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Horny Cricket

by Architect of Truth

/
1.
Opening 04:57
2.
3.
Simian 02:43
4.
Whitey on the moon Whitey on the moon Whitey on the moon Yeah I’ve been seeing all my people suffer  Fighting for financial freedom while everything’s going under They wanna see us dead and it’s not covert or undercover    Whitey on the moon Whitey on the moon  Whitey on the moon Whitey on the moon Christ ain’t coming soon   Ignorance will seal your doom  Ignorance will seal your doom, yeah Fast food, it’ll be your tomb Fast food, it’ll be your tomb, yeah   Whitey on the moon Whitey on the moon Whitey on the moon Whitey on the moon    What’d you do with all that money, Joe? Do you care about this country or you wanna see us broke while we sit at home? Or should I direct this question to Jeff Bezos? When you entering the 1% guess that means you forfeited your halo No one’s doing shit about this financial or climate crisis  We’ll need more than a raincoat These rappers love Bottega, but they’re living shameful Who do we blame more? The captured or captors? Atlanta Hawks game, I’m up in the rafters No happy ending or ever afters from what I can see USA at large with apathy  This pandemic self fulfilled catastrophe  Tryna leave a legacy for every single person after me We’ve got to see things more objective, factually   What a tragedy We looking down at people dressing raggedy  No respect for anyone and it’s sad to see I speak the truth, think that’s why they so mad at me Live in reality, step out your fallacies   They see us as an object, they see us as something they want to dominate, something to control. It’s been this way for centuries, don’t ya know?   (Whitey on the moon) I can’t even pay my bills (Whitey on the moon) Woke up and I’m seeking thrills (Whitey on the moon) Man, I’m really getting chills (Whitey on the moon) I just gotta keep it real   (Whitey on the moon) I can’t even pay my bills (Whitey on the moon) Woke up and I’m seeking thrills (Whitey on the moon) Man, I’m really getting chills (Whitey on the moon) I just gotta keep it real Whitey on the moon Whitey on the moon Whitey on the moon
5.
F*ck COVID 01:56
6.
Why am I anxious? Am I anxious? Why this karma? Understanding is the key to transformation In alignment with the universe I surrender to the source Body and mind are one in harmony "No mud, no lotus" No suffering, no happiness So hello anxiety Hello old friend I smile with you And I embrace you
7.
CCCP 02:36
8.
I told you to quit before You didn't hear me I'm telling you again my friend Never fear me If you're near me Stop asking for more
9.
Hypatia 01:54
10.
11.
TOE 01:39
I placed a coaster on the table And yet you spilled the drink The glass fell on the floor And scattered all around What a mess it was I even cut my toe It bled like a river It wouldn't freaking stop We had to call an ambulance That we could not afford I was placed on a stretcher They had to amputate my toe Ouch!
12.
Transference 04:07
13.
Remix 05:49

about

I’ve been doing something music-related since at least the year 2000, when I began playing the drums in two high school bands covering the likes of Nirvana and Green Day but butchering their songs. I lasted in one band more than the other, I was more temperamental back then —a mix of rage, insecurity, and entitlement. Writing about this makes me feel alive, particularly as a nostalgic rest stop, a place of relief, in the journey called life. In any case, I called the band “The Error” and we eventually went from playing covers to recording one of my original songs, “We Are Nothing But Individuals.” I went from being a subpar drummer to being a decent songwriter, and for that, I had to learn how to play the guitar, write lyrics, and sing. Whereas I began as a failed drummer, now I was an acceptable guitarist—and I am forever thankful for my sister’s acoustic guitar, which was lying around the apartment.

Back then, I realized how obsessed I am with music, which clearly is a specific form of aesthetic enjoyment: sonic enjoyment. Music people are abstract because they work with fleeting sounds. Once Hani Adel (of Wust el Balad) introduced me to the DAW known as Cakewalk, I was enchanted by the possibilities of recording sound & I’ve been ever since. I went from using Cakewalk and a cheap microphone to producing in my home studio first with Pro Tools and now with Logic.

In the early days, I’d borrow keyboards from my friends—shout out to Ahmed Khalifa for the Casio keys! During my first year in college, I made an electronic album with eJay & burnt CD copies of it, which I’d play to anyone willing to listen and give me feedback, such as my DJ friend and collaborator Basil Fateen—we recorded a song together called “Mail”.

I had a neighbor & a dear comrade in Nasr City (Mohamed el Batrawi), whom I used to spar with musically and otherwise. We were both composers: sometimes competitors, but oftentimes collaborators. We helped one another grow as composers.

To cut a long story short, I was part of the underground art scene in Cairo between 2000 and 2008. I recorded hundreds of songs and compositions in that timeframe, but mostly for archival purposes. As if I was recording my musical ideas for myself in the future so I can use them then—with the possibility that someone else may also find it worthwhile and not simply self-indulgent. However, it’s not all archives obviously because I have produced soundtracks for plays & films that were presented in public at festivals and whatnot. I have released a number of DIY albums over the years, but I consider this to be my first official release.

I don’t want to get lost in the details here because after all I now present you with my most recent music, which was composed, arranged, performed, and recorded mostly during the COVID-19 era. As a trauma survivor, music has always been a safe space of healing for me. My dream is for my music to not only be sonically enjoyed by others but also for it to be a therapeutic experience for others as it is for me. Again, I can say more, but I’ve said enough already.

Music in a sense sublates this impossibility of saying everything. We can’t say everything so we write songs or produce electronic compositions—or we say some things. I see myself as a composer who produces electronic music mainly due to financial constraints. Necessity is the mother of invention, so while my resources may be limited, as a composer I don't feel that way. I hope I was able to capture that transcendent feeling so that you may experience it while listening to my music. Feeling unlimited means interbeing with everything that is, while working through our real suffering at the interface between body, mind, and world.

Why Horny Cricket? Why not? Crickets make noise when they are horny—humans do, too. In a sense, music (from an evolutionary viewpoint) is the noise that humans produce to communicate something about desiring as a source of enjoyment. I am driven to make music, which means I have no choice but to do it. And, of course, I enjoy doing it. I desire for you to enjoy it, too. Thanks for reading. How does this narrative frame the listening experience?

This album is dedicated to every single person who listened to and enjoyed my music over the years.

Special thanks to all of my supporters, especially my wife (Cony), my dad (Khairy), my mom (Monika), my sister (Lala), my two cats (Freud & Marx) as well as anyone who has ever believed (and/or continues to believe) in my musical vision, such as Mohamed Nofal, Mahmoud El Lozy, Eddie Zidan, Ahmed Safaa, Cherif El Masri, and 13 Pieces.

credits

released July 1, 2022

all tracks composed, arranged, performed, and produced by Robert Beshara unless otherwise noted.

album mastered by Joshua Stevenson.

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Architect of Truth Santa Fe, New Mexico

Architect of Truth is a composer / recording artist from Cairo, Egypt, who is currently based in the US.

Hail Djehuty!

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