8 posts tagged “music”

direct link to download .mp3 podcast file -- http://media.blubrry.com/occultofpersonality/www.occultofpersonality.net/wp-content/uploads/OoP_Podcast74_Orryelle.mp3

In podcast episode 74, we’re joined by Orryelle Defenestrate-Bascule, “a prolific visual, sonic and textual artist-magickian. The instruments of his arts and magicks include, but are not limited to: Australia’s Metamorphic Ritual Theatre Co. which presents public rituals aiming to transform rather than merely entertain the audiences.” Orryelle explains how the act of creation is Magickal from an artist’s perspective.

Orryelle is responsible for the “ever-expanding digital archives and galleries of Mutation Parlour; a member of The HermAphroditic ChAOrder of the Silver Dusk, a global multicultural and multisubcultural blend of tradition and innovation, artist of “Conjunctio” (a Graphic Grimmoire), creator of the Book of Kaos Tarot, and author of A Brief HIRStory of TimEmiT. Orryelle has been extensively involved in the Horus-Maat Lodge, channeling several double-current Libers such as ‘Pennae-Ultim-Atum‘ and ‘The Book of Going Back by Night‘.”

In this episode, we’re joined by Aepril Schaile. “Aepril is an astrologer, musician and composer, talented dancer and dance teacher, writer and storyteller, mythologist, animal rights advocate, and Witch.” She has been called “an American priestess of the Dark Goddess” and her performances are quite extraordinary. Our conversation begins as Aepril describes her early life and interest in the esoteric. From there we begin talking about her dancing, belly dance, and the combination of mythology, Magick, Astrology, theater, performance, and the creation of Beauty.

Aepril talks about identifying with darker feminine archetypes and how this influences her Work. She provides her perspective on being a Witch, living in Salem, Massachusetts, and some of her teachers and influences.

The conversation turns to Astrology, correspondences, her experience with the insights it provides, and her connection with Plutonic energies. Aepril explains how all of these esoteric and theatrical disciplines fit together for her and, lastly, hopes for the future of that Work.

relevant links:

Aepril Schaile

about Aepril Schaile

“Aepril Schaile and Exquisite Corpse Dance Theater” Facebook page

“Belly dance (Origins)” Wikipedia entry

“The Soul’s Code: In Search of Character and Calling” by James Hillman

“Technicians of Ecstasy: Shamanism and the Modern Artist” by Mark Levy

“Mysteries of the Dark Moon: The Healing Power of the Dark Goddess” by Demetra George

“Life After Death: The Burden of Proof” by Deepak Chopra

intro music by HipGnosis (latest album)

outro music by Aepril Schaile and The Judgement - “A Gathering of Shades”

original link -- http://www.occultofpersonality.com/2009/06/22/podcast-65-aepril-schaile/

direct link to download .mp3 audio file -- http://www.occultofpersonality.com/podpress_trac/web/354/0/OoP_Podcast65_AeprilSchaile_it.mp3

It’s my pleasure to bring you this episode featuring a discussion with musician and researcher Ezra Sandzer-Bell. Ezra has done extensive research and writing about the origins and esoteric connections of western music. The focus of our conversation is primarily the correspondence between sound and color, as well as a system to combine the the two, named “Marcotone”.

Marcotone was developed and documented by Edward Maryon in the early part of the 20th century and has been used by esoteric practitioners to verify their own doctrine and develop practices to attune the mind.

With his extensive musical background and understanding of music theory, Ezra does a phenomenal job of explaining the Marcotone system, how it functions, some mathematical inconsistencies, and his own experience in using it. One of the main points to draw from the discussion is that Marcotone is a spiritual system and does produce results.

Ezra has also been hard at work with Steve Willner to produce a series of videos exploring concepts relating to music, color, and thought. These videos are a real treat and I encourage you to check them out.

I learned quite a bit from Ezra about the way sound and color can be combined and how music can affect us in a variety of ways. The amount of time and effort that Ezra has spent researching these topics is evident from his explanations and insights into what might seem mundane to the uninitiated. I hope you enjoy our conversation as much as we did!

relevant links:

The Hidden Origins of Western Musick - Ezra Sandzer-Bell’s blog

Put Down Your Guitar - Ezra’s 2nd blog

“Marcotone: The Science of Tone Color” by Edward Maryon - PDF file

“Marcotone Notes - Key Concepts” by Ezra Sandzer-Bell - PDF file

“Letter, Musical Pitch, and Color in the Work of Paul Foster Case” by Alison Deadman - PDF file

“Occult Fundamentals and Spiritual Unfoldment - Volume 1: The Early Writings” by Paul Foster Case

“Concerning Music and Dancing as Aids to the Religious Life” - Chapter V of “The Alchemy of Happiness” by Al Ghazzali

Labyrinth of the Psychonaut - Steve Willner’s blog

Podcast 40 - Enter the Labyrinth

intro music by HipGnosis (new album now available)

outro music by Gregg Braden and Jonathan Goldman, excerpt of “The Awakening” and Edward Lee, excerpt of “Vowel Sounds in the Great Pyramid”

original link -- http://www.occultofpersonality.com/2009/05/11/podcast-60-sound-and-color-with-ezra-sandzer-bell/

direct link to download .mp3 audio file -- http://www.occultofpersonality.com/podpress_trac/web/277/0/OoP_Podcast60_Ezra_it.mp3

clipped from www.occultofpersonality.com Frater WIT returns (see podcast 10) to discuss Dr. Timothy Leary’s 8 neural circuit model of consciousness. Frater WIT is the author of “Enochian Initiation” and creator of The Computerized Grimoire. He has many years of experience with the occult, ceremonial magick, and higher consciousness that he brings to the table, making his perspective quite valuable. above: Dr. Timothy Leary (r) with Dr. Albert Hoffman (l), the creator of LSD, in a ‘93 photograph We discuss Dr. Timothy Leary’s life and work, his 8 neural circuit model, past lives, the evolution of consciousness and humanity, and the use of ceremonial magick to achieve higher states of consciousness instead of “substances.” Thanks again to Frater WIT. “8-Circuit Model of Consciousness” Wikipedia entry Dr. Timothy Leary “Timothy Leary” Wikipedia entry “Collective Unconscious” Wikipedia entry

clipped from www.occultofpersonality.com Kent returns for the first in a multi-part series examining the concept of talismans and mass media marketing. This can take a benign form such as a popular rock music album. Or it can take a more malevolent form as does some political marketing. Kent’s expertise in these areas is invaluable. Listen as he breaks down the characteristics of these marketing campaigns and explains the connections between their composition and success. The remainder of the series will be posted next week. Stay tuned.

After the discussion the other day with Kent of The Kentroversy Papers about occult symbolism in rock music, I couldn't resist posting the lyrics (and video) of this song by the 80's metal powerhouse, Iron Maiden. Nothing subliminal here at all - this particular piece is so overflowing with occult symbolism that it is over-the-top.

"O God of earth and altar
Bow down and hear our cry
Our earthly rulers falter
Our peolple drift and die
The walls of gold entomb us
The swords of scorn divide
Take not thy thunder from us
But take away our pride"
(excerpt from an English hymnal written by G. K. Chesterton)

Just a babe in a black abyss
No reason for a place like this
The walls are cold and souls cry out in pain
An easy way for the Blind to go
A clever Path for the Fools who know
The Secret of the Hanged Man - the smile on his lips

The Light of the Blind you'll see
The venom that tears my spine
The Eyes of the Nile are opening - you'll see

She came to me with a Serpent's kiss
As the Eye of the Sun rose on her lips
Moonlight catches silver tears I cry
So we lay in a black embrace
And the seed is sown in a holy place
And I watched and I waited for the Dawn

The Light of the Blind you'll see
The venom that tears my spine
The Eyes of the Nile are opening - you'll see

Bind all of us together
Ablaze of hope and free
No storm or heavy weather
Will rock the boat you'll see
The time has come to close your eyes
And still the wind and rain
For the one who will be king
The Watcher in the Ring
It is you

“Once in a while you can get shown the light, in the strangest of places, if you look at it right.” – Robert Hunter

Red Rose

The troubadours traveled the land in the times of the golden age. They came to town, creating tremendous excitement. We’d all gather together in the sacred places to not only listen, but participate in the harmony of the crowd, enjoying the music and magick as they cast their spell. Mind expanding rituals took place before and during the performance, the participants all melding together in a cosmic consciousness… at least while the music played and the colours swirled.

“There's a band out on the highway
They're high-stepping into town
It's a rainbow full of sound
It's fireworks, calliopes and clowns
Everybody's dancing

Come on children, come on children
Come on clap your hands

Sun went down in honey
And the moon came up in wine
You know stars were spinning dizzy
Lord the band kept us so busy
We forgot about the time

They're a band beyond description
Like Jehovah's favourite choir
People joining hand in hand
While the music plays the band
Lord they're setting us on fire

Crazy rooster crowing midnight
Balls of lightning roll along
Old men sing about their dreams
Women laugh and children scream
And the band keeps playing on

Keep on dancing through to daylight
Greet the morning air with song
No one's noticed but the band's all packed and gone
Was it ever here at all?
But they kept on dancing”

- from “The Music Never Stopped”

Yes indeed, I was one of those in the crowd, partaking of the music and cosmic consciousness, to some degree. Speaking as a fan of the music and former fan of the band, the Grateful Dead were one of a kind.

The themes present throughout their lyrics, symbols, and mythology, combined with their initial role as the house band of the Acid (LSD) Tests and cult following make the Grateful Dead one of the most interesting bands around in terms of the hidden, or occult, connections.

Anyone who’s listened to “Dark Star -> St. Stephen” from Live Dead can attest to its magickal qualities. Go on, turn down the lights, spark up the candles and whatever else you’ve got and listen to it. This is a powerful piece of music, made to affect the listener on a mystical level.

“Dark star crashes, pouring its light into ashes.
Reason tatters, the forces tear loose from the axis.
Searchlight casting for faults in the clouds of delusion.
Shall we go, you and I while we can
Through the transitive nightfall of diamonds?

Mirror shatters in formless reflections of matter.
Glass hand dissolving to ice petal flowers revolving.
Lady in velvet recedes in the nights of good-bye.
Shall we go, you and I while we can
Through the transitive nightfall of diamonds?”

And what of the Dark Star that is mentioned? What does its symbolism imply? The seemingly nonsensical lyrics are akin to reading an obscure alchemical or occult text. The album cover doesn’t disappoint either, invoking the same ideas.

Not only will we look at the rather well-known LSD distribution role and how that fits in with larger political conspiracy, but also the symbolism in the band's artistry and song lyrics. A pivotal figure in both areas is the main lyricist, Robert Hunter.

Hunter was one of those involved in the MK-ULTRA LSD experiments along with Ken Kesey, author of One Flew Over the Cuckoo’s Nest and leader of the Merry Pranksters, and poet Allen Ginsberg in 1964 at Stanford University.

To truly comprehend these experiments and their purpose, it is also necessary to understand Aldous Huxley and the plan for pharmaceutical control. Huxley spearheaded the Tavistock LSD program.

“There will be in the next generation or so, a pharmacological method of making people love their servitude, and producing... a kind of painless concentration camp for entire societies,” Huxley stated. [1]

“Huxley collaborator Keith Ditman provided author Ken Kesey with an unlimited supply of LSD, and it was from this small group that arose Kesey's guerrilla theatrical Merry Pranksters and the Grateful Dead, a rock band that still commands a large cultic following after the demise of its leader. According to a 1968 FBI memorandum, Jerry Garcia, the leader of the Grateful Dead, was employed “to channel youth dissent and rebellion into more benign and non-threatening directions.”” [2][3]

Jerry Garcia also went by the moniker of “Captain Trips,” mimicking the work of Capt. Hubbard, a former high-level OSS officer known as the “Johnny Appleseed of LSD.”

As anyone who has tried it can tell you, LSD is just no good for any kind of control of those under its influence. However, it can very well distract or disengage those who use it from what could be termed ‘practical reality of the everyday world’.

Author of Mind Control, World Control, Jim Keith states it plainly:

“I believe that dumping LSD on the populace of the planet was seen as one of those high-leverage activities. It was a way of turning the masses away from a political activism that might net them a share of the world pie, and toward the life of ecstatic mystic peasantry.” [4]

So when Robert Hunter penned the lyrics to what would become known as “U.S. Blues”, I wonder what he was really thinking? Is it just a bit of fun or something more sinister?

"I'm Uncle Sam,
that's who I am,
been hidin' out,
in a rock 'n' roll band."

Now it should be noted that a large percentage of those who experienced LSD, me included, would still have done it knowing this in advance. The benefits in terms of consciousness expansion may outweigh its dangers, but that certainly cannot be said for all who indulged… just like anything else.

From this point, it is clear that the Grateful Dead’s involvement with LSD and its distribution and dissemination is legendary. For anyone wanting to read more about this topic (although without the Huxley and Tavistock conspiratorial bent), check out Tom Wolfe’s highly entertaining The Electric Kool-Aid Acid Test.

With regard to the occult concepts connected with the Grateful Dead, it is notable that the original name of the band was The Warlocks. Before that, Jerry played in a band called The Zodiacs. Starting to see a pattern? The story of the name Grateful Dead is an interesting one as well. It involves a traveler who happens upon a funeral, but the deceased was too poor to pay for burial. The traveler is generous enough to foot the bill and the deceased aids the traveler in the future as the “grateful dead.” The concepts involved here are certainly noteworthy too: life after death / reincarnation and communication with the spirit world.

Robert Hunter was one of many figures in and around the band interested to some degree with the occult, theosophy, Rosicrucianism, alchemy, and similar ideas. [5]

In fact, the Acid Tests reminded some involved of an alchemical reaction:

“The whole point of the acid test, it seemed to Bear (Owsley, renowned LSD chemist), was to “expose you right down to your infinite detail, exposing you to forces of the universe that [Kesey and the Pranksters] didn’t thoroughly understand.” All the demons and spirits that are part of mythology and part of alchemical lore were “part of that real other reality which you fall right into with things like the acid test … They had discovered on their own the secret rituals of the ancient witchcraft rites and alchemical rites of human history that had been lost, suppressed by the Christian church among other things.” [6]

Now, let’s take a look at some of the symbolism of the band’s artistry and lyrics. First, the symbols of the band are very closely identified with them, probably more so than any other artist. The Steal Your Face logo with its death head and lightening bolt with red, white, and blue signifies the not only the U.S. but also invokes the concept of the red and blue degrees of freemasonry.

Another highly used symbol is the red rose.

Throughout time, it has been a symbol associated with secrecy (a la Rosicrucians). The other imagery tends toward animated figures of death. Many other occult secret societies use similar imagery whose stated purpose is reminding initiates "that the spiritual nature attains liberation only after the philosophical death of man's sensuous personality."[7]

In terms of song lyrics, there are probably too many to choose from, but check out tunes like “Fire on the Mountain”, a nod to shamanism, “Franklin’s Tower,” referring to founding father and secret society grand master Benjamin Franklin and the Liberty Bell, or “St. Stephen” with its rose imagery and wishing well, golden bell, and ladyfingers dipped in moonlight. Robert Hunter is a semiotician, or one who specializes in the theory and study of signs and symbols. Reading his lyrics makes this obvious.

Another notable quality of Hunter’s lyrics is the way they continually reveal different aspects of meaning over time. This is difficult to describe to someone totally unfamiliar, but I believe most fans would agree with this statement and most hermeticists would as well.

At this point, the obligatory mention of the fact that the Grateful Dead played at the Giza pyramids in Egypt is due. The performance at Giza must have been quite a spectacle, but quite literally overshadowed by the pyramids themselves.

Of course, no investigation of this type would be complete without mentioning the fact that three consecutive keyboard players all died prematurely (a curse?). Ron ‘Pigpen’ McKernan died from alcoholism and related problems, Keith Godchaux in an auto accident, and Brent Mydland overdosed on heroin and cocaine. In addition, Jerry Garcia himself passed while in rehab to quit his addiction to heroin in 1995.

Not too long ago, it was publicized that two band members, Bob Weir and Mickey Hart, are also both members of the Bohemian Club. That’s right, the same one featured in the Bohemian Grove taped ritual. In light of the above information, does this seem at all out of character?

1. Cited in Smith, Caulfield, Crook, and Gershman, The Big Brother Book of Lists. (Los Angeles: Price/Stern, Sloan, 1984)

2. White, Carol, The New Dark Ages Conspiracy. (New York: New Benjamin Franklin House, 1984)

3. Keith, Jim. Mind Control, World Control. (Kempton, IL: Adventures Unlimited Press, 1997) p. 96-97.

4. ibid.

5. McNally, Dennis, A Long Strange Trip: The Inside History of the Grateful Dead. (Broadway Books, 2002)

6. ibid.

7. Hall, Manly P. The Secret Teachings of All Ages, readers' ed. (New York: Tarcher/Penguin, 2003). p. 235.

Additional source:

Lesh, Phil, Searching for the Sound: My Life With the Grateful Dead. 

2007 Occult of Personality. Licensed under Creative Commons.