Musical artists that are awake
I was wondering if anyone could share some artists who they know are awake by the lyrics in thier songs etc. I know of a few and i am trying to subject my self to better musical artists. I will start and if you have any input it is greatly appreciated.
K-os, Dub FX
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Permalink Reply by ZERO on
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the coup [FROM THE TOWN]
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Permalink Reply by Whole Transformation on
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oh ya i forgot about k'naan, good canadian artist. I thought of another one immortal technique.
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Permalink Reply by Clayton on
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The Book of Enoch? Do they use magic against their listeners. I always like Tool.. alot... seemed to be in the know and good lyrical messages, but i realize looks can be decieving. Id appreciate everyones thoughts, i love music but dont want to be poisoning myself. This star symbol they have been incorporating on their new posters also concerns me, anyone recognize it? Check it below
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tool.jpg, 104 KB
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Permalink Reply by MiztikMan on
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Ritual Tool
Another band to use the Tree of Life on their album packaging in more recent years is the acclaimed American progressive rock/metal band (who can categorise them?) Tool, on their limited edition CD/DVD box set Salival (“a map of consciousness projected over the body of a Macrocosmic being”). And it is with Tool that we possibly reach the apotheosis of ‘occult rock’. In contrast to the gratuitous use of magickal words and imagery by rock bands in the 1980s – co-opted almost always purely for marketing reasons – Tool employs various branches of esoteric thought as direct aids (or is that 'tools'?) in their creative process. What’s more, they do so with a level of thought and contemplation which seems light years ahead of their peers. In the words of Blair MacKenzie Blake, a close personal friend of the band, Tool have been known to…
…employ genuine occult principles in their artistic output, in both recordings, art design, and with their live performances. However, rather than embracing certain occult clichés to shock the general populace, or to establish a dark mystique, this more esoteric arcana is rendered useful for personal and artistic purposes in an attempt to gain unconventional perspectives on the multiverse.
In the song “Lateralus” (from the 2001 album of the same name), singer Maynard James Keenan weaves his transcendent lyrics (featuring alchemical symbolism) within a rhythmic structure based on the Fibonacci Sequence, an evolving elucidation of the ‘Golden Ratio’ in which each succeeding number of the sequence is the sum of the previous two numbers (so the sequence runs: 1, 1, 2, 3, 5, 8, 13 and so on). Keenan’s staccato delivery breaks the syllables of his lyrics into a cycling pattern up and down the Fibonacci Sequence:
Tool drummer Danny Carey – like Led Zeppelin’s Jimmy Page – is known to be an avid collector of rare occult publications, including first edition works by celebrated occultists such as Aleister Crowley, Austin Osman Spare, Frater Achad, Kenneth Grant, and Andrew D. Chumbley (several of which can be seen in the stereoscopic portrait of Carey in the unique packaging of their 2006 album 10,000 Days, along with “some ritual objects that serve as unique tools for experiencing visionary realms and contacting that which lies outside the terrestrial vehicle”).
During the recording process, Tool are also known to employ magickal banishing and purification rites (variations on the well-known Greater Ritual of the Pentagram and Hexagram) to eliminate any ‘residue’ left behind by previous artists, as well as to “render the circle absolutely impregnable” with regards to future tracking. Also, according to Blair MacKenzie Blake…
Occult paraphernalia such as talismanic boards, parasemiotic symbols, and pantacles (not to be confused with pentacles) are also utilized in both recording sessions and during live performances, with these highly charged magical ‘machines’ often ensigiled with specific desires. Some may be of a protective nature, while others are devised to (hopefully) ensure a successful outcome. In the case of the pantacle mentioned above, this could be seen as a microcosm of the Operator or “the great storehouse from which the magician draws” to use Aleister Crowley’s definition.
Drummer Danny Carey often surrounds himself with sacred geometry and occult diagrams based on magical correspondences. At one time a large, modified representation of Dr John Dee’s Enochian Sigillum Dei Aemeth was suspended behind his drum kit during live performances, but other talismanic boards and even the drumheads contain examples of perfect geometric shapes including pentagrams, tesseracts (hyper cube), unicursal hexagrams, heptagrams, enneagrams and interpenetrating variations of each. In an attempt to ‘charge’ the drumkit, itself, a Knight’s Templar artifact brought back from the South of France was melted down along with numerous recycled Paiste cymbals that comprise his Jeff Ocheltree/Paiste bronze Custom Craft kit. Additionally, each bass drum weighs a ‘Thelemic’ 93 pounds, although this could be purely coincidental.
This overt occult symbolism has, on occasion, led to some interesting times while touring. In some of the southeastern states of the United States – the heartland of Christian Fundamentalism – local road crews have been known to refuse to touch or unload the Ryan McClimmit-designed talismanic boards, with some walking away while invoking the name of Jesus.
Carey also contributed the final track on Lateralus, “Faaip de Oiad”, which is titled in the ‘Enochian Language’ allegedly received (from Angelic entities no less!) by the famed medieval occultist Dr John Dee (or more correctly, through his scryer Edward Kelley) via a series of magical operations. The title translates to “The Voice of God”, and the instrumental track includes a sample of a ‘defective’ machine, said to be “attuned to a particular ‘wavelength’ of occult significance having to do with the concept of idiotheosis.”
Occult themes are also integrated into the band’s artwork, from album covers and packaging, to tour posters, stage props, video stage projections and music videos. One example is the artwork found on the disc of the import release of Aenima (1996), which contains a sigil from plate #34 of The Goetia (Being the Lessor Key of Solomon), a seminal medieval grimoire. Blair Blake mentions this classic occult text while hinting at more occult secrets possibly concealed within the album packaging:
According to the author, the thirty-fourth Spirit is “Furfur”, who, when compelled by the Operator (i.e. Conjured up within a Triangle), once taking the form of an angel, gives TRUE answers both of things secret and Divine (if commanded). Some of these “secret and divine” things are actually revealed in the insert that came with CD, although there is no evidence that this has ever been discovered by any of the band’s fans.
Meanwhile, the artwork for the album Lateralus is provided by famed visionary artist Alex Grey, and features sacred geometry as well as detailed illustrations of the “subtle physiology”, which are associated with “psychosexual energies and mystical essences generated and secreted for the purpose of activating sigils, charging talismanic objects, and other carefully-guarded occult possibilities.” The Flaming Eye motif “concerns the unique magical properties of the pineal-pituitary hypothalamic complex”, and there are also cryptic allusions (particularly in the transformation sequence of the music video for “Parabola”) to “the release of endogenous tryptamines, that which some modern adepts suspect may be the neurochemical basis of magical operations” (see the article “DMT and Magick” in Darklore Volume 2 for more on this). Furthermore, according to Blair Blake the video…
…also includes a ritual involving a heptagram familiar in certain esoteric doctrines, along with the “blue apple” symbology of a higher gnosis. In addition, there are hints of “The Mauve Zone”, a conceptual abyss or heightened dimension of consciousness experienced by numerous occultists, artists, and visionaries in the past, and that which might be responsible for the more surreal aspects of their literary and artistic output.
However, perhaps we should take Blake’s mention of the “surreal aspects” of Tool’s creations – not to mention Keenan’s lyrics to “Lateralus” (“Over thinking, over analyzing separates the body from the mind”) – as fair warning that our analysis of the occult aspects found in rock music is only worth so much. There is a vast amount of related material we could cover: from the influence of the occult upon Norwegian Black Metal, to Iron Maiden singer Bruce Dickinson’s interest in Aleister Crowley, which has recently resulted in a feature film. Or perhaps even The Mars Volta’s use of an Ouija Board in the creation of their 2008 album The Bedlam in Goliath (considering the mayhem that allegedly resulted, perhaps they should have listened to David Bowie’s advice…). But, ultimately, rock music is about transcending the intellect, and just losing yourself in a maelstrom of sound and feeling. So enough intellectual analysis of the occult aspects of rock for now: go put on your favourite album and crank it up while raising the mano cornuta to the heavens, and perhaps “we’ll ride the spiral to the end and may just go where no one’s been.”
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Permalink Reply by AceofSwords on
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Wow! My mom use to listen a lot to this. I wonder what she will say when I show her this. Thanks for sharing!
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Permalink Reply by Zii Cee on
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outkast, michael jackson, william cooper jus 2 name a few dont kno wut style u in2
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Permalink Reply by david cohen on
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Nice! Never heard these cats before. Been jonesing for some new hip hop (that i havnt heard yet or not tired of).... This is it. Great post Kendall, thx.
Bless.
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