to be a recording artist, in 1980 I set up my own recording studio in Willoughby, Sydney, and began creating songs and experimenting with sound synthesis using some of the new digital music keyboards launched in the early 80s. I recorded over 40 Pop/Rock songs as The Crazoids and sent them to record companies all over the world, however I was still a few decades ahead of my time, recording as a solo studio producer writing songs about social change and extra-planetary influences.
Along the way, I stumbled upon the practice of meditation, gathered information on various spiritual paths and gradually came to understand the importance of a higher more universal awareness. As this new perspective of life grew within me so, correspondingly, my interest in a traditional Pop music career began to diminish, and I found myself working in a more instrumental vein. With a background in the relationship between audio and visual, I began to recognise the connection between sound, colour and imagery. The more I worked with it and continued to explore consciousness the more I was given the various inspired journeys through conscious mental telepathy that went on to become the Visionary Journeys catalogue.
Soon we will all be fully telepathic. Inevitably though, often I could not explain or understand the things I visioned and wrote and created until much later when the synergy of the creation became apparent. It wasn't until I had some perspective on it all that I could understand the complete picture of the catalogue.
Almost all the imagery, concepts, structure, form, flow and relationships for each album were documented in my journals in the 12 months prior to starting the album. With my major work - The Radiant Self album - the journey and the experience were documented as a graph with each section clearly defined in relationship to the whole first half of The Journey Through. Then, I just 'tuned in' and allowed those instructions to 'outwork' themselves 'through' me as 'cleanly' as possible. This was the vision... and there were dreams.... climbing 'through' this 'landscape' while asleep.
Remember - If you sat me at a music keyboard and said - play or else - I would play 'Chopsticks' because I have no musical training and guitar is actually my best instrument. So it is ironic to have produced all those original album journeys that still hold a fascination for me today as to how I created them. This is the primary reason I do not play 'live'. Fortunately, I'm a good producer and can bring it all together in a recording.
Between 1983 and 1997 I composed 12 inspirational albums (plus later two compilations) and released them through my own record label doing all the programming, recording, performing, production, manufacturing, distribution and promotion myself. This catalogue is an evocative and colourful collection that presents a profound musical framework for exploring the vibratory worlds of imagination and sound for the purpose of self-discovery, meditation and healing. Most of the albums were created on keyboard synthesisers and music samplers, intuitively synthesising my own unique inter-dimensional sounds, perfecting ways to provide the perfect atmosphere and colour to evoke the particular journey and imagery. Later, I added spoken, guided visualisations based on the original imagery that I saw when I developed the concepts for the original musical tracks.
Although I have focused on music, as a synthesist in the broader sense, my talents include video producer, vegetarian cook, creative writer and graphic/web designer. To support one of my best-loved albums, Visions Of Paradise, in 1987 I filmed and produced a Visions Of Paradise nature video of magnificent natural vistas, rivers and sunsets, creating an audio-visual healing experience. This had wide applications in therapeutic areas as well as in the home and workplace. It was even shown on its own Qantas in-flight movie channel as part of a meditation package and I re-shot a version of that video in digital video in 2008 (see Visions of Byron). I have also performed some of my musical soundspaces at various healing workshops and conferences on metaphysics including the Esoteric Sciences and Creative Education Foundation conference in 1990 (ESCEF where I also held a rare workshop) and of course the opening of Conference Earth in 1995 where I also had the delight of providing a live soundspace behind 60's visionary Dr James Hurtak during my mind-blowing guided visualisation.
In 1985, Australia's most prolific writer in mysticism and the occult, Nevill Drury, asked me to produce a series of three albums of inner space music to accompany my book Music For Inner Space (ISBN 0907061745) for release in Germany and around the world. Over the last 20 years, I have worked with Denise Linn (USA) and Jo Buchanan (Aust.) on guided visualisation albums, produced the soundtrack for an alternative short art film called 'Into The Light', recorded and produced a series of Tibetan Buddhist chanting 'practice' albums for Lama Trijam, and supplied music exclusively for the National Federation of Healers Inc (Australia) guided visualisation album. In 1996, I was commissioned to create the title theme and incidental music for the 23 part TV series 'Yin, Yang and You' initially broadcast to over 100 million viewers on NBC Asia as well as in South Africa and the Middle East where it still screens on a satellite network called 'yes'. In 2002 my music and video were selected to support a guided meditation video for the Qantas first class in-flight movie channel. In 2007 I was enlisted as Musical Director and Sound Designer for the Day Spa for the Mind website project where his musical soundspaces were used exclusively as the basis for the meditation/motivation modules (now defunct).
In 2000 I won Best New Age Ambient instrumental track + Best Environmental/Message song + Best Promotional Artwork design in the North Coast Entertainment Industry (NCEIA) 'Dolphin Awards' - and in 2002 I also won Best Folk song and numerous nominations in 2003.
After building my own website in 2000 and remastering all my albums for CD with new artwork all designed by me, I was delighted to be signed to Apple iTunes as an official Label Affiliate in 2005 with my entire 14 CD Visionary Journeys catalogue which is now available for download worldwide. In January 2006 I travelled to Cannes in France to attend Midem - the world's largest music industry market - where I made a range of different contacts. In July 2006 at the International Planetary Society world conference in Melbourne planetarium (the first one ever in the southern hemisphere in 30 years) I was delighted to have my music played during the two evening dinners. In 2005 I stopped producing CDs and for 10 years the catalogue was only available for download but during 2014 most of the titles are being made available made-to-order on Kunaki. In 2013 I was signed to Omvana who released three tracks as part of their catalogue. In 2015 The Day Spa For The Mind website closed down and I was able get permission to keep the audio masters alive and purchase the domain name. In 2017 the track Starlite from Deep Space is being used in an African River Safari Virtual Reality (VR) app for a meditation section.
Life is not a monotone. Life is full of colours and sounds and symbols of all different vibrations. Relaxation is only the doorway but there is a whole world beyond that. A multitude of evolving elements that hone the facets of our inner divine crystal self. This diamond must be polished and set and all this takes patience, practice and energy. Our duty is to develop a focused consciousness and navigate our way back from the lowest to the highest. From manifestation, bridging back across to the all-encompassing universal sphere, within and without. In today's society it is easy to recognise the need for healing in any form, and these musical soundspaces, the spoken visualisations, the visionary artworks, the video and workshops, as well as the new inspirational songs, all offer a way of discovering a more subtle and holistic sense of self.
Carl Jung, 1930.
"The creative process, so far as we are able to follow it at all, consists in the unconscious activation of an archetypal image and elaborating and shaping the image into the finished work.
By giving it shape, the artist translates it into the language of the present and so makes it possible for us to find our way back to the deepest springs of life.
Therein lies the social significance of art: It is constantly at work educating the spirit of the age, conjuring up the forms in which the age is more lacking. The unsatisfied yearning of the artist reaches back to the primordial image in the unconscious, which is best fitted to compensate the inadequacy and one-sidedness of the present.
The artist seizes on this image and, in raising it from deepest unconsciousness, he brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers.
All art intuitively apprehends coming changes in the collective unconsciousness.
The biographies of great artists make it abundantly clear that the creative urge is often so imperious that it battens on their humanity and yokes everything to the service of the work, even at the cost of health and ordinary human happiness. The unborn work in the psyche of the artist is a force of nature that achieves its end either with tyrannical might or with the subtle cunning of nature herself, quite regardless of the personal fate of the man who is its vehicle.
The dynamic principle of fantasy is play, which belongs also to the child, and as such it appears to be inconsistent with the principle of serious work. But without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable.
Great talents are the most lovely and often the most dangerous fruits on the tree of humanity. They hang upon the most slender twigs that are easily snapped off.
To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being.
Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realise its purposes through him.
As a human being he may have moods and a will and personal aims, but as an artist he is ‘Man’ in a higher sense - he is ‘collective man’, a vehicle and moulder of the unconscious psychic life of mankind."