The Mystery and Magick of Sound: The Voice, Mantras, Holy Practitioners, Sound Weapons and Magick by Sheer Zed.

tmamos

1. The Human Voice and Mantras.

A joik (also spelled yoik), is a traditional form of song of the Sami people of the Nordic countries and Kola peninsula of Russia. On Ande Somby’s ‘Yoiking with the Winged Ones [with Chris Watson]’ you can hear a very fine example of this form. One can hear the endless delay of a human voice belting out explosive word glyphs down long and vast fjords, echoing and reverberating. A glimpse of eternity and infinity. Gnosis, shape shifting humanity, nature and the ever-expanding cosmos can have the ability to converge within the human voice. Native American cultures and the shamanistic cultures of Siberia share similar features mimicking the sounds of nature. Were these vocal utterances just some proto Dr. Doolittle fancy or was humanity while thrusting its voice out at the same time drawing in all that which is outside within? The human voice has and is one of the most important tools of communication. Since time immemorial humans have developed to vast and highly complex degrees a sound tool that does not exist in any other living being. Nature has countless communication forms of such beauty and variety that it would be foolish to attempt to discuss this here. However, while you read this, it would be difficult to imagine a group of baboons, gorillas or orang-utans writing and publishing a blog irrespective of what Douglas Adams would have thought. The voice is a shamanic tool that personifies oneness with the Gaian Earth spirit and a magickal harmonic portal as discussed in Dune by Frank Herbert. In the book Bene Gesserit are trained in what they call “the Voice” – a means “to control others merely by selected tone shadings of the voice.” By modulating the subtleties of her voice, a Bene Gesserit can issue commands on a subconscious level, compelling obedience in others that they cannot resist, whether they are consciously aware of the attempt or not. I will never forget the painful and incredibly severe glottal clicking a young woman made while she stepped onto the top deck of the double-decker bus I traveled on in Peckham during the late 1990s one day. She fired her voice weapon at the back row towards her friends, clicking and smacking violently like metal on metal as she approached them. Only my immediate reaction of placing my fingers into my ears saved me from inner ear damage. I have not heard anything like it since. The voice is certainly an indefinable and elusive mechanism that is now through AI being mimicked, copied and utilized into voice controlled technology. From the brown dark chakra centre of our stomachs to the harsh tin clang of cerebral skull speech, the voice in conjunction with the will and mastery of the teeth, the tongue, the palette and the lips has healed and soothed countless humans and in equal part destroyed and controlled empires. As Mitchell L. Gaynor MD in their book The Healing Power of Sound succinctly said; “We’re essentially like stringed instruments. One end of our wires is tuned to the infinite – our essence; the other end is tuned to the finite – the material world, our bodies, our egos.” A weapon, a tool, a balm, a devotional platform, all fall within the possibilities of the human voice.

In my copy of Understanding Mantras by Harvey P. Alper, mantras are described in numerous ways without any one single definition prevailing. These liquid sound summonses of articulated waves and frequencies are believed to not just to be formulas, prose or praise but real and highly effective invisible magickal word spells that have actual rock solid consequences on this planetary plain. Mantras I personally believe can unlock sub-atomic structures, portals and new realms. In his fine work Healing Mantras by Thomas Ashley-Farrand, mantas are described thus; “Mantras are energy-based sounds. Words used in conversation derive their power from the meaning they convey. Mantras derive power from the energy effect its sounds produce. Pronouncing a mantra creates a particular physical vibration in the form of sound that in turn produces various “energetic effects” in the physical and subtle body”. I clearly remember a devotee of Khali asking me with a fevered and crazed face while dispatching my duties as a bookseller in Los Angeles if there was a book of mantras to this goddess. I felt like an arms seller being asked to supply bullets for a verbal weapon. Only within the last decade has publishing only just begun to unearth thousands of years of hidden and extremely powerful mantras, some of which are not just dangerous but deadly. John Balance of Coil allegedly would enjoy recounting a story about a village in Tibet that had not given fealty to the King to which he directed his psychonauts to surround it and spend weeks chanting death mantras ending in its total destruction. This story however cannot be verified. The power of mantras cannot and should not ever be underestimated. I have spent many countless hours since the early 1990s chanting mantras from various Buddhist lineages. Mantras can promote inner peace, focus and on occasion visionary hallucinations of various types, which inform, warn or invite to further personal explorations. My grandfather once appeared to me while I was chanting during my time living in Los Angeles. He happily smiled at me while beckoning me seemingly back to the U.K. One year after this vision I was on a plane looking down at the apocalyptic fires burning heading towards Heathrow.

During what I called my Thai Occult Road Trip (please do see the hashtag #ThaiOccultRoadTrip on Twitter for a selection of tweets from my adventure) with author Peter Jenx of the Thai Occult book series, I came into contact with four powerful and highly adept occult practitioners known as Ajarns. These masters of ancient magickal techniques had access to countless mantras (called Katas in Thailand) Indeed, Thai Buddhism and specifically the Lanna tradition, is a remarkable system which has absorbed and integrated numerous indigenous beliefs such as necromancy, astrology, magick and what can only be described as visual magick personified in the art of Sak Yant or more commonly known in the west as tattoos. Each of the Ajarns and the rituals I experienced involved the use of katas of varying power and duration. When I met Ajarn Apichai he spent time blessing sacred items for Peter. I was completely engrossed by this containment ceremony, a ritual to prevent spirits from becoming wild and rampant within the items he was blessing. During the rituals that were performed with and upon me by Ajarn Apichai I felt an overwhelming sense of calm, peace and deep inner cleansing. Mantras can be repeated aloud or in silence and can be used by people of any background or practice. Sound can heal and mantras can be the articulated frequency injection of verbal medicine (or indeed poison if you cross someone) to any given situation or malady. During a verbal cleansing ritual I performed and directed at a fine ectoplasmic like haze that I intuitively comprehended as the spirit of a recently deceased neighbour floating in her old garden, the chanting of a specific mantra enabled this person’s spirit to release their obsessive attachment to their old way of life. The haze promptly dispersed after repeated recitation and stillness fell once again over the garden.

2. Holy Practitioners and Sound Weapons.

Hazrat Inayat Khan (5th July 1882 – 5th February 1927) was the founder of the Sufi Order in London in 1914 and teacher of Universal Sufism. “Hazrat” is an honorific title meaning, roughly, “honourable.” Once a classical musician, Hazrat Inayat Khan let go of his greatest attachment-his musical career- to become a Sufist Master, as is the tradition in Sufism. Immersing himself in the Sufist ideology, he found a link between his former life as a musician and his new journey along the spiritual path. Khan saw harmony as the “music of the spheres” which linked all mankind and had the ability to transcend one’s spiritual awareness. However, in his book The Mysticism of Sound and Music he discussed what he called “abstract sound”. Khan states; “Abstract sound is called sawt-e-sarmad by the Sufis; all space is filled with it. The vibrations of this sound are too fine to be either audible or visible to the material ears or eyes, since it is even difficult for the eyes to see the form and colour of the ethereal vibrations on the external plane…This sound is the source of all revelation to the Masters to whom it is revealed from within. It is because of this that they know and teach one and the same truth…This sound develops through ten different aspects because of its manifestation through ten different tubes of the body. It sounds like thunder, the roaring of the sea, the jingling of bells, running water, the buzzing of bees, the twittering of sparrows, the vina, the whistle, the sound of shanka – until it finally becomes Hu, the most scared sound of all sounds.”

Could Hu be the very same sound as Om (Auṃ or ॐ) the sacred sound and spiritual icon in Hindu religion? Om is also a mantra in Hinduism, Buddhism, Jainism and Sikhism. The syllable Om is first mentioned in the Upanishads, the mystical texts associated with the Vedanta philosophy. It has variously been associated with concepts of “cosmic sound” or “mystical syllable” or “affirmation to something divine”, or as symbolism for abstract spiritual concepts in the Upanishads. Chinmoy Kumar Ghose, better known as Sri Chinmoy (27th August 1931 – 11 October 2007) was an Indian spiritual leader who taught meditation in the West after moving to New York City in 1964. During the 1970s Chinmoy began playing and composing on the flute and esraj. In 1984 he started giving free ‘Peace Concerts’ around the world. The largest ever concert was in Montreal, for 19,000 people. While in America in the 1970s, Chinmoy attracted followers such as musicians Carlos Santana, John McLaughlin, Narada Michael Walden, Roberta Flack, Clarence Clemons, and Boris Grebenshchikov. In Sri Chinmoy’s book The Scource of Music he speaks about Aum; “There can be no mantra more powerful than the mother of all mantras, Aum, the cosmic sound. A yogi or spiritual figure hears it self-generating in the inmost recesses of his heart…We call Aum anahata nada, the unstruck or soundless sound. We use ‘soundless’, but that would be an understatement.”

During my first months of being a non ex-pat after having spent seven years living in Los Angeles I encountered a gentleman who was running a workshop dedicated to Tibetan over-toning. He in turn had received the technique from a realized master making his credentials auspicious. Overtone singing – also known as overtone chanting, harmonic singing or throat singing – is a type of singing in which the singer manipulates the resonances created as air travels from the lungs, past the vocal folds, and out of the lips to produce a melody. Tibetan Buddhist chanting is a sub-genre of throat singing, mainly practiced by monks of Tibet, including Qinghai (Khokhonor) province Tibetan plateau area, Tibetan monks of Nepal, Bhutan, India and various locations in the Himalayan region. I humbly believe that I successfully absorbed and mastered the technique in one lesson, much to my teachers chagrin since he was planning to run numerous workshops at £5 a pop. This encounter however had numerous other unseen benefits since it guided me into further questing on the subject and any practitioners that were considered masters.

UJetsun Milarepa (c. 1052 – c. 1135 CE) is generally considered one of Tibet’s most famous yogis and poets. Milarepa is famous for many of his songs and poems, in which he expresses the profundity of his realization of the dharma. His songs were impulsive, not contrived or written down, and came about while he was immersed in enlightened states of consciousness. In The Hundred Thousand Songs of Milarepa (Translation by Garma C.C. Chang) the spontaneous and improvisational nature of his music clearly shows that he was plugged deep into the cultural folklore and history of his country; “Milarepa had a fine voice, and loved to sing. Even when he was a boy, he was regarded by his countrymen as an excellent singer of folk songs. Sainthood and Enlightenment only made him frequent and joyful than before. When his patrons and disciples arose, he answered them not in dull prose but in freely flowing poems or lyric songs composed spontaneously. No one knows how many songs or “poems” he “composed” in his lifetime. Tibetans believe there were close to one hundred thousand…In his songs, Milarepa has left us a treasury of valuable information on his personal yogic experience, and advice and instruction concerning the practical problems of meditation.”

One of the benefits of being married to a partner that has similar interests in music and sound is the sharing of information, ideas and experiences, each partner creating what has been called a singular “third mind”. During one such exchange with my now ex-wife I was introduced by her to the ideas of Gurdjieff through the film Meetings with Remarkable Men, a 1979 British film directed by Peter Brook. George Ivanovich Gurdjieff (13th January 1866/1872/1877? – 29th October 1949) commonly known as G. I. Gurdjieff, was a mystic, philosopher, spiritual teacher, and composer of Armenian and Greek descent, born in Alexandrapol (now Gyumri). Gurdjieff taught that most humans do not possess a unified consciousness, and thus live their lives in a state of hypnotic “waking sleep”, but that it is possible to transcend to a higher state of consciousness and achieve full human potential. Gurdjieff’s music divides into three distinct periods. The “first period” is the early music, including music from the ballet Struggle of the Magicians and music for early movements dating to the years around 1918. The “second period” music, for which Gurdjieff arguably became best known, written in collaboration with Russian composer Thomas de Hartmann, is described as the Gurdjieff-de Hartmann music. The “last musical period” is the improvised harmonium music which often followed the dinners Gurdjieff held at his Paris apartment during the Occupation and immediate post-war years to his death in 1949. In all, Gurdjieff in collaboration with de Hartmann composed some 200 pieces. In May 2010, 38 minutes of unreleased solo piano music on acetate was purchased by Neil Kempfer Stocker from the estate of his late step-daughter, Dushka Howarth. In Gurdjieff – Essays and Reflections on the Man and His Teaching (Editors Needleman and Baker) within the essay Gurdjieff and Music by Laurence Rosenthal the supernatural and extremely powerful qualities of music and sound are revealed in an astounding paragraph; “In Beelzebub’s Tales, Gurdjieff cites another example of the objective power of music, which certainly does not belong to the realm of art as we usually think of it, but shows the capacity of sound to produce a specific, externally visible result. He describes a remarkable old dervish repeatedly striking a certain series of notes on an ordinary grand piano, which has been tuned according to a special system. These notes soon produce a boil on the leg of one of the listeners on the exact same spot the master had predicated. Shortly thereafter, a different series of notes quickly made the boil disappear. On another scale, could we consider the possibility that the legendary destruction of the walls of Jericho may not simply be an imaginative tale of miraculous events? Perhaps the specific properties and potency of sound vibrations were known to Joshua.”

Since the legendary alleged Jericho event, sound as a weapon has gradually been utilized into numerous and deadly forms. Infrasound, sometimes referred to as low-frequency sound, is sound that is lower in frequency than 20 Hz or cycles per second, the “normal” limit of human hearing. However, Infrasound can result from both natural and not necessarily man-made sources; infrasonic sound sometimes results naturally from severe weather, surf, lee waves, avalanches, earthquakes, volcanoes, bolides, waterfalls, calving of icebergs, aurorae, meteors, lightning and upper-atmospheric lightning. In animal communication whales, elephants, hippopotamuses, rhinoceroses, giraffes, okapis, and alligators are known to use infrasound to communicate over distances – up to hundreds of miles in the case of whales. In particular, the Sumatran rhinoceros has been shown to produce sounds with frequencies as low as 3 Hz, which have similarities with the song of the humpback whale. Human created sources of infrasound can be generated by human processes such as sonic booms and explosions (both chemical and nuclear), or by machinery such as diesel engines, wind turbines and specially designed mechanical transducers (industrial vibration tables). Certain specialized loudspeaker designs are also able to reproduce extremely low frequencies; these include large-scale rotary woofer models of subwoofer loudspeaker, as well as large horn loaded, bass reflex, sealed and transmission line loudspeakers. I remember one particularly profound moment while attending an electro-acoustic music concert at the Arnolfini in Bristol during the 1980s. In a piece by a Peruvian composer on the drowning of a friend, an overwhelming sickness literally folded and curled my stomach as sub-sonic sounds were employed to replicate the sensation of drowning.

In Ryan Littlefield’s University of Portsmouth paper The Psychoacoustic Effect of Infrasonic, Sonic and Ultrasonic Frequencies Within Non-Lethal Military Warfare Techniques he focuses on Nazi Germany’s attempt to produce a viable sound weapon; “Despite there being many references to acoustic weaponry, as early as World War 2, it is in the 1960’s that actual documented research becomes more available. As described in, Secret Weapons of the Third Reich (E. Simon, 1971), one such device is discussed: “…design consisted of a parabolic reflector, 3.2 meters in diameter, having a short tube which was the combustion chamber or sound generator, extending to the rear from the vertex of the parabola. The chamber was fed at the rear by two coaxial nozzles, the outer nozzle emitting methane, and the central nozzle oxygen. The length of the chamber was one- quarter the wavelength of the sound in air. Upon initiation, the first shock wave was reflected back from the open-end of the chamber and initiated the second explosion. The frequency was from 800 to 1500 impulses per second. The main lobe of the sound intensity pattern had a 65-degree angle of opening, and at 60 meters’ distance on the axis a pressure of 1000 microbars had been measured. No physiological experiments were conducted, but it was estimated that at such a pressure it would take from 30 to 40 seconds to kill a man. At greater ranges, perhaps up to 300 meters, the effect, although not lethal, would be very painful and would probably disable a man for an appreciable length of time. Vision would be affected, and low- level exposures would cause point sources of light to appear as lines.” This device, known as the ‘Wirbelwind Kanonew’, is perhaps the only known fully developed infrasonic weapon created in order to physically effect it’s target, with the intention of countering enemy aircraft and infantry by creating a vortex of sound (Crab, 2008).”

SGM Herbert A. Friedman (Ret.) and his article The Wandering Soul Tape of Vietnam and the involvement of both the 6th PSYOP Battalion of the United States Army and some units of the United States Navy reveals that sound weapons were deployed during the Vietnam War; “The operation was code-named “Wandering Soul.” Engineers spent weeks recording eerie sounds. They were similar to the sounds employed during a scary radio show or movie. Very creepy and designed to send shivers down the back. These cries and wails were intended to represent souls of the enemy dead who had failed to find the peace of a proper burial. The wailing soul cannot be put to rest until this proper burial takes place. The purpose of these sounds was to panic and disrupt the enemy and cause him to flee his position. Helicopters were used to broadcast Vietnamese voices pretending to be from beyond the grave. They called on their “descendants” in the Vietcong to defect, to cease fighting. This campaign played the sounds and messages all night in order to spook the superstitious enemy. Despite eventually realizing that they were hearing a recording beamed from a helicopter, the enemy gunners could not help but fear that their souls would some day end up moaning and wailing in a similar fashion after death.” Also known as “Ghost Tape Number 10”, this chilling audio can be heard in full online.

Microwaves are an electromagnetic wave with a wavelength in the range 0.001–0.3 m, shorter than that of a normal radio wave but longer than those of infrared radiation. Microwaves are used in radar, in communications, and for heating in microwave ovens and in various industrial processes. In Microwave Harassment and Mind Control Experimentation by Julianne Mckinney the advent and the use of microwaves against the Greenham Common peace activists is examined. Julianne is part of the Association of National Security Alumni, an organization of former intelligence officers dedicated to exposing crimes by US intelligence services; “Women peace activists kept an ongoing vigil at the periphery of the U.S. Air Force base at Greenham in England in 1981. They were protesting the build-up of nuclear weapons. The U.S. Cruise missiles, which are nuclear warheads small enough to be mounted on the back of a truck called a launcher vehicle, arrived at the base in March 1984. The women in the encampment and members of the Cruisewatch Network insured that when the launcher vehicle and its convoy were taken out into the British countryside, the “dispersal exercises” weren’t as secret as the military intended them to be. The women of the network, non-violent activists, were subjected to intense harassment in an effort to be rid of their presence. In the Fall of 1984, things changed dramatically; many, if not most of the women began suffering illness; and, simultaneously, the massive police and military presence at the base virtually disappeared, and new and different antenna were installed at the base. In a report prepared by Rosalie Bertell, commissioner for International Commission of Health Professionals for Human Rights, a non-governmental organization based in Geneva, Switzerland, the unusual patterns of illness ranged from “severe headaches, drowsiness, menstrual bleeding at abnormal times or post-menopausal, to bouts of temporary paralysis, faulty speech coordination and in one case apparent circulatory failure requiring hospitalization.” Other symptoms documented by peace activist Kim Bealy, who coordinates investigations into reports of illness at specific places around the base, included; vertigo, retinal bleeding, burnt face (even at night), nausea, sleep disturbances and palpitations. Psychobiological symptoms included lack of concentration, disorientation, loss of memory, irritability and a sense of panic in non-panic situations. The symptoms were virtually all associated in medical literature with exposure to microwaves and most listed can be induced through low intensity or non-thermal exposures. Measurements were taken around the base by members of Electronics for Peace and by others. Strong signals, up to one hundred times the normal background level were detected on a number of occasions. In fact, signals ten times stronger than those felt to be emanating from normal base transmitting systems were found. The strongest signals generally appeared in the areas where the women of Greenham Common were located.”

Room 40 boss Lawrence English in his article The Sound of Fear for Factmag highlighted the rollout and use of recorded music in the control, subjugation and torture of people; “Recorded music too, is an increasingly powerful weapon used to “break” prisoners during interrogation. The formula for music as a form of terror is equal parts volume, aesthetics and repetition. It’s a methodology that recognises we have no earlids; unlike our eyes, our ears cannot shut out sound, and this means we’re vulnerable to it in ways we don’t always consider. In Greece between 1967 and 1974, the military police and the aptly named Special Interrogation Unit used music in two distinct ways: it was played very loudly over long periods of time to detainees, and prisoners were pressured to undertake periods of forced singing, with renditions of the same song over and over again. Similarly, in Northern Ireland in the early 1970s, a so-called Music Room was used to break hooded detainees placed in internment. Extremely loud white noise was blasted at them, and outside the Music Room a device called the Curdler was used to torture prisoners by emitting a loud sound at a frequency range specifically sensitive for humans. In 1989, the US government launched Operation Nifty Package with the aim of extracting the opera-loving Panamanian dictator Manuel Noriega, who had sought asylum in the papal nunciature of Panama City. After a lengthy playlist of loud rock and heavy metal – including Styx and Black Sabbath – was blasted at the building in which he sheltered, Noriega was ejected from the diplomatic quarter.”

3. Magick, String Theory and Cosmic Glue.

Persistence, devotion, imagination, determination, forethought and energy are the engines that drive magick. Accuracy and precision may also play their part but they are not the overwhelming requirements that ultimately make real progress. While studying and undertaking engagements and rituals within mantras and forms of magick be it chaos magick, automatic drawing, astrology, numerology, improvised music or intuitive insights it has been drawn to my attention that the absolutely unquestionable phonetically precise approach of 100% correct pronunciation is key. Indeed, it has been suggested to me that anything less than this state of absolute perfection is sure to lead to gibberish, failure and lacklustre results. I respectfully and wholeheartedly disagree with this sentiment. My late father went to great lengths while studying astrology to make it clear that the information of any given subject is there to be interpreted by you alone. Interpretation is a shifting and moving fluctuation that occasionally and seemingly settles into a solid base. “Thoughts are living things.”, he would say. Thoughts are not just living, sentient beings but can be sovereign unto themselves alone. My daily experiments of reading countlessly different horoscopes and their various permutations on the same signs from various different practitioners worldwide using the same astrological data has only strengthened my thoughts and position on this idea. Everyone has a piece of the puzzle. Everyone has a view of the vista. Magick at very best is marginal unless it is fired like the proverbial missile into the Death Star with point blank accuracy and chaotic variants of dumb luck. However, synchronous and pertinent signs, wonders and observable phenomena are to my mind just the icing on the whole phantasmagorical cake. The single, hidden and solitary silent thought is by far the most powerful and unbridled power in this sublime and remarkably bizarre continuum. I have seen on personal voyages of vision questing that all things are deeply connected, inter-related, inter-dependent and completely founded in and upon each other. This illusory materialistic world, as seemingly real and solid as one could possibly hope to believe in, at any given point, can and will disappear into emptiness; be it via the weather, the planetary violence of volcanic action, the intergalactic DJ inexplicably hurling meteorites at us or the actions made by humans themselves. String theory has hinted that all matter is literally held together by light and frequency. Scientists notice that simple computer like codes repeat themselves throughout genetics. Humanity has turned its ears to outer space in the hope that it can hear something other than the clatter of our intense realm of sound. The earth is surrounded by a vast bubble of sound, created in parts by the many levels of sound now emanating from nature herself, humans individually, collectively and industrially. My view of sound and ultimately music is that they alone can help us form a cosmic glue upholding and promoting unity. Harmonizing ourselves in the quest for peace is worthy though this can only truly come from within ourselves. Meditational silence ironically enough is the key to this harmonization. Music and sound are the most inclusive forms on the planet. Which is a shame really, knowing that they have been desecrated by humanity in generational attempts to destroy and control life. At no other time in history has humanity been so intolerant, cruel, war-like and hell bent on personal, natural and interstellar destruction (particularly in its pre-visualisations in film, art and literature). Will the little earth kid fall and die screaming at itself as it climbs, slips and falls out of the global incubating cot reaching for the distant seemingly unreachable stars? I for one sincerely hope not.

Resource websites: Wikipedia, Medium, Factmag, YouTube, Psywarrior, Declassifieddocuments, Satweapons and DuckDuckGo

Blog Artwork: Absolutism Cannot Control or Destroy the Infinite Enduring Beauty of Unconditional Love & the Eternal Cosmic Heart by Sheer Zed

“Paranoia is the vertigo from expanding consciousness” – Sheer Zed

Published by: Sheer Zed

• Electronic Musician • Artist • Shaman • Born in Newport, South Wales, Sheer Zed started singing at the age of eight. He showed an interest in audio production, producing experimental tape shows in his bedroom at the age of eleven and started to write songs at sixteen. With a strong leaning to electronic based music, Sheer Zed recorded an industrial electronic album "Electro-Punk ’86" during the 1980’s. Sheer Zed has been releasing music through his own (SZR) Music label since 2002. Festivals and numerous radio shows such as The Dark Outside, The Phantom Circuit, The Numbers Broadcast, Frome FM's Homely Remedies and The Alrealon Musique Show have all featured Sheer Zed’s peculiar brand of outsider electronics. Louder Than War have reviewed Sheer Zed's music as "extraordinary", "immersive" and "exciting". CompulsionOnline have described Sheer Zed's music as "surreal", "invigorating" and "intricate". The artist Val Denham called Sheer Zed a "Fire eating freak of god damn nature!" The Bandcamp compilations Terse Greetings 2015 from Australia’s Severed Heads, Several by Several (a compilation supporting the late great John Several) and the 95 track #MoreInCommon Hope Not Hate compilation promoting peace and tolerance have all featured Sheer Zed’s eclectic electronic music •

Categories Buddhism, Holy Practioners, Magick, Mantras, Mind Control, Music, Occult, Philosophy, Psyops, Shamanism, Sound, Sound Weapons, String Theory, Thailand, The Human Voice, Torture Techniques, Vision Questing2 Comments

2 thoughts on “The Mystery and Magick of Sound: The Voice, Mantras, Holy Practitioners, Sound Weapons and Magick by Sheer Zed.”

    1. Thank you for your kind comments. I agree it is regrettable that such a beautiful healing force is used by governments for absolutist agendas. Hopefully through awareness and vigilance we can change this.

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