LOST IN MUSIC
“We’re lost in music; caught in a trap. No turning back.”
– Sister Sledge –
“The Harmony of the Spheres, a transdisciplinary idea that unites cosmology, astronomy, mathematics, and music theory, has been a major vehicle of the Pythagorean current in the intellectual history of the West”. 
In APOCALYPSE NEVER V we already touched upon the heavenly Music of the Spheres and the Music Industry here on Earth. We met Kepler, who became one of the absolute key individuals in modern science. In APOCALYPSE NEVER VI we saw that Arthur Koestler described Kepler as personifying a ‘Watershed’ between the old and new ages. We will now venture into some successors to Kepler who built the foundation of the Music Industry as we know it today. Well-known esoteric scholar Joscelyn Godwin aptly described Kepler’s influence on later intellectuals in a presentation held in 2007:
By modern criteria, Kepler seems to have had a split personality, half scientist, half mystic. His obsession with cosmic harmony puts him in the same category as Robert Fludd, author of Utriusque Cosmi Historia (1617) and other encyclopedic works of Christian Hermetism; yet in the Appendix to Harmonices Mundi, Kepler attacks Fludd’s system on the grounds that “what he endeavors to teach us as harmonies are mere symbolism…rather than philosophical or mathematical”. The immense value of Kepler’s discoveries, to his own way of thinking, was anything but a split: it lay in the fact that his Neoplatonic intuitions were backed up by hard, scientific data.
To his sorrow, they were received in profound silence by the scientific world, in which the Harmony of the Spheres was as irrelevant as the quest for the unicorn. The heliocentrists, Copernicus and Galileo, had ignored the time-honored myth, and it played no part in the rapid triumph of their cosmology. It would take Newton to sift Harmonices Mundi and extract the scientific wheat from the speculative chaff. However, after Kepler’s death his work found one careful reader: Athanasius Kircher (1602-1680), whose combination of a scientific mentality with Christian piety and a Hermetic-Neoplatonic philosophy resembled Kepler’s own. 
There were several Jesuits who were key persons in the evolution of the Music and Entertainment Industry as it is nowadays. The first electronically driven music instrument was the so-called ‘clavecin électrique’, which was invented in 1759 by the Jesuit priest Jean-Baptiste Thillais Delaborde. About two years later he managed to build a working example of his instrument. Another important one was the aforementioned Kircher. In Part V we already saw a drawing by this mysterious Jesuit priest, where he hinted at the power and influence of music on human consciousness by drawing several ‘ear-smiths’ who were busy forging in a human ear. Kircher was in fact a key-person in the NWO-Agenda, and one of the very few who were thought-leaders into both music, animal magnetism [later known as Mesmerism] and even early electronics and automatics. He has been called “the last man who knew everything” and “the last renaissance man”. As a biographical article on Kircher on a website dedicated to the history of the computer reads:
From 1638 onwards Kircher was professor in mathematics at the Collegium Romanum in Rome, and his interest covered everything under the sun. When he was released from teaching duties after 8 years, he started publishing books, concentrating on a different subject every three-four years. He received visits or letters from scientists, royalty and clergy from all over Europe and beyond, together with a multitude of artifacts, curiosities of natural history and mechanical apparatus, which he later, together with his huge library, donated to a museum, which eventually became the famous Museum of the Roman College or Museum Kircherianum. This museum became one of the top attractions of Rome in the 17th century.
Kircher was also notable for his interest in automata, e.g. his plans for building a talking head and mechanical music-makers. There is a note from Edward Browne (1644-1708) who arrived in Rome in 1670s to visit Kircher, who showed him his closett of rarieties, which included a perpetual motion machine and a talking head. Kircher wanted to create a speaking statue for the visit of Queen Christina of Sweden to the Musaeum Kircherianum, a statue that will have to answer the questions that it is asked. 
So here we see a parallel with John Dee, who also donated his literature collection to successors who started a museum and library with it. But we can be quite sure that the most important books were kept closely guarded elsewhere. Besides that, Kircher also made early attempts to build what we nowadays would call a speaking robot, even connecting to the idea of the Golem as we’ve seen in APOCALYPSE NEVER IV. So it isn’t surprising either that Kircher did this all for a godly cause. The aforementioned biography also states that he “devised a hydraulic machine to represent the Resurrection of the Savior and another device to exhibit Christ walking on water”. This hydraulic machine was also to be a perpetual motion system, which didn’t needed any human interaction anymore to keep on going. The most interesting connection is with Mesmerism then, which magical forces were studied by many other early key people in the NWO-Agenda, like Paracelsus and Robert Fludd. Kircher’s work on this subject is titled Magnes Sive De Arte Magnetica . This is also where the Theosophists come into the picture, because H.P. Blavatsky quoted extensively from Kircher’s mesmerizing book. She was very probably right by noting that Kircher’s teachings were a forerunner of Mesmer’s, but she takes the reader onto her usual detour and even a dangerous path by endorsing it and weaving it into her own enticing stories of magic and mystery. As I’ve said before multiple times, the New-Age teachings are especially meant for the masses to confuse them, and to get them longing for exactly those things the NWO wants to bestow upon us! These doctrines make you feel weak, small, inadequate and a sitting duck for the experts, psychologists and gurus, who promise to pitch up your frequency, free your mind and cure your loneliness.
Kircher practiced Alchemy for a while, especially with his good friend Leibniz, but later turned against this alleged pseudo-science. But we already know that Alchemy holds quite a bit more than the public image of turning lead into gold, so I would class this feud more as silly window-dressing for the masses. Kircher was deeply immersed into occult practices, as already mentioned, and here on the right you can read a small clipping from one of Kircher’s famous tricks as they were promoted to the people. This is taken from the Magazine Of Science, Vol. III .  We learn that a story circulated that Kircher was able to revive a withered rose with the help of heating and chemicals. On the one side this would rhyme with the alleged youth elixir the Rosicrucians were rumored to have, but on the other hand it might be more safe to hold that the story is more of an allegory, and that he in reality revived the esoteric teachings of the Rose at the court of the Queen of Sweden. Another article that goes into Kircher’s magical music machinery teaches us that he
aims to arise wonders effects of artificial magic, namely the art or ability to produce something marvelous through human work, making use of diverse instruments for a decadent wealthy class in lack of principles and moral. The machines achieve a primary role in the flourishing Baroque culture of special effects and water setup fountains. He indeed did design many machines and devices.
He sees nature as God’s artwork and does involve himself in an analogue relationship with whole creation, through his technical production and constant research. His devices “Can thus be compared to miniaturized artificial universes, which transmit cryptical messages from a playful creator”.
His creative sensitivity, continuously merging with magic, puts him to be in the same relationship there is between an artist and his work. For instance, in his imaginary worlds angels and daemons overlap and live within marvelous events. Watching them we are cached by the will to believe, to be completely be spectators. Convince ourselves that we are witnessing pure mystery and eventually see the trick be unveiled and be equally amazed. The magician is the one able to make others dream new possible universes. In the very same way in which an artist unveils his creation in front of our eyes, Kircher as “nature magician” allows us to deeply get in relation with our vision of the world. 
So here we also see distant connections with our present Entertainment Industry, especially Hollywood. As soon as you can grab the audience and render them into complete spectators who aren’t active or interactive, but in entertainment-mode’, they are the most susceptible for indoctrination and manipulation. Another study on Kircher’s magic tricks, which seeks to stress the “relation between instruments and the occult”, tells us that the
jokes of nature became intertwined with jokes of knowledge in Kircher’s texts and in his museum, which he compared with a ‘Mundi theatro’. […] Artificial wonders which tricked and deluded the spectators were much in vogue at court. They were a part of the courtly play of simulating and dissimulating. Kircher made a catoptrical [device which reflected the body of the spectator, with his head substituted by an animal head. It thus held up a mirror, with a moral message to the courtier, who could not distinguish his mask from his real face.
Kircher’s books and the Musaeum Kircherianum are both theatres of knowledge, and the Ars Magna was an encyclopaedic enterprise to compile all knowledge about light and shadow. Yet its aim was even more ambitious: Kircher wanted to set out a theory of the whole cosmos. To guide the reader into this labyrinth, the Ad Lectorem provides a clue to reading the book: it asserts that the ten chapters correspond to the ten Cabbalist Zephirot. Kircher identified himself with Hermes, the sage who handed down the arcane knowledge in symbolic form. It is clear that Kircher, ‘a new Hermes for a new Egypt’…imbued his own message with his own symbolism.
Gaspar Schott (1608–66), Kircher’s disciple and editor, defined magic as ‘whatever is marvelous and goes beyond the sense and comprehension of the common man’. The common man was prone to superstition. Only the educated gentry were able to enjoy the play and read the hidden messages. This helped constitute a distinct elite culture. Marvelous devices were referred to the incapacity of the vulgar. This rhetoric was also a vehicle of the Counter-Reformation to combat popular magic, which became identified with superstition, in contrast with the learned magic on which Catholic theology depended. Kircher provided his patrons, the Catholic intelligentsia, with such an elitist magical and metaphysical system. […] Kircher ridiculed those who did not see the natural causes behind his illusionist devices. He also denounced those ancient priests and kings who claimed to possess supernatural powers and who used their technological knowledge for the oppression of their people. 
So here we see Kircher also materializing as an early Skeptic, maybe even a Debunker! This faction is of course also part of the dialectical system the NWO operates on, and also in our time we see that many high initiates are free to switch between sides and publish literature both ways. We also find a source of Arthur C. Clarke’s famous third law. He blatantly ‘borrowed’ this from one of the main disciples of Kircher, and probably this ‘law’ can be found back in writings from Ancient Greece too. It’s one of the main weapons the Dominant Minority of all times have used, and although the historians and other intellectuals have written that this superstition among the people almost vanished since the nineteenth century onwards, this is only partly true, I think. The methods of ‘magic’ became infinitely better and the gaps between the far advanced sciences and the mainstream evermore wider, but certainly today the gross of the people is as superstitious as ever. It might not be called by this phrase anymore, but even our Western intellects—the pinnacle of civilization we think—still really can be made to believe anything. One of our main present-time magic tricks is that one-eyed conjurer hanging on the wall, and just as in less civilized times the common herd obediently consumes everything the moneyed magicians broadly cast through the ether. The greatest trick the devlish elites really have pulled, is that the masses nowadays are convinced that there isn’t anything trickery about it at all; the suspiciousness amongst the people regarding possibly being tricked by the powers that bee has been taken away completely, and the hundreds of millions of mesmerized TV viewers fully agree that the show must go on indefinitely, till the bitter end. Most can’t get enough of it really, and they would like to be immersed into this dreamworld 24/7 if possible. The projected tricks, shows and performances have changed drastically—they have been perfected—but the underlying principles and purposes have always been the same. Still today a large part of the plays, movies and songs that are published contain nonsensical and enticing stories for the profane, but also a deeper esoteric meaning for the initiates.
Below we see one of Kircher’s ideas from his Phonurgia Nova , which basically features megaphones built into the walls for the cause of entertainment and the creation of ‘magic’ sounds that seem to come from everywhere and nowhere. If this is completed with musicians playing in the ‘invisible room’ and maybe entertainers dancing or singing on the stage in the big room, we can image seeing a very simple version of what we nowadays call a cinema, discotheques or even music parties. For long it were music bands and rock groups who were in the magic rooms, but nowadays we see more often DJ’s, surrounded by an intimidating amount of technological wonder—the ‘control booth’—controlling the movement of the crowd.
The study The Phonurgia Nova Of Athanasius Kircher  tells us yet another reason Kircher’s echo-chambers were meant for, because there always is!
The delectationes [pleasures, amusement] were specifically developed to amplify the voice, to communicate at a distance, to send music to different rooms, and even to eavesdrop. Kircher’s first described invention regards the singular location of certain palatial royal chambers, in which every spoken or whispered word could be heard distinctly, not only in the same space, but also in other rooms. Having explained that conduits suitable for directing sound and inserted into the walls should have a tubular or lengthened shape, Kircher indicated how to realize the building. 
And so we see that even in earlier times the entertainment systems also had this secret and less advertised function of eavesdropping and spying on the public! But are we really still surprised about that?
In the years before the Great War in Italy the first organized experimental musicians with an electric mindset emerged. The Italian Futurists, part of the larger avant-garde cultural movements who propagated and celebrated Mankind’s mastery over Nature, circulated in line with common NWO-stategy several Manifestos among the crowds to steer the public mindset there where needed. Below a clipping from the study The Music Of Futurism , which tells us that the extreme doctrinal potential of the new experi-mental noise, music and instruments became known immediately. This has probably been known in some circles for thousands of years, but with new and more advanced weaponry instruments such techniques can be perfected if needed.
In APOCALYPSE NEVER V we ventured especially into Electronic Music. In America this is nowadays often called EDM, after a substyle which has been popular for the last few years. Unfortunately this is an extreme misrepresentation, and what now is known as EDM is in fact among the very worst Electronic Music has to offer: simple, uninspired and brainless music, hence a good mirror of our present civilization and mindset. So I will call it EM from now on, encompassing all styles produced with synthesizers and produced in sequencers. We’ve also seen how the Rockefellers stood at the cradle of the invention of the tools needed to produce electronically. Also Ray Kurzweil became one of the fathers of music synthesis. Synthesis is one of the main techniques in the NWO-battle plan, so as soon as this word comes up in your research it will be of interest. Robert Arthur Moog [1931-2005] was also one of the fathers of the synthesizer, and as we can read at his gravesite he was the one who gave the world “Good Vibrations”. The synthesizer was first mainly used for spacey ambient sounds, but slowly found its way into mainstream music. Moog traveled the world with his synths. Newspaper articles at the time told the masses that the “synthesizer opens new dimensions”. Moog himself said he never expected for the synthesizer to become popular, but I’m pretty sure the people financing it all knew and arranged for it to become popular. Wendy Carlos, a good personal friend of Robert Moog, released in 1968 the groundbreaking music composition Switched On Bach, which became
the most transcendental album in the history of electronic music. Because of it, the sound of synths was able to leave the ghetto of labs and break the barrier that separated it from a wider audience. Bach was resuscitating through unheard sounds as a result of an arduous effort to tear from the still rudimentary analogical synths the shine of his counterpoint and the spiritual dimension of his compositions. The panorama of music would never be the same. 
Carlos was born as a male, but already on an early age knew that he really was a female, and so he became she: Walter became Wendy. She came out in Playboy magazine [May 1979] and she has composed the score music of a few Stanley Kubrick films. The title Switched On Bach is interesting, because Johann Sebastian Bach was of course one of the main initiates in his time, who set the tone for the authorized music in his days. As we’ve seen in earlier parts of this series, ‘Bach’ can also symbolize the underground stream which flows to the mainstream. Carlos’ song is the electronic version of the original classical composition, hence it’s ‘switched’ into another state of being, so to speak. It’s sort of an ‘omen’ and a message that the music from then on is changed. Somewhat similar to Chuck Berry’s mega-hit Roll Over Beethoven .
Musical evolution often happens through the ‘Progressive’ sub-streams, which are often deemed the best by the ‘musicophiles’ because they constructively use influences from other styles to create evolution in sound, and the songs often have more intelligent arrangements and very long-winded build-ups and build-offs. It was through the Progressive Rock group Emerson, Lake & Palmer [ELP] that the synth was introduced into the Rock scene, and it got center-stage through groups as Yes and Genesis, both groups with Masonic members and influences in their songs and lyrics. For instance Phil Collins is often listed on websites of Masonic lodges as being a member, initiated in Soho Lodge #3.  Another Masonic website offers a transcript of a presentation which proclaimed that the song Another Day In Paradise contains a deeper meaning for Masons.  I presume the reference is to the coming sabbatical day they call Paradise, but in this case I can’t really decipher it from the song lyrics. The group’s first album, From Genesis To Revelation , before Collins joined the group, contains some clues which underline this Paradise-argument. The song The Serpent tells us “Creator prepares for the dawn of man / You’re waking up, the day of incarnation / Here I stand a child in a lonely world, oh no / Watch the serpent tempting me to evil”. After Phil Collins joined, the album Nursery Cryme  was released. The song The Fountain Of Salmacis is of special interest, because it features the tale of the sacred merger between Hermaphroditus and Salmacis, becoming One: “Demi-god and nymph are now made one”. The most important passages from the song go:
“The waters are disturbed
Naiad queen Salmacis has been stirred”.
As he rushed to quench his thirst,
A fountain spring appeared before him
And as his heated breath brushed through the cool mist,
A liquid voice called, “Son of gods, drink from my spring”.
The water tasted strangely sweet.
“We shall be one
We shall be joined as one”
“She wanted them as one
Yet he had no desire to be one”
Unearthly calm descended from the sky
And then their flesh and bones were strangely merged
Forever to be joined as one.
“We are the one”
“The two are now made one,
Demi-god and Nymph are now made one”. 
This song was written by both Collins as Peter Gabriel, and it features the Kabbalistic ‘cosmic waves’ they’re thirsting for, as we’ve already seen in earlier parts of this series. Also compare this with Here Comes The Flood by Gabriel solo, as listed in THE MESSAGE OF MUSIC. But the song [and the ancient myth of course] feature the fountain of life, meant for quenching the thirst of the “Sons of God”. This water tastes “strangely sweet”, which makes me think it might signify honey. We meet another incarnation of the mysterious Queen who will make everyone into One. In fact “joined as one”, so from a state of individual bodies into One. Another puzzling thing is the “liquid voice” with which Queen Salmacis talks. My best guess is an electronic voice. This can be coupled to yet another song by Genesis, namely In The Air Tonight. This song contains a moment where Collins’ voice is very clearly overtaken by the vocoder effect—the synthesizer merges with his human voice and surpasses and overtakes it, so to speak—when he says “do you remember”. This is the most remarkable moment in the song and is quite interesting in the light of the New-Age notion that we seemingly have forgotten who we are and that we’ve been ‘digital’ before in the past, before the Fall. At that particular moment in the song the video clip also becomes more colorful than ever before in the song, and right after that moment you see a door being opened with blinding white light pouring out, signifying some sort of illumination.
If we then look at the band Yes we see that for instance Rick Wakeman is well-known to be a Master Mason. Destined to wake up Man, sort of. But also many songs by Yes that weren’t co-written by Wakeman tow the New-Age line or resemble some advanced knowledge of points on the Agenda, so probably a lot more band members were initiates. For instance the song Awaken from the 1977 album Going For The One tells us:
Master of light
All pure chance
As exists cross divided
In all encircling mode
Oh closely guided plan
Awaken in our heart
And their song Machine Messiah  also deserves a mentioning:
All of us standing in line
All of us waiting for time
To feel it, all the way
And to be there when they
Say they know that
Maybe we’ll change
Offered the chance
To finally unlearn our lessons
And alter our stance.
Machine, machine Messiah.
Take me into the fire
Hold me, machine Messiah
And show me
The strength of your singular eye.
So we can be quite certain that the guys who ‘infected’ Rock with the electronic virus—as many would interpret it—aligned with the Transhumanists and other kindred spirits to seek their savior in a Machine God. But does that make them Satanic or demonic? If we return to Robert Moog, we see that he himself was kinda sketchy on this subject:
I can feel what’s going on inside a piece of electronic equipment. I have this sense that I know, and to some extent, have control over what is going on inside the transistors and inside the resistors. When I am thinking about how to solve a particular problem I can think about it for days and weeks and nothing will happen. And, some day, when I am cutting the grass, or having a hamburger, or I wake up in the middle of the night, the idea will be there. I think it would be egotistical of me to say, “I thought of it”. What happened, is I opened my mind up and the idea came through and into my head. These ideas, I don’t have to dig up anything. Sometime I don’t even have to be thinking of them—and there they are. It’s something between discovering and witnessing. 
In the 2004 documentary on Moog, where the above quote comes from, he also said that he seemingly has some kind of spiritual connection happening around him which connects his mind with the technology he’s working on. Not in a religious sense, but in some way he could connect with “the things that are in the universe”. These “things” connected with Moog, from outside that what he could perceive with his five senses. So it seems we once again meet an individual who gives the world revolutionary stuff, with the help of some sort of spirit guide. The music is generated by oscillators which create electronic waves that are traveling through electronic circuits. Moog also longed very much to “get in tune with nature”, so when he wasn’t inventing and engineering he could be found in his garden, often with his wife. “We feel that we’re controlling our own personal environment, our personal ecology, by having the garden”, Moog added. In CLOSE TO PERFECTION we’ve seen how ecology fits into the NWO-Agenda, with H.G. Wells explaining how the initiates were to “proceed from the common school to a thorough study, first of general biology, then of general ecology, and then of that very special branch of ecology, human ecology or sociology. They will treat the human species, the world society, as a living organism made up of individuals with rights and duties towards that biological whole”.
The man who laid the cornerstone for the experimentalism in music which later would become the foundation for Electronic Music was Arnold Schönberg [1874-1951]. Mr. ‘Sweet-mountain’ and his music were blacklisted around 1938, because he was Jewish and because he composed so-called “degenerate music” and hence attacked the German culture. He was among the great intellectual influx the States enjoyed in the thirties, as described in PEACE OF MIND, and in fact became one of the leading figures of the Second Viennese School. Schönberg was very influential in the simplification of the melodic side of popular music, hence also in the emergence of the repetitive short melodic motifs and riffs which characterize both the R&B, Hip-Hop side of Electronic Music, as the House, Disco and Trance side. He also introduced atonality in music, which earned him probably the most contempt and critic. As with many other influential ‘radical’ composers Schönberg was in postwar Europe on the payroll of the CIA to bring civilization back to the war-stricken Europeans:
During the height of the Cold War, the US government committed vast resources to a secret programme of cultural propaganda in western Europe. A central feature of this programme was to advance the claim that it did not exist. It was managed, in great secrecy, by America’s espionage arm, the Central Intelligence Agency. The centrepiece of this covert campaign was the Congress for Cultural Freedom. […] At its peak the Congress for Cultural Freedom had offices in thirty-five countries, employed dozens of personnel, published over twenty prestige magazines, held art exhibitions, owned a news and features service, organized high-profile international conferences, and rewarded musicians and artists with prizes and public performances. 
One of the main influences on Schönberg was the nowadays a bit forgotten but really very influential Arthur Schopenhauer, whose “historical profile is frequently obscured by the shadows of Kant, Hegel, Marx, Mill, Darwin and Nietzsche, but more than is usually recognized…he perceived the shape of things to come. The hollow, nihilistic laughter expressed by the Dada movement at the turn of the century in the midst of WWI, reiterates feelings that Schopenhauer’s philosophy had embodied almost a century earlier.”  Schopenhauer was of course one of the major influences on Nietzsche and through him the foundation was laid from where for instance Aleister Crowley emerged.  Even till today one of the main centers in the Music Industry for the orchestrated depravity is Crowley’s Ordo Templi Oriëntis [OTO]. Schopenhauer was more or less tutored by famous illuminist Johann Wolfgang von Goethe, who ‘prophesized’ his coming successful career and great influence. His main task in the Great Work was to be the sowing of the seeds of the merger between Eastern and Western philosophy, and to bring in the nihilism and misogyny in order to start the degradation process for the masses. Historian Will Durant describes how Schopenhauer thought about music:
“Music is by no means like the other arts, the copy of the Ideas” or essences of things, but it is “the copy of the will itself” ; it shows us the eternally moving, striving, wandering will, always at last returning to itself to begin its striving anew. “This is why the effect of music is more powerful and penetrating than the other arts, for they speak only of shadows, while it speaks of the things itself”. It differs too from the other arts because it affects our feelings directly, and not through the medium of ideas; it speaks to something subtler than the intellect. What symmetry is to the plastic arts, rhythm is to music ; hence music and architecture are antipodal; architecture, as Goethe said is frozen music ; and symmetry is rhythm standing still. 
Hence through architecture they build the physical house, and through music the digital House. The man who is seen as the father of electronic music itself, is the German composer and inventor Karlheinz Stockhausen [1928-2007]. The Stock from his surname in German translates to many different English words, like cane, rod, stick, but also “colony of animals” and, of course…beehive! A German synonym is ‘Bienenkorb’. Hausen means “take into the house” or “to accommodate”. Remember Jack and his House Music from APOCALYPSE NEVER V? It seems Stockhausen was destined to lay the cornerstone of the Electronic Music revolution and to lead the animals into the House, or to accommodate the Beehive! Stockhausen himself was born in a building called Burg Mödrath, which was owned by the Düsseldorf chapter of the Knights of Malta.  He was of course a full-blown New-Ager and esotericist, who often contracted criticism. He said he now and then took mental trips to the Sirius star system and had his fling with praying to mysterious entities or spirits. They all do. On his grave monument we can read the ‘Light Formula’, which is based on his LICHT composition series. These operas are called From The Seven Days  and follow the Hermetic cosmology of a ‘Cosmic Week’, akin to the one we’ve learned about in this series on the Apocalypse. According to Stockhausen himself the compositions have both an exoteric as an esoteric layer. A study about Stockhausen’s writings on music tells us how the cradle of modern spiritual electronic music was formed. Speaking about the live recording process of these musical compositions under an extremely high degree of controlled improvisation and interactivity, we learn that
Stockhausen called this “intuitive music”, “music that as much as possible comes purely from intuition, which in the case of a group of intuitively playing musicians, due to their mutual feedback, is qualitatively more than the sum of their individual ideas.” In his view the musical process thereby became for the first time completely “spiritual”, that is, unfettered by the confining framework of any predetermined objects or systems, even those of a purely musical nature: “It is no longer sufficient to expand the musical work—the opus—to a process, to a growing, self-transforming thing which unfolds at every moment, in the Here and Now; we have realized instead that the multitude of discoverable processes also leads to yet more basic, higher powers of formation that are in fact superrational, intuitive in origin”. The nature of the compositional process here becomes essentially “mystical”; and in correspondence to this, performances of Stockhausen’s music began to take on a pronounced ceremonial aspect. 
Esoteric researcher and Theosophist Gary Lachman said of Stockhausen that he was “perhaps the most ‘esoteric’ composer of recent times”. He concluded that “Stockhausen’s compositions—like Sternklang , Tierkreis , and Sirius —put him in the same league as other composers whose music comes from ‘other worlds’.” The Freemason Gerald Reilly wrote this about composers like Mozart and Stockhausen:
Once beyond a description of his music being but vibrations—number in time—it is not difficult to think in terms of this composer being a conduit from an inspiration beyond the universe. Fortunately, the sound output from Stockhausen would remind us that descriptions of vibrations—number in time—may well be of the earth, earthy. When Masonic ritual is performed well it is easy to be in transportation to a putative transcendent. 
Albeit heavenly, demonly or just earthly, the influence of music on the human body, mind and soul is basically unmatched. There isn’t anything else that is able to touch a human so profoundly in their deepest being. You could argue that love is, but that is always a mutual experience with interaction involved, while with music it’s something external which touches you. Most of the time it’s a very intimate experience, for you alone. Even while passionately playing an instrument—frequently compared to making love with the thing—is in the end about the outcome you perceive with your second sense, not the playing itself. But besides a solo experience of music there is also the group experience, which is different but can be just as or even more intense. Here in the Netherlands the EM scene has been very large for about 25 years now, with big parties and events all over the country all through the year. In the DJ-world the Netherlands has always been influential and successful. I myself have been a DJ as a hobby for many years too.
Every music style has its own stronger and weaker characteristics and are aimed to evoke different emotions, but that which Electronic Music differentiates from all others is, I think, euphoria. This because the melodic styles within EM are especially produced to achieve just that. This is where the ecstasy / XTC fits in so perfectly, which was the drug that was given to the people to consume with Electronic Music. Most drugs are in fact designer-drugs and their origins can be traced back to the same mega-corporations and Foundations that have given us all modern music styles. In MUSIC MAESTRO you can find the video clip of the song As The Rush Comes by a great British producer-duo, and I’ve added a small description of how this song perfectly conveys the feeling, emotions and flow of an XTC-trip. This is called a ‘rush’, which comes in like a thief in the night, but unfortunately often tends to leave as quickly as a fart in the night. The core of the experience, and undoubtedly the reason why it was redesigned from a medicine and spread amongst the House and Rave scenes as party-drug, is that it gives a glimpse of what this ‘universal love’ the New-Age religions keep preaching about is like. It makes you feel ‘One’ with both your environment, but also with other people. Walking around on a big event where many people use XTC, all boundaries of color, creed, belief and the like tend to disappear. You can look into the eyes of fellow-visitors, coming from countries on the other side of the world, and you both know that you think and feel the same at that moment. If one ever needed a tool to get people yearning for oneness, XTC would be it. So if you strip off all mystique about its roots and invention, this certainly is the main reason why it was introduced amongst the masses. It is way better than reality and especially the first time is one of the absolute highlights in the lives of most people who’ve tried it, I’m sure. But ultimately it’s chemically induced, not real and part of a larger agenda few people fully understand. Knowing this spoils part of the fun, but puts you back down firmly on the ground, where you belong in this particular point in time we’re living now. Our time needs people firmly grounded, because the subject matter of the most important subject is difficult and the road to understanding long. And the biggest difficulty is that we haven’t got an idea where on the road we exactly are, because the starting point has faded long ago and the end-point has never really been known. In this regard the analogy of ‘Night’ the Dominant Minority uses is suitable for us too.
Also Sir Francis Bacon agreed that music and poetry touches special places in man, and that this is the main reason why in all times these two separately or in combination have been used to ‘educate’ the masses. In The Dignity And Advancement Of Science  he wrote that
since true history wearies the mind with satiety of ordinary events, one like another, Poesy refreshes it, by reciting things unexpected and various and full of vicissitudes. So that this Poesy conduces not only to delight but also to magnanimity and morality. Whence it may be fairly thought to partake somewhat of a divine nature; because it raises the mind and carries it aloft, accommodating the shows of things to the desires of the mind, not (like reason and history) buckling and bowing down the mind to the nature of things. And by these charms, and that agreeable congruity which it has with man’s nature, accompanied also with music, to gain more sweet access, it has so won its way as to have been held in honour even in the rudest ages and among barbarous peoples, when other kinds of learning were utterly excluded. 
Rhythmically rhymed lyrics have a very intense influence on the human mind. It can upgrade people, but certainly also downgrade. It takes the listener away from the harsh reality, albeit only for a little while, and can administer morality and virtue. This is the reason even the leaders of the most uncivilized tribes and clans always have condoned it, according to Bacon. And that might just be true. Everyone can understand this, but few will want to believe it. If we for instance read the study Degrading and Non-Degrading Sex in Popular Music: A Content Analysis , we find that after scrutinizing all new popular songs mentioned in Billboard magazine in the year 2005 the scientists found that
of the 279 songs identified, 103 (36.9%) contained references to sexual activity. Songs with references to degrading sex were more common than songs with references to non-degrading sex (67 [65.0%] vs. 36 [35.0%], p<0.001). Songs with degrading sex were most commonly Rap (64.2%), whereas songs with non-degrading sex were most likely Country (44.5%) or Rhythm & Blues/Hip-Hop (27.8%). Compared with songs that had no mention of sexual activity, songs with degrading sex were more likely to contain references to substance use, violence, and weapon carrying. 
No surprises here. The study also says that “people learn not only by direct experience but also by exposure to modeled and rewarded behavior, such as that represented in popular music”. In this way the emulating of the behavior of ‘stars’ or artists is just a basic Pavlovian technique used on the masses, because by copying this behavior they expect to receive the same: money, fame, ‘chicks’. The main reasons normally given to combat degrading sexual messages are echoed by the scientists: “Early sexual intercourse and early progression of other sexual behaviors are of concern because of their direct relationship with sexually transmitted infections and costly, unwanted teenage pregnancies”. But this is of course more or less the ‘spin’ given by the industries working for the Dominant Minority, because some of them thrive in fact on abortions and people being sick. For some powerful people the worst that ever could befall humanity is finding a universal cure for all sickness! The real reason why the degrading sex act is pushed so severely is because it causes the youth to never learn to really love, to bond or care for offspring. And that comes in handy when one seeks to take over human reproduction, don’t you think?
One of the earliest and most vilest attacks on the family was perpetrated by the Kinsey Reports: Sexual Behavior in the Human Male  and Sexual Behavior in the Human Female . Taught and tutored by Darwinians and after switching research fields a few times, Kinsey finally found his life’s goal—thanks to monetary advancements by the National Research Council and the Rockefeller Foundation—and laid the cornerstone for the Sexual Revolution. As one study tells us about Kinsey:
In his own mind, his principal legacy was to have brought scientific rigor to the study of human sexuality. But as his biographer James H. Jones points out, Kinsey was not only a scientist; he was a reformer who sought to rid himself of his personal sexual demons, while at the same time revolutionizing the repressive society in which he had grown up. […] His great accomplishment was to take his pain and suffering and use it to transform himself into an instrument of social reform, a secular evangelist who proclaimed a new sensibility about human sexuality. 
In 1953 Alfred Kinsey earned himself a front-page appearance at Time Magazine. After everything we’ve learned so far it probably won’t surprise you anymore that he got portrayed alongside a Rose and a Bee. Yes, frivolous Freddy was there to spread the honey! To sum up Kinsey’s legacy in one sentence, it’s best to take a quote commonly ascribed to him: “the only unnatural sex act is that which one cannot perform”. It’s sort of an updated version of Aleister Crowley’s “do what thou wilt shall be the whole of the Law”, and it was the perfect foundation for the sexy sixties to come. It must have been great fun for the people who receive their power and insight from the Rose, to see the masses loudly proclaiming ‘flower power’ without ever really understanding why!
To tie this back to the Music Industry, we can probably say that one of the anthems of the flower power era was Scott McKenzie’s San Francisco . It was one of the early denominations of the ‘good vibrations’ the Dominant Minority seeks to implement. The lyrics go “all across the nation / such a strange vibration / people in motion”—and, I might add—“with electronic-induced devotion”. And of course without any whim or emotion! The Beach Boys’ Good Vibrations was one of the other anthems. This song embodies according to singer Brian Wilson “the summation of my musical vision. A harmonic convergence of imagination and talent, production values and craft, songwriting and spirituality”. He wrote it while on LSD, which explains why the song is the musical embodiment of a spectacular acid trip. And the music given to us in the hit-lists have become worse and worse, with indoctrinasion and depravity becoming more blatant by the year. Thousands of songs can be named and scrutinized, which is fun to do if you understand the Agenda, because it’s sometimes done so incredibly in your face. But I’m not going to describe thousands of course, and THE MESSAGE IN MUSIC already lists a few interesting ones, but I will describe another few relevant examples.
The 2012 hit single Blow Me by Pink for instance screams at us that “just when it can’t get worse, I’ve had a shit day, you’ve had a shit day, we’ve had a shit day”. Repeated enough times and “we” will even start to believe it too. Sometimes it is done a bit more veiled, for instance through catchy and hip ‘slang’ words the parents don’t understand. A good example is Rihanna’s Diamonds, which was a very big radio hit in 2012 and 2013. Thinly veiled in a story of love and happiness, the song is in reality about a trip on psychedelic drugs. And, as with many other made artists, Rihanna was first presented as a quite decent gal, until she had her following of millions, and then she was steered more and more into depravity. For this particular song the “diamonds in the sky”, as used before by for instance the Beatles, was dusted off and updated. The ‘Lucy in the sky with diamonds’ is of course a reference to LSD; officially denied for the press, but in the minds of the fans it is and that’s all that matters.  A thousand points of light, shining bright in the night sky, just before the dawning of the new day. With all we’ve learned so far, let’s look at the lyrics of the Rihanna song:
Find light in the beautiful sea
I choose to be happy
You and I, you and I
We’re like diamonds in the sky.
You’re a shooting star I see
A vision of ecstasy
When you hold me, I’m alive
We’re like diamonds in the sky.
Palms rise to the universe
As we moonshine and molly
Feel the warmth, we’ll never die
We’re like diamonds in the sky.
The lyrics weren’t written by Rihanna herself but by the lesser known singer/songwriter Sia Furler, who admittedly wrote them in fourteen whole minutes. Sia made name in the EM-scene with songs like Drink To Get Drunk and The Girl You Lost On Cocaine, so it perfectly fits in line. The lyrics have a little resemblance with the standard theme of love, as done thousands of times, but the ecstasy and palms rising to the universe are of course drugs-references. But the crux of the story is that Rihanna leads her willing fan-base into illumination in a beautiful sea, where they all will be happily living forever. Moonshine is an illegal highly alcoholic drink and molly is slang for MDMA, tying back into the XTC theme. And this way the youth was once again encouraged to join in a perpetual psychedelic orgy of sex and drugs. In some occult sects this would be deemed Heaven on Earth! Once again degradation sold as ‘freedom’. Crowley lies chuckling in his grave, and so does Schopenhauer. Philosopher-King Will Durant gives us a glimpse of Schopenhauer’s vision on women and humanity at large:
The less we have to do with women, then, the better. They are not even a “necessary evil”; life is safer and smoother without them. Let men recognize the snare that lies in women’s beauty, and the absurd comedy of reproduction will end. The development of intelligence will weaken or frustrate the will to reproduce, and will thereby at last achieve the extinction of the race. 
Yes, it was a great man, ‘Schopie’. Who doesn’t want to be influenced by such a guy? It was in fact a radical form of esoteric Gnosticism he adhered, which seeks freedom and peace in death. We are only wasting our time here on Earth, just stupidly stumbling around without any gnosis or illumination at all. Slithers of his thoughts have unfortunately seeped through into the Music Industry and never left. He hated women and longed for that great Hindu caste system to be implemented in the West too. And so they did.
It’s very informative to completely dissect such pop-songs, to see and understand what they really try to teach the fans and listeners. It isn’t all bad of course. It’s understandable that music aimed for youth needs to be a bit provocative or anti-establishment, and this probably is even healthy and constructive for them. It makes people think outside of the established norms, hence it might even increase the amount of new and original ideas and initiatives amongst the younger generations. Music about kiddos gently sitting in line and drinking lemonade are silly and counterproductive. But there must be drawn lines as soon as the majority of songs are about degrading sex, drugs, violence and worse, because there just isn’t any intelligent argument out there which justifies this. But as long as the majority of our fellow humans don’t care, this is going to proceed and in fact even become worse. Pedophilia is the one now being normalized, then Bestiality will follow and finally Necrophilia. And if there are even sicker things out there that I [luckily] never heard of, then they might even try to normalize these too. Why? Because they can, we let them…
And besides everything mentioned so far, we also have the now very naked push for hermaphroditism and androgyny. In THE MESSAGE IN MUSIC you can find some examples of songs that blatantly praise androgyny and even teach the kids that it is the future. This process has been going on for long, as I’ve already highlighted in multiple earlier articles. Also an important influence in this was another ‘founding father’ of EM, namely Brian Eno. One biographer asks how this difficult individual could best be described:
Where would you start? Even his full name—Brian Peter George St. Jean le Baptiste de la Salle Eno—sounds like a case of raging multi-personality syndrome (if not the punch-line to an esoteric, ecumenical gag). […] It was as the very personification of ‘exotica’ that Brian Eno first parachuted into the wider public consciousness in 1972 —a startling, hermaphrodite apparition even among the glittering mannequin retinue that was Roxy Music. Resplendent in outlandish couture and framed against his futuristic paraphernalia of synthesizers and whirring tape recorders, from the off, Eno seemed like a figure untethered from musical precedent.
Part artist, part scientist, part societal weather forecaster (or ‘futurologist’ as the trendy neologism has it), labouring over infinitesimal creative detail while simultaneously prescribing any number of grand, socio-technological hypotheses. […] Somehow you imagine that if Eno had been born in 15th-century Tuscany, his prodigious imagination might also have found a way to wow the Florentine and Milanese courts.
As it is, Eno remains ‘a restless futurist’, to quote Paul Morley, an insatiable 21st-century interlocutor of radical thought from across the gamut of art, science and cultural ideas; forever posting back bulletins from the esoteric margins and recontextualizing blue-sky thought for more popular consumption—his own, included. Even in his sixtieth year, his tentacles show no sign of retracting as he settles into the role of patrician ‘wise elder’—albeit one who has never quite lost the glamorous allure of his youth. 
It might not surprise you that Eno—of course only accidentally an anagram of One—was also big-time into
cybernetics, and possible ways to apply those ideas to music. As an art school student, he had gotten into observing life on a ‘meta’ level, and looked at his own creative process with a bird’s eye view. Cybernetics concepts challenged Eno to think in different ways about the process of making music, and these ideas infiltrated Eno’s thinking on many of his 1970s albums in key ways. Groups of musicians working in the studio could be conceptualized, in some general sense, as cybernetic systems. A piece of music composed using feedback, or tape loops, could be construed using cybernetics principles, too. 
Below a colored drawing from the aforementioned Musurgia Universalis by Athanasius Kircher. It depicts the magic of the six-day Creation on the basis of the Music of the Spheres as he and his fellows like Robert Fludd believed it to be.
The Harmony of the Birth of the World (Harmonia Nascentis Mundi), represented by a cosmic organ with six registers corresponding to the days of creation. The legend “Sic ludit in orbe terrarum aeterna Dei Sapientia” (thus plays the wisdom of the everlasting God in the earthly orb) appears under the keyboard. The six scenes follow Genesis as drawn by Robert Fludd, showing seas, earth, plants, planets, animals and man. 
According to some of the most influential publicly known initiates of our Age, music has been very important in all sort of creation. How will the power of music be used and abused in the near future? What will its role be in the transition into the Seventh Day? Will universal peace be administered through synthesized music, directly sent to the brain-chips? Or maybe even generated by the brain-chip itself: emitting good vibrations! In fact, in a simple form this is of course already emerging. A 2009 article from the Daily Mail tells us
A revolutionary new device that reads a person’s thoughts and turns them into speech could soon change the lives of paralysed patients around the world. The Neuralynx System is being developed by a team of scientists led by Professor Frank Guenther at Boston University. Users will simply have to think of what they want to say and a voice synthesizer will translate the thoughts into speech almost immediately.
Scientists began the experiment three years ago, when they implanted an electrode in the patient’s brain on the boundary of the two regions that govern speech and movement. Within four months, neurites had grown into the electrode and begun producing neural signals. When the patient was asked to think of different vowel sounds the electrode acted to amplify and convert his thought signals into FM radio waves. These were transmitted wirelessly to a receiver coil that had been attached to the patient’s head. From here they were sent to a special recording system that turned them into digital data. This was then decoded and turned into speech by two programmes running on a computer. The whole process took just 50 milliseconds, which meant it effectively worked in real time.
The system is far quicker than current methods used by those with severe physical disabilities such as Professor Stephen Hawking. ‘The results of our study show that a brain-machine interface user can control sound output directly, rather than having to use a relatively slow typing process. 
Of course public hero Stephen Hawking is once again hoisted upon the public stage. That’s why such individuals are made stars in the first place. As most readers will understand by now, the Dominant Minority plays their chipping-game through the needy and the unfit, exactly the peoples they dislike the most. The real reason is of course to make us all used to these things, therefore they always start with the pets, criminals and then the elderly and sick and unfit groups. And the techniques used on those people are in fact the old and outdated, decades behind on the cutting-edge stuff. If we go back to the seventies, we read in Vance Packard’s book The People Shapers that
The 1976 meeting of the American Association for the Advancement of Science had…a session on the possibility of incorporating a memory-enhancing computer into the brain. It was described as a fascinating session. A compact computer would serve as a booster to the brain of Man. It would be tuned into the brain’s own electro-chemical language and would both receive and send out information. […] The computer in the brain would become a natural part of the person’s brain.
Reed said that a brain-computer hookup would be “a great thing to have as long as it was under one’s own personal control”. On the other hand, a populace even under a dictator probably would not put up with any universal program to put computers in their heads. Almost certainly they would not permit it unless it was done under the promise of brain enhancement. 
Is your brain still working? Use it!
 Claudia Maina – Athanasius Kircher; Arca Musarithmica And Many Sound Devices
[Digimag, Issue 055]
 Here are the full lyrics of The Fountain Of Salmacis:
“From a dense forest of tall dark pinewood,
Mount Ida rises like an island.
Within a hidden cave, nymphs had kept a child;
Hermaphroditus, son of gods, so afraid of their love.
As the dawn creeps up the sky
The hunter caught sight of a doe.
In desire for conquest,
He found himself within a glade he’d not beheld before.
“Where are you, my father?
Give wisdom to your son”
“Then he could go no farther
Now lost, the boy was guided by the sun”
And as his strength began to fail
He saw a shimmering lake.
A shadow in the dark green depths
Disturbed the strange tranquility.
“The waters are disturbed
Some creature has been stirred”
“The waters are disturbed
Naiad queen Salmacis has been stirred”
As he rushed to quench his thirst,
A fountain spring appeared before him
And as his heated breath brushed through the cool mist,
A liquid voice called, “Son of gods, drink from my spring”.
The water tasted strangely sweet.
Behind him the voice called again.
He turned and saw her, in a cloak of mist alone
And as he gazed, her eyes were filled with the darkness of the lake.
“We shall be one
We shall be joined as one”
“She wanted them as one
Yet he had no desire to be one”
“Away from me cold-blooded woman
Your thirst is not mine”
“Nothing will cause us to part
Hear me, O Gods”
Unearthly calm descended from the sky
And then their flesh and bones were strangely merged
Forever to be joined as one.
The creature crawled into the lake.
[A fading voice was heard:]
“And I beg, yes I beg that all who touch this spring
May share my fate”
“We are the one
We are the one”
“The two are now made one,
Demi-god and nymph are now made one”
Both had given everything they had.
A lover’s dream had been fulfilled at last,
Forever still beneath the lake.”
 Frances Stonor-Saunders – Who Paid The Piper [Granta, London; 1999] / p. 1, 117
 Stanford Encyclopedia of Philosophy: Arthur Schopenhauer.
Influenced: “Schopenhauer’s influence has been strong among literary figures, which include poets, playwrights, essayists, novelists and historians such as Charles Baudelaire, Samuel Beckett, Thomas Bernhard, Jorge Luis Borges, Jacob Burckhardt, Joseph Conrad, André Gide, George Gissing, Franz Grillparzer, Thomas Hardy, Gerhardt Hauptmann, Friedrich Hebbel, Hugo von Hoffmansthal, Joris Karl Huysmans, Ernst Jünger, Karl Kraus, D. H. Lawrence, Joaquim Maria Machado de Assis, Stephane Mallarmé, Thomas Mann, Guy de Maupassant, Herman Melville, Robert Musil, Edgar Allan Poe, Marcel Proust, Arno Schmidt, August Strindberg, Italo Svevo, Leo Tolstoy, Ivan Turgenev, Frank Wedekind, W. B. Yeats, and Emile Zola. In general, these authors were inspired by Schopenhauer’s sense of the world’s absurdity, either regarded in a more nihilistic and gloomy manner, or regarded in a more lighthearted, absurdist and comic manner.”
“Among philosophers, one can cite Henri Bergson, Julius Bahnsen, Eduard von Hartmann, Suzanne Langer, Philipp Mainländer, Friedrich Nietzsche, and Hans Vaihinger, who tended to focus on selected aspects of Schopenhauer’s philosophy, such as his views on the meaning of life, his theory of the non-rational will, his theory of music, or his Kantianism.”
“Schopenhauer’s theory of music, along with his emphasis upon artistic genius and the world-as-suffering, was also influential among composers such as Johannes Brahms, Antonín Dvorák, Gustav Mahler, Hans Pfitzner, Sergei Prokofiev, Nikolay Rimsky-Korsakoff, Arnold Schönberg, and Richard Wagner.”
 Primack et Al. – Degrading and Non-Degrading Sex in Popular Music; A Content Analysis
[Public Health Rep. 2008 Sep-Oct; 123(5): 593–600.]
 Durant – Story Of Philosophy / p. 372
 Claire Bates – Mind-reading brain implant could allow paralysed to turn their thoughts into
instant speech [Daily Mail; 2009]
 Vance Packard – The People Shapers [Futura; 1978] / p. 285, 286