Lyrics and the Dimensionality of Words

I, as I am sure many of you, enjoy music of many forms. Celtic and classic rock are some of my preferred genres. Now it is true that one of the great attributes of music is the way in which words set to song has a way of having many meanings to many people. I recall one story of an author who wrote a love song about his car, and yet the song could have been intrepreted as being a love song regarding human relationships.

The Occult is very much crafted in such a way, giving meaning to the idea of "sephera" wherein a particular "sephera" on "the Tree of Life" is said to be "paths unto themselves". Each definition of a word may be regarded as a "separate path" on a "sephera", even as the "sephera", or word, remain unchanged.

One way to approach a rational understanding of this phenomena is to understand that words are "static" by nature, but become multi-dimensional through the assignment of definitions, and then further become trans-dimensional through the application of esoteric formulae.

Example: BLUE

As a static formula, it appears to be as simple as a "color" in that to the letter sequence "BLUE" we have given the word a defined, or static, meaning. "Blue" in and of itself we may understand to be any given shade of "blue", from ocean deep blue to a royal blue to a sky blue. In each case, the word is static in that the given color is still "blue".

In the above example, the static portion of the word is the simple idea of "blue = a particular color". Multi-dimensionality, in this case, is accomplished through the addition of an "add" jective", or an adjective.
Once the relationship of "blue" to "sky blue" is made, the mind will affix for a period of time the relationship of "sky blue" to the static word of "blue" until such time as a new slate is imprinted.

It sorta works like an "etch a sketch" for those of you who are a old enough to know a time before video games.

Through the invokation of "esoteric formulae", we are able to turn words into trans-dimensional ideas. Trans-dimensionality implies the ability to "transcend" the static or binding nature of words in the same or similar manner that Taoist metanumerics enables one to find the source of a given disease, with the intent to craft a formula that directly cancels out the vibrational energy contained in the disease. In otherwords, we recognize that words are binding by nature. They are not "refined". They are a "defining", or corrupting medium, but with the attainment of the ability to penetrate paste the veils and or vestments of the Letters (and hence words), we are unable to break free of the binding or confining nature of words.

This philosophical concept is what is behind the story of Isis and Dictys. From Dictys, we derive the word "dictionary" and "diction", intimately linked with SPEECH, so when

"They relate that Isis nursed the child by giving it her finger to suck instead of her breast, cand in the night she would burn away the mortal portions of its body. She herself would turn into a swallow and flit about the pillar with a wailing lament, until the queen who had been watching, when she saw her babe on fire, gave forth a loud cry and thus deprived it of immortality. Then the goddess disclosed herself and asked for the pillar which served to support the roof.",

we relate that Isis, in seeking to burn away the mortal parts of the "baby dictys", or the meanings within the dictionary (definitions), has in general, "failed", and so the hidden meanings (esoteric truths and hidden formulae) within the words are not a part of the public discourse via the use of a dictionary (Dictys) or the "common man". Failing to be able to secure "immortal meanings", or the hidden concepts contained within words (refining the word and letters thereof), Dictys, or the dictionary, is deprived of "immortality" and hence words will move and drift with the sands of time.

The Letters are what provide us with the medium to reach the trans-dimensional aspect of words in spite of the "the fall" or "de"finement of words.

The word BLUE, for instance, may be broken down into B-LUE. Here we have two self evident truths caste into the word "blue": B-LEO (hence a product of the Sun acting within a diffused atmosphere), and BE-LOW, an idea of what "planet Earth" may appear as if one is to view it from outer space. Trans-dimensional meaning becomes filtered into the word, and the immortal part, that which is pure and difficult to destroy, becomes known.

The myst begins to dissipate and the illusion disappears.

The Arts as Cellular Occult Operations

If you are going to really "get it" and come to understand how the Occult influences (for both ill and naught), you must cease to be naive. For centuries elements of the Occult have controlled the Arts, and they will continue to do so long after you and I are gone. The Troubadours of the Medieval period was a classic example of a roving Occult operation, and the Shakespearean plays were instrumental to imbedding esoteric rules and formulae.

Today is little different.

In film you may find themes revolving around various Occult ideas.

As you delve further, say into genres of music, the themes running through these genres make it appear as if large segments of the genre are themselves controlled by those who share similar ideas being some Occult force. Progressive 70's English rock is one example of a genre that has a firm undercurrent of Occult theming. King Crimson and

"Court of the Crimson King

", or Emerson, Lake, and Palmer's "Knife's Edge" are two examples, the latter speaking about the New World Order long before George Bush Sr. made the concept open and obvious for all to see.

Further still, it is naive to believe that someone as Tom Cruise would not bring along on his coat tails a plethora of Scientology personnel within his productions and theme his movies along concepts contained in Scientology. You must be open or aware that certain genres, may be dominated by, inspired by, and controlled by a cellular Occulted force. Only those entering the genre that share the Occult message, wittingly or not, are promoted and driven up to stardom.

At the end of the day, "the Construct", or the archetypal codings, are being imposed and enforced through all manner of weapons, be it "education", "film", "music", "advertising", and so forth.

The Construct Set to Lyric

What makes "Art" "genius" is the use of metaphor and simile to describe a particular "reality". One of my favorite lyricists is Ian Anderson of Jethro Tull, who to me is a master at the craft.

Take these lyrics from the song "Valley" from the Album "Roots to Branches", for example:

Wake hard in the morning.
See the young girl milking.
Stream rushing by on a bed of stone.
Old goats and sandstone cracking
All containing
Squeezing that river like it squeeze your bones.
In the long red, red valley people live here too long.
In the long red, red valley they only sing the valley song.
Some bad people living further down the valley,
Not easy for us to do good trade.
We got snowmelt, snowmelt sweet water.
They got that valley road that they made.
In the long red, red valley people dying here too long.
In the long red, red valley they only sing the valley song.

Holding hands on the hillside.
Showing love to your brother
your sister and your mother
but we hate those people down the valley.

Now if you did not see the "Israeli-Palestinian" situation, you should have. The river is "the Jordan river", squeezed as it is to a trickle. The "Red Valley" puts you back to Mars and Seth, and the idea of "they got that road" hints at the separate roads set down, the road in this case referring to roads exclusively for the use of Israeli's.



In this archaic world that is the world of Setian metaphysics and Jewish culture, duality takes a bizarre simplicity. We are good and you are bad. Jews are rulers and "pagans", essentially the rest of the world, are servants of this "master race". This primal and primitive thinking is at the core of occult Judaism as taught by the Noahidist schools.

Jews can love each other, but they hate everyone on the other side of the valley.
If you did not get this far, the song gives a more overt clue in the very next stanza:

Has anybody seen Moses?
Get him off that mountain.
Bring back the tablets of stone.
It's a wise, wise prophet who keeps his own council.
Yeah, leave the other man's wife alone.
In the long red, red valley people live here too long.
In the long red, red valley they only sing the valley song.

Wake hard in the morning.
See the young girl milking.
Stream rushing by on a bed of stone.
Old goats and sandstone cracking
All containing
Squeezing that river like it squeeze your bones.
In the long red, red valley people living here too long.
In the long red, red valley they only live the valley song.
In the long red, red valley people dying here too long.
In the long red, red valley they only know the valley song.

Who then is the song going to refer to once "Moses" is invoked? In higher level Jewish occult circles, Israel is known as the land of "Milk and honey", hence the term of the "young girl milking", a terminology that evokes a Northern European image, is being linked back to Israel as the "land of milk and honey". The song ends with a simple observation:

In the long red, red valley people dying here too long.
In the long red, red valley they only know the valley song.

"They" only know the "Valley Song", refers to the reality that they (and both sides are to blame) know only their own way, and each is a "valley" system, which by inference rests below any plateaus or heights. The result is that there is no "light", or at least extensive shadows, and so the ritual killing for some mythology (Valley Song) that is a small fragment of the larger Construct goes on unabated.

With darkness or extensive shadows comes the slaughter because, as the Construct reveals, no reason or sense prevails.

Now not all of you reading this can appreciate the stranglehold that Jewish concepts held over many of our worldviews for us here in the West. These dark, fear dominated philosophies, were all encompassing, oppressing the stifling even as they sought to wrap the soul into a controlling fear. You should expect to hear vestiges of this opening awareness sprinkled through Western music, done so in a veiled and clever manner.

Even today, people run great risks to dare to question this artifically created and micromanaged reality.

Blackmore's Night, a group whose lead guitarist broke off from Deep Purple, has a great song that deals with coming to the realization of what is there to "save you" is really what is there to control and harm.

Spiritual vampirism.

The song, "Writing on the Wall", is rich in Occult symbolism.

Paranoia or perception?
Put your faith in a liar's hands
Wanting to believe his words
But never knowing where he stands...

Had my heart on a silver chain
With the words engraved
"I loved you"...
Like a swan that was lost at sea
I lost all of me
To you...
Now I see the writing on the wall...

There's too many misconceptions
In this game of consequence
When you're finding that your hero
Is just who you're up against...

This is the way of Setian systems.

Put your faith in liars hands. Slogans like "Jesus loves you". Calls for absolute obedience (to a foreign spiritual force). Only later, if you are persistent, intuitive, or lucky, may you discern that Seth is Jehovah is Typhon is Cain is - well, the very "hero" you are up against.

Don't worry, though, it was just a song about a failing relationship where one used all manner of control and the other, well, lost everything, including "the self".

Then there are the rational observable views. Take this from "Witches Promise" by Jethro Tull.

Lend me your ear while I call you a fool.
You were kissed by a witch one night in the wood,
and later insisted your feelings were true.
The witch's promise was coming,
believing he listened while laughing you flew.

Leaves falling red, yellow, brown, all are the same,
and the love you have found lay outside in the rain.
Washed clean by the water but nursing its pain.
The witch's promise was coming, and you're looking
elsewhere for your own selfish gain.

Keep looking, keep looking for somewhere to be,
well, you're wasting your time, they're not stupid like he is.
Meanwhile leaves are still falling, you're too blind to see.

You won't find it easy now, it's only fair.
He was willing to give to you, you didn't care.
You're waiting for more but you've already had your share.
The witch's promise is turning, so don't you wait up
for him, he's going to be late.

The Construct is simple.

The Witch is "Jesus", and "you were kissed one night in the wood" is Jesus kissing "Judas" in "Gethsemane". Your love washed by the water, well, Christian baptism, while looking "elsewhere" for "selfish gain" pretty much describes the motivation of "blind believers".

"So don't wait up for him, he's going to be late."?



The "second coming".

Meanwhile, the leaves are falling, but far too many are too blind to see.