In short, Eian's daily activities include an unwavering devotion to designing analytic-interpretive protocols which function on procedurally eliminating the least plausible improbabilities assigned to theoretical formula in order to reach the solution to a given query.
These properties are unequivocal in their aims to produce finely-honed reverse polarity electro-magnetic beacons that can travel through sheilded conduits on an open-circuit model which self-sustains its signal by receiving deteriorative relays recycled in finite recursion from a source device hidden amongst the quiet rat-infested basement at IHOP.
Ultimately, these concentrated pulsations facilitate the necessary elementary particle conditions for the spontaneous reversion of energy to mass in one monstrously gargantuan surge of homogenizing waveform amelioration, as it/they fluctuates wildly in and out of complimentary critical zones, eventually arriving comfortably seated at a point of maximum stabilization.
And for those unable to translate that last epicurean run-on sentence, it means the author is incomprehensibly full of shit.
When he's not fuckling about with orgone technology or rustling together 3-dial boxes to aim at select members of the corporate autocracy we thrive in, Eian finds the time to connect with other human beings and make some really excellent music.
Some of it, more recently, has been made almost exclusively for the occultnik as Eian intends for his music to be used under meditative or ritual settings. But, the drive has always been there to ensigilize the audio; it just wasn't very sophisticated in the beginning. Now the sky's the limit because of his most recent advents in notation mark-up languages embedded into qabalistic ciphers and frequency modulation techniques that are able to tap into the ethereal realm, the astral plane, and the dream world through operative isochronic and binaural mechanisms.
In spring 2003 Eian traveled around the country searching for those of a similar serial cerebral solipsistic-sarcastic seer's sense. By winter 2003 his travels took him from Charles Village in Baltimore, where he'd just finished production on his first release "Seraphylogenocide"
In 2004, two weeks after Mardi Gras, he went to New Orleans, Lousiana where Eian Orange and Phantom Load would join up in the lower 9th ward to produce an EP which remains classic to this day. Following this, Orange went back to Baltimore, briefly returned to New Jersey, and finally left for Phoenix, Arizona. Eian released several albums from different locations in Arizona, both inside the Phoenix city limits and out in the San Tan mountains of Queen Creek.
During the summer of 2004, in the San Tan Mountains, he released the complex yet understated "Where the Pavement Ends". During autumn in Queen Creek, many other Z(enseider)Z meme-bearers contributed to the mostly live "Ranch Sessions". By winter, this productive year had culminated in Eian's epic conflagration of sonic wonder "Count Whore Cull Chore", which he dropped while living in a demolished fixer-upper dark room in the back-building of a cafe in South Phoenix.
Eian returned back to New Jersey in early 2005 and by spring he and a Canadian Z(enseider)Z meme-bearer collaborated on the beat-driven "Pseudonyms for Somnambulance" and by the summer he was releasing one of his strangest albums to date "Escapists In The Daedalus". Then, a long period of introspection took place where Eian thrust himself into a Chaos Monasticism, where he was taking up some of the observances prescribed in Carroll's books. It wasn't until winter 2006 that eagerly awaiting fans finally heard the deeply esoteric "Bardo Tellus Server Core Dump" heralding a new pathway for Eian to take with his music.
Fans experienced delays with the following two albums. It wasn't until summer 2007 that Z(enseider)Z's seminal work in noise production "Xenopomorphic Pink Noise" was released. Furthermore, they had to wait for the spring of 2008 to arrive before they could hear the next one. This effort contradicted his previous effort by containing nothing but hip-hop tunes. This record is the now infamous "Indecipher" which has more acclaim than almost any other Z(enseider)Z release. Eian drops the bomb on us again by releasing a metal album, waiting till autumn 2009 to do so, and titling it "Grave Indictment Of Trust" with a photo on the front from another Z(enseider)Z meme-bearer from Arizona: Manny Diller.
Again, he waited until winter 2010 to launch the brooding, dark "Junkie Summer Furlough" which would seem an obvious reflection on some of his time in monasticism. Eian then teamed up with P. Emerson Williams to upset the occult world with their effort "The Khoronzon Sketches" which explored the Thresholder of the Abyss more clearly than any other pseudo-Thelemic cabbage out there. The Khoronzon Sketches was released on Charliemass of 2011 so it marks a distinctive date in our hearts and minds forever as 11.11.11 relating back to Liber Legis II:16
"I am The Empress & the Hierophant. Thus eleven, as my bride is eleven"
Eian even spent time in Egypt during the winter of 2011, hitting the sheesha relentlessly, during which time he produced a controversial album entitled "Those Outside" and recorded material for, what would become a misunderstood narrative of his stay in the land of the pyramids, the album "Like Venom In Her Naked Veins" during autumn of 2012.
Winter 2013 Eian reared his ugly head again with "Hoor Paar Kraat And The Psychopomp" a stylistic approach to his range as a multi-instrumentalist that Magicore called "strange psycho noise occasionally punctuated by minimal cyber metal jams" and it wouldn't be until he got to Savannah, his current location, that he dropped "Upon The Wings Of Huginn And Muninn" during the summer of 2014. Several albums would surpass this one , though, as the south seemed to soothe his soul and unleash his creative beast.
He picked right back up in the beginning of September of 2014 with an album based on the Exponential Branches on the Tree of Nothing called "Various Digital Qlippoth" which marched on the heels of "Blue" Luke Andrews adventure into secular theomatic mysticism know as "Numerical Egregores". With the one-two punch Eian bounces right back with one his absolute most prolific album available to chaosorcerers which was released later that same month for the autumn equinox 2014 aptly named "Zero Point Gravitation"
During 2015 he first released an EP of beat-driven extra tracks he had laying around. This 30 minute assault ranges from hard-edged to smoothed out, it's known as "Ain't Shit History" and it was birthed during the lunar new year February 2015. After that Eian let go of an unusually spectral record that still has people scratching their heads entitled "Ontology Recapitulates Psychogeometry" which was released during the same month as the previous album.
Then, on Halloween 2017, the Z(enseider)Z put forth an album that defies genre definition. "Mortuary Rituals" is one half ass shaking beats and one half dark ambient noise. The z0s q1a have never attempted this combination of musical types before and it doesn't sound like any other LP in our catalog any of us can think of.
Eian has already begun production on a follow up slated for 2018.
Following that, Eian made plans to drop yet another Gen-Z record with long time collaborator Capeditiea set for a November 2015 release titled "Inaccessible Decimal" which may have even surpassed their debut "She Has Made Herself Hear The Source" in production value.
Gen-Z has since put out two more records after "Inaccessible Decimal", namely the February 2016 effort "As Transfused Doctrine Ceases We Become" and their August 2017 concentration entitled "Banished Brainwashed Beasts" which is quite indescribable.
Look for Gen-Z to return sometime between 2018-19