Category Archives: music

Sacred Geometry in Superbowl 50

The Super Bowl Halftime show is the most viewed event of the year, and in this 50th year we saw a presentation of many sacred symbols that begged for a more spiritual analysis. As with all spiritual matters and symbols, interpretations are extremely personal and this article is mere speculation on our part. These symbols and the influence they convey depends just as much on the receiver as they do on the giver of this information. What seems most relevant to one might be a totally different message for another.

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During “Viva La Vida,” Chris Martin enters the field with a crowd of kids and then to the stage with “I used to rule the world…” The lyrics of this song tell the story of a king-like ruler, once powerful and on top of the world, with enemies quivering in fear. But this illusion is now gone, outlived by a world that took itself back and brought him to his knees. Could this symbolize the fall of patriarchy?

To progress spiritually, both individually and as a community, we are often forced to let go of the authoritative grip we have over ourselves. In the global sense, this could mean letting go of force and authoritative control and moving to cooperation, acceptance, and tolerance. The symbol of a king brought to his knees in humility is a powerful one, and is found in nearly all spiritual texts.

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He comes onto the stage onto a massive, bright flower of life. The ancient symbol is not only featured on their latest album cover, it is also found on each of the band members and wherever else it might be squeezed in. Also on stage we have a prominent bell next to the drummer. It is a special bell known as the Ghanta. This is a bell you ring coming into a temple that is made to sound like an extended “Om.”

Throughout this song the camera looks straight down as the geometry begins to come alive, spinning and radiating into the viewer’s mind. This symbol is believed to represent the sacred path into life from the universal void. It is a pattern deeply embedded in the core of our existence, as well as the existence of all life forms that we humans know of. It can be seen anywhere if you look for it, but to be the focus of the world’s most popular broadcast has brought this symbol, knowingly or unknowingly, much deeper into our collective consciousness.

As Martin sings the vortex begins to open underneath him into the sacred geometry. As the performance begins its first transition, Martin leans down to the crowd and addresses the camera, “Whoever you are, wherever you are, we’re in this together. Let’s go!” Here he reveals what clearly appears to be the intention behind this aspect of the Coldplay performance: the unification of the global community.

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Immediately after this, the message changes. The performance explodes into its next song Paradise. The visuals change into an exploding sun, a blast of bright energy surrounded by butterflies. This is an all-important symbol of metamorphosis and rebirth. A new dawn? A new paradise perhaps? You might have also noticed the not-so-subtle “Global Citizen” around his arm and heart-shaped multi-colored light in his shirt over his heart. One World?

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Elsewhere on the field, a small army of green fairies have taken over the field with flower umbrellas. These expressions reinforce the celebration of color, of diversity, of spirit and oneness, all reminiscent of the colors of the Holi festival and depicted in the “Hymn for a Weekend” video. As the flowers in the field align, the seed of life and the fruit of life appear on either side of the stage for just a moment.

It is a spectacular scene, but it is important to keep in mind that these movements and patterns are extremely deliberate. This year, a 30 second commercial cost $5,000,000, which comes to $166,666 per second. It is with great and deliberate intention that these images, symbols, and messages are published. The symbols that are presented at this level have the power to affect the entire human race, and they will to be sure.

Alistair Jordan & Forest Sage

A Mongolian Throat Song to Usher in a New Era

I don’t know how this made its way to my world yesterday morning, all I know is that I watched it… and quickly became completely entranced in his song.

What you’re seeing is Mongolian throat singer and horse-head fiddle player Batzorig Vaanchig. He was born in 1977 in Galuut soum, in the province of Bayankhongor. A teacher of music, and member of the band Khusugton, through their music they convey the stories of their Mongolian nomadic culture, and do an amazing job of that.

Truthfully, in this piece I know not of what he speaks of, only of the way that I felt while I listened… To me, it felt as though he sang of the wars and battles his soul has experienced, the battles of mankind throughout centuries of our human existence… and sang that it was time for man to truly come to know what those wars create. Knowing destruction, in order to know the One. Continue reading

What A Tree Sounds Like When Played On A Record Player

Artist Bartholomaus Traubeck has created musical masterpieces, by playing trees.

He created a record player that translates the different colors and textures of tree rings into music. Rather than use a needle like a record, sensors gather information about the wood and turn them into piano notes.

Every tree sounds vastly unique due to varying characteristics of the rings, such as strength, thickness and rate of growth.

Keep in mind that the tree rings are being translated into the language of music, rather than sounding musical in and of themselves. Traubeck’s one-of-a-kind record player uses a PlayStation Eye Camera and a stepper motor attached to its control arm. It relays the data to a computer with a program called Ableton Live. What you end up with is an incredible piano track, and in the case of the Ash, a very eerie one.

Hats off to Traubeck for coming up with the ingenious method to turn a simple slice of wood into a beautiful unique arrangement. It makes you wonder what types of music other parts of nature would play.

Kasim Khan – Team Spirit

Source/credits: Bartholomäus Traubeck,