1. How are you today?
For the time being, all is well. Thanks!
2. Tell us a little bit about the message of Neptunian Horizon.
The name "Neptunian Horizon" refers to the boundary between dreams and waking life, subconscious and conscious, the metaphysical and physical worlds. As dual beings, we have a foot in both. The interface and interplay between lower and higher forces is what makes life interesting. While dreams seem less real than waking life, waking life itself is but a dream relative to the higher realms outside linear space-time. So we are caught halfway between ultimate illusion and ultimate reality. And ironically, it is through dreams that we sometimes catch glimpses or communications from this higher reality, so the ouroboros eats its own tail here. It's all paradoxical, and yet as in Zen Buddhism, paradoxes point the way to truth.
The lyrical themes are centered on pure gnosticism, not on Sophia and Aeons and what some obscure sect believed centuries ago, but on the questioning of reality and the search for answers to who we really are, where we really came from, and where we're really going. Not enough people ponder these issues, let alone try to find the truth. Some believe we are just machines in a dog-eat-dog world, but that belief is a symptom of mass delusion foisted upon us by a spiritual Adversary that hides behind the veil of the five senses.
The gnostics believed that our material world is a spiritual prison or cursed kingdom in which we have fallen spiritually asleep, and that through inner development and divine grace, our spiritual eyes can be opened and we can break free. In pop culture, these themes show up in the writings of Philip K. Dick and the Matrix Trilogy, to name some examples. There is a kind of "Zion" outside our "Matrix" and we are here, asleep in our pods, at the bottom of a deep black lake as I sang on the album.
3. May I just say, you have chosen some great artwork for your debut "Descent". The mixture of colors, the late-evening setting... Any comments on that?
I intended for both a primordial and and apocalyptic atmosphere set against a cosmic background. That is, I wanted to represent both the beginning and end of time, both the dawning and the twilight of the gods, both our ancient origins and future destiny. These points are the entrances and exits from time as we know it, the doorways into and out of this matrix reality.
This underscores the mythical foundation of Neptunian Horizon: our fall into this realm, and our pathway out. Does the artwork depict the seas and shores forming against the backdrop of a giant moon rising from the horizon, or does it show the moon descending from orbit and setting the sky ablaze? And if you look closely at the sky on the cover, you can see the constellations of Orion, Cassiopeia, and Pleiades, which I believe are origin points for some of the nonhuman forces that have shaped our planetary destiny.
4. You also have a website ( http://montalk.net ), that's fairly similar to Intermediate Realm in concept. One of the more frequent concerns I've noted in your writings is the influence of negative higher dimensional beings on human society. Since you (along with your site) also deal with metal music and spiritual knowledge, how do you keep your eyes on the spiritual and metaphysical prize as a member of such communities in a world like this? Do you think metal music has a role in any *ahem* questionable agendas?
Undoubtedly, metal has allowed for the most extreme expressions of violent, hateful, twisted, and demonic impulses ever committed to song. No other genre can compare, not even classical. If rock-n-roll is the devil's music, what does that make metal? No wonder metal has such a bad reputation.
But let's look at the issue more closely and not throw the baby out with the bathwater here. You could say that metal is really base, and therefore that it is like a "base metal" compared to the gems found in the rest of the musical universe. But what is the Philosopher's Stone made from, what does it transform? Base metal. What seems to be the lowest, the most reviled, is actually the raw material for producing the highest. That which the builders have rejected can become the cornerstone.
In my view, metal has the greatest potential of all genres for giving perfect expression to transcendent and divine impulses. That is because metal is fundamentally about one thing: power. It does not run from power, physicality, or force, but demonstrates a command and mastery of it. Now, color that power with any emotion, theme, or impulse and you arrive at a particular genre of metal: power, doom, symphonic, death, black, goth, and so on.
So it's not that metal itself is diabolical; the power underlying it -- like fire or knives or electricity -- is neutral. It's only when that power is shone through demonic themes that it then becomes demonic power. People then associate metal with one of its darker forms and discard the whole thing.
The problem is that if you pick up something heavy, by default it wants to fall down to the ground; one requires an effort, an act of freewill, to make it rise against its own weight, to wield it intelligently. Likewise, metal being powerful and heavy will fall down into animal instincts, demonic impulses, egotism, and so on. It's too easy; therefore it's become cliche. It takes a disciplined use of freewill to overcome metal's inherent inertia and use that heavy momentum toward accomplishing something higher.
Think of a heavy sword in the hand of a thug versus that of a noble knight; the latter uses the very same implement to preserve balance in his realm, while the thug uses it to cause imbalance, and it's a lot easier to fall spiritually and become a thug than to go through the training and inner mastery needed to wield such power in the name of chivalry.
And so it is with metal, which despite its default tendency to sink into depravity, can just as well be elevated to heights higher than achievable in other genres. Why more than other music? Because it already has the lower part of the spectrum covered -- the part to do with pure power, physicality, energy, force, and momentum. That's a firm foundation. From there, it only gets better with metal's full capacity for melody, harmony, counterpoint, and the best of music theory. And if you add more refined emotional and spiritual layers atop that, the whole thing ends up being more complete, deep, broad, and transcendent than some other genre that shies away from certain parts of the spectrum. You won't find the same ferocity in classical, the same melodic intricacy in rap or electronica, the same occult sanctity in jazz.
Thus, only through metal can you resonate the lowest through the highest chakras. It is the music of transcendence, not rejection or escape or avoidance or indulgence. It is the roar of the vimanas, the music of the gods and our noble superhuman descendants, for they are power personified.
5. Continuing from #4, this blogspot's admin is closely befriended with, and thus several of its readers will be, otherkin. Do you think malevolent beings, be they aliens or other higher forces, interfere in sub-cultures like this as well? Do you have any comments or any take on that?
The real danger is not where such forces do it openly, but where they do it covertly on a mass scale. Pop music is a much greater asset to them than metal. If you look at the obvious -- too obvious -- stuff like black metal (which, by the way, I don't mind musically because there is incredible talent in that field) where musicians try to look demonic and sing praise to Satan, that sub-culture is actually pretty small and inconsequential to the direction of the planet.
But then, if you take a look at the biggest names in pop, country, and rock over the decades, especially the female pop stars today, you'll see that they are vectors of corruption with billions having heard their music and fallen into worship of these idols. As the synchromystic researchers can attest, these stars are surrounded by dark occult symbolism and many appear to be mind controlled. So it's funny that some clean cut suburban dad will allow his daughter to listen to Lady Gaga and sing along with it, but god forbid she starts listening to black metal. It's both hypocrisy and idiocy to approve the first and shun the latter, because the first is more sinister and effective as a cultural weapon against human integrity than the latter will ever be.
In occultism, it's known that if you think about someone a lot, you form an etheric or psychic connection with them. So a group of people who think about each other create a psychic network. It's also known that dark entities possessing one or more members can traverse these networks like a road system, and even use such conduits as feeding tubes to harvest energy from the others or manipulate their thoughts and emotions. This is especially so if the person thinking of another does it through obsession or deep devotion. It all depends on the target, and how possessed they are by such demonic forces. These forces can use their hosts as "psychic P.O. Boxes" to receive the "gifts" sent to them by the devotees. Now think of that in context of pop stars and celebrities who have the devotion of millions. Think of their music acting as an occult sigil or talisman transmitting not only the vibe and intent of the musician, but also the entities hooked into them. That's what I mean by covert influence on a mass scale.
6. Back to the music now, I promise! You've mixed several styles of music in your first officially-released album, from epic to doom, some power metal influence, prog, and some added atmospheric seasonings, and that's not mentioning the occasional choir track and a moment or two of church organ sounds! That kind of diversity is JUST WONDERFUL. Anyway, do you plan to continue it on the next album, or is a change of style in order? (You've mentioned a possible side project, if I'm not mistaken.) Also, will you continue to use dreams as inspiration?
There will always be diversity and experimentation -- within the sphere of symphonic, power, prog, and epic doom styles. I will never introduce elements of rap, hip hop, blues, jazz, country, or swing for instance, just because I'm not into those genres and want to point my music out of the matrix and not into it. But classical, medieval folk, overtone singing, tibetan bowls, and cosmic sounding synths are all game.
My next albums will each be internally more consistent, but the albums will be quite different from each other. One more valiant, enchanted, optimistic sounding, the other darker and more morose. This is mainly to enhance the flow of songs within each album and build cohesiveness. Variety is good, but beyond a certain point it loses cohesion.
"Descent" was as diverse as I could get away with for a single album, and even so, there were doom listeners who didn't get the lighter parts of "Descent", and lighter listeners who didn't appreciate the doom elements. But I am grateful for everyone who could handle and enjoy both ends of the spectrum. Now, since my upcoming songs are even more diverse, however, they deserve to be split into separate albums grouped by style.
Dreams will continue to be an inspiration, yes. I still have various unrecorded melodies heard in dreams that will go into future songs. What's strange is that all of these dream melodies sound different from each other in style, and yet they all seem to have something in common as if penned by the same hand. And not only my songs, but ones I found on the internet and YouTube claimed by their writers to have come from dreams. They are all otherworldly and strange yet familiar. That's something I strive to incorporate into my music, as it's a reminder that we're not really from here, if we're even here at all.
7. How did Neptunian Horizon as a band start, exactly?
I've been writing and recording songs since 1998, at first on a simple tape deck, then a 4-track recorder, then through various desktops and laptops over the years. When I first started, it was a mix of thrash, punk, alternative, and a few epic doom songs, even though I hadn't heard of the doom sub-genre back then; it was just in my blood and came out musically. In 2001-2002, I recorded a handful of demo songs. One of them was Lunar Thanatos, which I recognized at the time as being musically and spiritually higher than the other songs, and it became a foreshadowing of what I would be doing in the future. That is why I included a re-recording of it on "Descent." It had that odd, sacred, minimalistic, doomy, enchanted hymn-like quality that I valued.
Between 2002 and 2006, I took a break from recording but still accumulated a wealth of what I call "melody clips" -- these are fragments of future songs: intros, verses, choruses, etc. without lyrics, just the melody -- that I captured on my handheld recorder and imported into my computer. I have almost 800 of these now. Over time, the best ones form the nuclei of new songs, and then it takes some hard work arranging the parts into the final "melody sketch" of the song, which I then fill in and replace with drums, bass, guitars, vocals, and the rest. Then depending on the atmosphere, I write the corresponding lyrics. That's my songwriting process.
This work began in earnest in 2008, and over the next three years I recorded what became "Descent." I came up with the name "Neptunian Horizon" in early 2011 after buying a blue ESP Horizon NT guitar and only then realizing how much its looks and name symbolically fit the themes of my album.
8. Is there a chance that Neptunian Horizon will someday perform live?
In recent years I've been making friends in the metaphysical field who also happen to be metal musicians or vocalists open to that style. They're a rare breed for sure, but they're out there. It will take some time before everything comes together for a live performance, but I hope to get there eventually. After a couple albums, there should be enough songs to choose from to create a great live set.
9. You've had some books published over the years, dealing with aliens, fringe knowledge, and more. Would you recommend them to those who are interested in Neptunian Horizon? Also, your website is set up "like a buffet", letting people take information that clicks to them, instead of forcing the idea. Do the books have a set-up like this as well?
The lyrics in "Descent" were largely inspired by the fringe themes on my website. If you resonate with the lyrics and would like the full context, definitely check out my books and articles. They are the culmination of almost 20 years of research into truths we are not being told.
The two main books, "Fringe Knowledge for Beginners" and "Discerning Alien Disinformation" are free PDF downloads, and the website articles themselves are free to read as well. "Fringe Knowledge" is a well-rounded concise introduction to occult, conspiracy, and alienology subjects, while "Discerning" is an in-depth analysis of the alien agenda. Since they are free, no one's obligated to buy or believe anything, so they have nothing to lose by having a look.
By the way, Neptunian Horizon was never intended to be an educational or activism tool, so much as my personal homage to these subjects, my act of spiritual communion with the otherworld, and a source of solace and commiseration for fellow truth seekers who recognize the scourge of the matrix control system. [[Which it has been for this fan. Thank you for that. IK]]
10. Neptunian Horizon is one person. Do you plan to include other musicians in the band some day, or will it be a one-person project on future albums as well?
Time has been my main limitation so far since music is only one fifth of my creative focus in life. Not because I lack commitment to music, but because I'm equally committed to other areas like physics, alienology, occultism, matrix studies, research and writing. Working alone, at my own pace and time slots, has allowed me to fit music in between everything else.
If I were to collaborate with several others as part of a band, it would likely be under a new band name since contributions from other members makes for a new dynamic and style. For now, Neptunian Horizon will remain just myself. However, since some melodies require a female voice to perform properly, or perhaps even require black metal style vocals on some songs, I look forward to having guest vocalists contribute to future albums.
And thank you for taking the time to answer the Intermediate Realm's questions. I hope the questions are interesting and relevant enough for you, your fans, and my ever-so-slightly growing audience. If you have anything else to say, you can say it here.
Thanks for allowing me to share my views and motivations behind the music. And thanks to everyone who has listened to my debut album and voiced their support. If anyone has yet to hear it, you can download it for free at http://neptunianhorizon.com -- I have signed copies of the CD available too.
I'm currently working on the follow up album called "Ascent," which will have more medieval folk and symphonic influences and will lyrically revolve around the end of the world as we know it (and what comes after). I'm also simultaneously working on its successor or side project that will be exclusively heavy, epic, obscure, and doomy. There is much more to come, stay tuned!
And that's that! As Tom said, the music is available for free and physical copies are still available. Be sure to check it out.
- NOCTURNAL IRIDESCENCE