If you happen to be lucky enough to live in Seattle and are planning on being incredibly high or possibly tripping balls this weekend, might I recommend the second installment of the Hypnotikon psychedelic music festival? Fun fact: the origins of the sort of spiritual writing I’ve been doing on Disinfo for the last several years actually date back to pieces I was writing for musician and visual artist Aubrey Nehring’s Portable Shrines website about 5 years ago. Back then, Nehring and his friends in the utterly brilliant band, Midday Veil, were disappointed with the fact that Seattle was lagging behind other west coast cities like Portland and San Francisco in terms of any sort of cohesive psych rock scene. In an attempt to change that, they organized the two day trance freak out, Escalator Fest. Eventually Nehring (who is doing visuals for Hypnotikon) decided booking festivals wasn’t really his cup of tea, but thankfully local electronic/psych beat writer Dave Segal and his lovely/talented girlfriend Valerie Calano (DJ Veins and Explorateur respectively) seized the mantle and created Hypnotikon, which saw its first incarnation last year.… Read the rest
Tag Archives | Music
“We join spokes together in a wheel,
but it is the center hole
that makes the wagon move.
We shape clay into a pot,
but it is the emptiness inside
that holds whatever we want.
We hammer wood for a house,
but it is the inner space
that makes it a home.
We work with being,
but non-being is what we use.”
– Lao Tzu
Synchromusicology Pt. IV: Symphonic Sorcery, New Aeon Magic, and The Silence Between the Gnosis
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Satanists are nonconformists. We all know that. So when most of us think “Satanic music,” we think of Satanic death metal. However, there are quite a few musicians that Hail Satan in a different way.
Satanism is based on individualism, epicureanism, and an “eye for an eye” morality. So it just stands to reason that a lot of Satanic bands don’t follow the leader when it comes to what it means to play music influenced by Satan.
The High Priest of the church of Satan, Magus Peter H. Gilmore studied music at NYU and holds a B.S. and M.A. degree in composition. He listens exclusively to classical music and film scores. He is most intrigued by the work of Mahler, Bruckner, Shostakovich, Vaughan Williams, Brahms, Sibelius and Beethoven.
The above maestros influence what he composes.
His works are piano, voice, instrumental ensembles—some of which he has realized with synthesizers and samplers. Gilmore has also done purely electronically realized pieces with early patch-bay arrays which challenge one to create original sounds from scratch.… Read the rest
Music should not be heard, but listened to. Everywhere we go, there is music. It’s become such a widespread phenomenon, we hardly notice it any longer. It’s similar to cigarette–smoking in public places: some decades ago, it was such a common occurrence, nobody noticed it—except our eyes, throats, and lungs. Laws have been passed since, and smoking has been banned from public places. At times I wish piped music were banned from public places too. Everywhere we go, we are assailed by music we didn’t ask to hear and we normally don’t care for. It gets in the way both of thinking and of carrying on a conversation. It’s an instance of acoustic pollution. One of its by-products is that we now take music for granted, when music is one of the most marvelous things we humans can produce and/or listen to.
“Is It For Freedom?” by Sara Thomsen
… Read the rest
Rulers of the nations as you fuss and fight
Over who owns this or that and who has the right
To design, build, sell and store and fire
All the bombs and guns to defend your holy empire
There are children hungry, children sick and dying
There are mothers, fathers, sisters, brothers crying
They’re only pawns in your play of power and corruption
Slowly starve them, your new weapon of mass destruction
And prove to me, America, that you care
And prove to me, America, you’re aware
Who’s dying for your freedom in this land
Who pays the cost for the liberties you demand
Is it for freedom, or our comfort and convenience
Is it to profit for big business we pledge our allegiance
Are we prisoners in the land of the brave and the bold?
“Reading the words gleamed [sic] from this hypersigil of a book will tear down the veil and hand you a pair of 4th dimensional binoculars.”
Good times, and truthfully the only reason I’m comparing it to The Invisibles in the first place has to do with me accidentally putting it out on the 20th anniversary of its release and all. Well, and the whole Occult “alien” thing. Here’s the part where I try to sell you on it with words:
It could be said that I didn’t choose the Occult, the Occult chose me. It’s a long story and you’ll have to read the book, but let’s just say that some sort of fifth dimensional weirdo showed up in my room one day and broke a primal thought sequence deep within me.… Read the rest
via Brain Pickings:
How and why this happens is precisely what cognitive scientist Elizabeth Hellmuth Margulis, director of the Music Cognition Lab at the University of Arkansas, explores in On Repeat: How Music Plays the Mind (public library). This illuminating short animation from TED Ed, based on Margulis’s work, explains the psychology of the “mere exposure effect,” which makes things grow sweeter simply as they become familiar — a parallel manifestation of the same psychological phenomenon that causes us to rate familiar statements as more likely to be true than unfamiliar ones.
Binaural Beats, The Sacred Solfeggio, and The Algorithms of Organic Life Systems