Akul
The Force is Strong With This One
I named the topic as "Unusual symbolism in the popular music" because although will start the discussion with a short analysis (and leaving it open for discussion) and citations of a specific artist's work, think there should exist a topic for a general discussion about the subject and not only about a single or few artists. The topic is similar to another topic "Songs for psychopaths?", however the second topic is more narrower in theme, the cited lyrics are straightforward, or rather as RyanX said, "Songs about psychopaths". The main difference between the topics is that this one, at least with the beginning premise and analysis, is more symbolical, methaporical, mythological, sinister, closer in its strangeness to Laura's book High Strangeness: Hyperdimensions & The Process Of Alien Abduction (2008), documentary UFOs, Aliens, and the Question of Contact v2.0, and many Gurdjieff's and Ouspensky's remarks on the Moon.
To do an introductionary quote from the Laura's 2008 book, „Another disturbing factor that emerged from my research was that these beings, whether demons, vampires, or aliens, seem to have the ability to control our thoughts to a certain extent, our physical bodies, the weather and even events in our lives...“.
In the https://cassiopaea.org/forum/index.php/topic,38693.0.html (Session 13 June 2015) is stated that "Music is such a powerful medium. Powerful in that it accesses the imagination, the mind and the emotions and the body - all the lower centers, for sure... Perhaps because music can access the emotions directly (and thus bypass the rational mind), dive into the sub-conscious mind, and influence the body, I believe it provides a fertile ground for 4th way self-observation and study... person's state reflects their state of awareness, development, and being... subconsciously strongly affect personal aim in life... the sound opens the door or gates of different levels and parts of the internal makeup for the lyrics to enter for good or ill... Certain types of emo music or whatever that certain types of young people listen to, like outsiders or loners and that kind of thing, and those people could be tracked as candidates for "use"... The 70's were the time of development of such concepts and technologies. The 80's were the period when implementation became more widespread. At present 90 percent of broadcast music has corrupting elements".
In the https://cassiopaea.org/forum/index.php/topic,13716.0.html (Session 13 September 2009) is stated that through the music frequency fence could put a kind of spell on some listeners, manipulate them, generate some negative emotions ("spellbinders"), i.e. trigger nefarious purposes in psyche, while in the https://cassiopaea.org/forum/index.php/topic,18635.msg176188.html#msg176188 (Session 7 August 2001) induction of mind control signals in rock music and concerts. In the https://cassiopaea.org/forum/index.php/topic,28379.msg353158.html#msg353158 (Session 16 November 1994) is mentioned that Lizzes or STS do use subliminal implantation of mental ideas via subliminal and electronic signals, or in other words in the https://cassiopaea.org/forum/index.php/topic,31789.msg593542.html#msg593542 (archived session from 1997 or 1998) that Pink Floyd's songs, and other facets of our higher consciousness is influenced by the C's or STO.
For some time I was reluctant to write this topic, but decided to share it because think there is something strangely obvious about it. My following observation and opinion (connecting the dots) could be superficial or a simple misunderstanding, I do not deny the possibility of my mistake, however I am not aware of existence of this kind of conceptual approach in the Western music, or music industry. The thing is that, these lyrics / music and concepts have such a suptile, subliminal yet so blatant and intentional meaning that it would not be possible in the Western cultural society without too much attraction of attention or controversy.
The observed work is by Japanese singer-songwriter Gackt (https://en.wikipedia.org/wiki/Gackt). He seems to be an accomplished music artist in Japan, especially due to the fact that most the songs / albums are musically and lyrically not simple pop rock songs, the rather lack of popularity of rock music compared to the pop music in the country, and being a solo male compared to boybands or groups. However, the most of the people who listen(ed) the songs and watched their performance, especially those in the West, mostly youngsters or young adults, practically are not even aware about what the artist is singing, because; they do not understand Japanese language (and as explained below these ignorance and difference is an appeal); do not know that they are related to a specific concept, even because most of his singles are more popular or straightforward and amorous in the lyrics; do not understand the complex lyrics; and are simply clueless to the reality of our world.
With my research I will not concentrate too much on what is known about his private / public life or autobiography, his personality or image, both as a private or public / professional, because would like to concentrate on the actual work, although there do exist several peculiarities from his early and family life. Generally, would describe them as a hedonistic, delusional, and even predatory because for example what is the selling of material goods which are consumed by the fans (notice the concept of musical or any kind of fans, fandom, fanbase – fanaticism) somekind of predatory manipulation and diversion – STS, however the STO behavior can not be ignored.
The artist's musical education in playing classical piano began very early, and in the early life he listened to the classical and enka (Japanese popular ballad music), considering Frédéric Chopin with being "the one who taught me the beauty, depth, fun, sadness, kindness of music; that music could grant people courage, and the meaning of the layers of sound. It isn't an exaggeration to say Chopin is the foundation of my music". However, when was a young adult became interested in rock music, with the Led Zeppelin's "Stairway to Heaven" cited as being particularly inspiring, and went on to master modern percussion and electric guitar. Rest of influental bands which were mentioned in the interviews include rock / metal Metallica, Mötley Crüe and Japanese band Dead End (which are related to another topic „heavy metal, extreme styles“).
At the time in Japan was actual the underground, later even semi-mainstream, movement called visual kei (meaning visual style, system, order, origin) named after the 1989 slogan „Psychedelic Violence-Crime of Visual Shock“, influenced by the Western hard rock and glam metal bands like Kiss, Twisted Sister, Hanoi Rocks, Mötley Crüe, as well punk-gothic rock influence. It characterized by the use of varying levels of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics. The main difference between the movement generations is that the second generation (2000-current) has no straightforward music style and the fashion and gender ambiguities became of central importance i.e. the visuality became more notable in the opposition to music quality. Generally speaking it became a subculture, underground style often associated with rebellious generation, non-conforming to proper society. According to the musicologists Christian Utz and Frederick Lau (Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, 2013), Wikipedian quote:
Thus the artist joined one of the visual kei bands Malice Mizer (between 1995-1999; https://en.wikipedia.org/wiki/Malice_Mizer) as a vocalist and lyricist. The meaning of the band's name is their answer to the question „What is human?“ - „Nothing but a being of malice and misery“. The band was characterized for their musical and historical costumes and stage sets influenced by French romanticism and Gothic aspects, practically – they played and acted as some drama characters, not as musicians themselves like other bands did. Some of their songs were explicitly sexualized and dark, for example „Illuminati“ (http://www.jpopasia.com/lyrics/9004/malice_mizer/illuminati/), or after Gackt's departure, „Beast of Blood“ (http://www.jpopasia.com/lyrics/9005/malice_mizer/beast-of-blood/), both of which had disturbing music videos. The artist, Gackt, wrote both the lyrics and music to only one band's song, „Le Ciel“ (http://www.jpopasia.com/malicemizer/lyrics/46491/le-ciel-kuuhaku-no-kanata-e/le-ciel-kuuhaku-no-kanata-e/). The song is notable because of its lyrical theme or imagine which similarly would consistently reoccur in his work, and notable live performance in which the artist, although at some TV performances or music video portrayed a benevolent white angel, portrayed a black angel with blood on his mouth and hands descending to Earth (the stage) and ascending at the end of the concert (https://www.youtube.com/watch?v=A2fOPZZqQlA).
The artist's first two solo releases, an extended-play and a full-lenght studio album, initially were out of scope for the topic, however as the pattern of lyrical terms can be followed even within them, will firstly quote them, and then the other two concepts in the next posts. Although the first solo release, extended-play „Mizérable“ (1999: https://en.wikipedia.org/wiki/Miz%C3%A9rable_(EP)), could be considered to be about the artist's departure from the band and his internal emotional and mental struggle, the song's lyrics have the reoccuring pattern of terms. In the second half of the music video of the song „Mizérable“ (https://www.youtube.com/watch?v=1bTHhXSpd4U) is shown a demon playing a violin, the artist portrayed what looks like a forest elf, through the forest passes the litter which arrived from the desert with the artist inside in Malice Mizer kind of costume, and when the artist ends to sing, the artist and demon shake their heads left and right like they are the same being or shapeshifter, and the artist walks alone in the desert toward the horizon as the demon continues to play. Part of the „Mizérable“ lyrics (the majority of lyrics will be cited from http://moon-struck.net/lyrics/):
The first studio album is titled Mars (https://en.wikipedia.org/wiki/Mars_(Gackt_album)) and on the cover artwrok the artist is portrayed in a slim suit, probably on the surface of Mars, with Earth and Moon in the background, and seemingly contours of a hand and head of a Gray alien. The 1st song Ares is not sung in Japanese, probably not even in any real language, however in the booklet are provided lyrics with which can be drawn several paralle meanings between the Greek god Ares, Aries constellation, and Aries astrological sign:
2nd Asrun Dream:
3rd Dreamscapes ~for my dear~:
7th Freesia :
8th Illness Illusion:
9th Mirror:
11th Oasis:
To do an introductionary quote from the Laura's 2008 book, „Another disturbing factor that emerged from my research was that these beings, whether demons, vampires, or aliens, seem to have the ability to control our thoughts to a certain extent, our physical bodies, the weather and even events in our lives...“.
In the https://cassiopaea.org/forum/index.php/topic,38693.0.html (Session 13 June 2015) is stated that "Music is such a powerful medium. Powerful in that it accesses the imagination, the mind and the emotions and the body - all the lower centers, for sure... Perhaps because music can access the emotions directly (and thus bypass the rational mind), dive into the sub-conscious mind, and influence the body, I believe it provides a fertile ground for 4th way self-observation and study... person's state reflects their state of awareness, development, and being... subconsciously strongly affect personal aim in life... the sound opens the door or gates of different levels and parts of the internal makeup for the lyrics to enter for good or ill... Certain types of emo music or whatever that certain types of young people listen to, like outsiders or loners and that kind of thing, and those people could be tracked as candidates for "use"... The 70's were the time of development of such concepts and technologies. The 80's were the period when implementation became more widespread. At present 90 percent of broadcast music has corrupting elements".
In the https://cassiopaea.org/forum/index.php/topic,13716.0.html (Session 13 September 2009) is stated that through the music frequency fence could put a kind of spell on some listeners, manipulate them, generate some negative emotions ("spellbinders"), i.e. trigger nefarious purposes in psyche, while in the https://cassiopaea.org/forum/index.php/topic,18635.msg176188.html#msg176188 (Session 7 August 2001) induction of mind control signals in rock music and concerts. In the https://cassiopaea.org/forum/index.php/topic,28379.msg353158.html#msg353158 (Session 16 November 1994) is mentioned that Lizzes or STS do use subliminal implantation of mental ideas via subliminal and electronic signals, or in other words in the https://cassiopaea.org/forum/index.php/topic,31789.msg593542.html#msg593542 (archived session from 1997 or 1998) that Pink Floyd's songs, and other facets of our higher consciousness is influenced by the C's or STO.
For some time I was reluctant to write this topic, but decided to share it because think there is something strangely obvious about it. My following observation and opinion (connecting the dots) could be superficial or a simple misunderstanding, I do not deny the possibility of my mistake, however I am not aware of existence of this kind of conceptual approach in the Western music, or music industry. The thing is that, these lyrics / music and concepts have such a suptile, subliminal yet so blatant and intentional meaning that it would not be possible in the Western cultural society without too much attraction of attention or controversy.
The observed work is by Japanese singer-songwriter Gackt (https://en.wikipedia.org/wiki/Gackt). He seems to be an accomplished music artist in Japan, especially due to the fact that most the songs / albums are musically and lyrically not simple pop rock songs, the rather lack of popularity of rock music compared to the pop music in the country, and being a solo male compared to boybands or groups. However, the most of the people who listen(ed) the songs and watched their performance, especially those in the West, mostly youngsters or young adults, practically are not even aware about what the artist is singing, because; they do not understand Japanese language (and as explained below these ignorance and difference is an appeal); do not know that they are related to a specific concept, even because most of his singles are more popular or straightforward and amorous in the lyrics; do not understand the complex lyrics; and are simply clueless to the reality of our world.
With my research I will not concentrate too much on what is known about his private / public life or autobiography, his personality or image, both as a private or public / professional, because would like to concentrate on the actual work, although there do exist several peculiarities from his early and family life. Generally, would describe them as a hedonistic, delusional, and even predatory because for example what is the selling of material goods which are consumed by the fans (notice the concept of musical or any kind of fans, fandom, fanbase – fanaticism) somekind of predatory manipulation and diversion – STS, however the STO behavior can not be ignored.
The artist's musical education in playing classical piano began very early, and in the early life he listened to the classical and enka (Japanese popular ballad music), considering Frédéric Chopin with being "the one who taught me the beauty, depth, fun, sadness, kindness of music; that music could grant people courage, and the meaning of the layers of sound. It isn't an exaggeration to say Chopin is the foundation of my music". However, when was a young adult became interested in rock music, with the Led Zeppelin's "Stairway to Heaven" cited as being particularly inspiring, and went on to master modern percussion and electric guitar. Rest of influental bands which were mentioned in the interviews include rock / metal Metallica, Mötley Crüe and Japanese band Dead End (which are related to another topic „heavy metal, extreme styles“).
At the time in Japan was actual the underground, later even semi-mainstream, movement called visual kei (meaning visual style, system, order, origin) named after the 1989 slogan „Psychedelic Violence-Crime of Visual Shock“, influenced by the Western hard rock and glam metal bands like Kiss, Twisted Sister, Hanoi Rocks, Mötley Crüe, as well punk-gothic rock influence. It characterized by the use of varying levels of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics. The main difference between the movement generations is that the second generation (2000-current) has no straightforward music style and the fashion and gender ambiguities became of central importance i.e. the visuality became more notable in the opposition to music quality. Generally speaking it became a subculture, underground style often associated with rebellious generation, non-conforming to proper society. According to the musicologists Christian Utz and Frederick Lau (Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, 2013), Wikipedian quote:
Thus the artist joined one of the visual kei bands Malice Mizer (between 1995-1999; https://en.wikipedia.org/wiki/Malice_Mizer) as a vocalist and lyricist. The meaning of the band's name is their answer to the question „What is human?“ - „Nothing but a being of malice and misery“. The band was characterized for their musical and historical costumes and stage sets influenced by French romanticism and Gothic aspects, practically – they played and acted as some drama characters, not as musicians themselves like other bands did. Some of their songs were explicitly sexualized and dark, for example „Illuminati“ (http://www.jpopasia.com/lyrics/9004/malice_mizer/illuminati/), or after Gackt's departure, „Beast of Blood“ (http://www.jpopasia.com/lyrics/9005/malice_mizer/beast-of-blood/), both of which had disturbing music videos. The artist, Gackt, wrote both the lyrics and music to only one band's song, „Le Ciel“ (http://www.jpopasia.com/malicemizer/lyrics/46491/le-ciel-kuuhaku-no-kanata-e/le-ciel-kuuhaku-no-kanata-e/). The song is notable because of its lyrical theme or imagine which similarly would consistently reoccur in his work, and notable live performance in which the artist, although at some TV performances or music video portrayed a benevolent white angel, portrayed a black angel with blood on his mouth and hands descending to Earth (the stage) and ascending at the end of the concert (https://www.youtube.com/watch?v=A2fOPZZqQlA).
The artist's first two solo releases, an extended-play and a full-lenght studio album, initially were out of scope for the topic, however as the pattern of lyrical terms can be followed even within them, will firstly quote them, and then the other two concepts in the next posts. Although the first solo release, extended-play „Mizérable“ (1999: https://en.wikipedia.org/wiki/Miz%C3%A9rable_(EP)), could be considered to be about the artist's departure from the band and his internal emotional and mental struggle, the song's lyrics have the reoccuring pattern of terms. In the second half of the music video of the song „Mizérable“ (https://www.youtube.com/watch?v=1bTHhXSpd4U) is shown a demon playing a violin, the artist portrayed what looks like a forest elf, through the forest passes the litter which arrived from the desert with the artist inside in Malice Mizer kind of costume, and when the artist ends to sing, the artist and demon shake their heads left and right like they are the same being or shapeshifter, and the artist walks alone in the desert toward the horizon as the demon continues to play. Part of the „Mizérable“ lyrics (the majority of lyrics will be cited from http://moon-struck.net/lyrics/):
The first studio album is titled Mars (https://en.wikipedia.org/wiki/Mars_(Gackt_album)) and on the cover artwrok the artist is portrayed in a slim suit, probably on the surface of Mars, with Earth and Moon in the background, and seemingly contours of a hand and head of a Gray alien. The 1st song Ares is not sung in Japanese, probably not even in any real language, however in the booklet are provided lyrics with which can be drawn several paralle meanings between the Greek god Ares, Aries constellation, and Aries astrological sign:
2nd Asrun Dream:
With the first or superficial reading and understanding it could seem to be about someone like a lover, however, with the context and terms like praying to the moon, ice-cold memories, shadows without a trace, I begin to question what kind of love or lover it was, and what if it was something?
3rd Dreamscapes ~for my dear~:
It seems to be a love song about someone, perhaps deceased, however what if the roles are once again replaced?
7th Freesia :
8th Illness Illusion:
9th Mirror:
11th Oasis:
