AI Musician Debate

I lived in a Mexican Cholo trap house

Long story, but it happened. A highly personal account of living with Mexican gangsters for a short spell in a trap house. Mission District, San Francisco. 1997–2002. A highly charged, dangerous, sometimes very lethal environment. I walk through what it actually felt like—day to day, room to room, the energy, the tension, the weird shit that just becomes normal when you’re in it. How people moved.  As best the memory recalls. Very many missing details for sure. Also, a fairly loose rant about it all. Don't have to take it too seriously if you don't want to. The story is a lot about context and how odd it was, considering where I came from vs what I was somehow involved in and lived with. Crazy times that only a young and stupid person would find themselves in. I got lucky and here I am.   Never-before-told stories. Some serious material. Recorded in my Van while commuting to work.  It plays out like an Irvine Welsh novel—tangential, immersive, and grounded in real experience.

Good vs Evil Part II

Part II goes deeper into the darker side of the spectrum—what people label as evil, how it gets packaged, and how constant exposure shapes perception. We look at streaming culture as a delivery system: endless access, algorithmic surfacing, and how tone, pacing, and repetition normalize intensity.  Desensitization, curiosity, and fascination all show up, and we map where they overlap. “Love the sinner, hate the sin” comes in as a practical lens. We separate the act from the person to understand behavior without flattening complexity, and we talk about where that line holds and where it breaks under pressure. Is Netflix the destruction of humanity? Why are white ladies into true crime podcasts? Comfy night cuddling up with the cat and some MURDER mystery and some wine? Perfect night? ask yourself wtf? I have asked myself. now I am asking you. wtf?

Good vs Evil Part I aka Part III of the Yaksman

This pod wonders how good and evil move through art, film, and sound, and how repetition reshapes sensitivity over time. The conversation tracks desensitization as a real process: exposure builds tolerance, shifts thresholds, and changes how images and ideas register in the body. In our clanky manifesto-type way, we move through modern art and cinema—how artists construct unsettling imagery, why audiences engage with it, and how form, color, pacing, and sound carry emotional charge. The episode explores psychedelic perspectives and the emergence of vivid, visceral imagery—intense, symbolic, sometimes grotesque—alongside the pull toward beauty, symmetry, and light. Monsters and angels appear as recurring archetypes that organize these experiences. This is also Part III of the Yaksman trilogy: in general, a focused pass through good vs evil as an active force inside the creative process, and how it continues to evolve in contemporary culture. Basically, should I continue to make Black Metal and enjoy doom core stoner drone? We get into it.

Blood Soaked Tiger

A full walkthrough of 2025 Brice Frillici album When The Gods —track by track, front to back. I talk through each piece as it comes up: where it came from, how it was built, what’s happening sonically, and how it fits into the larger arc of the album. Guitar tones, structure, vocal choices, production moves, secrets and lies involved, sequencing—everything gets opened up in real time. Each section moves straight into a song, so you hear random contexts and then the results, back to back. Also we ramble as usual. Expect tangentiation. The album unfolds as a continuous experience, with commentary and playback wearing each other like mud on a Bigfoot. This is a direct window into the process, the decisions, and the internal logic of When The Gods as a complete work. And that is saying too much. Moreso, let's face it, this is so personally meta and asking of any listener, that I understand if you will need an apology from me personally after this. Available upon request

AI Musician Debate

Two and a half hours of direct, lived perspective on AI music from inside an active catalog—spoken by someone releasing albums across analog recording, lo-fi processes, and AI generation at the same time.   I lay out my own methodology in detail: how I approach tools like Suno and Udio, how I guide, shape, edit, and integrate them into a larger body of work that already exists beyond AI. This is a pro-AI stance grounded in practice, where authorship becomes direction, taste, sequencing, and intention rather than just performance.   I share how I treat AI as an instrument, build albums with it, decide what stays human and what is machine-assisted, and how they interact throughout a release cycle. My position is clear and supported through debate, examples, and clarification of common misconceptions about originality, effort, and legitimacy.   This is a working artist mapping the terrain in real time, drawing on a deep catalog and defining a personal framework. Sans all production value and recorded from multiple locations with shitty mics. Sometimes from within my vehicle while driving to work.