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July 23, 2013 - Project Camelot
48:36
PROJECT CAMELOT: NEIL ANTHONY SANFORD - WHISTLEBLOWER RADIO
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www.freedomslips.com
Thank you.
Hi there.
This is Carrie Cassidy, Project Camelot, Whistleblower Radio.
And we're just having a very interesting time this evening.
And so we're basically, we've just talked to Nate Gray.
That's an assumed name, obviously.
And he claims to be a mutant.
So the people that maybe are tuning in now and might have missed the first hour did miss that.
And, you know, I just think that people need to have an open mind.
This time that we're living in is quite a strange time.
And There are a lot of people that are in mental institutions and are considered crazy by a lot of people when in reality some of those people may be more sane or have some of the better pieces of the puzzle than the people that claim to be sane.
And so that's kind of my approach and every once in a while I like to open up the forum and just have People on the air that are not known widely and might have stories that other people don't agree with or don't think are true or whatever.
I just think it keeps people sort of on their toes and I also think that it's fair play.
You know, we're all human and we're all in this together.
Or most of us are human.
Or some rendition thereof.
So, with that in mind, anyway, I'm sort of doing a transition with Camelot lately, and I'm moving into bringing music to the forefront.
As many people will know, I wrote or co-wrote the lead song for Camelot, which is called Jaguar, and I'm also the sort of singer, and I wrote the lyrics.
So, I've been involved in the music industry on and off for a number of years and I'm also very interested in what's going on in the music industry, the amount of Illuminati influence over major artists, etc.
And one of the things that I would like to do in the future is put together musical events.
With Camelot speakers to start raising the consciousness around the world.
What I do find in conferences is that the attendance in person is rather low, but if they have music, the people show up.
And having just been at the Bilderberg event, as many people will know that I was, what they started to have there was they or they tried to have some music along with the speakers and It was beginning to form into something, and I think that that's a good beginning.
I'm very interested in moving down that road.
So I have a visitor here, and he is from England.
I met him at the Bilderberg event.
His name is Neil Anthony Sanford.
And Neil, you want to say hello to everyone?
Hello, everybody.
And he's going to be talking to me this evening and you guys are going to be joining in.
We're going to be talking about music, the music industry.
We're going to talk about what he's doing in music.
People that pay attention to my blog will have seen where I put a YouTube piece of music on there and it was from Earth Leakage Trip.
That's Neil's piece of music, and he did that with a guy whose name is...
Dreadmark.
Dreadmark.
Yeah.
That's his official name?
Yeah.
Okay.
And he's the vocalist and actually wrote the lyrics, right?
He did, yes.
He did?
Okay.
And he's a very cool guy.
I actually spoke to him on the phone, but I haven't met him in person.
But the point is that he used Camelot as his inspiration for the lyrics, and then Neil also used...
Camelot as the inspiration for his music and has done so for a number of years.
And that's where we come around to why does it matter what's going on with the music industry and why it's so important to understand that we need to change this world and that music is one of the major ways to do that.
Michael Jackson obviously understood that.
And one of his really amazing videos, the song, That They Don't Really Care About Us, I think that's the name of it, is well worth seeing.
And that kind of says it all in my world.
But at this moment, we're going to be talking about the name of that piece of music, by the way, that's on Camelot is called Time for Disclosure.
And so we're going to talk about how Dreadmark and Neil came to write something so very sort of oriented to waking people up in the Camelot way.
And we're going to kind of jump off from there.
So, Neil, welcome.
Thank you very much, Carrie.
Okay, so why don't you talk about, first of all, your background in the music industry, a little bit about who you are and the albums that you have out, because I'm sure people are going to be interested.
Okay.
Well, I started in 1992 with a record label called Moving Shadow, and that was my first release commercially.
From there, it had sort of about 2,000 vinyl copies released, which did quite well.
And got picked up by another label.
So from there I moved from Moving Shadow record label, which has now become a drum-bass label.
So I was involved in the rave scene, the early rave scene in 1992.
And I moved on to another record label called Rising High Records, which were doing techno-based music.
And from there I carried on making a few more pieces with this label and it got quite popular from there.
So from there I've moved on to a number of other record labels.
Okay, so but at this point you're with Next Gen, is that the name of it?
Yeah, a guy from New York contacted me about three years ago now and said that he was a fan of my music and invited me to join his record label.
Okay.
And since then, yes, I've released an album called Research and Development on his label.
And since then, we've been working on plans to release a couple more albums that should be coming out recently.
Quite soon.
Okay, like, so you've got, but this song, what do we call Time for Disclosure, that you did with Dreadmark, isn't, that's out on YouTube, but is it also coming out as an EP? That's the plan, yes.
Okay.
Yeah.
And can you explain, how did that song come about?
Well, it came about really because I've had been following Project Hemlock pretty much since the beginning in 2006, and having my own experiences in Sort of unknown phenomena flying around our local area.
Oh, right.
And I just really wanted to evoke the mood of really extraterrestrial phenomena in a more sort of filmic sort of setting and have a little bit of fun with the music.
But still encapsulate the message that I feel that, you know, is very important to get out at this time.
Which is?
Well, I think disclosure about this extraterrestrial issue has been kept secret for far too long.
And I think really what inspired me originally was Stephen Greer and the work that he was doing.
He certainly made a case...
A very strong case that really, you know, we have to investigate this a lot further and find that, yeah, I mean, really the evidence I feel from a lot of the whistleblowers that were coming out at that time really proved that, you know, there was a lot of smoke and, you know, this needed to be brought out to a wider audience of people.
And of course, after that, I did continued research throughout the internet and stumbled across Project Camelot, where I think you really took the gauntlet for a lot of people at that time, including myself, and I think you managed to ask the questions that really needed to be asked at that time.
That's really where it took me, really.
And I've been following ever since.
And I felt like I really needed to do something.
Like a lot of people, I feel, at this point was, you know, because music is a powerful force, I think, you know, and I wanted to try and convey this sort of atmosphere.
But at this point when I was doing this, it was more instrumental-based music, and I hadn't actually connected with Dreadmark, who himself had had UFO experiences and had himself been following Project Camelot.
And when we first connected, we both realized that we were obviously following the same mission, and it was a very good union that we created.
And he heard the instrumental music that I was creating, and from there was inspired to write lyrics for it.
Didn't you tell me that he wrote those lyrics like overnight or something crazy?
Literally overnight.
The first day we met, you know, we realized that, well, we had a very intense discussion about all of this subject and both realized that, you know, we had an awful lot of stuff that we would like to perhaps express one or another through music.
And so he heard the music I was having to be displaying at the time.
And instantly asked me, you know, well, what is this?
And I said, well, it's just some music I've been doing.
And he said, I could write to this.
So he actually took the music from me that particular evening.
And that same evening, managed to write the lyrics, put it with the music and send it back to me.
Completely blown my mind.
And I thought, well, this is fantastic.
And we both recognize that, yes, you know, we're great working together.
And this is really going to continue from now.
And from there, I was inspired to create the video that's now accompanied the music.
Right, and that's a very good filmic sort of, I guess, interpretation of the music and the lyrics together.
Yes, I mean, from the lyrics he was writing, that's what provoked me to create images for what he was writing in it.
I had no idea that this was going to even happen when I'd created the instrumental.
It was really just the mood that I was creating.
But when he added the lyrics, it added a much deeper dimension to the whole piece.
So visually I wanted to back up the message that he was putting forward.
This was it.
Yeah, so you're a visual artist as well as a musician, right?
Yes, yes.
Okay.
A lot of people who are going to be looking, some of the people may not have heard this piece of music.
Sure.
So I want them to be able to find it easily.
So if we tell them to go on YouTube, if they can't find it on my site, which, first of all, it's on my blog, but it was, let's say, a few weeks ago when I posted it.
Would it be under Earth Leakage Trip?
Is that what they would look under?
Or would they look under...
Well, if you do a search for Earth Leakage Trip generally in YouTube, you'll find a lot of music that I've had out over the years.
And people have actually uploaded copies of my work over the years.
So there's quite a lot of places you'll find it.
But my channel is in fact called Earth Leakage Trip, all one word.
Okay.
All right.
And then you also have a Facebook page, right?
I have a Facebook page.
Is it under your name?
No, it's actually under the same title, Earth Leakage Trip.
Earth Leakage Trip.
It's actually separate words, actually, on that.
Okay.
So, Earth Leakage Trip.
And it is very interesting, the name of the actual band that you chose, right?
Yeah.
I mean, originally, I've always been inspired by psychedelic-type music.
And...
A long time before I was actually doing anything commercial, we had this name just floating around and it actually was inspired for, it's actually a piece of equipment which is designed to stop you being electrocuted.
It was just a crazy name and we had this first record produced back in 92 and I hadn't even really considered that it was actually going to be a release and we hadn't really formed a band name.
So there it was, ready to be released.
We needed a name.
And there was the name.
So we kind of stuck with it, really.
Okay.
Very cool.
But, you know, this is really important because the whole idea is that there is more and more musicians out there that are starting to sort of have a consciousness about what they're playing and what they're writing, what lyrics they're saying.
And obviously, you're one of them.
Dreadmark is one of them.
Yes.
Yes.
And that's a very good sign.
To me.
Now, there's always been bands.
I mean, the 60s, of course, was famous for having bands that had a higher consciousness and wanted to talk about what was really going on.
So you have Hendrix and you have The Doors.
Big influences on me, really.
Really, yeah.
Absolutely.
But now, more recently, I know that there is...
Let me see.
They call themselves...
It starts with an M. Muse?
Muse, yeah.
They're supposedly...
Yeah, they're a very well-known rock band.
But they're putting some awareness into their lyrics, right?
Yeah, for sure.
And I think that there are other bands out there doing the same thing, right?
Yes, definitely.
I think it's definitely a growing area of music.
Yeah, and it is important because where we're at now in this whole...
You might say this war with the Illuminati or war against the sort of negative dark side.
It is important that musicians become more aware.
And I was talking to, I think, Tia Tequila online at one point, and she was going to maybe do an interview with me, and she was talking about Illuminati control.
Yes, I know.
Yes, I was following that for a short period.
But we know there are other people out there that have tried to raise consciousness.
I'm not sure if she actually put the messages in her music.
I don't know, actually.
Yeah, I don't know either.
I think she was more or less talking about the industry and what was going on behind the scenes.
But that is a big problem, obviously.
We've got a lot of people in music being sort of taken over to the dark side, using dark side lyrics and pushing that kind of...
almost being sales representatives, if you will, for the dark side.
Yeah.
Yeah.
So, as far as music goes, what I'd like to do here is also open this up for anyone who's listening to ask questions of Neil...
Or if there happen to be any musicians out there and they want to sort of connect with us and talk about possibly doing some future live events where various bands can play.
And if there are other people out there that have venues, for example, or access to venues, this is a great place to start.
We want to really do this worldwide, right?
Absolutely.
Yeah.
So that's what we're looking at.
And I don't know if people are familiar with Nako Bear, but I've also put Nako Bear's music on my site recently, in the last few months.
I'm very much into it.
He's great.
And so I understand he's going to be playing here in Southern California in about a month or less.
And he's got a lot of awareness to the lyrics that he writes and obviously a great sense of consciousness, etc.
But there are other people out there.
So let me put the phone number out for people that might want to contribute.
And that's 424-253.
It's 424-253-0127.
And so again, we're here talking to Neil Anthony Sanford.
And he's from a band called Earth Leakage Trip.
And we're just getting some...
We're sort of breaking new ground with Camelot trying to move into the area that takes the Camelot message and all of the information that's been put out there now for seven years' time and start to combine it with also good music that carries a message and carries the...
Yeah, for sure.
Can you talk a little bit about your philosophy, how you make your music, what it means to you, that sort of thing?
Well, I mean, I make electronic music some of the time.
Okay, well, let me clarify here.
So, you're a drummer, and you're also a keyboardist.
Yeah.
And you also play, is it a trumpet?
A little bit, yeah.
Yeah.
And then you seem to also know how to engineer music.
Yes, I produce my own as well, yeah.
Okay, and then you've got some band members, right?
Sure, yeah, yeah.
And do you want to say their names?
Yes, definitely.
Well, the...
My longest band member is Tony Labui.
Okay.
And we live in the same town and we've grown up together and we're very close friends.
And for a long time we've just been jamming.
Music together and we've found a very good level with how we operate and how we work.
We don't tend to really have to plan too much what we're going to do.
We do different types of music that we're actually doing.
Some of the time we're actually just jamming in the studio and we tend to record everything that we play and we get together with other guys as well that just join in.
But other regular band members that you have, who else is there?
Well, it changes.
Most of the time it's just with me and Tony.
We're really the guys that hold it together.
But other people have joined recently.
It was a friend of ours called Adam and the guy Pete who plays bass with us and stuff like that when we need it.
And yeah, for a lot of the time it's really just getting together and having fun and just playing the music.
But you have a very unusual approach to music.
I mean, I know you have a new album coming out in the near future that is going to be an album of the jam.
Exactly.
Is that right?
Exactly.
Well, you know, this was really, for the last three or four years, we've basically been recording an awful lot of jams in the studio.
And after reviewing and listening back, we've found certainly some of the best parts and have compiled a compilation.
Right.
And in a certain sense, it's almost a combination of electronica, jazz, and I would say even 60s influence.
Yeah, we have a lot of influences from a lot of 60s, 70s music really.
A lot of it is very filmic quality.
We seem to be checking that kind of area of music mostly.
And yeah, you know, we've really kind of experimented with wanting to capture that, you know, authentic sort of sound from those periods.
So we tend to get in instruments that are from that period.
So we use, you know, things like Rhodes keyboards and particular types of amps and so on that capture that kind of sound from that period.
But we then, you know, we can mix that with modern sort of electronic equipment as well.
And it's a sort of hybrid, really.
But yes, I mostly play the drums most of the time when we're jamming.
But then every now and then we swap around, turn it, get on the drums, play keyboard and so on.
So, you know, the whole thing kind of develops on its own accord as we do it.
Right.
But it is sort of psychedelic.
And it also and the point that that people may say, well, what's that got to do with Camelot?
And what I'm really talking about here is taking people into another dimension.
For sure.
I mean, for us, the whole experience of jamming like this does take us to, we sort of feel we break through to the other side as we're doing this.
It certainly elevates us.
And we often talk about where it's taken us at the end of a jam rather than what we've done specifically.
Yeah.
And of course the people that have joined in with us over the years have seen this effect for themselves and are quite often quite accomplished musicians who've never really experienced that way of making music has been very liberating for them as well.
And, you know, it's very liberating for us as well.
I mean, it really does, you know, do good things for the soul, working in this method, because we're not being held back by any kind of ego politics or anything like this.
We tend to just really let everybody be free to do what they want to do.
And that's what works best, we've seen from most of our So, you know, that's the best way to work, we feel, at this point.
Okay.
Looks like somebody wants to know if you're making organic music.
Yeah.
I mean, in a certain sense, you are.
Well, some of the time I am.
I think to keep things fresh, I think you have to kind of be organic.
Whether you're writing in the studio in a more kind of technical kind of way, where I'm quite often listening to the same piece I'm working on over and over again and refining it and taking it to...
I've finished production level, but that can be quite laborious in some respects, and it's good to be able to just get in the studio and just play and let things just happen, rather than try and sort of force things to happen in certain directions.
But both are important, I feel.
So we learn from each other, I mean, from each different techniques.
We cross-pollinate the techniques, for sure.
Okay, and let me say that...
I actually shot the band while I was in the UK. I met the entire band and I participated using a camera.
I shot the band.
So we're going to put out a short video of the band playing.
In one of their jams.
And what they're doing is the instruments, in a sense, are communicating with each other.
It seems like.
Oh, yes, definitely.
Whilst we're playing, we're all very much listening to what each other are doing.
And for us ourselves, we don't know what's going to happen next.
And that makes it exciting for us, too.
Right.
But over the years of playing together, we've got very accustomed to what each of us are sort of going to do next in some respects.
And there is a natural structure that sort of develops on its own that, you know, anyone who's experienced music at all would know this, that really, you know, things will happen.
And often, if you let them happen naturally, it does, the arrangement of the music seems to provide sometimes a template for the electronic-based, more studio-based productions, like music.
I think producing, arranging any music, I think you have to have a live element to it, like a DJ would understand this as well.
Yeah.
Well, what about the idea that the players that you're using are really sort of participating wholly in the process?
What I saw when I saw you guys jamming together, I mean, it's like jazz, but it's not jazz.
And so how would you explain that?
Well, we don't have the same rules that jazz would apply.
Although jazz is considered free, obviously, there's a very wide area of what jazz music is.
But certainly free jazz is possibly a closer kind of connection to the type of music we make.
But we're not really using a lot of the traditional methods that perhaps jazz would.
Okay, well, yeah, you're definitely not.
I'm not sure what method we're using, actually.
But it comes together, really, as we allow it to.
I mean, really by not putting any restrictions on the music, we do find that Things will happen that we couldn't have preconceived.
And it's very hard for us to know at the time whether or not what we're actually recording is of any value.
It's only really when we listen back to it later that we find that, wow, you know, this is really great.
You know, we didn't even know this was what was happening at the time.
And of course, there is production that takes place after this point.
Of recording.
So in the studio it can sound quite dry and it can sound quite naked.
So we don't often know necessarily what the end result will be after producing it a little bit more.
We'll dub it essentially.
But you're also adding sound effects even when you're playing.
Yes, we do that.
We tend to have a system where we've got loops running.
So I'm usually playing to a click so we can keep things tight.
So yeah, the other players can Sample their guitar playing whilst in the jam and capture moments and then loop them and so on.
And we can then twist things as we're going.
So it takes it on a constant journey.
And we tend to find that we'll play, you know, maybe nonstop for Each piece for 20 minutes or so until we really reach a point where we feel satisfied that, yeah, you know, we've really explored it.
And we are really listening to each other very closely as we're playing and anticipating each sort of movement.
So there's definitely a communication taking place as we're playing.
So that relates to jazz music in that way, for sure.
Well, yeah, it's also sort of a meditation, wouldn't you say?
I mean, it comes across as a kind of maybe group meditation almost.
We're about to go to a break here, and when we come back, it looks like there's a musician who wants you to be aware of his name.
Okay.
Recognize that name at all?
Okay.
All right.
Thanks a lot, and we'll be right back.
The TV, what I see, violence and crime.
Them I go and walk right now.
Them I take badness up as I have it.
So we never want ya.
True not for we are people telling no for them.
It's time to be disclosure.
Yeah.
Everybody get ready for the ride of your life.
Cause it's time for all other people to wake up and take over.
And we're live, Carrie.
Hi there.
Okay, this is Carrie Cassidy, Project Camelot with The Blower Radio.
I was just trying to put into the chat the actual link to the places to get his music, Neil Anthony Sanford, who I'm talking to here, so that people could find it.
And one of the ways is, again, his Facebook page, Where you go and you type in the words Earth Leakage, which is L-E-A-K-A-G-E, trip.
Spaces between each of them.
Earth Leakage Trip.
And that's the Facebook page.
Or you could go onto YouTube and type in all one word, Earth Leakage Trip.
And you'll find his music that way.
That's for the channel.
That's the channel name.
That's the channel name, okay, on YouTube.
And then there's also the record company, which is called what?
NextGenMusicGroup.com.
Okay, so NextGen, and that's actually spelled, hold on one second, because I was, well, I guess I didn't make it through.
So it's N-E-X-G-E-N MusicGroup.com?
.com, all by one word.
Okay.
And I'll put all of this on my site when I get a chance.
He's based in New York.
Right.
Your label is based in New York.
Okay.
But you're actually based in the UK, right?
That's right, yeah.
Okay.
But at the moment, you're traveling on the West Coast in Los Angeles area, and you're about to maybe...
Connect with some musicians here.
Release, first of all, an EP. Yeah.
And what songs are on the EP? Well, the EP is going to have this track, Time for Disclosure, on it, followed by another three tracks, which are, again, inspired really from the information from Camelot.
Right.
Having a kind of playful sort of approach to the music, I've done a track called Reptile.
Reptile, yeah.
And I've done another piece called Hyperdimension.
Hyperdimension.
Yeah.
And so is that Hyperdimension Reptile?
Wasn't there one more?
Yeah, one more called Space People.
Space People.
Okay, cool.
So that's an EP that is going to be released maybe in a day, right?
Well, hopefully anytime soon.
The name of the EP will be called Authorized.
Authorized, yes.
Authorized leakage.
Leakage, yeah.
And it actually, using the word leak, and it actually has kind of a cover that looks like the MJ documents.
That's correct.
Sort of with blocked out stuff.
Yeah, I wanted it to look like very much that MJ document with magic eyes only.
So I changed this for magic ears only.
Okay, very cool.
Yeah, that's great.
So that's coming out very shortly.
And then there's an LP, you know, a regular album, which will have the session jams, right?
That's correct.
We're going to call this one Spooky Distance, which again was inspired from some of the information I think you encountered on your site.
Spooky Action at a Distance.
It's sort of a physics term for remote viewing, what goes on during remote viewing and sort of Beyond the third dimension, how we connect with people through telepathy.
It's just a sort of saying.
So, okay, well, that's cool.
What we were also going to talk about, I guess, briefly, is your philosophy of music, how you look at music, how you're trained.
You're actually not trained classically in any way, right?
No, not at all.
This has actually been an advantage, I would say.
Okay, so you want to talk about that a little?
I've always had a love of music, I think, from a very early age.
I've always wanted to make music.
I think ever since I could reach the keys on the piano, I've been sort of composing little melodies and so on.
So I was quite young when I started really doing this.
And actually, as it carried on, I started to notice people were quite liking what I was doing, asking me to play whatever I was doing at the time.
So this kind of carried on for quite a few years.
After a while, I actually got myself a drum machine and started programming electronic-type music and bought myself just a few pieces of electronic music so that I could actually start producing something to a level which perhaps I would be able to put together a demo tape and then show this around record labels and so on.
And as it happened, I bumped into a friend of mine who Was running a label, was wanting to start a record label.
And it was very early days for him, and it was literally just producing in his bedroom.
And this is how I produced my first piece of music, really, with just very limited equipment.
And he liked what I was doing, so it got released.
And the first piece that I was releasing, which is still doing very well, actually, on YouTube, with a lot of people that have been posting it up, it was called No Idea.
And it was a kind of spooky piece of music, but at the same time as it had a kind of dark influence, it was also having fun with the music at the same time.
So I'm keeping that tradition with the music I'm doing now, because a lot of this information that we're looking at is obviously quite heavy for people.
So to really counterbalance that, I really wanted to, you know, put a little bit of humor within the music.
Right.
Well, okay, so, but as far as your technique for not only learning music yourself, because you taught yourself the drums and then you taught yourself all these other instruments.
That's it, really.
I mean, really, only really from listening very closely to the music that I loved.
Uh huh.
Which really started really with electro music and hip-hop is really where I started initially and this is what inspired me to write you know with a drum machine and so on.
But then after years of writing on a drum machine I found that really I was learning quite a lot about drums.
And how to construct, you know, rhythms and patterns.
So it was many years really after this with the drum machine, I actually decided to buy myself a drum kit and actually decided, yeah, I could have a go at this.
And, you know, it really took to it quite easily because I was quite aware of how patterns should be constructed.
So this helped me, you know, really the drum machine.
Okay, but then you also teach drumming now, right?
Yeah.
Just to, you know, friends and people that, you know, are around me that have been inspired just simply by the way that I approach the music.
And, you know, I don't teach in a traditional way.
And this has actually become quite popular, really, actually, even in Within the school curriculum, they've been looking for people that are self-taught because they recognize that you can get through to children much better with this approach, that people that are self-taught seem to have a better way of communicating to young people.
Okay, and so what is it that you tell them?
Because I think it's quite inspiring what you tell them.
Well, you know, I'm not really setting any rules too much.
What I'm really getting them to do is find their own thing.
And, you know, I show them just some of the very kind of basics and try and help them really kind of, in a way, recognize that there's no such thing as a mistake, in a sense.
That if they make a mistake, quite often that could be an intention.
Or if you try to intend to make that mistake at that particular moment, You may not be able to do it, but sometimes you stumble across some great achievements when we're not realising it.
And certainly what it's about is getting the person into the right headspace.
For me, I think, you know, for anyone who plays an instrument, certainly with the drums, you know, you find that you're really doing your best performances when you are quite removed from yourself whilst playing.
So I often tell them, you know, just think about something else.
Don't think about what you're doing.
Think about something else you like to do.
And just play.
Just almost like a chain reaction.
It's just a natural body response in how you operate.
So you're not doing it.
But then what I'll do is I'll get them to record.
I'll record all the sessions that they're doing.
Because of course I understand as well that you don't know what you sound like when you're playing yourself.
So you think you may sound great.
Or you think you may sound like the person that's just illustrated what it should sound like.
Often with the kids I've been teaching, I say to them, do you think you sound like I'm sounding on the beat?
And they think yes.
And I say, well, take a listen to it and we'll compare how I'm sounding on a recording and compare how you're sounding on the recording.
And then very quickly they can learn that it didn't sound as good as they thought it did and actually can readjust their own Feeling about it because I do think that it's how you feel about the music when you're performing it that really is the key.
Okay, but by the same token, they can also recognize that they sometimes are better than they think they are.
Absolutely.
Is that right?
Exactly.
Yeah.
And that's a real helpful thing.
I mean, it gives the person a lot of confidence and it also really makes them feel a lot freer that they can, you know, just let go more and not have to feel so, you know, Okay,
so somebody here is asking, do you know the major scale?
Well, yes.
I mean, really, I started looking at music construction later on, really, in my career with music, because for me, it's always about learning and learning more all the time, and that's what really keeps me interested.
So, you know, Tony started learning a little bit of jazz guitar, and he was learning a few things.
A few useful kind of things that really do help construct, certainly for songs and so on, things like that.
So diatonic chord structures certainly became something which I started to look into.
And really from there, you know, I haven't really needed to examine so much more.
But certainly scales and understanding all the different major minors and seven major sevens and all these sorts of things, I realized that I was actually doing all this kind of thing for quite a long time anyway, without actually knowing that's what it was.
So discovering these things now have been interesting.
I mean, they haven't necessarily helped me anymore.
I mean, sometimes I use it, but I really think it's just a tool just to kind of use.
If you were to write something, you think, okay, well, where else can I go with this?
It's quite useful to be able to think, OK, well, I'll change key and put this into a different key.
Then I can certainly take things into other areas that I'd like to go to.
And it's quite useful knowing how to determine what a chorus is and what a verse is and things like that.
But that's much more really geared towards song construction and song, which has been useful because I am working with singers and stuff like that at the moment.
And it's good to be able to have a little bit of knowledge like that.
But I think having too much knowledge can sometimes just not necessarily...
I think it's very much, for me, certainly what keeps it more interesting is not knowing in some respects and stumbling across things that sound good.
And, you know, there's the hopeful chance that you might come across something that no one else has perhaps done because they were working with the parameters too tightly and didn't...
Well, I think that that's also what we're talking about here is innovation, right?
Yeah.
The idea, and this is again where it gets back into Camelot because we're really talking about Looking at the world with new eyes and seeing the world perhaps as you've never seen it before and also getting rid of the blinders and the sort of structure that mind control has imposed, programming has imposed on the way you think about anything, not just music.
And so that's kind of really where we're going with all of this.
Even the tuning of music I've discovered recently is not tuned correctly to the sacred tuning that perhaps it certainly once was.
Right.
And the healing qualities of music have been perhaps lost in some respects because of this.
Okay.
And someone else is asking, and I know we're kind of running low on time here, so I'm just going to break in with a couple things here.
Somebody wants to know what's going on with the Super Soldier stream, and I assume what you mean is the streaming of the actual conference that was a Super Soldier conference.
You know, a lot of people think that Camelot produced that, which we did not.
I was simply a speaker at that conference, and that was all done by Lorian Fenton, And Lorian, I guess, has somebody working on that.
I don't know the status.
I think you can write to Lorian.
I think she has a Facebook page and she also has, you know, other pages, web pages and so on.
So personally, I don't know the status of the Super Soldier stream.
Tommy, I believe, was helping Lorian for a while.
He did record it.
So it has been recorded, the actual conference.
But I know that converting it and getting it then uploaded so people can purchase it is a whole process.
I had to go through that with my time travel conference, and I know it can take a lot of time and a lot of effort.
So I really don't know the status.
I know she's had some problems, but I don't know what they are exactly.
So that's an answer to that question.
I'm trying to see if there was anything else here before we move on.
So, another thing that was happening is also that you and your band have seen UFOs, is that right?
That's right, and it's very interesting because, you know, really all at the same time, we started to have, there seemed to be a wave of UFO activity, which actually, with lots of people I've been meeting recently, has been the same for them.
In 2008, in the UK, there was essentially what we're talking about is orbs, orbs of light just flying around in the sky.
And the first time this happened was just in my local area, where up to about 20 objects basically just arrived in the sky and lined up and sat there for about half an hour.
Now, I'd seen the Chinese lantern sort of stuff before and all of this, but this was far more interesting.
These things certainly seem to be flying with a very much kind of intense, much bigger, glowing orange-type orb-type activity.
And, you know, after seeing this, I really just, you know, really didn't know what I was seeing and was very glad to realize that, to discover that it was actually reported in the local paper.
And a few days later, I saw the report.
And in fact, people had actually videoed it as well, which, you know, confirmed that Yeah, certainly this was quite a major event, really, for quite a lot of people in that area.
And when was that?
2008.
Okay, so it's been a few years since then.
So what more recently?
Well, yeah, and then after that, I think it was possibly about a year later, there were more objects flying over the same area, but different slightly.
These ones were not orange so much.
These ones were much more like a white, bright light that It was probably bigger than, slightly bigger than the North Star, for sure.
And it would take about two minutes just to fly overhead.
And these were kind of coming over quite regularly each night for about two weeks.
And so, you know, all the people around me, you know, I started to mention this and they were all seeing them as well.
And interestingly, it got to a point when we decided that perhaps we'd be able to film them and, you know, somehow kind of see them.
So we actually arranged...
to get together at a particular time which we hadn't actually arranged when but we just decided that the next time the three of us would be together that we would see some type of UFO and a month went past and the next time that we three of us were together and really jokingly we just sort of said okay let's go outside now let's just go and see a UFO and so we stood outside literally stepped outside looked up And to our amazement,
complete amazement, there was a gigantic triangular craft just hovering over the house.
Just as blatant as that, really.
And all three of us, you know, just, oh, my God, what the hell is that?
I mean, you couldn't miss it.
It was undeniable.
And then for about 20 seconds, this thing just hovered and sort of slightly...
It was right above us.
It wasn't low level.
It was right up in the sky.
For about half a second, you'd think it was perhaps some kind of star...
Sort of, you know, constellation, but, you know, instantly we realized it wasn't these three massive bright lights, bright white lights in a perfect triangle formation, just hovering there, really, and then moving very slowly across the sky, and then naturally just completely evaporated right in front of us.
And this is amazing.
But interestingly as well, Dredmark had a similar experience just before we'd met, where he actually documented.
And this is actually in the video, I should say.
We used the actual footage that he used.
He recorded it on his mobile phone and just in the street in London.
And there were triangular craft, one after the other, just flying over.
I think there was about six of them that came over.
And, yeah, he captured it all on his camera and some great footage.
Unbelievable.
Okay, and so it's on the...
It's at the end.
Yeah, Time for Disclosure, the video that is up on your wall and so on.
Right, so if people also go on YouTube and put in a Time for Disclosure, Earth Leakage Trip, they should find it.
Well, certainly you'll find it on my channel, Earthly Goods Trip as the channel.
There is more information about what happened on that particular, in that time, with Dreadmark doing an interview about what he saw.
Yeah.
And you can link to a site that's called On Your Phone.
Okay.
And you can see that link somewhere in the information under the video.
Oh right, that's the one that also has an interview with me.
Yes, that's how I met you.
So your friend John, he's the filmmaker.
That's right, and we've been working together actually just interviewing people that have had unusual experiences because himself had had similar experiences with UFOs.
So it seems like everybody around me at this point has been having interesting, certainly very interesting experiences.
So we just decided to start documenting it and doing little interviews with people that we were meeting.
Right.
So Dreadmark was one of them.
Oh, cool.
Okay.
Yeah, I haven't seen that yet.
Yeah, it's really interesting.
And you can see more of the video that he actually took on his camera.
And I feel, you know, we all feel it's a very, very good piece of footage, really.
You know, it's certainly one of the best I've seen.
Okay, great.
Excellent.
Okay, well, we're running a bit out of time here.
And so we kind of want to...
Make sure there are no more questions.
I see there's one question here that somebody wants to know.
Do you tune your instruments to 432H? Yeah, that's an interesting question.
I haven't actually tried doing this yet, but it's certainly something I'm thinking about doing.
Certainly for doing meditation type music.
And again, I have experimented with just tones and so on in this kind of area of music.
There's perhaps some evidence of me doing this on YouTube even that people posted up.
But yeah, you know, for meditation music, using tones and so on like this, I was producing for a while this type of music and it did actually induce out-of-body experiences for me.
So I think, yeah, the power of using tones, you know, I was basically layering bass tones, mid tones and high tones and white noise and things like that together into a kind of ambient kind of environment that you can just absorb yourself in.
And it was certainly very good for meditating too, but I didn't make it with the intention that it was going to have, you know, induce any type of out of body experience, but it certainly did for myself.
Right.
Okay.
Very cool.
Okay, so just to reiterate, your album is under nextgenmusicgroup.com, and it's n-e-x-g-e-n musicgroup.com.
And let me say that you're also here in the L.A. area, open to meeting other musicians that are maybe doing some similar type music.
Yeah, for sure.
I mean, some of the artists that are on Next Gen are based in L.A., And hopefully I'm going to connect with them while I'm here.
All right.
But there's actually people from all over the world on this label, and it's quite an interesting label to be associated with, and I'm quite glad to be with them.
The guy that found me, and he's actually a fan of my music right from the beginning, actually, anyway, and he just called me and said it would be a great honor if you could be on the label.
So really from there I thought, yeah, definitely I want to join with him.
And I hooked up with him for the first time, actually, in New York.
As I was coming over here to LA, halfway through my journey.
That was really great.
Okay, cool.
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