The following narrative is the last 9 chapters of the book “unSpiritual: A Spiritual Journey “. It is being published here (link to next chapter at bottom) for those who would like to read, exclusively, Zzenn’s kundalini “Stairway to Heaven” narrative without the back story. Refer to the original volume for the whole story and all 19 Insight Keys.
The Entire Book – unSpiritual: A Spiritual Journey $16.95
The Exclusive Kindle Version – Kundalini: Triggered by a Famous Song $6.99
BEARER OF KUNDALINI – PART 2
In my thoughts I have seen rings of smoke through the trees and the voices of those who stand looking.
― Led Zeppelin IV (1971) ―
The most ominous feeling yet, was stirring within. All the years leading to this moment seemed to collectively applaud the muse as Magick and music blended together toward some uncertain future.
While the music of folk artists Davy Graham and Bert Jansch played in the background I entered into a subconscious Druidic universe. These artists influenced the craft of Jimmy Page (Led Zeppelin’s guitarist) and echoed the Celtic sounds from flesh and string.
The new guitar, possessed by the muse, led to innovative ideas of sound sculpting. I felt a unique tuning was waiting to be found so I searched high and low on the internet for alternative tunings, specifically with a Celtic/Indian vibe. There were two tunings that sounded equally delicious so I used the bottom three strings of one and the top three of the other and infused them together.
The sound was exactly right. The bottom lows had a growling dragon feel to them and the top highs had a sweet dolphin vibe. The sound textures of fire and water had been achieved and the change in tuning altered the way I experienced the guitar neck. It had become a harp. All the chords and mental constructs in my mind had been wiped away allowing for fresh new expression. As I played this new talismanic harp, the sound flowed like a stream. Haunting lows and angelic highs filled the air, charming spirals of emotion. I had truly found the sound I was searching for all of my life. It reverberated with the buzzing of Zeppelin and rumbled with the tribal feel of shamanism.
The next order of things was to turn my bedroom into a sonic temple for the musical craft. I had leased this house for five years and tolerated a carpet that refused to deodorize no matter what I did (the prior renters had dogs). I got permission to tear the filthy thing out and paint the cement floor underneath. It was perfect timing for the ceremonial work I was about to do and reflective of the old life that was being shed.
After painting the floor a warm earthy brown, I measured the length of my arms, from middle finger across the back to the opposing middle finger, for the circumference of a Magick circle. Studies in sacred geometry had revealed the mathematical pattern of nature inherent in the human body, so I used my proportions to make a ritual circle on the floor. I then placed the guitar in the center and left it there for a few days. All of this was being done intuitively, the guitar (reflecting my inner being) was being consecrated in a sacred place no person or thing was allowed to enter. It was being powered up, if you will, by the forces of the muse.
Next, small rock gems were placed in precise distances around the circle and colored beads and sacred (meaningful) objects positioned in the center around the guitar. The potency of the circle simultaneously invoked the sense of “invitation and boundary” in an alluring way. Asking ‘permission to enter’ emanated from its core.
Serendipitously, life provided just the right roommates for the experience. I had been renting rooms for many years and could not imagine any of the prior roommates tolerating or even participating in what was about to occur. Like the synchronistical thread in my story, the people there at that specific time were nothing short of perfectly matched participants as you will soon discover. Sometimes I look back and can hardly fathom the artistry and timing in the events of my life, even in the face of rigid skeptical analysis.
Magickal preparation was underway as if readying for an arrival. The house mates strangely took on the roles of father, mother and sibling. These people were friends of mine who had just moved in weeks earlier at just about the same time. Chaz, a retired man, was a sailor and ex-music teacher who took on the father or elder Sage role. LeaAnn, who had a delicious passion for vintage rock and roll became a motherly presence, with a sexy Crone flare. Duncan turned into a childlike Pan figure with sibling qualities. All three unconsciously assumed these roles as the haunting presence of Magick filled the house.
They all knew something was afoot as I ripped out the carpet in my room, painted the floor, and created a magic circle in the middle (ya can’t really miss the crazy guy). Chaz assisting in developing the sound through his intervallic (the difference in pitch between two notes) obsession. As a former music teacher, he knew exactly where I was going ― the mystic realms of music. Apprentice and sorcerer conspired together in a laboratory of music. His first suggestion was to tune the guitar to the “God” note of 432Hz. This was the ancient tuning system that resonated with the heart rather than the 440Hz system which resonated with the head.
Apparently, in 1939 Joseph Goebbels (propaganda Minister for Nazi Germany) was the first to push for all music world wide to be played and listened to at A-440Hz. Even though he failed, it was imposed in 1953 in London in spite of over 20,000 of the head classical musicians of France voting unanimously for A-432Hz. Controversy on this subject is easy to find on the internet but it doesn’t require a sharp intellect to discover the difference between the tunings. All one has to do is see the music through the CymaScope instrument (cymascope.com). I won’t elaborate on the subject of music, frequency and vibration but I will say that there is a glaring difference between the two, and it has everything to do with harmony, sacred geometry, and the Fibonacci sequence. In other words, changing my guitar to 432Hz changed everything! (I recommend omega432.com for further research)
“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
– Nikola Tesla
“What we have called matter is energy, whose vibration has been so lowered as to be perceptible to the senses.”
– Albert Einstein
LeaAnn started sending me vintage rock and roll songs as if by prescription. With the sounds of archaic folk artists filling the studio, songs such as Eyes of a Child by the Moody Blues spoke volumes:
Listen, hear the sound
The child awakes
Wonder all around
The child awakes
Now in his life
He never must be lost
No thoughts must deceive him
In life he must trust
In the eyes of a child you will see
Each song sent by my rock and roll momma was like a gourmet plate of sound, feeding the current within. I had no doubt that the early sixties movement was influenced by raw Kundalini energy. To add to the fire, she was a sound-slave of Led Zeppelin. Between my surrogate, music mystic father and rock and roll mother, the twin energies of the Dolphin and Dragon (positive/negative charge) were being reflected and nurtured.
Duncan spent 10 years under the auditing of a high level Scientologist who had gone rogue. The term for Kundalini in Scientology is Theta, and because Duncan had been around this energy he was no stranger to its presence. So this made him the perfect third element for what was about to occur. The peculiar synchronicity about Duncan, in line with the musical influences of Chaz and LeaAnn, was his performance career and sound technician expertise. He was a seasoned songwriter, musician and singer who had a popular band years earlier in Seattle, Washington. His contribution, in line with my summoned group of teachers, was to encourage solitude in the creative process. He kept me grounded by reminding me of the importance of slowing down and developing, or should I say, growing the sound over the period of a year or so. This advice brought images of the turtle’s slow and sure pace.
It was difficult to avoid how strangely perfect the setting was, and tempting, to assume it had been orchestrated. The right people were there, the room had been converted into a sonic temple and the vibration of Kundalini was increasing daily.
After adorning the ritual circle with gems and items of interest, I invited the elfin tribe into the sonic temple to stand around the circle in silence. It was agreed that no one would enter the circle without asking permission within. The guitar in the Magick circle represented, collectively, the Magickal Child within all of us. The Aeon of the Child was born within the circle of this small gathering of friends. The circle was treated, subconsciously, with great respect; not for whose circle it was but what the circle represented.
After delving deep into Alice Millers work, creating the signature magical sound, converting the room into a sonic temple, and conducting the ritual of respect, the scene was set for the next phase.
I was awoken the following morning to a dolphin jumping out of my heart about four inches and splashing back down. This was significant. It was the first time the dolphin totem made itself known in the form of an apparition. I also noticed the presence of the dragon nearby. I had no idea that this biological expression was signaling the release of the Shakti fire in my spine that was soon to happen.
Eerily, this was the same day the canyon in Sedona lit on fire on May 20th 2014. The animal totems tattooed on my arm had awakened and would externalize themselves as guides through the initiation ahead. And the woman in black I saw standing atop a palm tree as a child? She arrived to guide me through the dark night handing over the 16th key.