Tag Archives: Music

Did Iron Maiden knew about Jimmy Savile?

This was my first thought today when I woke up. I have listen Iron Maiden and other heavy metal bands a lot and there was this one line in the Iron Maiden song called Holy Smoke, which stuck in my head. Did Iron Maiden knew back in 1990, that Jimmy Savile was a reptile/beast pedophile which molested hundreds of kids? And because band is from England they could have known the evil doings behind BBC curtains.

Here are the lyrics of this song called Holy Smoke:

“Holy Smoke”

Believe in me – send no money
Died on the cross and that ain’t funny
But my so called friends are making me a joke
They missed out what I said like I never spoke
They choose what they wanna hear – they don’t tell a lie
They just leave out the truth as they’re watching you die
Saving your souls by taking your money
Flies round shit, bees around honey.

Holy Smoke, Holy Smoke, plenty bad preachers for
The Devil to stoke
Feed ’em in feet first this is no joke
This is thirsty work making Holy Smoke

Jimmy Reptile and all his friends
Say they gonna be with you at the end
Burning records, burning books
Holy soldiers Nazi looks
Crocodile smiles just wait a while
Till the TV Queen gets her make up clean
I’ve lived in filth I’ve lived in sin
And I still smell cleaner than the shit you’re in


They ain’t religious but they ain’t no fools
When Noah built his Cadillac it was cool
Two by two they’re still going down
And the satellite circus just left town
I think they’re strange and when they’re dead
They can have a Lincoln for their bed
Friend of the President – trick of the tail
Now they ain’t got a prayer – 100 years in jail



This is the line “Jimmy Reptile and all his friends” Isn’t it weird, that they use the word “reptile”, when that is the most common way to describe sexual predators?

Then just look at the cover of this single. Its all about how Illuminati controls media. Also Illuminati is behind these pedophile organizations for example Ninth Circle, which operate in all levels of societies.


Iron Maiden tried to cover these pretty obvious lyrics in hilarious video, which would take all the attention:

Here is something about the Savile’s case. Just look, “Sir” Jimmy Savile. This just tells how the monarchs are also covering these kind of monsters, because they use their services.:

Jimmy Savile sexual abuse scandal

From Wikipedia, the free encyclopedia

Sir Jimmy Savile (1926–2011) was an English DJ, television and radio personality, who was well known in Britain for his eccentricities and, at the time of his death, was generally respected for his charitable work. He was knighted in 1990. In September and October 2012, almost a year after his death, claims were widely publicised that he had committed sexual abuse, his alleged victims ranging from prepubescent girls and boys to adults. By 11 October 2012 allegations had been made to 13 British police forces,[1] and this led to the setting-up of inquiries into practices at the BBC and within the National Health Service.

On 19 October 2012 the Metropolitan Police Service launched a formal criminal investigation, Operation Yewtree, into historic allegations of child sexual abuse by Savile and other people, some still living, over four decades. It stated that it was pursuing over 400 lines of inquiry, based on the claims of 200 witnesses, via 14 police forces across the UK. It described the alleged abuse as being “on an unprecedented scale”, and the number of potential victims as “staggering”.[2][3] By 19 December, eight people had been questioned as part of the investigation. The Metropolitan Police stated that the total number of alleged victims was 589, of whom 450 alleged abuse by Savile.[4][5]

The report of the investigations undertaken jointly by the police and the National Society for the Prevention of Cruelty to Children (NSPCC), Giving Victims a Voice, was published on 11 January 2013. It reported allegations covering a period of fifty years, including 214 alleged acts by Savile which, though uncorroborated, have been formally recorded as crimes, some involving children as young as eight. The report states “within the recorded crimes there are 126 indecent acts and 34 rape/penetration offences.”[6] Alleged offences took place at 13 hospitals as well as on BBC premises, according to the report.[7][8] In October 2013 it was announced that inquiries had been extended to other hospitals.[9] On 26 June 2014, the Secretary of State for Health, Jeremy Hunt, reported on the findings of the investigations led by Kate Lampard. He said that Savile had sexually assaulted victims aged between five and 75 in NHS hospitals, and apologised to the victims.[10] Further investigations, in hospitals and elsewhere, led to additional allegations of sexual abuse by Savile.

Much of Savile’s career involved working with children and young people, including visiting schools and hospital wards. He spent 20 years presenting Top of the Pops before a teenage audience, and an overlapping 20 years presenting Jim’ll Fix It, in which he helped the wishes of viewers, mainly children, come true. During his lifetime, two police investigations had looked into reports about Savile, the earliest known being in 1958, but none had led to charges; the reports had each concluded that there was insufficient evidence for any charges to be brought related to sexual offences.[11][12][13] In October 2012 it was announced that the Director of Public Prosecutions, Keir Starmer, would investigate why proceedings against Savile in 2009 were dropped.

The scandal was a major factor leading to the establishment of the wider-ranging Independent Inquiry into Child Sexual Abuse which was announced by the Home Secretary, Theresa May, in July 2014. In February 2015 the inquiry was reconfigured as a statutory inquiry to be chaired by Justice Lowell Goddard.

Exposure: The Other Side of Jimmy Savile

An ITV documentary, Exposure: The Other Side of Jimmy Savile was broadcast on 3 October 2012. It was researched and presented by Mark Williams-Thomas, a police investigator in the successful prosecution of Jonathan King over sexual offences involving children in 2001.

In it several women said that, as teenagers, they had been sexually abused by Savile. It was said Savile obtained access to teenage girls through television programmes such as Top of the Pops and Clunk, Click (1973–74), and his charity work. Savile’s former colleagues said he made no attempt to hide his interest in girls from them, while another said she had walked in on him french kissing an underage girl. One woman who said Savile had sexually assaulted her when she was 14 in 1970 explained she had not pursued her complaint to police in 2008 after being told it would lead to a “media circus“.[34] The founder of ChildLine, Esther Rantzen, was shown the interviews by Williams-Thomas and commented that “There were always rumours that he [Savile] behaved very inappropriately sexually with children.”[35]

An update to the original documentary, Exposure Update: The Jimmy Savile Investigation, was shown on ITV on 21 November.[36] It won a Peabody Award in 2012.[37]


It just makes me sick if that these bands know about things and just hide the facts in their songs. They should openly tell about these things so that innocent people won’t suffer in the hands of these monsters.

Read more from Auricmedia:


Mind Crimes on the Limuradio!!!


Mind Crimes on the radio today!!! Ari and Ryan will be on the Lahti’s local Internet campus radio called Limuradio. They will talk about education and music. Both has brought their own favorite bands and songs from those bands will be played on the air. There will be discussion about band’s latest EP called Deadly Mistakes and band’s future plans. Couple of songs will be played on that EP.  The show will start at two o’clock (14.00) local Finnish time on the Internet. You can listen the show here: http://www.limuradio.fi/




>> Front Covers (300dpi)

1. Deadly Mistakes (Rautio, M. Welsh) 4:23

2. Trapped (Sealed With The Fist) (Rautio) 3:34*

3. World Is A Rigged Game (Rautio, Mikkola) 5:37*

4. Alone (Rautio, M. Welsh) 4:05

Total Running time 17:40

* Lead Guitars played By Ville Mikkola


Mind Crimes are:

Mari Welsh, vocals

Ari Rautio, guitars

Ville Mikkola, bass & Keys

Ryan Welsh, drums



Ville Mikkola, recording

Ville Mikkola & Ari Rautio, mixing

All songs composed, written and arranged by Mind Crimes

Cover concept, logo, art & design by Ari Rautio

Recorded at Hellhound Studios during Winter 2014

© Mind Crimes Holdings 2014

Homepit Releases


Here is the Soundcloud link to Trapped single from this EP:

If you want your copy. Contact band here (5€ pcs+shipping 2€, Finland only).


Pop Goes the Womb

Here Nigel Kerner talks how music affects to fetus when it is in mother’s womb:


Image of embryo

Pop Goes the Womb

18th April 2011

Many people the world over question and wonder why the sounds of the beautiful ballads of yesteryear are slowly disappearing from radio play sheets all over the world. They have been replaced by a tsunami of meaningless cacophonies running to a cannonade of industrial rhythms and utterly meaningless dross for lyrics.A huge audience of over sixties all over the world have little to listen to that might still speak of sentiment, innocence and the expression of feeling in melody that once brought, if not a tear to one’s eye, a recognisance of human feelings outside the binary machine mindedness that now seems to run so much of our world.The ballad, the folk song, the cultural narrative, that explored human feelings is no more celebrated in the world of western music and the great personalities of voice and style have all but died out. The great ballads that signified standards of melody and lyric are all but gone from the ear. These songs are sung for records no more.

It all came to an end with the advent of music that emulated the dissonance of road traffic and the factory floor. Music with more and more dissolute discordant percussive threads and less coherence connecting melody with lyric, became the order of the day. The apotheosis of calmer more reflective norms followed in a rush and became the order of the popular musical way of things. The body and not the mind became the transcendent resolve of broadcast offerings. What they call the ‘beat box’ in the industry had arrived.

But why did this happen. Is it simply progress. What brought about this tirade and the subsequent loss of sanity, form and shape in natural popular music norms so quickly. The experts say that that the greatest thrust of it, all took just a single decade to happen. That decade was between the middle nineteen fifties and nineteen sixties.

I believe it happened so fast and with such seeming fury because the English speakers, the world’s richest most influential ethno/cultural group that identified the Occidental personality most, the Celtic-Anglo-Saxon cartel, was changing quantumly and hardening up in the 1940’s, 50’s and 60’s to merge with the powerful dictates of a rapidly emerging industrial social format, especially in the USA. The entire psychological base of the Euro-Caucasoids was firming up and being de-sensitised in terms of human empathetic resolves. This happened with a storm force of artificially produced mental imperatives that required less orientation towards ‘people minded-ness’ and more orientation towards ‘systemic machine minded-ness’.

The greatest influence in modern music, the music of African Americans, has always been true and gloriously natural fare. The human spirit in torture, shame and contrived out of its natural context in Africa, was turned into Spirituals, Soul, Blues and later Jazz, as the negro social lament turned the wretchedness the white Euro Caucasian had visited on them into the triumphant under-base of most of North America’s best and most meaningful music to this day. It was of course a natural palliative that arose from an inner protest at the degradation visited on the human spirit in enslavement. All this was to become one of the greatest cultural treasures of an entire species. It was all based on the natural beat of body rhythms and no synthetic tempo, or timbre, entered the paradigm. Not so with the Euro Caucasoids. They were to go synthetic. Their modern musical inspirational centre, mostly euro-folk and country music narratives, was to become something artificial and insidious. Rock, Punk, Metal, Heavy Metal, Grunge, and more recently Hip hop, Techno etc. The synthesised machine beat had truly arrived.

Of course it all may be seen as progress. As the development of new ways of perceiving and developing the audio art forms. The real question is – was it natural change or something more contrived, more artificial and pernicious at root.

Is there a single propulsion root to it all, or is it just a natural change of tastes commensurate with changing social trends. Could there be a physiological organic root to it and if so what could that root be. Recent research may point to a clue. The answer may well lie in the womb itself. It all could begin in the central atrium that admits all life, literally and physically.

A look at the female womb with a new life in it will clearly show that the baby is set cosseted in a warm tightness of soft tissue and water. We were all taught at school that sound travels better in water than in air. In fact it travels about fifteen times faster in a solid medium and about five times faster in a liquid medium, than in air, dependent on temperature. Current research into the inter-uterine influence and post-natal influences of sound on living things provides very interesting reading. Some great research was done by Giselle Whitwell on this theme, I quote:

I observed that lullabies were relegated to the past: young mothers no longer knew this folk song tradition. Michel Odent, M.D., believes that women have a profound need to sing to their babies but that the medicalization of birth has upset this process. In the past, women all over the world have sung lullabies to their babies. These were very important because as we now know the fetus is having first language lessons in the womb. The inflections of the mother tongue are conveyed not only through speech but most importantly through song. The singing voice has a richer frequency range than speech. In fact, studies in other disciplines such as linguistics and musicology (e.g., David Whitwell, 1993) point out that there was a time when speech was song and therefore singing is the older of the two.

Few young Occidental mothers know how to sing a lullaby now. I don’t know if they will recognise one if it is played to them. That is assuming that they will actually listen to it anyway. Giselle Whitwell goes on to discuss the subject at length in her fascinating paper: The importance of Prenatal Sound and Music.:

“Babies born of deaf mothers miss these important first lessons in language development. French pioneer Dr. Alfred Tomatis mentions being intrigued by the fact that song birds hatched by silent foster mothers can’t sing. What the baby learns in utero are the intonational patterns of sound and the frequencies of a language in his/her particular culture. Frequency is the level of pitch measured in Hertz (Hz.) This range varies between 16 to 20,000 Hz. There is very little distortion of the mother’s voice as heard by the fetus whereas other external voices sound more muffled, especially in the higher frequencies. According to Rubel (1984), the fetus is responsive first to lower frequencies and then to higher ones. Verny and others have noted that babies have a preference for stories, rhymes, and poems first heard in the womb. When the mother reads out loud, the sound is received by her baby in part via bone conduction. Dr. Henry Truby, Emeritus Professor of Pediatrics and Linguistics at the University of Miami, points out that after the sixth month, the fetus moves in rhythm to the mother’s speech and that spectrographs of the first cry of an abortus at 28 weeks could be matched with his mother’s. The elements of music, namely tonal pitch, timbre, intensity and rhythm, are also elements used in speaking a language. For this reason, music prepares the ear, body and brain to listen to, integrate and produce language sounds. Music can thus be considered a pre-linguistic language which is nourishing and stimulating to the whole human being, affecting body, emotions, intellect, and developing an internal sense of beauty, sustaining and awakening the qualities in us that are wordless and otherwise inexpressible.

The research of Polverini-Rey (1992) seems to indicate that prenates exposed to lullabies in utero were calmed by the stimulus. The famous British violinist Yehudi Menuhin believes that his own musical talent was partly due to the fact that his parents were always singing and playing music before he was born.

The sound environment of the womb is very rich. There are various interpretations as to the noise level, ranging between 30 to 96 dB. (decibel being a measure of sound intensity or loudness). A whisper can register 30 dB., a normal conversation is about 60 dB. and rush hour traffic can average about 70 dB. On the other hand, shouted conversations and motorcycles reach about 100 dB. Rock music has been measured as 115 dB. and the pain threshold begins at 125 dB. Recent research with hydrophones have revealed that the womb is something comparable to what we experience in our environment between 50 and 60 dB. Uterine sounds form a “sound carpet” over which the mother’s voice in particular appears very distinct and to which the prenate gives special attention, because it is so different from its own amniotic environment. These sounds are of major importance because they establish the first patterns of communication and bonding. Some researchers have discovered that newborns become calmer and more self-regulated when exposed to intrauterine sound. The soothing sounds of the ocean and water are probably reminiscent of the fluid environment in which we began life. Tomatis suggests that the maternal heart beat, respiration and intestinal gurgling all form the source for our collective attraction to the sound of surf and may have to do with our inborn sense of rhythm. Prenatal sounds form an important developmental component in prenatal life, because they provide a foundation for later learning and behaviour. With foetal sound stimulation the brain functions at a higher level of organisation.

The ear first appears in the 3rd week of gestation and it becomes functional by the 16th week. The foetus begins active listening by the 24th week. We know from ultrasound observations that the foetus hears and responds to a sound pulse starting at about 16 weeks of age and this is even before the ear construction is complete. The cochlear structures of the ear appear to function by the 20th week and mature synapses have been found between the 24th and 28th weeks. For this reason most formal programs of prenatal stimulation are usually designed to begin during the third trimester. It is clear that the sense of hearing is probably the most developed of all the senses before birth.

Four-month-old foetuses can respond in very specific ways to sound; if exposed to loud music their heart beat will accelerate. A Japanese study of pregnant women living near the Osaka airport had smaller babies and an inflated incidence of prematurity – arguably related to the environment of incessant loud noise. Chronic noise can also be associated with birth defects. There is a report from a mother who was in her 7th month of pregnancy when she visited the zoo. In the lion’s enclosure, the animals were in the process of being fed. The roar of one lion would set off another lion and the sound was so intense she had to leave the scene, as the foetus reacted with a strong kick and left her feeling ill. Many years later, when the child was 7 years of age, it was found that he had a hearing deficiency in the lower-middle range. This child also reacts with fear when viewing TV programs of lions and related animals. There are numerous reports about mothers having to leave war movies and concerts because the auditory stimulus caused the foetus to become hyperactive.

Alfred Tomatis notes that the ear is “the Rome of the body” because almost all cranial nerves lead to it and therefore it is considered our most primary sense organ. Embryonically, according to him, the skin is differentiated ear, and we listen with our whole body.

In order to better understand the role of music in its elements of rhythm and melody, we must briefly clarify the two parts of the inner ear. These are the vestibular system and the cochlea. The vestibular system controls balance and body movements, including the integration of movements which make up the rhythm of music-making the vestibular system the more archaic. And according to Paul Madaule (1984) “it is in fact because of the vestibular system that music seems to have an impact on the body.” At around 4 ½ to 6 weeks gestational age the vestibular and the cochlear systems become differentiated, at 7 ½ the auditory ossicles start to grow, and at 4 ½ months the ear of the fetus is already adult-like in shape and size.

The cochlear system enables the transformation of acoustic vibrations into nervous influx, thus allowing the perception of melodies which carry higher frequencies. Knowing this, one can have a better understanding of the intimate relationship and unity of rhythm and melody. George Gershwin expressed this nicely: “Music sets up a certain vibration which unquestionably results in a physical reaction.” With this in mind, we should choose for early music stimulation melodies and rhythms that are simple.

Tomatis has a unique view of the function of the human ear going beyond what is traditionally assumed. He regards it as neither an instrument solely for hearing and listening, nor an organ for the maintenance of equilibrium and verticality. For him the ear is primarily a generator of energy for the brain, intended to give a cortical charge which is then distributed throughout the body “with the view to toning up the whole system and imparting greater dynamism to the human being” (Gilmor & Madaule, 1984, p. 6). Hence the importance of right sound stimulation which will lead to vocal expression, listening, and thinking. Sound, music and human development are intricately interwoven.”1

The late thirties was an age of burgeoning industrialisation as never previously experienced by humanity. All this provided a powerful schematic, both socially and environmentally, that could and indeed would condition minds to ways and means not scheduled for the human personality in the natural way of things up till then. The vast majority of people farmed and fished for a living and lived quiet lives in rural ways, where human resources were a premium. Life was hard, but the difficulties had to be shared for the sake of survival and this forged strong emotional bonds between people and the family sense was constantly marshalled for cracks and very soon resolved and repaired. This began with the womb. With the mother’s lullaby. In other words with song and melody.

Industrialisation and urbanisation changed all that. People moved from the rural straights to cities and urban environments in their thousands. The run had begun. The run that is taking us from the warmth of the human heart and giving us instead the cold, mindless, meaningless dross of hard wired systems. Human kind seems to have started its walk to become no more than an organic biological machine, serving the robotic behests of perhaps some extra terrestrial synthetic alien beings, for all that it mattered.

You can see from the above how profoundly babies might be influenced in the sound modulating womb environment. Can you imagine the influence of heavy metal, or punk rock (or whatever tirades so called modern music culture might have in store) will have on an infant in the womb. What a fiendish preparation for a new life. That will be someone’s son or daughter, brother or sister-to-be, when born.

As more and more mothers-to-be were employed in the impersonal factory lines, manufacturing modules and lived in uncongenial home environments, newborns might well have had their minds pre-conditioned more concussively and percussively here. In Europe they would do this with the sonic background of a World War. The day to day living process in this cacophony would affect the child in the womb and familiarise it with the sharp discordant tones of road traffic and industrial machines, even ballistic explosions, within the cosseted pre-natal environment, where sound is amplified through the amniotic fluid. Later in the post birth, neonatal period and early childhood, when the brain cells are growing fastest and enlivened neuronal networks are being set down, they could be further re-conditioned by the sounds of war, road traffic and the modern hard and heavy rhythmic beats of road hammers, drills and other machines. The background sound quantum of contemporary life, thrown at us from every direction, could well have reflected in later life on the tastes that decided musical enjoyment.

Those pregnant during these years were to produce progeny that would be in their teens and twenties in the late 1950’s and early 1960’s just when the complexion of modern pop music has shown the beginning of the drastic change from its previous quieter more reflective studied format, to the much more enforced and belligerent instrumental sounds of rock and pop. And so perhaps the rising quantum of force in societal living paradigms in the 30’s and 40’s translated itself in and through the womb into a mental hook that reflected it in an extra-uterine empathy with this more impersonal force. Music and words in song could never again reflect a quieter more thoughtful premise in life and living. No more the poem and the lyrical word in melody. A breed that blushes at symmetries in pitch and tone will also recoil at sentiment and erudite meaning in words. Hearts of stone, writing dead letter futures. Meaningless droll dumbed down lyrics would become the order of the day when the instrument supplanted the voice and thus the lyric. Musical composition would become the bit-stream expressed by fingers on computer keyboards and the heartbeat in the human chest would become the clock in computers. The machine mind had arrived. Human kind in the northern climes of our planet began to move as the machine. It would get worse with time for many, as the industrialisation of social formats continued. The earlier sound formats that reflected the music of far yester-years would have no inner metaphor concomitant with the sounds heard during the inter-uterine period, when impressions are exceptionally strongly retained and formatted, as circuits set down as neuronal tracks. The most powerful conditioning psycho/biologically happens in the womb. It may thus well be that we are all set in the gel that dictates our tastes in music by the time we are seven years old.

A pointer to the power of this effect is the fact that the musical instrument took over from the voice. Modern Jazz forms as distinct from the more humanly empathetic traditional form at its inception and orchestral music with explosive beats overwhelmed the entertainment industry. Words in music thus took a beating. Lyrics have to be listened to and picked out. The young were the first to lose out. They were far less likely to extrapolate meaning in a musical work with lyrics. The interest value shown about anything in and by the young mind can be measured in nano seconds. Words have little depth of meaning at an early stage in childhood when a vocabulary is being learned. It takes time for the human personality to grow and mature into the deeper meanings espoused by this vocabulary. Time that provides not just the blacks and whites of things, but also myriads of shades of grey. The subtleties that make up the whole answer and story to any question.

Modern life allows less for subtleties. For individualised well studied depth and clear thinking on matters that effect the human soul. There is often simply no time for this, with the pace of life many of us are required to lead. Modern life is geared more for so called scientific certainties and system driven imperatives. This is more so for the young, as their age related inherent lack of experience gives them a distinct handicap over and above all this disadvantage, in resolving values. They of course usually fail to recognise this loss of perspective. Something pop industry moguls count on where music is concerned. Throw the little punter, be they little in mind or body, the most ill-contrived sound excrement. Dress it up as the latest thing, the more bizarre the better, and sell it with as much media hype as possible. The ‘fledgling follies’ will lap it up and swallow any detritus and come back for dessert. You then sell them more of the same garbage, this time with a bit of cream on the top.

The Artists & Repertoire Managers of Record Companies had to have a way that quick exchanges in artists could be made to keep the ball rolling. Quality is rare and much more expensive. It also thinks for itself tends to be intelligent and is likely to have difficult and greedy agents. Easy availability and thus quantity mattered and not quality, and every sound and any sound that was different from the previous ones could be made the ‘in sound’. In this way there would be a constant stream of new faces recognisant with new sounds. They did not even need to play the musical instruments. New technology could make a goose sound good and everything could be done by proxy with the public never being aware that it was all humbug. All façade. A front. The group ‘The Monkeys’ exemplified this in the 1960’s. There were of course a few quality artists that were the genuine article. A thin skeleton that gave the whole façade some credibility.

As I have said, the new paying punter had to come predominantly from the young, the immature, mostly musically naive. The younger the better. You could sell them anything. Of course everyone is entitled to have their own taste in music without patronization and some jumped up so and so dictating tastes. But the vast majority came from non musical backgrounds and simply did not have the musical sense or erudition to question anything. The evident trash that came out as ‘pop’ could not then be questioned and dismissed as rubbish. Again one man’s trash is another’s Mozart. The punter did not know enough about music to make the judgment. It might fit somewhere in some social augury in the mind’s eye of the individual. A caucus that would not question the musical quantums laid out for them. “You could make them like anything provided you hyped it up enough”, Brian Epstein the Manager of ‘The Beatles’ is once said to have said. This all meant that the crucial weapon to achieve this would be the disc jockeys and more pertinently the schedule arrangers of the main radio networks. They chose what was to be played. In effect they dictated public taste. The commercial music lobby concentrated their guns on them, a relative few people and locked them into their own creations of public musical taste. This was further locked into particular kinds of social stratifications and the pop Guru was invented to account for it all and give it a blessing or hype it up as a respectable art form.

The whole thing was a sham from start to finish, with the shareholders of record companies the final pseudo arbitrators of taste. In fact, in ultimate irony, almost all large record Companies are owned by Conglomerates that have nothing to do with music.

Of course as I have said, taste is a very personal thing and everyone has a right to exercise it in their own way, without being held to judgment as to its veracity and aesthetic, or other, quality. But no-one’s taste should be manipulated such that it conforms to commercial interest. Commercial interests that have no sense of responsibility for keeping up standards in art or art forms. No one should be manipulated by teams of clever behavioural psychologists, and greedy unscrupulous money Moguls with irises writ large with dollar and pound signs. Be a fly on the wall at one of their board meetings and you will need to wear a protective helmet from the dulcet tones of humbug. I remember walking into a school class of 24 Beatle haircuts one week, after the first Beatle’s tour of the USA. Only one student differed. Such could be the power of public notice through the media. Such is the power open to the manipulators of public taste. Don’t we know it.

It is the strangest thing that the audience age range of the 60–90 group, who are by far the richest and the most fiscally stable of all societal groups in the Occident, of all age groups, is the least catered for by the music industry – for their tastes in music. It is they that can most afford to buy the music. The odd radio programme might give in to their behests, once in a while, under some nostalgic format or the other. 40 year old records will be dusted down and played. Is there no entrepreneur with a brain the size of a pea who can see that, in most western countries, the market for music based on the formative years of the over 60’s is nearly 40–50% of population. I had to go to Sri Lanka to find any radio station playing the melodies of yesteryear on a regular basis. The Commercial Service of the Sri Lanka Broadcasting Corporation and GOLD FM – a private commercial station also broadcasting on the island paradise, had the most beautiful formats for melodies of yesteryear I had heard after listening extensively all over the planet.. It was bizarre. A nation so different in its culture, both social and religious, but here, in this island so far away from the English speaking world, day after day, night after night, were played the songs of a bygone era, in the relevant English medium without apology and with grace and enthusiasm, as I say, by several of the main radio broadcasters there. It was bizarre.

So what of the older generation and their scope for enjoying the music they love. There surely is a fortune to be made, especially through the auspices of the internet, where elderly people can buy the songs and singers of yesteryear through the simple press of a few buttons. Admittedly not many older people are computer literate enough to pick out, hear and order music over the internet. I maintain that there are enough out there to bring about a huge revival in the old ways of song, if things are simplified, through commercial products that enable more people with less technical knowledge outlooks to do this simply. The technology will be soon available in every home with a TV set to do this, without resort to the complexities of a computer. Something alas many older people resist. One great thing all this will do is to kill off the record companies and open a world of talent out there directly to the public. You will be able to make your own personal choice of what you want to listen to without being dictated to by someone else’s whims or measures of what you should hear. You will be able to order your favourite songs by title and choose to hear however many artists you want, singing a portion of the song, to enable you to decide which one to buy on a download, or a posted CD. All done from your own home and TV set.

A strange and utterly bizarre situation prevails. No-one seems to want the opportunities and perhaps fortune that awaits anyone with the business erudition to see that there is a market three times the size of the current pop music market for anyone who will record or put out, be it on the internet or elsewhere, newly recorded songs of yesteryear, or indeed new ones, sung as was done in the styles back then, by voices of and musicians of real talent recorded on contemporary recording equipment. The old nostalgic fare laid down decades ago comes set in a gel of old technology and the quality of voice and accompaniment leave much to be desired, when heard on present day audio equipment.
Why then will no one take up the challenge. It seems perhaps an entire generation is programmed. Programmed and formatted in the womb to miss the point. through no fault of their own. Could most leaders of media taste all over the Occidental world have hardened up psycho mentally to and through the concussive and percussive exploding bolts of industrial machine sounds they heard in their mothers’ wombs. It may well prove to be so. They were either conceived too late or conceived in the wrong social situations. Conceived too late to be able to appreciate the full and almost transcendental power and meaning of lyrics, expressed to make an intelligent point in music and song. They were conceived too late or conceived in the wrong social situations. through no fault of their own.

The crucial point is that the power of brain formatting when young enough can lead the way extremely powerfully for future perceptions and actions. Some might call this progress. This power is not usually recognised and much that is good and sociably valuable for the greater good of us all is thus tacitly discarded and thrown away.

Out there, somewhere in the cold metal shelves of song libraries, are still songs on fragile scratched master cutting discs, black discs and clouding silvered CDs, for those among you whose birth logistics and lineages might have had the good fortune to miss situations that are changing humankind into machine minded robots. Your mind sense might have been lucky enough to have retained a stronger sentimental sense of things and thus the music of the past. Songs where lyrics actually meant something. And were not just the meaningless indices accompanying the banal mechanised beats of road drills and steam hammers. More an industrial cacophony suitable for the factory floor as I have said.

Hear them while you still can, these songs of yester-year. Treasure them while you still have a heart-sense to appreciate them. To the religious, a sentimental heart would be a gift you have in the soul. Fewer and fewer radio broadcasts will feature these songs or singers, as things are, till one day the squeaks and grunts of transistors and diodes and the booms and thuds of the rhythms of machine noises maybe the only lullaby a baby will ever hear.

© Nigel Kerner 2010

1 ‘The Importance of Prenatal Sound and Music’ Whitwell, Giselle E. Rmt Journal of Prenatal & Perinatal Psychology & Health, Vol. 13, No. 3/4, Spring 1999


Mind Crimes Deadly Mistakes EP recordings finished!

As you may know I have couple of different musical project in process. Now we have finished the recordings of Mind Crime’s Deadly Mistakes EP. Now we are in the mixing phase and I hope, that we can release the EP in March. We had some difficulties with bass, but now everything is looking good. More information to come…

You can follow our progress in our music biography page:


Celebrities invoking KALI’s Death Cult & Slaughter

So first some information about Kali from the Wikipedia:

Kālī (Sanskrit: काली, IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindugoddess associated with empowerment, shakti. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla—the eternal time—Kālī, his consort, also means “Time” or “Death” (as in time has come). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally “redeemer of the universe”). Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess.[1] Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger. She is the fierce aspect of the goddess Durga (Parvati).[2]


Kālī is the feminine form of kālam (“black, dark coloured”).[3] Kāla primarily means “time” but also means “black” in honor of being the first creation before light itself. Kālī means “the black one” and refers to her being the entity of “time” or “beyond time.” Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः । तस्य पत्नीति – काली । kālaḥ śivaḥ । tasya patnīti kālī – “Shiva is Kāla, thus, his consort is Kāli” referring to Devi Parvathi being a manifestation of Devi MahaKali.

Other names include Kālarātri (“black night”), as described above, and Kālikā (“relating to time”). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.[4]

Kāli’s association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī. It is said that aspirants who wish to offer Bhakthi should approach under the proper guidance of a Siddha or equivalent. Chanting her mantras from anywhere would cause unknown effects.


Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda written 1000 BCE or older, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7).[5] Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, “black night”) and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona‘s son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija (“Bloodseed”). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts “usually place her on the periphery of Hindu society or on the battlefield.”[6] She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the “Adi Shakti” (Fundamental Power) and “Para Prakriti” or beyond nature.


Slayer of Raktabija

In Kāli’s most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates.[20] Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

Out of the surface of her (Durga’s) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger’s skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.[21]

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain.[22] In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda.[23]Chamunda is very often identified with Kali and is very much like her in appearance and habit.[24]

Dakshina Kali

Bhadrakali (A gentle form of Kali), circa 1675.
Painting; made in India, Himachal Pradesh, Basohli,
now placed in LACMA.

In her most famous pose as Daksinakali, popular legends say that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. She is about to destroy whole universe when urged by all Gods Shiva lies on her way to stop her. In her fury she fails to see the body of Shiva, who lies among the corpses on the battlefield and steps on his chest.[25] Realizing Shiva lies beneath her feet, her anger is pacified and she calms her fury. Though not added in any of the puranas, the popular legends tell that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The ‘Devi-purana”, which goes into great depths about Goddess Kali, reveals the true reason for the symbolism of the tongue. The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist and an enchanted Shiva lies beneath her feet. Each of these icons represent a deep philosophical epithet.[26] The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali is undoubtedly the primeval energy. The depiction of Kali on Shiva shows that without energy, matter lies “dead”.[27] This concept has been simplified to a folk-tale depicting a wife placing her foot on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali.[28][29] The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the ‘Niti’ of Saptapuri Amavasya.[30]

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva’s devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest; both of them dance and Kali matches Shiva in every step that he takes until Shiva takes the “Urdhvatandava” step, by vertically raising his right leg.[31] Kali refuses to perform this step, which would not befit her as a woman, and became pacified.


Now when you know that Kali is the Symbol of death and slaughter we check out what is happening in Hollywood and it’s not nice. I wondered many times that why Miley Cyrus sticks her tongue out in every fucking picture, but now it is just plain clear. She is promoting Illuminati’s death cult like everyone else in the musin business nowadays:

“Whether we like it or not, us females in the industry are role models and as such we have to be extremely careful what messages we send to other women. The message you keep sending is that its somehow cool to be prostituted … its so not cool Miley … its dangerous. –Sinéad O’Connor

Miley Cyrus Satanic Conspiracy

The MTV Music Awards has come and gone but, the Mind Control remains!

Miley Cyrus VMA conspiracy

Why is Miley Cyrus’ performance at the VMAs important to our nation? Simply stated, Global Mind Control. It is not always the effect on the children of America. This is a global conspiracy and they need the U.S. to look like The Great Satan in the eyes of other nations. Our celebrities are used as symbols to rally the forces of war. Kali, consort of Shiva, symbolizes the “Time of Death”; The Black One. Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. The unleashed form of Kali often becomes wild and uncontrollable. Kali was so much involved in the killing spree that she got carried away and began destroying everything in sight. Kali is the fearful and ferocious form of the mother goddess.

Notice in this video of Miley’s performance at the VMAs she is stroking invisible hair; another indication that THEY have her invoking Kali

Psychological warfare is the subtle undertone that guides a population to war. Some say there are much more important things to discuss other than Miley Cyrus’ performance at the MTV Music Awards. The simple answer is that this is wartime propaganda and Disney has been at the heart of it since WWII.

Miley Kali

They brought Miley out of a trailer park and onto the stripper pole singing “Party in the USA” as the U.S. economy collapsed. Again, Miley was dredged up to play a role in the Occupy Movement. Now, it is the blatant destruction of the United States’ image. The rest of the world must see us as The Great Satan. This is the reason for Honey Boo Boo, Sex in the City, or Pawn Stars; to make America look like the lowest form of life on the planet. Beyond this is the Truther programming that leads one to destroy their own nation from within. Do you think THEY do not want you spreading hate for America’s leadership. It’s in the plan! Globalists have no love of nations. Disney showed us this little tid bit of mind control in Chicken Little. The Fox uses Chicken Little to spread fear and animosity amongst the chickens all the while he thinks he is doing the right thing. (Spoiler Alert) It does not go well for the chickens.
There is more to this. The psychological effect that this display of debauchery has on young minds. We have all grown up institutionalized and mind controlled. Our celebrities simply reinforce the meta-programming and without them, this whole scenario falls apart.
On December 7, 1941 Japanese planes attacked Pearl Harbor. Within twenty four hours war had been declared and approved by Congress and the United States officially entered WWII. The next day Walt Disney arrived to work at the studio in Burbank only to be stopped at a check point and made to confirm his identity. The entire studio had been commandeered by the military.

Disney Wartime Propaganda

When the studio occupation ended Walt chose to stick with the military theme in his project “Victory Through Air Power”. It ended with a triumphant obliteration of Tokyo. The cartoon reduced war to machines fighting machines leaves out the suffering and dying…one critic of the time called it a “gay dream of holocaust”. Winston Churchill liked it so much he requested a private screening for himself and Franklin Roosevelt to help convince the president to go ahead with a long range bombing program.

Inspired by Disney’s “Education for Death: The Making of the Nazi”, Hitler was enjoying his own finely tuned mechanism of mind control. His propaganda minister Joseph Goebbels admired the quality of Walt Disney’s animation so much he was inspired to use the same medium to create propaganda of his own.


Walt Disney has stated that he always saw Donald Duck as the common man, yet, he portrays Donald as one who is irrational, ill-tempered, impulsive, of low intelligence and is easily manipulated. In the 1942 cartoon entitled “The New Spirit” Donald is implored by a radio to help stamp tyranny from the earth by paying his income taxes, imparting to him the motto “Taxes to beat the axis.” When Donald rushes his payment to Washington DC we discover exactly where our tax revenues go…to factories working day and night to produce “guns, machine guns, anti-tank guns, long range guns, guns, Guns all kinds of GUNS!”

Why would the government need Donald Duck to remind people to pay their taxes? Perhaps because in 1942 Americans were just getting used to the idea of federal income tax. Few people know that prior to 1913 federal income tax was considered unconstitutional.
Get Weird Stuff to know more!


The Teddy Bear is used in Mind Control as a symbol of your helplessness. A drugged-out, one-eyed Teddy Bear is beyond the concept of the message given to children by Satanic Ritual Abusers when they defile their most treasured possession. This lovable stuffed bear is turned into a constant reminder of the molestation the child has suffered. If it can happen to Teddy…
As a matter of fact, kissing the anus of the Devil was a ritual performed on the witches sabbath. It is the ultimate act of abasement called Osculum Infame – “The Kiss of Shame”.


You may think that bringing more attention to this spectacle is creating more bad publicity for the U.S.A. but as they say on G.I. Joe, “Knowing is half the battle.” The effects of the celebrity mind control are obvious. What is not as familiar is the master controlling the puppets and by proxy, controlling you. If you blame these celebrity victims, you are under the spell of the sorcerer! It is their job to Blur the Lines.

The Illuminati message is clear – We Can’t Stop!
Dancing with Miley
Doing whatever we want
This is our house
This is our rules
And we can’t stop
And we won’t stop
Can’t you see it’s we who own the night
Can’t you see it we who bout’ that life
And we can’t stop
And we won’t stop
We run things, Things don’t run we
We don’t take nothing from nobody
No, you give your free will agreement every time you witness these events and do nothing to change the direction our world is being pushed. Yes, you need the strength of Atlas, so invite your friends to lead an agenda to find the beautiful, loving, caring, nurturing people that surround you.


It is a choice of what to care about. Some are certain you should be looking at the warfare as opposed to being offended by Miley. We show that this runs hand-in-hand. The Princess/Warrior Programming creates the culture of narcissistic psychopaths that leads to war.


We are being led down a path outlined by Aleister Crowley in the Book of the Law and at the top is the Whore of Babylon. Crowley stated, and I cover this in-depth in Aliens From Hell, that the destruction of society lies in children witnessing every sexual act before adolescence. Lady Gaga shows us the allegiance to Lucifer dressed as Venus and we can only escape this vampiric influence by turning our back to the Little Monsters placed on the stage before us.


Lucifer is our Lady Liberty. Look it up if you don’t believe me. We are part of a High Profile Ritual regardless of which theater it is performed in; a theater of war or the stage of MTV Music Awards. To understand the purpose of all this, you must learn of the Ordo Templi Orientis or Sex Cult of the Illuminati. You will learn much by going through these Podcasts. Our children’s souls are at stake and with them our very future.
When you learn the goal of invoking demons to enter our souls brought to you by Disney, Katy Perry and the like, you will understand what is at stake! They call this Scarlet Woman, the Whore of Babylon and she has come in many incarnations…


Don’t let this mouse shake you down!

Minnie Mouse Shake Down

And just a thought, as you watch warfare for entertainment, keep in mind what Disney’s show Jessie has to say…


This comes from the episode titled “The Secret Life of Mr. Kipling”. You will find that Mr. Kipling is not only a reptile but also a Freemason. Stay tuned, more to come!
The Art of Disney is 666

Disney Art 666


This satanic/Illuminati/death cult agenda is just so sickening, that please spread and tell others and don’t let your children look at this satanic CRAP!

Have you ever thought why the lyrics in songs on the radio are so stupid?

Have you ever wondered why the lyrics in the songs are so stupid? That’s because big companies don’t want to play songs which contain something “Truth”. It is always just partying, leaving your boy/girlfriend, partying, reunite with your boy/girlfriend, partying, satan worship, partying, satan worship, partying, partying, partying, etc. They just want that you are in DEEP sleep and keep on partying and they want to demolish your family units and that’s why they are pushing single/gay agenda, why? Because they don’t want strong family units, they just want you partying,  sleeping, consuming, sleeping, consuming,… WAKE UP!

So I just want to post some different kind of songs from Mike Adams “Health Ranger”. It would be very different world if these kind of songs would get some air time too:







So there you have some different kind of music for a change and here is Healt Ranger’s website:

>> Natural Health News

And then I just have to post this song, because it contains some Truth also:


Have a nice weekend!

Masters Of Metal Part V, Stratovarius

This is the final post in “Masters Of Metal” series for now. And because I’m finnish guy the last band is finnish powermetal group Stratovarius:

Stratovarius is a Finnishpower metal band that formed in 1984. Since their formation (originally as Black Water), they have released 15 studio albums and one live album. Along with Helloween, Dark Moor, Blind Guardian, Gamma Ray, HammerFall, Angra and Rhapsody of Fire, Stratovarius are considered one of the leading groups of the power metal and symphonic metal genre.


Let’s start this with their early video called “Future Shock” from 1989:


Next one is one of my favorites called “Speed Of Light”:


Then all time favorite called “Black Diamond”:


Today without founder member Timo Tolkki Stratovarius plays littlebit progressive metal and here is the “Halcyon Days”:


>> Official Stratovarius Website

This was the last part of the series, but there will be more I promise, but this is it for now. And remember these are not the best bands just my opinion.

Masters Of Metal Part IV, Blaze Bayley

I just have to make a post of this guy. Blaze Bayley’s life have been an inspiration to me because of his determination considering about music and life. He has lost his frontman place in Iron Maiden and he has lost his loved wife on the journey, but still he wrote’s so passionately about life’s struggles that it is just amazing. Here is a small story from wiki:

Blaze Bayley (born Bayley Alexander Cooke,29 May 1963) is an Englishsinger, lyricist, and songwriter. He was the lead singer of Wolfsbane from 1984 to 1994, and again during a more recent reunion. Blaze is best known for being the lead singer of British metal band Iron Maiden from 1994 to 1999. Since 1999, he has embarked on a solo career.


Here is the absolut killer track from Iron Maiden days “Man On The Edge”:


This next one is called “Clansman” also from Iron Maiden days:


What is awesome in Blaze is his ability to write songs about life… the life we all must face everyday and here are couple of examples. First one is about a doctor who says that Blaze, you don’t have brain 😀  and hilarious video too:


And then my absolut favorite song from Blaze’s Silicon Messiah album called “Stare At The Sun”:


And finally to you all Blaze Bayley bashers… FUCK YOU!!! Blaze you are a true Metal God.

>> Official Blaze Bayley Website

Masters Of Metal Part III, Gamma Ray

Next metal band in the series is Gamma Ray. This band has has dealt with different kind of topics for example New World Order and people’s freedom. Gamma Ray’s frontman Kai Hansen has influenced in Helloween and is very down to Earth guy who deals with real topics in his lyrics:

Gamma Ray is a metal band from Hamburg, northern Germany, founded and fronted by Kai Hansen after his departure from the German power metal band Helloween. Hansen is the current lead vocalist, guitarist as well as the chief songwriter of Gamma Ray. The band is known as one of the most prominent bands of the German heavy metal scene.



This first video is from Helloween days and is called “Eagle Fly Free”. My personal favorite:


This next one is from Gamma Ray days and is called “Land Of The Free”:


Next video clip is anti NWO song called “No World Order”:


Last video is Gamma Ray’s latest official music video called “Master Of Confusion”:


So that was Gamma Ray with truthspeaker Kai Hansen.

>> Official Gamma Ray Website

Masters Of Metal Part II, Megadeth

Second band in the series is rightly Megadeth. This band and especially Dave Mustaine is heavily interested about NWO, history and World politics. And hey if you didn’t know Dave was Metallica’s guitar player in the 1980’s, but they kicked him out. And if you watch these bands today it’s not hard to see how much better Megadeth is nowadays. Firstly I post one of my all time favorite songs on their best album Rust In Peace… this one is called Holy Wars…The Punishment Due:



And because this site deals with odd topics and mainly UFO stuff the second song is on the same album called Hangar 18:


Next one continues the story above so this one is called Return To Hangar, actually this is Hangar 18 & Return To Hangar live:


This next one is never stuff and is called Endgame from the album called Endgame. It’s about NWO agenda and dystopia stuff:


And finally here is Dave Mustaine in Infowars talking about patriotism and NWO:


I appreciate Dave’s bravery to talk about true things in the World.

>> Official Megadeth Website

Masters Of Metal Part I, Iron Maiden

This series is about metal band’s that have somekind of Truth in their lyrics or investigation about Truth. And because sometimes investigations get too heavy and you just have to cool down and relax music is a good tool for that. Music is also a powerful tool to manipulate people in good or in bad. I’m not saying that heavy metal music is good or bad, but I can say that in metal music there are good lyrics, which consider the situation on this planet or history.

This series is about metal bands, because I have listened mostly metal all my life and I think I know something about it. World is full of metal bands, but just few of them write about history or world events seriously. First band, that I want to introduce is Iron Maiden, because I have listen it since 1989. Their music is full of philosophy, historical events, religion (investigation sense) and current World status. In this series I’m not going to tell you which are the best mainstreme songs of these bands, what I’m going to do, is that I choose a song which have some philosophical, historical or that kind of significance.

First I post my favorite songs just because this is my blog 😉  and the first one is Hallowed Be Thy Name. Why I choose this version is because it just kind of wraps up the vibe that Maiden have today after 30 years:



Second favorite song is Phantom Of The Opera and this is from their early days. No particular history value, but tells you about everything Maiden was and is today:


Then I post couple of songs that have some truth value. First one is a song called Brave New World. It’s based on a book of same name:

Brave New World is a novel written in 1931 by Aldous Huxley and published in 1932. Set in London of AD 2540 (632 A.F. – “After Ford” – in the book), the novel anticipates developments in reproductive technology, sleep-learning, psychological manipulation and operant conditioning that combine to profoundly change society. Huxley answered this book with a reassessment in an essay, Brave New World Revisited (1958) and with his final work, a novel titled Island (1962).


And here is the live version from year 2000 in Rock In Rio, which is just awesome:



Second son which have some significant philosophical value is Childhood’s End and here is the book behind this song:

Childhood’s End is a 1953 science fiction novel by the British author Arthur C. Clarke. The story follows the peaceful alien invasionof Earth by the mysterious Overlords, whose arrival ends all war, helps form a world government, and turns the planet into a near-utopia. Many questions are asked about the origins and mission of the aliens, but they avoid answering, preferring to remain in their spacecraft, governing through indirect rule. Decades later, the Overlords show themselves, and their impact on human culture leads to a Golden Age.


And here is the studio version, because there is no good live version:



I could talk about Maiden forever, but this is it for now. Listen all the albums and you are a lot wiser person considering heavy metal, history, philosophy and World situation.

>> Official Iron Maiden Website

Up The Irons!

Possession or pact with the Devil, what’ll it be?

Nowadays some people, specially pop-artists and movie stars do everything to get or stay in the spotlight. So what does it take to get on television or top of the pop-charts? Have you ever thought that celebrities use maybe more sinister means to get there where they are? Isn’t it strange when some of your favorite bands or friends musical projects don’t get any visibility or fame? That’s because maybe they are on the wrong side of the light, so to speak. I think, that if you are on the dark side you have much more potential to get to the spotlight.

Ancient times witches and magicians used dark, black and chaos magic to gain some fame or just to get their goals through. Do you think, that those tricks are gone to the wind, nope. Same tactics are used today in front of your eyes. Some of the celebrities don’t know the power of these forces, but some does and they use them like another tool in the box. The side-effect is, that you lose your soul for example, but that’s a small price to play like Jimi Hendrix or act like Brad Pitt.

There are different kinds of methods, that celebrities use. They can use logos, marks and clothing. Or they can just be possessed, that’s right you heard it right, possessed. It’s hard to get in details so that posts don’t get too long and boring, and that’s why I post links to the documents, films or other sites. So firstly here is a link to the site where a guy called Wes Penre talks about people who sold their souls to the Devil. Then there is also a good YouTube-channel from a guy called ShieldOfTheSON, which talks also satanism/pacts in the movie industry.

Why this topic interests me is? I watched a Swedish music show and KA-BOM there it was straight on your face… satanism on television in front of your eyes. There was this p3GULD show and one of their performer was Ghost. This satanist band with a pope. Is it normal to show satanism on television? Interesting thing is also, that Ghost has released only one album and they are gained huge success.

These artist love to show off with these hand signs clothes and symbols. I’ll talk symbols another time, but here is a good link where you can see hand symbols etc. Then you want some examples of pacts with the Devil or possession, of course you want. Ok here they come:


Kate Perry – Sold my soul to the Devil:



Bob Dylan – Sold my soul to the Devil:



Kanya West – Sold my Soul To The Devil:



Beyonce – Possessed by Devil:



Nicki Minaj – Possessed by Devil:



And the list goes on and on…

So what’s the conclusion? My conclusion is, that I love music, playing and my soul, so no pacts for me thanks.