Conspiracy Music Guru is the stage name of Alex Michael, a multi-instrumentalist, music producer, and performer. After extensive research into alternative perspectives on reality, Alex channeled his talents into creating music that explores themes such as flat Earth theories, gravity, satellites, and the moon landing hoax. He introduced the character 'Flat Earth Man,' a larger-than-life, animated country persona featured in his music videos and songs. https://www.conspiracymusicguru.com↓
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The official website of James Delingpole:https://jamesdelingpole.co.uk
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Welcome to the Deling Pod with me James Delingpole.
And I know I always say I'm excited about this week's special guest.
But before we meet him, a quick word from one of our lovely, delightful sponsors.
Here at The Delling Pod, we like to support lovely people.
And I can tell you that Sasha, Who runs the company called Brand Zero.
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Welcome to the Dellingpod, conspiracy music guru.
I've had you in my sights for quite some time.
I mean, in a good way, in a good way.
Your real name is Alex?
That's correct, yeah.
So you're not so worried that the Illuminati are going to assassinate you?
Well, I mean, they're already trying their hardest to censor me and people like you and me.
I mean, that's one of the most frustrating things I've ever come across in my life, to put my heart and soul into something that I love, only to be censored and kicked in the balls continuously.
So the censorship is a real problem.
I mean, I have no fear.
Because of what I'm saying, I'm just speaking my truth.
I mean, you know, they don't have to knock on my door and kill me.
They just have to censor what I'm saying, don't they?
I mean, that's...
It's pretty prevalent in this whole community, isn't it, censorship?
Oh, it totally is.
Although, I don't know, I think I've kind of...
If I had to choose, not that you get a choice, if I had to choose between being censored and being found in my hotel...
Having hanged myself against a doorknob, which seems to be one of their assassination techniques, I think I'd go for being censored.
Or shot in the head twice.
That's always a good one.
Shot in the head twice.
Yeah.
Yeah, like, yeah, it was suicide.
We found him with two bullet wounds to the head.
Two?
And the guy who'd had a run-in with the Clintons and was found...
Well, I'd better narrow it down, hadn't I? Before we go, are we on YouTube?
Because I've got to be careful how I speak.
Are we going to use code words if we go into the jab thing?
I'm not allowed on YouTube.
That ship sailed long ago.
I'd like to be on YouTube, obviously, because there are lots of people who are very lazy, who only use YouTube.
I wonder what's happened to James Dellingpal?
Maybe, did he give up his podcast?
Yeah, trying to get people away from YouTube is like pulling teeth.
And I'm having similar problems with YouTube.
I've had, you know, well, my stuff is definitely censored.
I've had stuff pulled off of YouTube.
You know, I've had strikes and my community thread is completely bottlenecked.
And, you know, people don't get their notifications when their notifications are set to on.
You know, people are magically unsubscribed.
So I put out a video a couple of months ago saying, I'm done with this toxic relationship.
Like, please follow me on Rumble and Bitchute and I'm going to try and get...
Trying to get people away from YouTube is just like...
It's like pulling teeth.
It's absolutely impossible to try and get people on these other alternative platforms, which are free speech platforms like Rumble and Bitchute.
So that's a real problem for me.
And I would love to be on YouTube.
I'd love to be able to say what I want to say, but there's no freedom of speech over there.
Even if you put things musically and sarcastically and satirically, which is what I do with my music, I think now even the algorithms can detect sarcasm because we're in a world of AI now that can detect these code words.
It's really, really tough, man, out there.
I was going to go on slightly boringly.
I don't think I'm going to do it because it's a distraction from what I want to talk to you about.
But I think even Rumble is, well, Rumble is deeply suspect as well.
So they're closing in on us.
But look, I don't want to talk about boring technical stuff.
I want to talk to you about, you are a conspiracy music guru.
This is an area I haven't...
I've been down a lot of rabbit holes, but apart from foundering, I haven't done any ones on the kind of the music side, particularly the music as opposed to, you know, Paul is dead and all that stuff.
But you're quite good, I think.
Well, you bloody ought to be, given how many guitars you've got.
How many guitars have you got, by the way?
There's about, in this studio, there's about 13. I think 13 or 14, maybe.
I don't know.
I've lost count now.
I mean, how many guitars does a musician need?
Always one more, obviously.
Always one more.
You've answered my next question.
I agree.
It's like horses.
I mean, my view is you can't have too many horses, especially if you've got lots of money and you can afford to pay grums to look after them, which I can't.
I've seen you on Twitter, I think, talking about something which I've never really got to the bottom of.
And you've obviously researched this, which is 440 versus 432. Do you want to tell us all about that?
Yeah, I mean, I came across a guy about 10 years ago.
His name was Jamie Buter, B-U-T-U-R-F-F. Has a very small channel and has had a very small channel for years.
He seems to be stuck on 10,000 subscribers for the last 10 years.
And I like those channels, you know, because that speaks volumes to me.
And he put a playlist there.
He's got a playlist still on his channel called 432. And if you go into that playlist, he was talking about, you know, this whole 432 versus 440 and the solfeggio healing frequencies.
How there's an awful lot of misinformation when it comes to these Solfeggio and the 432 and everything.
And he's right.
If you were to type into Google, are vaccines safe and effective?
What do you think Google's going to offer up to you?
A bunch of big pharma propaganda.
Or if you type in, did we go to the moon?
Of course we went to the moon.
It's always going to offer you that state propaganda.
And the same thing is true with Solfeggio and 432. If you were to type in, you know, the 432 Hertz conspiracy or Solfeggio healing frequencies, it's going to offer you a lot of nonsense propaganda.
And Jamie Buterth was talking about this kind of thing like 10 years ago.
And he was saying, you know, don't listen to these, you know, this whole, you know, 528 hertz is supposed to be the DNA healing.
And he was saying, no, this is all a PSYOP. And here are the people that are these CIA agents that are pushing these particular frequencies.
And what he offered was the kind of real or the true solfeggio healing frequencies.
And I really resonated with this man.
I've got a pretty good gut and a pretty good, you know, eye for someone.
And I just resonated with what he was saying.
So I thought.
Well, how are we going to test this?
You know, real science is observable, repeatable, testable.
So I thought, well, let's make music in 432 hertz and embed these so-called true solfeggio healing frequencies into an album and put it out there and gauge the feedback and see what happens.
So I did that.
I released my first true solfeggio album.
I think it was 2019, and I don't know how many I've sold, a few thousand.
And I just sat back and waited, and I didn't ask for any feedback, but I got it.
People were sending me messages saying, you know, this helped with my sleep, this helped with my arthritis, this helped my children be calm, this helped my pets be calm.
One guy even said, I put the CD player on, and I put it in my chicken pen, and all the chickens surround the CD player.
They seem to gravitate towards this kind of frequency for whatever reason.
Anyone that's saying there's nothing to this 432 hertz, I have strong opinions against that because I've tried it and I've tested it, and people are having profound, sometimes even spiritual effects with this 432 hertz music.
Now, I do truly believe that music has been utterly bastardized in every form, and when you start looking at who funded this change...
Or who wanted to make the keynote frequency 440 hertz.
You find Rockefeller footprints all over it.
And I don't know about you, but when I hear the name Rockefeller, I don't particularly hear, you know, think of rainbows and, you know, beneficial to humanity.
I think they knew what they were doing.
And when you look at 440 hertz cymatically, which is, you know, putting a frequency into a Chattanean plate, I think they call it a Chattanean plate, and you sprinkle sort of flour or powder over it, it will start to make...
The 432 will make very coherent, beautiful geometric patterns.
The 440 hertz will make very cloudy, very muddy kind of shapes.
So if we're to believe that we're 70% water, then I don't know about you, but I want my water to be making beautiful geometric patterns.
So I do believe that they funded this frequency to make things more dissonant, to cause more of a dis-ease.
It's where we get disease from.
And, you know, when you look at the demographic that are listening to music the most, it's teenagers, and they're listening to Metallica or whatever for eight hours a day, and we wonder why they're so moody and grumpy and sick.
And I do believe music...
Is medicine.
I think it used to be medicine, but I think it's now been so bastardised in terms of frequency and compression as well.
And so many other things, you know, with chord structure and, you know, we've come very, very far from the music that was 200 years ago, which was a lot more higher-minded and intellectual.
So I do believe there's been a massive agenda to bastardise music.
Okay.
So are you equipped to give me a history lesson?
I mean, I don't know.
I'm not very science-minded.
I don't know what we're talking about.
We're talking about resonances, vibrations, what when we talk about these?
Yeah, I mean, it's very, very difficult to put into words.
Like 432 hertz is more of a feeling for me.
And by doing these tests, by putting the music out there and gauging other people's feedback, when they say your music works when other music doesn't, I put this song on to try and keep my kids calm.
It doesn't work, but only your CD work.
So there has to be some kind of resonance, some kind of calming to it.
And I feel that in the studio, it's like there's more sustain to it.
I get more goosebumps.
It's very, very difficult to put into words, but, you know, how can you really prove it?
No, I don't think you need to, Alex.
You're preaching to the choir here.
I think all we need to establish, what people want is background info.
They want technical terms explained.
Nobody listening to this podcast, I doubt, I mean, maybe 10%, maybe 10% will be listening to this podcast going, well, this sounds...
Weird.
I've never heard of this, or this sounds bollocks.
But the rest will be very, very familiar with the broad outline of the situation.
They won't need persuading that we're energetic beings, that frequencies work, and they have a healing power.
But what I'm interested in is when did it happen?
I mean, how do you even go about changing it?
Okay, so when orchestras were playing Beethoven, when Beethoven was...
We're still alive.
What were they doing?
432 or 440?
There's a bunch of different frequencies that people were tuning to, but most people refer to 432 hertz as Verdi tuning.
Verdi was an advocate for 432 hertz tuning.
So the excuse was that we need to have a standard.
We need to have a standard so everybody can, you know, so if you've got a piano, it needs to be tuned to a certain particular standard.
Then everybody, when they come in, their instruments are all tuned to this specific standard.
They had to make a keynote standard to make it easier, right?
And, you know, it's always in the form of, you know, convenience or ease.
That's how they push these agendas.
So there was a bunch of different tuning frequencies.
There are classical composers today that still prefer the 432 hertz.
I guess, you know...
It depends how in tune you are to it, I suppose, musically and spiritually.
But there was a definite decision and Rockefeller-funded agenda.
I think it was in the sort of late 30s, early 40s in America.
And then that was brought to Europe, apparently, in the 1950s, about 55. And allegedly, with the help of Hitler's right-hand man, Goebbels, was pushing this into schools with tuning force and that saying, this is the new...
Tuning standard, which is very suspicious to me.
So if I had two tuning forks in front of me now, and one of them was 432 and one of them was 440...
Would it be very obvious, even to my ears, that they were very, very different?
If you were to put them side by side, yeah, there's only an 8 hertz difference, but you can tell one is flat and one is sharp.
Some people, if you play them both, they will go, I can't hear any difference.
But it's very, very, very minute.
And I think that minute change is enough to cause that kind of, you know...
This is that kind of dissonant frequency.
So you would be able to hear the difference.
It's very, very slightly flat.
And there's a lot of stuff on YouTube.
But again, it's like a minefield out there when it comes to disinformation.
Of course, the algorithms are going to say 432 is nonsense.
But I believe that I've almost proved it with the link that I sent you today with all of those testimonials, people saying having these profound effects with this kind of frequency.
And I'm not alone in that.
Yeah.
I'm detecting a kind of...
You're on a mission to persuade the world.
Let me repeat.
You don't need to repeat...
We know.
We know the deal.
We believe you.
So how do you...
When you tune your guitars, have you got a 432 tuning fork?
Is that how it works?
You can just buy any digital tuner like this one here.
It's just a little clip on...
Tuna, it's like 20 bucks.
It's nothing, and you can set it to 432, and then you just tune your guitar to that.
Guitars are very, very easy to tune to 432. Digital instruments like I have behind me, this is a digital piano here, so that's basically plugged into the computer via USB. So I can then pitch that down to 432 hertz.
Now, when it comes to a real grand piano, that's a little bit more tough to tune to 432 hertz.
You'd have to get a piano tuner in.
You'd have to start with the middle.
Get his tuning fork and tune the middle A to 432 hertz and then the rest of the keys will fall in line with that.
And what about my...
Old CD collection.
Do you know what?
I virtually stopped playing music.
Right.
When you learn this stuff, you have to lose all of your heroes.
You start to see music as what it is.
No more heroes anymore, right?
When you start learning, you alluded to Paul McCartney.
It gets so deep.
I don't know if you've interviewed Mark Devlin, but maybe that's a guy you should have on here.
No, no.
I've done Mark Devlin.
I've done Sage of...
Right, so you know all about this.
So once you start learning all about that, you stop listening to music.
You start realising there's an agenda behind this music, not only from a frequency perspective, but from the lyrical content, from the chord progressions, from everything.
It's actually quite dark when you realise what they're putting into this music.
This is what I, later on in the podcast, I want to talk to you about this, because I think you're quite good on it, and about chord progressions and how they...
How they mess with our heads.
But I just want to nail the 432, 440 thing first.
So you said Verdi light tuning.
What was that word, solfeggio, you used?
Is that...
Yeah, so allegedly ancient solfeggio healing frequencies, there's supposed to be seven of them.
But of course, you know, I do believe there are, you know, healing frequencies.
I think Royal Raymond Rife was proving that, you know, he was obliterating cancer with this kind of stuff.
So frequencies can heal, but also frequencies can destroy.
You know, you can take the opera singer that can find the resonant frequency of a wine glass and shatter it.
So you can do that with cancer, I believe, and cure cancer.
So I think, you know, there are healing frequencies and there are, you know, destructive frequencies.
So I do believe there are solfege healing frequencies.
I embed those frequencies into my music so subtly that you wouldn't even know they're there.
But every track I start, you can hear that it's a pure sine wave.
It's like, it's unbastardized.
It's like a...
And then I'll build the track around that.
And then by the time the music comes in, you can't really hear the healing frequency anymore, but it's there.
So then you're just enjoying the music.
But subtly, with the right intent, with the right frequency, with the right 4-3-2, you're going to be blessed with something that is not available in the current music that we're exposed to.
That's what I was going to ask you, and then I forgot.
Can I get my...
If I wanted to listen to my old pop music records again, ever, could I... Is there a device I could get them transformed from 440 to 432?
Yeah, absolutely there is.
I do believe that...
Once you convert something, you kind of lose something in the conversion process.
So I'm a big advocate of making everything from scratch in 432 hertz, unbastardized, uncompressed, and releasing it completely untouched with the right intent.
I do believe that sound waves are carriers of consciousness, and you put the right intent, I'm doing it for the right reasons, then that has a power of itself.
But if you take the music that's in 440, yes, you can convert it.
There are tools to do that.
There are even apps that do that.
There are apps in the App Store that will take all the music that's stored on your phone and just simply reduce it by 8 Hz, thus making it 432 Hz.
You can take all of your CDs, you can burn them onto your PC, and then you can convert them into 432Hz using a program like Audacity, for instance, which is a free program you can find on the internet.
I don't think that's going to be as pure as someone like me who's making it from scratch.
Unconverted, unbarsadised, uncompressed.
That would be the best, which is why all my music is untouched, really, if you like.
It's digital, for sure, but there's no compression and there's no converting.
But yeah, it can be done.
So Verdi used 432. Yeah, allegedly.
What about the other?
I mean, what did...
Do we know what Mozart is?
We're all over the place, seemingly, and I think that was one of the excuses to find a tuning standard.
That was the excuse.
We're all using these different tunes, whatever resonates with you.
If Mozart was to sit in front of a piano, he has no idea what that's tuned to.
He's not going to have a digital meter to know exactly what it's tuned to.
It's just tuned to what it's tuned to.
So I guess there were so many different tuning frequencies that...
There was no standard.
I guess that was the excuse for, like, let's have one standard.
It makes everything easier.
But I do believe there were nefarious reasons for choosing that standard.
But there were so many different tunings that, you know, Mozart would use this particular tuning, maybe 415, and Verdi would use 432, and, you know, Chopin would use something else, you know.
So I think that was the excuse.
To make it easier, let's have a tuning standard.
But I fundamentally believe that that tuning standard was chosen for nefarious reasons.
Yeah, no, I'm sure you're right, because, I mean, I don't know, how long have you been down the rabbit hole?
Oh, since about 2012. 9-11 was the catalyst that got me into all this kind of, you know, looking at the world with different eyes.
Yeah.
And that was back in the days when YouTube wasn't so censored.
So I was drinking it in and drinking it in.
And I think I stumbled across the Solfeggio and the 432 stuff back in 2012, 2013. And I kind of sat on it for a while, sat on it for a while.
And just I wasn't really a competent music producer back then.
But once I had enough, you know, confidence.
And ability to produce music.
And I had all this information and I was coming across NASA as well and then the moon landing and everything else is like, right.
No more was I wanting to make love songs and breakup songs.
It was like now I had finally had something of worth to put into music, you know, like a creative burst.
It just kind of burst out of me.
And so that's when I started.
I started making music, I think, in 2000. Well, conscious music in 2017. And after seeing the reaction it's had, you know, I just, I think this, I found my purpose because, you know, I feel I'm contributing to something that I fundamentally believe in, you know, musically, which no one's doing.
Try and find conscious music.
And if you find it, it's certainly not promoted by the algorithms.
No.
So, I mean, you're obviously, you've obviously got great musical talent.
Presumably, in another life in a parallel world, you're making a very successful career as a session musician.
No.
Could you have done that?
No.
I mean, I did the pubs and the clubs, and I was a DJ for 10 years, and I was the guy playing the acoustic guitar in the corner.
But my disability is I don't read music.
If you was to put a sheet of music in front of me, it would be like Korean.
I wouldn't be able to make head nor tail of it.
So a session musician needs to know that.
So I'm used to this as a session musician.
So this is why I'm a solo artist because I don't work with other musicians well.
Trying to find a conscious musician around here in Spain, like an English-speaking conscious musician is rarer than a dodo, Zig.
Okay.
But when you were a boy...
Did you like the idea of being a rock star?
Oh, of course.
Oh, absolutely.
Of course.
Yeah.
My family is rather musical and that's where I get it from.
And there was always a piano in the house and, you know, I didn't pick up the guitar till I was 21. And I had, you know, delusions.
I had delusions that I was going to be, you know, you know, I don't know, something.
And I went on those auditions for X Factor and Britain's Got Talent.
I did all of that.
Thank God I was rejected from that because I can't imagine what kind of life I would be in now if I actually got through.
You could have been bummed by Simon Cowell.
Exactly.
I mean, there's some dark stuff that goes on with Simon Cowell.
There's some real dark stuff that's going on with the X-Factor.
But that's another story.
But I'm so glad that I didn't make it through the first audition.
I think they were looking for someone either exceptionally good or someone...
Exceptionally bad and I kind of fell in the middle.
I was okay, you know.
Did you get any vibes while you were going through these auditions?
Did you pick up any of the kind of the dark vibes?
No, because the initial auditions for those kind of shows, you're not...
You don't meet Simon Cowell or Sharon or whoever.
You don't meet those people.
You're met by the sort of young producers that kind of filled out all the shit.
And it's only when they find someone really, really shit, that's when they put them in front of the stars, the Simons.
Or if they find someone really, really good, that's when you get onto the show.
So the preliminary auditions that I was subject to were just young 17, 18-year-old producers or they worked on the show and they were just...
Just going, next, next, next.
And I was the one that they just went, next, no, sorry, I wasn't good enough or I wasn't bad enough.
But I didn't pick up any of those sort of satanic vibes.
But I would imagine if I went into that realm now, I would probably pick it up in an instant.
Not that I would ever go into that realm now because I know what it is.
But, yeah, there's some dark stuff to these talent shows, to music in general, I would say.
Well, I hope we're going to talk about that a bit.
A bit more in a moment.
When you were DJing, what sort of stuff are you playing?
I was playing the Matrix stuff.
You play what people want to hear.
If you want to get the club going or the pub going, you have to play the old school stuff, the dance stuff, the prodigy.
Floor fillers.
Yeah, floor fillers.
Yeah, exactly that.
Robert Miles and...
Yeah, exactly.
All of that stuff.
And in the year, I was doing it from the sort of 98 to 2010, something like that.
So I was, you know, I was living that atheistic lifestyle of sex, drugs and karaoke and the DJing.
I was a karaoke compere as well.
Did a bit of acoustic guitar and singing and that.
And, you know, if a pub in Essex wanted some entertainment, nine times out of ten, they would call me.
And I was just, you know, living that life of just sex, drugs and rock and roll and womanizing.
I mean, I don't regret it.
It taught me what not to be.
So I was just playing all these floor fillers, as you say, and playing the dance music and getting drunk.
And I'm getting paid for this as well.
It was incredible.
But then I sort of woke up and saw what a shallow life that was.
And thankfully, you know, I came out of that life.
And I'm very, very happily married and a lot more centered these days.
Yeah, it's funny, isn't it?
I don't think it's necessarily our fault.
I think that when we were growing up, correct me if I'm wrong, but we were encouraged to pursue a life of hedonism.
This was our dream, that you wanted to be like a rock god or similar.
You wanted to have loads and loads of sex.
Drugs were a really important facet of this lifestyle, and you should try them all, because that's what any imaginative, experimental person did.
The boring, straight people stayed away from drugs, but your job was to go and try them all.
So sex, drugs, and music, rock and roll.
Yeah, that's part of the programming, isn't it?
That's what we were taught.
That's what we were taught.
The cool people, I wanted to be a cool person.
I wanted to be a woman.
You know, so that's part of the program, but I see through it now.
That's what all that stuff coming out of Laurel Canyon, this so-called, you know, anti-establishment music, like The Doors.
There's so much music that came out of the 60s, which was apparently anti-establishment, but actually military-driven, it seems.
So it's just like to get people, you know, in this place of, like, sex.
It's such a psyop to me now.
I see it.
It's incredibly clever how music can be used to socially engineer a population.
I'm slightly sorry to say that I didn't have nearly as much sex and drugs and rock and roll as you did.
But nevertheless...
If I could have a word with my guardian angel and my guardian angel could go back in time, what I would ask the guardian angel to say to the younger me is, look, James, this sex and drug stuff, it's empty and it's pointless.
What you want to do is you want to join a choir and sing beautiful, sacred music, get your voice working properly.
Get your piano practice sorted.
Spend more time on a horse.
Get your riding skills really good.
Don't squander your time on waiting for the man in scuzzy situations, trying to score some drugs.
Don't do acid.
It's really not good.
Hindsight's a wonderful thing, isn't it?
It is.
But again, I wonder, maybe this was part of my...
My life journey that God wanted me to experience so that I could know what it was like, know what bad things are like, in order to be able to do good things with the rest of my life.
Exactly.
Yeah, exactly.
That's what I lived.
I lived that atheistic lifestyle of sex, drugs, and rock and roll, and I was very promiscuous.
So I had to go through that in order to look back on it, to say that was a real empty life.
But that's what the system pushes.
That's what the system wants you to do.
That's what rock and roll is.
That's what it's designed for.
It's the devil's music.
This is why all these Christian parents, when the Beatles came along, or Elvis Presley, were going, this is the devil's music.
And we were all going, yeah, exactly.
And everyone was going, oh, you funny, daddy.
You're so old-fashioned.
We're too hip to it.
And they were right.
They were so right.
It was so bastardising music and it was really, you know...
Taking away people's morals.
And look how far we've come.
Now we've got people like Cardi B singing about her vagina.
We've got no musical...
There's no melody to music anymore.
There's no chord structure.
It's just...
I mean, there is some, of course, you know, like everything, they have to, you know, hide the truth with lies and hide the lies with truth.
So there's always, you know, it's going to be those benign bands like, you know, seemingly Coldplay that are soft rock and there's some nice chord structure there and some nice melody.
But the real famous ones, you know, the Madonna, The Lady B's or the Cardi B's, Lady Gaga, the Cardi B's, you know, the big ones actually have influence.
You look at what they're doing on stage and you look at the melodies and you look at the sound.
It's highly, highly demonic.
It's just absolutely outstanding when you see it for what it is.
Well, can we talk about this in more detail?
So I don't know whether you know.
I was, among other things, I was a music critic for about 25 years.
And I acquired a Good CD collection and I acquired pretty broad tastes.
I was into everything from drum and bass on the one hand to the kind of psychedelic rock to whatever.
I never got into jazz funk.
There are limits.
My guardian angel protected me from that.
But I bought into the narrative completely.
So let me give you an example.
Leonard Cohen.
I used to think Leonard Cohen, oh, he's great.
He's kind of, he's moody, he's sardonic, having sort of sleazy sex in the Chelsea Hotel, moving, moody, just he's great.
Rock and roll.
Sorry?
Rock and roll, right?
He's rock and roll.
Yeah.
And now I'm suspicious of, for example, Hallelujah.
We're told in the song that these are David's chords.
These are the psalms that David put together first, the chord sequence.
But I'm thinking if a song like Hallelujah gets covered by so many artists who are all working for the dark side, there's something wrong with that chord sequence.
Am I right?
Well, look at the chord sequence.
How many chords is that song?
Four chords?
Is it?
It's probably, yeah.
One, two.
It's like four chords, five chords.
That right there is a bastardization of music.
Go back 200 years and you...
I've now coined the term like Tartarian music.
When you go back a couple of hundred years and you see a more advanced civilization and their music was more advanced.
If you listen to something like...
Rachmaninoff.
The core sequences are incredible, and it takes you on a journey for like 20 minutes.
It just absolutely blows my mind.
Real higher-minded, intelligent music.
And it's just absolutely mind-blowing to me that music like that existed, and of course we don't have it.
And you take a song which is seemingly godly like Hallelujah, and it's nothing of the sort.
Again, that song is a bastardization of music.
Take the Beatles, for instance.
We went from Rachmaninoff to She Loves You Yeah, Yeah, Yeah.
Or I want to hold your hand.
Like, oh, bloody, oh, bloody, oh, bloody.
What the fuck?
Oh, God.
You're right.
Once you get into the mindset that the Beatles were not the greatest pop band there has ever been, and once you get over this notion that they were musical geniuses and stuff, and you start looking at their catalogue, Oh, bloody!
It's infantilising.
It's insulting.
It's saying, this is what...
Pop pickers, this is what we really think of you.
So they put in a sort of moody, nice song like Eleanor Rigby or She's Leaving Home, and you think, oh, this is quite kind of intelligent and thoughtful.
And then they shove in Oh, bloody!
to...
To mock you.
There are some even worse ones in their catalogue, ones that haunt me.
I'm never going to name them because I know that when I get put in a torture cell by the Illuminati, they're going to play this song to me.
But there are songs that clearly Theodore Adorno devised when he was writing...
Was it Adorno?
Who wrote their lyrics, I think it was.
Yeah, it was Tavistock, I believe, somewhere.
Yeah, Theodore Adorno, I think, wrote the Beatles lyrics for the Tavistock Institute.
But yeah, it's shit.
So you're with me, are you, on Hallelujah?
Is it a lie, do you think, that these are the chord progressions that David used in his psalms?
Well, yeah, I think so.
Yeah, I think it's a lie.
I mean, the heavenly chord progressions you will find in classical music, I believe.
I never thought I would be a classical music fan because I was always rock and roll, guitar, heavy power chords.
That's rock and roll.
That's great.
But now, every evening, I'm sitting and listening to classical playlists in 432 hertz.
I'm just sitting there and just listening.
Oh my God, this is what I've been missing out on for so many years.
I thought, you know, like you say, Hallelujah was a nice chord progression.
And it is with our current understanding of music, with our current consciousness.
But our consciousness has been bastardized in terms of music.
I think I would really encourage more people to start listening to more classical music, and you start to see how many different chords there are, and just the subtle changes from major to minor and sus and ninth and seventh, when you wouldn't expect them, you're like, oh, my God, this is genius.
I was listening to a piece of music the other night, and I was just lying on the sofa, all in 432, and I went, oh, my God, who is this?
It was Mozart.
And I recently learned that I share the same birthday with Mozart, 27th of January, which is interesting.
So maybe I'll have some kind of spiritual connection there.
But that's music to me.
That's higher-minded intellectual music.
And then you go, oh, but we're so, our consciousness has been so, you know, bastardized.
We're so limited now into what we accept as good music.
Four chords is enough now for most people.
Sometimes one chord or two.
Like there's a song called Tennessee Whiskey.
Right?
That's out now.
And it's had millions and millions of music.
It's a good song.
It's a good song.
Lyrically, it's pretty good.
But it's two chords all the way through.
And that's what we accept now as good music.
Yeah.
It's like an A minor to a B, I think.
It's something like that.
It's all the way through.
And that's what we class as good music now.
Go listen to some classical.
Go listen to some Chopin or some Rachmaninoff or Mozart.
And you're like...
My God, they're just like, the tempo changes.
Everything is so higher-minded and intellectual with that kind of music.
And how far we've come in 200 years, I definitely believe there's an agenda.
So we just go, oh, there's four chords there.
It sounds lovely.
And the pop music industry use these four chords.
They know there's a formula.
They always use this particular formula that works.
There's no expression.
There's no going out of those four chords.
Listen to Ellie Taylor Swift's song.
Same shit.
Same shit, just different key.
Different lyrics, different synth sound.
It's just, I can't listen to it anymore.
It's terrible.
It is one of the eternal mysteries, along with, you know, where do flies go in winter and where do the birds end up and stuff.
But Taylor Swift, how can anyone ever like any of her stuff?
I find it a complete...
Look, you listen to Hotel California, for example, and even though you know now that it's totally evil...
Yes, indeed.
Same with Bohemian Rhapsody, right?
Two of the best songs ever made, right?
Bohemian Rhapsody and Hotel California.
And Stairway to Heaven.
Yeah, right, right, right.
Led Zeppelin, Very Dark, yeah.
So you can listen to those songs and you know why they're so popular, but you can't listen to a...
Taylor Swift's song and respond to it in the same way, I don't think.
No.
So have you tried analysing?
Okay, so you mentioned Bohemian Rhapsody.
I mean, it's more sophisticated than the average.
It is slightly operatic in its structure, isn't it?
That's what he was good at.
Yeah, a lot of Queen's songs were very operatic.
That's one thing that Freddie Mercury was...
Good at, but let's, you know, let's analyze the lyrics of Bohemian Rhapsody.
The song was about selling his soul to the devil, and he frigging knew it.
He knew what he was part of.
He just killed a man, right?
Put a gun against his head, pulled the trigger, now he's dead, right?
And singing about Beelzebub, and he knew what he was a part of.
Yes.
So the man that he killed himself?
Absolutely.
By selling his soul?
Yes.
Yeah, for me, for me, for me.
Yeah.
Let him go.
We will not let you go.
Let me go.
Because he knew he was part of this satanic music industry.
So presumably, the badger botherer, Brian May, despite his poodle haircut and his air of kind of complete bland innocuousness, he too must have sold his soul.
Well, actually, there's a clue.
I think you'll know what this is.
He's an astrophysicist.
Yeah, exactly!
Right, well, we can get into that.
I mean, that's a whole other kettle of fish, right?
When did you realise that space is fake and gay?
I love it.
I love it.
I love talking to you.
This is brilliant.
In about 2016 is when I first came across that kind of information, and that really gave me a creative burst.
I made a whole album about it.
About bashing NASA. And I made the character called Flat Earth Man.
Because I started learning all this stuff about NASA and the deceptions, these huge deceptions.
And I thought, oh, my God.
How am I going to relay this?
Because I can't actually start singing songs about the moon landing and the ISS being fake and gravity, and I can't do that seriously.
So I put on a cowboy hat and some shades, and I started to put on a country accent, and I started doing it in a country vibe, which was a genius move, really, because it kind of made the medicine go down a little bit easier.
But that was my whole awakening to that, the cosmological lie or globe skepticism, if you like.
Just understanding the occult origins of NASA is absolutely fascinating.
It's spawned a whole album.
But yeah, that was 2016. And I'm still very much into that information.
I still want to know where I live and what this place is.
Do I believe it's a spinning ball flying and hurtling through an ever-expanding universe?
Like, you know, at 1.2 million miles an hour around the great attractor of the Milky Way?
No, that's so insane to me when you look at NASA's occult beginnings.
And this is great fodder for music, of course, you know.
Once you start learning the way the world really works, you're like...
Now I have something to write about.
No more love songs.
I love it, but I hate it in the same way.
I think it is one of the great liberating moments in one's expanding consciousness, if you like, when you realise that space is not real.
That this is it.
The earth is God's creation and the rest is just...
You think about who are the people who were promoting space.
So you've got Gene Roddenberry on Star Trek.
Gene Roddenberry was a Satanist.
You've got David Bowie, ground control to Major Tom.
Elton John.
I mean, he was a Luciferian, probably.
All these people that...
Yeah, NASA, you pointed out.
I mean, look at NASA's foundations, right?
Wernher von Braun, a high-ranking SS officer, a Nazi officer, right?
Coupling with people like Ron L. Hubbard, who was the founder of Scientology, and Jack Parsons, who I believe was an open Satanist.
These are the foundations of NASA. These are the foundations of people that tell you where you live.
These are the people that are telling you you're spinning.
A thousand miles an hour, faster than the speed of sound.
And we have to go, OK. And then Newton, of course.
Newton, who was massively into the occult and just invented all these kind of obscure mathematical formulae that nobody understood to explain the motions of the planets.
It's some wonderful Narnia bullshit, isn't it?
Yeah, it is.
But that's what I mean.
It's wonderful to be free of the bullshit.
Yeah, totally.
I mean, that kind of information really set me free.
And I've written songs about this.
You know, once you see that this is a created realm and there is a creator and there are, you know, consequences to your actions, it makes you behave a little bit better.
You know, it makes you straighten up and fly, right?
I put this in many a song lyric.
So it has, you know, I mean, I have questions, of course, like what is God?
You know, I don't subscribe to any religion.
I don't know.
God could be an autistic computer programmer for all I know.
We could be living in a simulation.
I don't know.
But what I do know is this is creative.
There are consequences for your actions.
It does make you straighten up and fly right.
So I'm very, very thankful for, you know, for figuring that stuff out.
Otherwise, I will probably be still living that hedonistic lifestyle.
That, you see, you say you've...
Offered the possibility that God might be an autistic computer programmer.
I would say, and I won't go on about this, but if you read C.S. Lewis, he uses the fact that we have a moral conscience to reduce the existence of a benign and loving creator.
All the impulses you've described, this realization.
That one has, if one's lucky, that bad behaviour has consequences.
Actually, we knew this anyway when we were born.
We almost didn't need to be told this.
Yeah, we knew it, but it was drummed out of us, wasn't it?
It was drummed out of us.
But, okay, so there will be two, I think, plausible takes on this.
One, God is a complete sadist and imbued us with all these wonderful skills, this yearning towards truth and beauty.
Only to sort of dash us against the rocks at the end.
Like, I gave you these skills, but I only gave them to you to make you as miserable as you possibly could be, and I'm that evil.
Or, you can go with the Bible explanation, which is that it's a loving God who made us in his own image, and that the reason there's so much misery and evil in the world is because this is a consequence of having free will.
It's the latter.
Which makes a lot more sense to me.
But I wouldn't rub it down anyone's throat.
It just seems to me that if one's going to talk about things like space, 9-11, the Beatles, Paul is dead, dinosaurs, where we came from and who made us ought to be a part of that conversation.
It oughtn't to be given a sort of...
Put on the side as this subject that one can only broach if one's interested in religion, you know?
All these things should be part of the discussion.
Yeah, for me, coming to this realisation has changed me fundamentally, you know, seeing the massive cosmological lies.
I don't really know how to word it.
It changes you as a person.
I've still got a lot to learn.
I see myself as a 12-year-old boy, really, because I've had to unlearn.
The first 40 years of my life were completely wasted.
Then I came to this realisation that the world works very, very differently to what I first thought.
It's not that the world is...
Screwed.
The world is working perfectly.
It's the way they want it to work.
It's broken for a reason.
And coming to that understanding and trying to change.
I mean, I'm trying to do my part musically, you know, in my tiny little way and trying to contribute what effect that has.
But at least I can go to my grave when I'm on my deathbed saying, you know, I tried.
I gave it a go.
And I'm trying to help, you know, this awakening in my smallest way that I can.
The thing I really want to talk to you about, because you are actually one of the very few podcasts I've had who is capable of composition.
Presumably you are more than capable of analyzing the various classic pop songs and how they were constructed and so on.
So look at Hotel California, for example.
Why is it so grabby?
Is it the production?
Is it the intro?
Is it the melody?
Is it the what?
It's hard to say.
I think it's because of the way we have been programmed.
We are programmed to receive, right?
One of the lyrics of this particular song.
We have been programmed to receive this kind of chord structure, these kind of guitar solos, these kind of limited chords.
I don't know how many chords there are in Hotel California, probably about six or seven, I think.
I can play it.
But music is way, way, way, way, way, way, way more than that.
So we are programmed to receive this kind of structure of music.
So, I mean, you know, in our current consciousness, you know, with music that we're programmed to receive, it's a great song, has a great melody, has incredible guitar solo, lovely harmonies, very well produced.
We're programmed to receive that kind of stuff.
But again, keep going back to music is way, way, way more than that.
So it's a great song in our current understanding of music.
But, you know, even some of the great songs draw from classical stuff, like take All By Myself by Nilsson.
All by myself.
And I think Celine Dion did it as well.
Oh, God.
I hate that woman so much.
But the middle eight of that is drawn from Rachmaninoff, those chord sequences in the middle where it goes, where actually it's the most beautiful part of the song.
classical that's drawn from rock money enough that they've actually stolen that and they can steal it because you know it's it's over 100 years old so they can they can they can steal that without any copyright infringement so if you want to get something beautiful into your into your music which i'm slowly learning now then draw from those classical court changes hotel california never had that kind of thing it just had your standard they it was still standard court progression yes i
so there are certain people who write who are kind of hit hit factories um Max Martin, for example, who, the Swedish, is he, I think, who wrote all the Britney Spears songs for one.
Oops, I did it again.
These people are presumably in tune with the dark arts, and they must understand.
What kind of chords achieve popularity, but also...
What effect those chords can have on people?
Do you think there is an element of...
Yeah, absolutely.
I think they're using certain bass lines that resonate with...
You could start talking about chakras at this point, and I know that's a very new-agey, woo-woo kind of thing to people, but there are certain frequencies that might resonate with your lustful chakras.
You hear a bass line.
I experienced this when I was DJing.
You put a certain song on by Snoop Dogg, and there was a bass line that was...
and all of a sudden the women would come out of nowhere and they would be shaking their ass and it would be sexual and lustful and that.
And I think they knew damn well that what they were doing, you know, with those kinds of baselines.
Yes.
Destination unknown.
Who did Destination Unknown?
That bass line.
Well, yeah, I'm not sure.
Yeah, but that kind of thing, using those kinds of synths, using that kind of frequency in 440 hertz, it's a lustful...
I do believe it can...
These kind of bass lines, these kinds of...
Tempos.
This is why we have trance music.
And trance music has to be in a certain tempo.
Dance music has to be in a certain tempo.
Why do we have trance music?
Well, it's right there in the name.
Puts you in a trance.
Go to a trance music festival when you see all this imagery going on, you know, with the big screens, and they've got all this, you know, imagery, this Illuminati symbolism, and then you've got your DJ that's supposed to be, like, at the altar there, like some kind of...
Oh, there's loads of triangles with eyes in the middle.
Oh, right, right.
Exactly.
And some flames coming out.
Right, right.
It's all hell.
It's all demonic.
And then add to that, you know, drugs at these festivals.
What kind of state are these people going to be in?
You know, I mean, there was a recent festival, I think it was a couple of years ago.
I think it was called Neverland or Wonderland.
I think it was Travis Scott or something.
Travis Scott, where, what, eight people died or something?
Yeah, exactly.
I mean, I don't know if that was because of the symbolism, because of the drugs, because of the music, because of the bass lines, or because maybe they were testing some kind of frequency in the area.
But, you know, that speaks volumes to me, that that kind of music can, it can literally kill people.
I mean, what the...
Oh, I think that was almost certainly a frequency that they played, which triggered, because this was the time when people were kind of vaxxed up.
Right.
So I think that was, yeah, they were killing people.
Yeah, I mean, if you look at that particular venue and people have done the research, there were a lot of towers around that particular venue.
So it might have been a testbed for something.
But, you know, it's all of the things, it's all of the above that we spoke of, you know, the core progression, the baseline, the frequency.
These producers, they know what they're doing if, you know, if they're...
You know, funded by whomever, you know, there's a lot of knowledge there.
They know exactly what they're doing because it can have effect on the psyche.
It can make you dance like a complete slut, you know.
So you look at the music that, or what passes for music that the kids listen to today, and, I mean, it is, as you say, quite shamelessly demonic.
You've got that...
That man who thinks he's kind of transgender, what's he called, who dresses up as a devil?
Sam Smith.
Sam Smith.
Okay.
And then I keep mentioning Doja Cat.
Yeah.
She has, like, demons in her.
Yeah.
And I looked at, I was on the plane the other day, and I looked at this Lady Gaga, who probably isn't a lady anyway, but Lady Gaga.
You know, you know.
Concert.
And it was a demonic ritual.
It was clearly a cult ritual.
People dressing up as kind of blood-covered, sort of flayed corpses and things.
It's so in your face now.
It's so in your face.
It's like, what do they call it?
It's like hidden in plain sight.
But of course, people would defend it and say, it's just art.
No, it's not.
When you understand the music industry, you understand it's anything but.
It's highly occultic and highly ritualistic.
So, oh yeah, and you had that incident where little girls who'd been to a Taylor Swift concert had memory losses.
They couldn't remember what had happened.
But what I was going to do is compare the current generation's sounds with what I was listening to in my early 20s, say, which is when Acid House started.
And then that sort of progressed into trance and generic dance music.
I get the impression that they sort of failed with my generation, because there seems to be more resistance, or am I imagining anything, coming out of people who are in rave culture.
They sort of are more sceptical, or am I just imagining it?
I don't know.
I mean, you could argue that people are taking, you know, drugs at these festivals.
Maybe that opens their minds and they start to see it.
They start to see, you know, what they're under.
They start to see the manipulation, maybe.
I don't know.
I just think there's been a steady and firm progression to bastardized music over the last hundred years.
So I think that's where we are.
I don't think music is music anymore.
And for someone like me who loves music, it's incredibly heartbreaking.
I mean, technology has been their friend.
You think if we went back 150 years, every reasonably affluent household would have had a piano in it, probably with two or three members of the household reasonably proficient.
And when you heard a song you liked, you'd go and buy the sheet music and you'd play the song on the piano.
But you think about the skills that are required to be able to do that.
It's very hard to kind of corrupt and suborn people who have those capabilities, whereas now that people have this device where they can just press a button.
It's awful.
And I see, you know, influencers online getting hundreds of thousands of subscribers where they're not playing an instrument.
Like you say, they're pressing a button.
All of these buttons, they have a pad in front of them where all of the buttons are pre-programmed with certain samples and then just pressing them in time.
And then, you know, they've got a drum and bass beat and they're pressing, they've got a sample that comes in here and they're just doing this.
And this is what people are subscribing to, hundreds of thousands of subscribers.
I play every freaking instrument I produce.
I mix and master.
I do all my own videos and everything, and I struggle, really struggle.
I mean, I'm on 80,000 on my YouTube.
If I release a video, I'm lucky if I get 5,000 views on it now because I'm so throttled and that.
So maybe if I just stood in front of a microphone and shouted...
A swear word and smack myself in the face with a spade for 30 seconds, which is clearly what people can only watch a 30-second video now.
Any longer than that, people get bored.
If I was to do that, I would be incredibly popular, but my soul won't allow me to do that.
No.
You mentioned Coldplay earlier on.
Surely you're not exempting them from the Rogues Gallery?
I think they have their place.
I mean, yeah, it's not Rachmaninoff, is it?
It's not Mozart.
It's not any of that.
It's still a form of bastardised music, but they have their place.
It's still a pleasant melody and blah, blah, blah.
But there's a lot of symbolism with Coldplay.
I know it's on their album covers and that.
So, you know, I just think the deceptions are so subtle.
What's the symbolism?
They have the flower of life on one of their album covers, right?
Is that a bad thing?
Well, it depends how you look at it, really.
I mean, it's probably hidden.
I don't think it's a bad thing.
I just think they're alluding to the fact that maybe, you know, there's more to this life.
How many people would see The Flower of Life on an album cover and really dig down into what it actually means?
Well, it's not...
They're thinking brains that it's aimed at.
It's their subconscious.
Yeah, right, right.
In the same way.
Sigils, right?
Who is it that said, you know, when mankind learns to read the symbolism, then a great veil will fall from their eyes or something like that.
So I believe that, you know, even the McDonald's logo and this kind of thing, I think there's some sigil magic going on there.
So I don't think Coldplay are completely benign.
Seemingly, they look it, but, you know, again, is it real music?
Again, at risk of repeating myself, go back 200 years ago, see what real music is.
Coldplay, that's not real.
It's the same frigging three or four chords every single time.
Pleasantly put in front of you in a nice little package with a nice little album cover and everyone goes, they're brilliant.
No, not really.
Well, it's quite interesting.
So, I used to go to Glastonbury a lot.
I mean, I must have been about 15, 16, 17 times.
I was really into it.
And what I've noticed in the last few years is that they're having real difficulty finding new bands that will look good on the headlining the pyramid stage or even the...
What used to be called the NME stage, or whatever it's called now, the second stage.
Whereas back in the day, you had quite a lot of bands like Coldplay, Keen, Radiohead, obviously.
They had anthems.
They had good guitar breaks, nice melodies and stuff.
And you could play it in your car on a long car journey.
Nowadays, music seems to have given up on all that.
There are no bands anymore that can do that.
It's almost like they're winding the whole...
They've given up even pretending.
I feel that we're reaching the end stage of popular music.
Yeah, I mean, if you look at the current trend here in Spain, the music, what do they call it?
It's like a half-step.
It's just that everything's auto-tuned, like a T-Pain auto-tune.
It's just like the beat is...
All the way through for minutes and minutes and minutes and minutes.
And then you'll have this hideous auto-tuned vocal over the top.
It's almost like they're doing it on purpose.
I mean, we're going to get to a point now where music is one chord.
And just, I mean, there is music.
Like I alluded to earlier, that Tennessee Whiskey is two chords.
We're going to get music that's just one chord and just, I don't know, a bass line, a lustful bass line that resonates with your root chakra.
And it's just that.
And people will go, oh, have you heard that song by fucking whoever?
And it's brilliant.
But then you talk to someone like me who goes, no, it's far from it.
It's one chord.
Why can't you see this?
And people just can't see that it's one chord and a monotonous bass line and like no lyrics whatsoever, nothing empowering about that, nothing intellectual, nothing higher minded about it whatsoever.
And that's what God knows where it's going to be in five years.
And now we're dealing with AI music.
Which, you know, which is just completely destroying the music industry.
So you don't need to come to someone like me to produce a jingle for you.
And it's going to cost you 500 bucks or a thousand bucks to do a nice little jingle, you know, with good intent put behind it and actual thought and creativity and talent.
No, you can go to Suno and type in everything you want and get it done in 30 seconds for free.
So this is highly disturbing for the creative arts.
Yeah, I'm very worried for the future of my podcast because I can see that an AI James Dellingpole is going to take over soon.
There are already podcasts that exist that are AI. There's a thing online where you can type in, I want you to create a podcast and I want you to talk about potatoes for an hour.
And it will have two guests talking about potatoes for an hour and it sounds like a genuine discussion between two people.
Well, that sounds like the sort of thing that Alistair Campbell and Rory Stewart do every episode for their £100,000 per head, per month salaries.
Right, right, right, right.
So, you know, let alone art.
I mean, artists are going to be a thing of the past.
Voice over artists are going to be a thing of the past.
So it's really just, this AI is really destroying the creative arts.
But I would say it's not going away.
And if you're going to use AI, then use it for the right reasons.
Use it for consciousness.
Use it for waking people up, you know.
I've mentioned this in a previous music discussion, but I was wondering whether this thought would strike any chords with you.
I've noticed over the years that a lot of my favourite music put me in a headspace of sort of painful nostalgia for something that I never really experienced, Put me in a place of, it's sort of slightly plangent.
It's slightly, it's probably in a minor key.
And it makes you feel like you want to crawl into a hole and curl up and give up.
It's slightly suicide music.
Yeah.
Yeah, I mean, there's a reason why a minor chord sounds sad and a major chord sounds happy.
Radiohead is probably a good example of that.
That was my favourite band for many, many years.
Well, Radiohead and Led Zeppelin.
Yeah.
I mean, so there's a reason why minor...
There's a reason why certain chords are used.
There's a reason why certain chord structures...
I think that they're...
I mean, I don't understand it fully, but I guarantee the people that are making this music know fully what they're doing, particularly in the dance and trance music world.
They know exactly what frequencies...
To use.
So, and let alone the kind of occult rituals that are going on.
I mean, John Todd was a guy that was talking about this in the 70s, talking about, you know, these people, they actually had satanic rituals over the master of a CD and they would put that intent, you know, into the master.
Who did this?
John Todd was a whistleblower, was a music whistleblower in the 70s or 80s, I believe.
Yeah, look up John Todd.
That's some fascinating stuff.
Todd means death in German.
Oh, interesting.
Right, right.
So, yeah, he was blowing the whistle on that, you know, in the 70s, saying that, you know, this is what's going on in the music.
With seemingly benign bands like, you know, Creedence, Clearwater Revival, which you think, oh, it's just a benign.
But they were doing, you know, satanic rituals.
I bet Kaja Googled it as well.
Right, right.
What the hell is all that about?
I mean, there's obviously something to be said for putting your intent, especially when they're doing rituals over the master, the master CD, and that goes on to be copied.
I mean, whether that has an effect on the listener, I don't know, but they certainly believe it.
I'll bet you I could be wrong.
I'll bet the song remains the same as in a minor key.
I'll bet Stairway to Heaven is in a minor key.
Yeah, it starts off in my mind.
Yeah, you can try people's emotions with chords and with melody, with certain frequencies, with certain bass lines.
You can guide the listener to where you want emotionally if you know what you're doing.
Hotel California, I think, is definitely the minor key, and there's something sort of slightly woozy about that.
It's almost like the tuning is slightly off.
Right.
That guitar.
Yeah, I mean, maybe you could put that down to just, you know, the guitar wasn't tuned particularly well, but maybe, you know, maybe there's a more nefarious reason.
Maybe.
I wonder if Mouldy Old Doe by Lieutenant Pigeon was called to the song.
Mouldy Old Doe.
Do you remember the woman on the piano?
No, I remember the song.
You never saw the video?
No, I don't think I did, no.
I'm sure you'll find it on YouTube if you still use YouTube.
Yeah, it's very hard, isn't it, to...
Listen to any of this stuff.
It's hard when you know that there are wizards, literal wizards behind the making of this music.
Not all across the board.
Maybe it is all across the board.
But certainly, you know, Mark Devlin has exposed a lot of this.
There are literal wizards creating the music that you are listening to.
I believe that fundamentally.
So it is incredibly hard to listen to your favourite pop artist or to listen to, you know, Coldplay or Led Zeppelin or...
Or the Eagles, because you know that there's an agenda, a dark agenda behind it.
So I try not to listen to it.
I don't listen to the music in the car.
As soon as the radio comes on, I turn it off.
I don't want to be influenced anymore.
I want it all to come from me with the right intent, for the right reasons.
And I think that's one of the reasons my music is having some profound effects in some instances, because I'm doing it for the right reasons.
I'm not doing a satanic ritual over the master.
You know, I'm doing it because I want to help the world.
Yeah, yeah, yeah.
No, look, I listened to some of your tracks before we did the podcast and I read some of the testimonials from people.
It's clear that your stuff works and it's great.
And I'll put links so that people can check it out and try it out because I think you are filling a gap.
We can't always...
Be listening to podcasts on our car journeys.
We do sometimes want some music.
I was talking to a guy called Ben Rubin the other day.
He was saying he could no longer listen to Pink Floyd.
For example, that line...
Quiet desperation is the English way.
Which sounds like, oh, it's so true.
Quiet desperation is the English way.
But actually it's not.
It's part of the programming.
It's saying to you, you're fucked, mate.
Your culture is dying.
All you can hope for is a bit of kind of...
irony and sort of this consciousness of what is lost, but you can't take anything seriously anymore.
You're desperate.
You're messed up.
I'm a rock star, and I'm telling you that this is true with my lapidary authority.
And once you get over that, once you get...
Hang on a second.
These guys are...
They're operatives, at best, of the Illuminati.
They're compromised.
They're baddies.
They're not your friend.
They're not your hero.
Don't admire them.
That's blasphemy.
For you to say that, for so many Pink Floyd fans, that is blasphemy.
How dare you?
But once you've looked into what they're...
It's quite desperate music.
I would never listen to a Pink Floyd song and be uplifted at the end of it.
No.
I quite like that song, Summer of 69. Goodbye to you.
No, there's no music that really holds up.
I mean, there's some...
Yeah, there's some stuff that still holds up, probably for nostalgic reasons, but the more I learn about the bastardisation of music, I'd love to do a presentation on the bastardisation of music, and I'd love to do it one day, but I really don't have the time at the moment.
But to show people that, you know, this is what...
This is what they're putting in front of you.
These are the agendas that are in front of you.
And I wish we could go back to a more higher-minded intellectual music time.
Except, I want to put a thought in front of you, which is they didn't start doing this stuff in, say, when Robert Johnson appeared.
This stuff, they've been doing this since forever.
Rachmaninoff.
I mean, I love Rachmaninoff.
What's your favourite Rachmaninoff?
I keep listening to that.
It's the second, Rachmaninoff's second.
It goes on for like 40 minutes.
I mean, I've only just started listening to classical music and Rachmaninoff was the one that really resonated with that and Chopin.
And I listened to Rachmaninoff's second, I think it is.
And it just goes everywhere.
It just goes so many places musically.
I'm like, holy shit, this is what music should be.
It's absolutely great.
He's great.
Yeah, yeah.
He's great.
And Bach, I mean, what's not to like about Bach?
But you just don't know what Are They All Goodies?
I mean, like...
I think, yeah, I think that during that time, yes, I do, because you only have to listen to what they're playing.
It blows my mind.
It blows my mind.
And you fast forward 200 years and you compare that to what we have now, to Hotel California.
You can compare Rock Money enough to Hotel California.
It doesn't hold up.
Like, Hotel California is just this pathetic four or five chords.
You're like, that it doesn't hold up at all.
So I do think they were all goodies.
I mean, I could be proved wrong.
I mean, maybe.
I do think there was a civilization that was more advanced, you know, a couple of hundred years ago.
And I think that is the music that was coming out of that kind of Tartarian, higher-minded, you know, more advanced civilization.
I haven't quite accommodated myself with that rabbit hole yet.
I'm open-minded about it, but I was trying to find you.
Why is it doing that?
What you want to listen to after you've finished this podcast.
Have you heard Vikingur Olafsson doing a piano transposition of Bach's Organ Sonata No.
4 BWV 528?
No.
I have a treat for you, sir.
Oh, great.
Send it to me.
I'd love it.
I'd love to hear it.
I almost think you're going to thank me for this one.
It is absolutely brilliant.
Great.
It's really, really good.
I mean, there's no doubt that classical music is more.
It offers more.
Way more.
But remember...
This is what they told us, that we were supposed to relish the fact that it was all basic and that anyone could pick up a guitar and form their own band.
And Lou Reed said something about this.
And this is apparently the good thing that the Velvet Underground helped achieve.
And we're familiar with all these stories.
And then punk made it even simpler.
And that was a good thing, too.
Punk was seemingly anti-establishment, right?
It was nothing of the sort.
Have you looked at, we mentioned the symbolism that they use.
There's the one eye stuff, and there's this one that Madonna does quite a lot when he's performing, and there's this one.
Do you know about that one?
Is Osiris risen?
Right, okay.
The number, which is quite an obscure one.
I mean, how do you do that without people?
It's not a natural position.
I've never sat down and gone, oh, yeah.
I just want to relax with my hands on the opposite shoulder.
They're so shameless about this stuff, about their homage to their dark gods.
Yeah.
And it goes on and on.
And you see it, once you see it, you see it in every sort of, any mainstream performer that has, you know, influence, the Gagas and the Madonnas and the, you know, I don't know, pick your poison.
They're all doing, if you look, if you have the eyes to see and the symbolism, not just the hand movements, you know, like you say, the one eye and everything, but, you know, start looking at how the stage is dressed and the screens behind, like you say, the triangles and everything.
I mean, that's got to be a form of, that symbolism.
I mean, that's going into your subconsciousness.
Yeah, you're right.
The visuals that you now get on...
I mean, particularly if you're watching in a stadium or an arena, the actual artiste is dwarfed by these huge, huge screens.
You might as well be listening to a...
To a record player.
Yeah, I've never really seen the point in going to these, because you're never really going to actually, like, in person, when you've got someone in an intimate setting, great, you can really enjoy the music.
If you're going in a big crowd of people and there's this tiny little speck that you see on the stage, you don't really see them.
You just see the symbolism.
And then you've got all these thousands of people around you that are in the same mindset, okay?
And that probably has an energetic effect as well.
You know, you're probably absorbing that in some kind of louche way.
And the dance...
Was it the Orb?
No, it must have been Orbital that had a track called Satan, was it?
I remember all of them.
At the time you think, oh, it's a track called Satan.
Yeah, that'd be silly.
It's just completely benign, no problem.
Yeah, it's art.
Hang on a second.
They didn't do a track called Jesus.
No.
It's like when people say Maria Bramovich.
That's just art.
It's just art.
It's just art about...
Killing people.
Eating people's organs.
Don't worry about it.
She's just expressing herself.
Same thing in the music industry.
What a sad, sad time we're in.
What's it like in Spain?
In terms of tyranny, it's the same as the UK. I don't think you could ever go to another country and try and escape.
You can't escape it.
There is a control system in every country.
I believe.
The reason I moved to Spain was purely because of the weather and the landscape is incredible.
I came here on holiday and I was like, oh my God, this is...
I mean, I come from a council estate in Braintree in Essex.
You know, just...
I can see why Spain would have an appeal.
I came here on holiday.
I went, oh my fucking God, look at this place.
This is incredible.
Where in Spain are you?
I'm in northern Alicante on the Costa Blanca.
Right on the coast.
I'm five minutes from the coast, and we have 320 days of sunshine a year, which is why I've always got a year-round tan.
Is the sea clean?
Well, I mean, I wouldn't go in it.
I mean, there's jellyfish in there.
I don't think we belong in the sea.
I mean, it's the world's toilet as well, so it is that.
But, you know, I suppose it's the filtration system of the world.
I don't know.
I mean, it's incredibly clear and incredibly blue.
I mean, I like to look at it.
I wouldn't go in it, let's put it that way.
Do you eat lots of jamon?
I do.
I'm actually predominantly keto now, actually, and the jamon here is incredible.
Well, you see, that's the thing.
I've gone through phases where I've had a jamon iberico, including the one made with the black pigs.
Right, right.
And I would laboriously carve it every morning.
It's a real pain.
It's a real faff.
Well, you have to know where to go.
There's some chewy stuff out there.
You get the ham on and it's black and you're chewing it for half an hour.
You're like, this can't be right.
But if you know where to go, if you know the right little store.
We've been here 10 years now, so we know the right little stores.
And we went through the whole veganism and vegetarian thing.
We were growing.
We went self-sufficient for a while.
The thing is, when you start talking about diet, people start spiralling in the comments section.
You can't go fucking...
So I don't like to talk about diet because it's like talking about religion.
Someone's going to get pissed off.
You're so right.
Okay, so just briefly, there will be people who say that one should not eat jamon.
Because it puts blah, blah, blahs in it.
Parasites, blah, blah, blah.
No, no, no.
Yes, never mind the parasite.
I mean, those who argue you shouldn't eat pig at all.
But then there are those who say that the curing process is such that it messes you up.
And then you don't know where you are.
Like, okay, you think, well, keto is good and carnivore is good.
But here is a form of meat that apparently is not good.
According to some people.
It doesn't matter where you go.
If you're a vegan or a vegetarian, there will be people on the carnivore side that say, well, what about the oxalates?
You know, that's a form of poison.
Eating vegetables is poison.
So it doesn't matter.
This is why I don't like to talk about diet, because there'll always be someone that's vehemently, no, this is, no, for God's sake, stop eating meat.
You need to eat vegetables.
And there'll be someone on the carnivore side.
So it's just like, you know.
You're right.
I've tried vegetarianism.
I've got a book here.
It's called Eat Right for Your Blood Type.
And there are certain blood types that resonate with certain food types.
And I kind of resonate with that because we're all from different sort of...
Parts of the world, I believe.
And there'll be people that thrive on a certain diet.
So that kind of makes sense to me.
You should eat right for your blood type.
And when I read this book, it's like, well, my blood type, O positive, apparently should be eating more red meat.
And when I was a vegan, I did two years of veganism.
I didn't thrive at all.
I was having all sorts of...
Problems, shall we say.
I ended up in hospital, but that's another story.
So after realizing that maybe I should eat right from my blood type, maybe there's something to that.
But I'm thriving more.
Me, personally, I'm thriving more on a keto.
That might not mean the same for anybody that watches this podcast.
You might thrive on a vegan diet.
One of my best friends is a vegetarian.
He's been vegetarian his entire life.
He's thriving on it.
That might be right for him.
So I think it's different for every single person.
So getting into that, you should eat this, you should know, it's not right for everybody.
You're right.
I can say that carnivore boars are almost as annoying as vegan boars.
Right.
And I think you're absolutely right about that, because I know that there are some things that I should...
I think the Ayurvedic sort of categories are...
Make a degree of sense.
We all have different...
Or the humours.
We all have different...
If you're choleric, you need a different diet if you're melancholy.
And I'm sure that is the case.
That one-size-fits-all is just like...
It doesn't work.
You're looking good.
On your carnivore.
Thank you.
Yeah, 53. How old are you?
53, yeah.
I've got a bit of a belly now because I like a drink, you know.
But, you know, that kind of comes with it.
But, you know, it is what it is.
You know, I'm happy.
I'm healthy.
You know, I don't have any bouts of anxiety anymore.
I used to, given my previous diets, I ended up in hospital, you know, doing that.
So it wasn't right for me.
You have to kind of...
Find out what's right for you.
We're all different.
You know, we all come from different lineages.
We're from probably differently, you know, different geographically speaking.
So I don't think there is not one size fits all.
I think that's silly.
No, I was thinking if you have a negative blood type, it probably means you have to eat the blood of children.
Right.
I've tried that.
I've tried that.
You look so...
Of course, I'm joking.
You brought it up.
I hope that even in my drug-curious youth, I would never have tried.
If somebody had offered me adrenochrome, I would never have.
It's a bizarre phenomenon.
Are you familiar with an actor called David Tennant?
Yes.
Yeah.
Doctor Who, right?
Doctor Who, right.
Okay.
So apparently there was an award ceremony recently, like on Sunday or something, where he makes this reference to this...
This drug we take that keeps us all looking young.
Interesting.
Hidden in plain sight, maybe.
It's just...
Like we said.
They're getting more shameless and blatant.
Yeah, it's that hidden in plain sight.
I mean, the Satanism is right in front of you.
Look at any concert now.
It's right there.
And I think these people are so brazen now that they just say it.
Because most people won't get it.
People like me and you will understand.
Holy shit, how can they say that?
We know exactly what they're talking about.
But it will go over most people's heads.
I mean, you say adrenochrome to the layman on the street.
They're not going to know what the hell that is.
But, you know, we do.
Before I go, how was it during the COVID tyranny?
I mean, how did you avoid getting forcibly jabbed by the paramilitaries?
Well, I mean, here in Spain, it was terrible.
I mean, the acquiescence was just astounding, how people were just so gullible.
They're a little bit backward here in Spain, and I kind of like that.
Spain is like UK in the 80s.
You don't have to pay for parking here.
That's one of the good things.
But they're incredibly subservient.
And they have the Civil Guard here as well, which is like a branch of the military.
And during that whole COVID thing, the Civil Guard were pulling cars up.
They were just pulling cars over randomly.
And if you had more than two people in a car, you'd be fined or something like that.
And you weren't allowed to run.
Or cycle or exercise without a mask.
The compliance here was absolutely outstanding.
I refuse.
I absolutely refuse to be a part.
In fact, I got in a bunch of arguments going into supermarkets and just wanting to go about my daily life because I didn't have a mask on.
Of course, I was shouted at.
And eventually I just kind of went a bit recluse for a while because I couldn't bear seeing what was going on in the outside world.
I didn't want to be a part of it.
So I sent my wife out.
I said, please go do the shopping.
I can't be a part of this.
You know, so she was the savior there.
But I just couldn't bear to see what I'd become of people, you know, being so gullible and acquiescing.
I didn't wear a mask once.
Of course, I didn't take the poison.
But it just showed me how.
Incredible gullible.
And what a force there was here in Spain with the Civil Guard, like I say, a branch of the military.
That's it.
Yeah.
You have confirmed my worst suspicions.
Because, like, everyone, all the normies are pretending that COVID never happened, that they weren't psyoped into taking these kill shots, and they weren't psyoped into following arrows the right way around the supermarket, and they weren't psyoped into all this.
Deeply embarrassing stuff that they did.
They pretend they never did or what we don't want to think about now.
And everyone's looking around the world thinking, where would I live?
And it's a mistake to look at the countries as they are when you go on holiday and remember how they behaved during the COVID PSYOP. So you've got the Guardia Civil in Spain, who were like fascist paramilitaries.
Australia.
You also had the police acting like fascist paramilitaries.
New Zealand, same.
Italy, the same.
Right.
I think Italy was probably as bad as Spain.
Israel is pretty bad as well, apparently.
The poor Israelis got just jabbed to...
Jabbed to fuck, yeah.
Jabbed to fuck, yeah.
So even though I look on England as being an absolute shithole and I despair, At the same time, there was quite a degree of non-compliance.
Yeah.
Yeah, I saw that as well.
That was a nice bit of British spirit, you know, a bit of non-compliance.
And I saw all the protests and that, and that was quite, you know, that was quite...
I still don't think protests do anything.
It just kind of gives an intention to the elite that, you know...
How far can we push?
You know, basically, I don't think they do anything.
But yeah, there was definitely a level of non-compliance that I kind of respected from the UK. We certainly didn't see that here in Spain, for sure.
Just actually, that ties in neatly with that Pink Floyd lyric.
Quiet desperation is not the English way.
We were, for centuries, the English were noted for being...
Fierce and not, absolutely not taking any shit.
We were just ungovernable, basically.
We were just, we weren't having it.
It's changing, though.
It's changing.
It's definitely changing.
I'm seeing more compliance there.
Yeah, yeah.
Yeah, I mean, the music industry has a lot to do with that, the programming, you know, particularly, you know, the rainbow culture and everything that's seeping into the, all of that kind of stuff is definitely stripping manhood away, I think.
When my kids were very small, when I was living in London, I took them to Dulwich Park one day, and the lakes in the, I mean, the ponds, the ponds in the park were all frozen over.
And there were all these signs saying, all the access roads to the ponds, those that you could close, were closed.
And I remember taking...
The two kids onto the ice just to show the authorities that I wasn't going to be told whether I could take my kids on the ice or not.
And all these passers-by were sort of tutting at me like I was doing something irresponsible.
But actually, looking back, I think I was doing the right thing, trying to instill that sense of...
Don't do what you're told.
All of those people standing at the traffic lights waiting for the red man.
That's when you can...
Yes!
Waiting for the green man.
That's when you can walk.
Why don't...
If there's no traffic coming and there's a red man, fucking walk.
You know?
Yeah.
That's the first...
You don't like the red man.
Ignore him.
Ignore the red man.
He's a control freak.
Right.
Alex, Conspiracy Music Guru, it's been lovely to talk to you.
Now, tell us where we can buy your healing solfeggio music.
Yeah, thank you.
Yeah, it's been a pleasure talking to you too.
My online handle is Conspiracy Music Guru.
If you type that into Google, you won't find my website.
I've got a strong suspicion that my website is blacklisted.
It's like on the third page now.
It used to be on the first.
It's like on the third or fourth page now.
So if you really want to find everything that I do, my albums and all of that fun stuff, conspiracymusicguru.com.
You will have to type that into your browser rather than Googling it.
But if you can remember those three words, I don't need a therapist.
I need a microphone and a studio.
That's how I communicate.
That's my therapy.
So I've done a lot of, you know, some rock stuff.
I've done some blues.
I've done some folk.
I've done some reggae.
I've done some country.
I'm trying to do it all.
I'm not pigeonholed.
Not just funk.
Yeah, no, no.
I don't have, you know, a music label, so they're not dictating the kind of music I should put out.
So I'm very free in that sense.
But also, you know, I'm also very limited in that sense because I'm talking about things that you shouldn't talk about.
And I'm going against the communist guidelines on YouTube.
And, you know, so the main hub would be conspiracymusicguru.com.
And, yeah, I've done a lot of stuff and I'll continue to do more stuff as long as I have, you know, breath.
And I enjoy doing it, you know, it provokes for...
We're now getting to this healing music stuff, which seems to be having quite an effect on people.
So maybe I'll continue doing that.
But I'm always doing something musically and something conscious.
So yeah, Conspiracy Music Guru.
Yeah, type that in and see what you find.
Good.
Well, if you've enjoyed this podcast, which of course you have, do consider supporting me, as lots of decent people do, lovely people.
Substack or locals or you can buy me a coffee if you don't want early access to my stuff or just support my sponsors or just like my stuff and spread the word.
Whatever.
Whatever you feel like.
Thank you very much and thank you again Conspiracy and Music Guru.
Thank you.
Global warming is a massive con.
There is no evidence whatsoever that man-made climate change is a problem, that it's going to kill us, that we need to amend our lifestyle in order to deal with it.
It's a non-existent problem.
But how do you explain this stuff to your normie friends?
Well, I've just brought out the revised edition of my 2012 classic book.
Watermelons, which captures the story of how some really nasty people decided to invent the global warming scare in order to fleece you, to take away your freedoms, to take away your land.
It's a shocking story.
I wrote it, as I say, in 2011, actually.
The first edition came out.
And it's a snapshot of a particular era.
The era when...
The people behind the climate change scan got caught red-handed, tinkering with the data, torturing till it screened, in a scandal that I helped christen ClimateGate.
So I give you the background to the skullduggery that went on in these seats of learning where these supposed experts were informing us, we've got to act now.
I rumbled their scan.
I then asked the question, okay, if it is a scan...
Who's doing this and why?
It's a good story.
I've kept the original book pretty much as is, but I've written two new chapters, one at the beginning and one at the end, explaining how it's even worse than we thought.
I think it still stands up.
I think it's a good read.
Obviously, I'm biased, but I'd recommend it.
You can buy it from jamesdellingpole.co.uk And I hope it helps keep you informed and gives you the material you need to bring round all those people who are still persuaded that, oh, it's a disaster, we must amend our ways and appease the gods, appease Mother God.
