Cross-Post: The Post-Rock Way – Hymn | Spotlight: Sigur Rós

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I felt it must be shared, as the song I highlight and the experience I had in the described concert really resonate with the last post I just wrote. I recently wrote a post on the best albums of 2021 in post-rock, so I recommend checking that out if you find the music in this post interesting.


Last night, I saw another post-rock legend, Sigur Rós, and like in the experience of my previous post on Mono, I was left feeling touched in a way that’s difficult to describe – nearly moved to tears on multiple occasions. This surprised me, as even though they’re revered by many in the genre, I’ve never been deeply into Sigur Rós. I wanted to share a bit more about this experience.

First, I want to repeat a quote that came from Taka, the songwriter for Mono, regarding the spiritual experience that music can present:

“Music is about experiences,” Goto says. “Witnessing extremely loud sounds live is one type of experience. It’s almost like seeing a spark of thunder in a quiet night sky, then hearing the echoes of loud thunder. It’s beautiful, yet crushing – an unusual experience.”

“At the same time, subliminal music is extremely spiritual. Every sound and melody start to soak into every cell in your body, takes them subconsciously and moves them. Music can speak to everyone more eloquently than words. It’s close to philosophy. It’s a gift from God.”

Taka, from this story

Watching Sigur Rós evoked precisely this sentiment in me a few times throughout the performance, even though I wasn’t that familiar with their oeuvre. The super-fans around me were much more amped, clearly experiencing every note deeply and profoundly, much like I did in seeing Mono recently, but even at a more basic connection, the supreme artistry and intensity of this band moved me in similar ways with certain songs.

Personally, as a post-rock super-fan who has grown much more deeply into darker emotional soundscapes with very technical instrumentation over the last few years (for instance, Russian Circles is my most listened to band of the last two years), I found Sigur Rós’ instrumental aspect a bit more lackluster. It truly hinges around Jonsi’s amazing vocals to really create the emotional soundscapes that awe the listener.

Furthermore, this still fits post-rock in the way my first post on this blog outlined, as they have played with language to move beyond any easily understood concepts, even pressing a gibberish, created language into many songs to push beyond the barriers of language into an emotive space that the listeners are meant to resonate with and fill in the meaning themselves. This article really digs into that well.

For me, the songs that moved me were the songs in a major key, where the instrumentation resonated fullest with the falsettos of Jonsi’s voice. These songs gave me goosebumps and teary eyes, feeling like there was some deep cleansing of heart at play. They felt much like Taka’s description above, but the incomprehensible vocals that expressed emotion more than actual words pull the heart along like some sort of transcendent hymn to human experience. As Taka said, those moments are a gift from God.

There is probably no greater example of this for me from the set than Sæglópur from Takk… Takk means “thanks” in Icelandic, and Sæglópur means “lost seafarer”. The song is a mix of Icelandic and the band-created Hopelandic. It is one of their more well-known songs. I have been aware of it for years.

In listening to this song, you’ll likely feel a lot of emotions in the delicate, lonely beauty of the beginning and the crashing intensity when the rock experimentation in sound comes to the fore in mid-song. It pulls at the seeking heart, yearning for solace, facing challenge and pain, and continuing to press onward.

It’s a hymn to the human heart, and that feeling is what shone through for me with Sigur Rós time and again. The songs that felt like existential hymns, every last one of them evoked a sigh from the audience when they were over. That’s a spiritual experience that goes beyond words.

Cross-Post: The Post-Rock Way – Transformation | Spotlight: Mono

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I recently wrote a post on the best albums of 2021 in post-rock, so I recommend checking that out if you find the music in this post interesting.


Earlier this week, I went to see my favorite band live for the 4th time: Mono. Up to the concert, I’d had some mixed feelings due to personal history, but I came out of the concert feeling deeply cleansed. Here’s what I wrote on Instagram:

Words cannot capture how much this concert from my favorite band, @monoofjapan , meant to me tonight. I nearly cried several times through what truly felt like a pilgrimage of the soul. The artistry is so powerful it breaks your heart wide open. At the end, an encounter with a friend led to us staying for autographs, and I got a copy of the first Mono album I fell for as a piece to sign and frame. So thrilled for every moment of this night. #postrocklive #concert #musicasspiritualexperience

To be clear, as this might just feel like fanboyish excitement: Mono’s newest album is called “Pilgrimage of the Soul“, and it’s inspired in part by William Blake’s poem, “Auguries of Innocence“. Lines from the earliest section of the poem are regularly quoted as inspirational and highlight Blake’s spiritual aspirations/virtues. In fact, not only are several song titles based on these lines, an audio clip of a reading of the poem played at one point, closing out a song in the set.

To see a World in a Grain of Sand
And a Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour

Auguries of Innocence, opening lines

The set was interspersed with tracks between this album and the previous, “Nowhere, Now Here“. The feelings of nature and pushing to greater heights of a spiritual pilgrimage had the counterpoints of the more minor key of the previous album, and the balance was stunning. Beyond this, there were a couple classics: Halcyon and Ashes in the Snow (arguably Mono’s best song).

In thinking of my experience, the album, and Mono’s greater discography, I realized that this idea of transformation in the strongest, most beautiful sense, although one facing the challenges of suffering and sadness, is something I’ve always taken from Mono’s work, and I’m convinced it’s a dynamic thread throughout. Their first album is titled “Under the Pipal Tree”, a direct reference to the Buddha’s enlightenment under the Bodhi Tree (the Pipal Tree). The Buddha’s spiritual journey is one of recognizing the problem of suffering in the life of all sentient beings and seeking peace in response to it.

Subsequent releases riff on problems like this, thinking on fantastic takes of the connection with others, the remembrance of family, dealing with disappointment, and a sojourn through Hell.

A much younger me discovered “Hymn to the Immortal Wind” (the album I refer to in my Instagram post), and the experimentation of rock crossed with classical orchestra with a delay-laden tremolo lead guitar, immediately got through this focus on nature, humanity, connection, and heart/soul. It was a turning point in my life, from which I’ve never been the same, and furthermore, after which, I’ve struggled to share these feelings with others. My trepidation at the concert was grief: a feeling of sharing that having been lost.

However, with the opening riff of the first song, “Riptide“, and the subsequent shift to crushing power and speed, I felt all my clinging of attachment unmoored, and this feeling of having my narrative torn apart by beauty, by majesty, and my sheer, powerful abundance of all that is, came through multiple times, leaving me nearly in tears.

There are few post-rock bands as masterful as Mono, and Taka’s songwriting and presence on stage are nothing short of genius, and this kind of spiritual experience is intentional in their music, especially live. As Taka said when touring for “Requiem for Hell”:

“Music is about experiences,” Goto says. “Witnessing extremely loud sounds live is one type of experience. It’s almost like seeing a spark of thunder in a quiet night sky, then hearing the echoes of loud thunder. It’s beautiful, yet crushing – an unusual experience.”

“At the same time, subliminal music is extremely spiritual. Every sound and melody start to soak into every cell in your body, takes them subconsciously and moves them. Music can speak to everyone more eloquently than words. It’s close to philosophy. It’s a gift from God.”

Taka, from this story

This quote summarizes both my feelings about post-rock’s intensity of expression and the intensity of Mono’s live shows. I highly recommend exploring the spiritual experience of transformation that their music offers.

Cross-Post: The Post-Rock Way – Presence | Each Moment is the Universe

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I recently wrote a post on the best albums of 2021 in post-rock, so I recommend checking that out if you find the music in this post interesting. A recent release of an old favorite band inspired this post.


A few weeks back, an old post-rock favorite released a revamp of a previous album. The second song grabbed me in particular, leaving me almost in tears due to several layers of personal meaning in the album.

First, this album was one of the first post-rock points of connection between myself and the woman whom my heart was still broken over. Second, the album was being released on the 2nd anniversary of the day we met. Third, the song feels like an exploration of the faith in facing each day with perseverance, even in the difficulty of a human life.

I had meant to write this post earlier. Now, it feels out of tune with my emotional landscape, but I still feel the poignancy of that idea/sentiment should be shared: the presence of getting up and doing one’s best to be present, kind, and open-hearted to whatever arises day to day, no matter the difficulty involved. In my other blog, I’ve spoken many times about the Zen saying of “before enlightenment, chopping wood, carrying water; after enlightenment, chopping wood, carrying water.” So much of the pursuit of release from suffering, no matter the pursuit (including many practitioners takes of Buddhism) falls into an idea of deliverance from suffering, such as nirvana/enlightenment being a fully different realm or life, but that’s not the case. I touched on this in my most recent post on my other blog – the Buddha lives in the burning house, i.e. nirvana is right in the middle of the burning suffering of samsara. There’s no other life or existence out there. Opening to the moment vulnerably and being present to the full unfolding of it is key to showing up with an appropriate response that is the wu wei skillful action of a buddha. I struggle to express this, but ultimately, this comes forth in the realization of selflessness and the interdependence of all things: each moment is the universe.

Another much more beautifully poetic and philosophical way for us to express this is some evocative statements from Dogen’s Genjokoan (my title here is somewhat inspired by Katagiri Roshi’s book on Zen and Dogen of the same title). Warning – these truly are confusing to the extent of almost being infuriating to standard logic: truly a koan. I posted some of this on facebook years ago, and several friends got full on annoyed because they didn’t understand. However, in philosophy, and especially in Zen koans, we need to open ourselves to the conundrum and let it break our standard conceptual barriers.

Since the Buddha Way by nature goes beyond [the dichotomy of] abundance and deficiency, there is arising and perishing, delusion and realization, living beings and buddhas.

Therefore flowers fall even though we love them; weeds grow even though we dislike them. Conveying oneself toward all things to carry out practice-enlightenment is delusion. All things coming and carrying out pratice-enlightenment through the self is realization. Those who greatly realize delusions are buddhas. Those who are greatly deluded in realization are living beings. Furthermore, there are those who attain realization beyond realization and those who are deluded within delusion.

To study the Buddha Way is to study the self. To study the self is to forget the self. To forget the self is to be verified by all things. To be verified by all things is to let the body and mind of the self and the body and mind of others drop off. There is a trace of realization that cannot be grasped. We endlessly express this ungraspable trace of realization.

When a person attains realization, it is like the moon’s reflection in water. The moon never becomes wet; the water is never disturbed. Although the moon is a vast and great light, it is reflected in a drop of water. The whole moon and even the whole sky are reflected in a drop of dew on a blade of grass. Realization does not destroy the person, as the moon does not make a hole in the water. The person does not obstruct realization, as a drop of dew does not obstruct the moon in the sky.

When we make this very place our own, our practice becomes the actualization of reality (genjokoan). When we make this path our own, our activity naturally becomes actualization of reality (genjokoan). This path, this place, is neither big nor small, neither self nor others. It has not existed before this moment nor has it come into existence now. Therefore [the reality of all things] is thus. In the same way, when a person engages in practice-enlightenment in the Buddha Way, as the person realizes one dharma, the person permeates that dharma; as the person encounters one practice, the person [fully] practices that practice.

Translation of Dogen’s Genjokoan as presented in Realizing Genjokoan: The Key to Dogen’s Shobogenzo – Shohaku Okumura (pp. 1-4)

This may all seem obscure, but it’s worth summing up with pointing out how Dogen focused on the practicalities of life. Practice was outlined in such examples as how a cook should prepare food to stay fully present to the process. The day in and day out is precisely this: the actualization of reality that is chopping wood; the actualization of reality that is carrying water. In other words, it’s a mindful openness to the interdependence of each moment, and furthermore, that engagement is not one where delusion is forever left behind, it happens within our deluded life. Buddhas are those who greatly realize delusions – sitting awake right in the middle of them. The Buddha lives in the burning house.

When I listen to this song, “When I Rise & When I Lay Down”, I feel this engaged, living practice. Another way we could think of it – that realized delusion – is the creative affirmation of Sisyphus that closes out The Myth of Sisyphus. Even in struggling to push a damned boulder to the top of a hill in the afterlife over and over, we have to imagine Sisyphus happy in some of the most poetic, heartlifting, Nietzschean words you’ll ever read:

One always finds one’s burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night-filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.

The Myth of Sisyphus, Albert Camus. Trans: Justin O’Brien (p. 123)

Oddly enough, Old Solar is a Christian band with religious themes resonant throughout – the album is called “Quiet Prayers” and has other songs with titles such as “Help Us to Be Faithful”. As such, taking a deeply spiritual tone as a call to holding to a faithfully engaged life throughout the burdens of the day to day is perfectly on point with this song, just with a very different perspective of what that kind of practice entails: not one of the grace of God, but one of the practice of actualizing this moment in its totality, even in the midst of suffering.

This song may have made me cry for personal reasons, but these considerations I’ve outlined are so much deeper and more profound, and I hope you’ll find them in listening to it too.

Cross-Post: The Post-Rock Way – Majesty | A Hymn to Impermanence and Emptiness

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I recently wrote a post on the best albums of 2021 in post-rock, so I recommend to check that out if you find the music in this post interesting. A recent night drive with a sudden return to a favorite song from years back inspired me to write this post.


Summer 2014
I live in Seattle, making my way through the drudgery of a job in customer service after years in academia. In time to myself, I work on reading and running – taking care of body and mind. Many a run is empowered by 65daysofstatic’s album “Wild Light”. The first song in particular feels like some electric thrum into the core of my being: “Heat Death Infinity Splitter”. It feels like a defiant stand against the difficulties of life with strength and aplomb. As the opening sampling says: “No one knows what is happening. No one knows what is happening. There is a lot of danger out there. OK?” The overwhelming electronic reverb after these lines tears apart fear, hesitation, and any sense of separation from this very moment, and pushes me forward into it with an open heart.

February 2022
I’m driving home from a friend’s and my cigarette lighter charger adapter for my phone is broken. I can’t use my phone to play music. I recall having seen a few old cds under the driver seat. I reach behind me as I start the drive, and the 3rd CD I grab is 65daysofstatic’s soundtrack to No Man’s Sky. When I open it, though, I find “Wild Light” instead. I excitedly pop it in, having not listened to it in some time. I am immediately entranced and destroyed by the static.

My heart has been awash in heartbreak for months. My spiritual journey has been one of trying to refind my way on a solitary path, while questioning and reevaluating, possibly even annihilating my concepts of love, partnership, and romance. In my worst days, meaninglessness, depression, and suicidal thoughts abound.

Listening to it now, versus my younger experience, this feels like a hymn to impermanence and by extension, emptiness. Perhaps this pops in my mind because earlier in the day, I had been reading a book by the Dalai Lama on Buddhism and the path to nirvana. In the first chapter, he goes over the four seals of Buddhism, the first of which is impermanence; the second is suffering; the third is anatta – no-self; the fourth is the potential peace beyond suffering. The thing is: if I were to summarize all of these, I’d say that the entirety of the four seals are the conundrum of living within emptiness but not seeing it. Impermanence is due to things being empty of inherent substance. Suffering is due to clinging to things as not-empty. Anatta follows as a corollary of impermanence as emptiness – there is no permanent soul/essence/substance behind phenomena. Peace is achieved through rectifying clinging by seeing things as empty. A longer description: there is no permanent essence behind any phenomenon – all is empty, i.e. a fluctuating process of appearing and disappearing without some ongoing entity/soul/form behind it, and yet, we suffer by clinging to things as more solid than this empty fluctuation, and therefore, peace can be achieved by the cessation of such clinging through the wisdom and accordant action in relation to seeing things as they really “are” (even such verbs as “is”/”are” can get us into philosophical trouble of unnoticed reification).

This song points to the whole flowing decay of the entire universe. It’s all a heat death infinity splitter – i.e. even atoms will eventually come apart into a splitting of the unfolding infinity we’re currently a part of.

With that in mind, the thrum of noise feels like a musical display of the wondrous unfolding and the seeming danger of everything falling apart, but much like the younger me felt emboldened by this song’s “lot of danger”, the realization of this impermanence invites us to let go of fear – there’s no self/soul/”I”/being that continues in this flux; it’s all merely flux.

For myself, I listen to it now and feel something I’ve been pondering for some time: even concepts, feelings, and attachments are impermanent. My desires for love, for the person who broke me, and for some sort of meaning attached to all the struggle start to decay in the static flux of the emergent abiding sway’s decay into the emergence of the next (riff on Heidegger). To return to Tibetan Buddhism: “Regard all dharmas as dreams.”

All is impermanent – even my “self” and any experiences it may have. Those are just as empty as anything else. All conditioned things are impermanent – even the very atoms that make up “me” and every single thought and feeling that arises as experience upon these component parts.

Cross-Post: The Post-Rock Way – Love | Destiny | The Red Thread

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I recently wrote a post on the best albums of 2021 in post-rock, so I recommend to check that out if you find the music in this post interesting. I had to write this post about one of my favorite post-rock songs with vocals. I hope you enjoy it as well.


One of the most moving post-rock discoveries for me last year was Akai Ito by we.own.the.sky..

This is one of the rare post-rock songs that has lyrics, and coming at the end of the album, the words make it even more powerful. Furthermore, the lyrics are short, simple, and moving, yet also somewhat cryptic:

The stars. They fall.
Like threads unfurl.
They guide me home.
Where I belong.

Lyrics – “Akai Ito” by we.own.the.sky

This is only repeated a few times, the final time being with a full chorus instead of a single voice.

Hearing this song immediately made me look up what “Akai Ito” means. It’s a reference to the Japanese version of the Chinese myth of the “red thread” a concept of love and destiny in which lovers are connected by a red thread of fate.

I don’t really believe in soulmates or some sort of destiny like that, but I can understand the pull of profound love and how powerful it can be. It truly is a sense of home and belonging, a seeming deep fit of shared connection that seems so meaningful and powerful that it feels like maybe greater forces are at play.

I’m not sure what to think of my own experience of this at this point in my life. I feel that I’ve lost that sense of belonging and home but feel the connection still, no matter what events have come forward. It’s hard, confusing, and sad. I’ve actually meant to write some Buddhist sutra inspired poetry on my other blog about this sense of heartbreak in such feelings of loss and coping with them. I’ll link here when/if I do.

That said, one thing I’m certain of is that the way to approach these surprising great feelings in life is to let them arise and wash over you, not clinging to the joy, but just sitting with it while you’re fortunate enough to experience it, and also not trying to cling to it when despairing that its impermanence makes it fade, wither, and disappear. All things are impermanent. The only way to maintain them is by effort by both parties and circumstances supporting that continued thriving. I’m reminded of a post I wrote about change and cultivating something ongoing regarding Taoism on my other blog, but more precisely to sitting with the joy and the sorrow without clinging, I always think of Dogen:

Therefore, flowers fall even though we love them; weeds grow even though we dislike them.

Dogen Genjokoan – as translated by Shohaku Okumura in Realizing Genjokoan: The Key to Dogen’s Shobogenzo

Furthermore, I’m reminded of some thoughts about love I’ve shared on my other blog, particularly here and in a podcast-esque recording about some experiences of love I’ve had. The key quote was from Stanley Cavell’s The Claim of Reason in which he’s talking about learning words as a child and that there are some concepts that are so huge that they do not express all they could take from us. In some regards, myth and song bridge that gap a bit – pulling us to grander feelings regarding these concepts, and when I hear this song, that’s what I feel – a more grandiose sense of love and connection, without ever mentioning either word.

But although I didn’t tell her, and she didn’t learn, either what the word “kitty” means or what a kitty is, if she keeps leaping and I keep looking and smiling, she will learn both. I have wanted to say: Kittens–what we call “kittens”–do not exist in her world yet, she has not acquired the forms of life which contain them. They do not exist in something like the way cities and mayors will not exist in her world until long after pumpkins and kittens do; or like the way God or love or responsibility or beauty do not exist in our world; we have not mastered, or we have forgotten, or we have distorted, or learned through fragmented models, the forms of life which could make utterances like “God exists” or “God is dead” or “I love you” or “I cannot do otherwise” or “Beauty is but the beginning of terror” bear all the weight they could carry, express all they could take from us. We do not know the meaning of the words. We look away and leap around.

Stanley Cavell – The Claim of Reason pp. 172-173

Cross-Post: The Post-Rock Way – Grief | Love | Death | Moving through Loss

This post was originally on my other blog about exploring spirituality and philosophy through post-rock music. I just wrote a post on the best albums of 2021 in post-rock, so I recommend to check that out if you find the music in this post interesting. I haven’t written many posts on the other blog, and it’s only roughly a year old, but in looking back over my experiences of the last year, I couldn’t help but feel like this post perhaps captured the mood and ambience of most of it better than any other, and it fits perfectly with this blog as well. May this resonate with others as well.


As we go through life, there will be loss. Everything composite is impermanent, and everything is composite. All falls apart, eventually. Even atoms will slowly break apart into heat death, according to thermodynamics. This inevitability of change alongside our attachment to beloved events, places, situations, and people means that there will be the pain of losing the things and people we love, and it will hurt.

One translation I love of the preeminent Zen philosopher-monk, Dogen, puts this in the most poetic light:

Therefore flowers fall even though we love them; weeds grow even though we dislike them.

Shohaku Okumura, translation of Dogen’s Genjokoan, Realizing Genjokoan: The Key to Dogen’s Shobogenzo, p. 1

The experiences of big losses, big loves, are some of the hardest transitions we face in life. Dealing with them, living through them, is about as human and mortal as life can be.

As such, it’s no surprise that this is a theme for exploration in post-rock. One of the most iconic songs for this is Caspian’s “Hymn for the Greatest Generation”. The title track and the following track are both seemingly about the band’s process of moving through and honoring the death of a fellow band member.

The sound in this song is gentle, intimate, riding on the picking of an acoustic guitar that builds into a fuller rock instrumentation. We feel the bittersweet moving forward of time, with an almost metronome drum, reminding of the clunky ticking of change, moving on despite loss. The song builds further into something like a celebration for all the joy and love of those we have lost, facing it head on and embracing the memories and warmth of what was. Finally the song melts down to a poignant violin and a return to the bittersweet acoustic guitar slowly going on, knowing that what was had will never be had again.

You can feel both the joy and the sadness in this song. It’s utterly beautiful and unforgettable. Friends of mine have resonated with these feelings slightly differently, claiming to hear the guitarist crying in the song, and I’ve even seen memes about how heart-wrenching it is. This song displays the full beauty of having loved someone and lost them. I highly recommend sitting with it and letting it inspire the greatest affirmation within yourself for these cycles of love, loss, and grief that you will inevitably face in life. There’s perhaps no deeper spiritual experience to sit with.

Cross-Post: The Post-Rock Way – Resolve | Majesty | Standing Strong

This is a post that I just posted on my other blog about philosophy/spirituality and post-rock. I wanted to share it here as well.


One of the standout albums of the year for me (and it’s no surprise given the excellence of their previous album) is BLAK’s El Tall d’Escil·la. It’s so excellent, and their musical skills are so fantastic that even the live album version from a few months later is mind-blowing. I’ll defer to Veil of Sound’s review to give a sense of the scope of this album:

So, let me give you the idea behind the new album’s title. El Tall d’Escil·la (Scylla’s Cut) ,tells a story of Nisos, who was the king of Megara and he possessed a single lock of purple hair which granted the city invincibility. His daughter, called Scylla, fell in love with Minos, king of Crete when he invaded Megara. In order to win his heart, Scylla cut off her father’s purple lock from his head and presented it to Minos. Minos, disgusted with her lack of filial devotion, tied Scylla to the bow of his ship until she drowned. It’s a sombre and hearbreaking end to Scylla’s life, however this kind of tragedy can play into the hands of bands like BLAK, who can musically narrate and express the despair and dejection with great skill and elegance. BLAK have the gift of reaching into the depts of your soul and bringing out all the emotions you have concealed and kept under wraps. Music is a powerful tool when it’s in the right hands and BLAK are craftsmen for sure. It will all make sense when you immerse yourself into Scylla’s cut, and let the music take hold and carry you to where it needs to go.

Veil of Sound, “Review of BLAK – El Tall d’Escil·la”, Pat O

The first track stands out in particular. The title “Contra nosaltres quan siguem forts” (Against ourselves when we’re strong) (thanks to the Veil of Sound review for the help with this) has a deep and evocative feeling. It’s pulled at my heart and supported me through many a drive and adventure this summer and fall. I even wrote about a meditation session on a paddle board recently that was accompanied by this song.

We face difficult, sometimes epic challenges, in life. I’ve felt that so many times in recent months. I’ve regularly felt like I’m meaningless and have wanted to die, regularly. However, there’s a certain resolve in standing in the midst of chaos and delving into your own inner strength and light. So often, tarot has told me to stand strong (Strength) and find my own truth and light (Hermit) while walking through the challenges of darkness, distortion, and delusion (Moon).

Daring the heights, facing death, standing strong despite our weakness, no matter what metaphor you choose, this song speaks to that majesty and courage. There’s something empowering at the core of this song that pulls you along into the swell of all challenge, and somehow you feel strong, even if the ego is destroyed in the process.

This is the path of the warrior, meant in the Shambhala way.

https://thisisblak.bandcamp.com/track/contra-nosaltres-quan-siguem-forts-live

Cross-post: The Post-rock Way – Energy | Hope | Overflowing

This is a post that I just posted on my other blog about philosophy/spirituality and post-rock. I wanted to share it here as well.


One of the most intoxicating aspects of Nietzsche’s philosophy is the ambience of hyperabundant overflowing of energy. This is the dynamism of the Dionysian, and it’s the strength of a healthy life. This sentiment comes forth perhaps nowhere as strongly as in the first section of the prologue to “Thus Spoke Zarathustra”, in which Zarathustra greets the sun (a symbol of the Apollonian here transformed to the hyperabundance of the Dionysian) and speaks to the task that he must undertake of “going under” from the heights of the mountains (we could possibly see this as the heavenly realm of the Forms) to the human realm. This choice resonates later – one must go under to go over, to become the overhuman, the Übermensch. The feeling of overflowing is here in the sunshine and the happiness and abundance associated with it and the final lines:

“Bless the cup that wants to overflow, that the water may flow from it golden and carry everywhere the reflection of your delight!”
“Behold! This cup wants to become empty again, and Zarathustra wants to become human again.”
– Thus began Zarathustra’s going-under.

Nietzsche, trans. Parkes, Thus Spoke Zarathustra, p. 9.

The overflowing energy is the strength of one who can climb the heights with the fullness of health, joy, and the ability to help others climb up the same paths. It’s the intensity that allows one to live dangerously with light feet dancing over the obstacles that one faces. It is the power of affirmation, of yay-saying — perhaps the greatest possibility in Nietzsche’s philosophy.

Recently, I’ve felt this sentiment greatly from a song from the new album released by Maybeshewill. The band has been broken up for years but has come back with a compelling album about facing climate change with hope and resolve to overcome and shape our futures. They describe this at length in the album’s description on Bandcamp.

The song is called “Invincible Summer”. When I listen to it, I find myself running, dancing, fist pumping, and screaming: “YES!!!”. I’m serious about all of those. I have done all of those in flowing with the feeling that arises in the later movements of the song when the strings swell and pull you along with the overflowing energy that would allow you to climb to the heights with light feet.

Heartbreak | Music | Songs for the Deep

I hadn’t planned to write more heartbreak posts, but ultimately, the journey through the abyss to safety (recent I Ching reading but also reminiscent of the Moon card) is a fraught one with new challenges and rapids along the way. For me, this is much more true than I’d like to admit. I’ve lost track of the number of times I’ve cried about her, thinking about how I’ll never see her skin and smile again, or reliving a moment I wish I could change to maybe make things end up differently. It hurts so bad some days, and I couldn’t tell you why those days are worse. Every day, I wish my heart would stop beating. It just hurts too damn much, and some days, like today, something breaks you into full on panicky hyperventilation and crying, and you can’t even really say what triggered that exact moment. However, even then, there are events that make you feel understood and seen.

I went to a concert last night – Garbage and Alanis Morissette. These two artists really brought this to mind because they both have songs about some difficult emotional experiences. Listening to them and seeing how popular they both are, even 20+ years later, made me think of previous heartbreak and the sense at that time that so many songs are about love lost and pain around it. There are certainly more songs about this experience than the opposite (not that there are none of those), and it made me realize that the experience of loss, grief, pain, and frustrated hopes is more common, impactful, and lasting than that of some deep joy realized, which is generally more fleeting and less deep.

If we think of this in spiritual terms, we’ll quickly arrive at the Buddha’s fundamental truth that upholds all of the Four Noble Truths – the first one: there is dukkha. There is a suffering in existing. It occurs on both great and mundane levels, and those great levels speak to our greatest desires (see the second noble truth) and the difficulties involved in them ending or not being fulfilled.

Our relationships with others are a fundamental. They are part of being in the world (riffing on Heidegger here but pulling in a Buddhist direction). We become entangled in the desire of being with, regularly. There is both some of the greatest beauty and the greatest suffering in this, as other humans reveal the depths of who we can be, what we can feel, and how we can flourish.

In any case, I wanted to pick a few songs from this experience alongside a couple others to really pull at the heartstrings regarding heartbreak and the pain in it. Music can give voice to the human experience in profound ways that make us feel seen. Perhaps this is cathartic in itself. I know that even in just driving to the concert, “You Oughta Know”, spoke to my more fiery feelings of being overlooked, unvalued, and cheated. I’ll just leave it as a reference here without linking it for better options that don’t delve into such anger, but even that can be valuable and worth expressing in its own way.

First, let’s go with Garbage’s “It’s All Over but the Crying”, which speaks to ending, loss, and the grief afterwards as well as the poor treatment and misperceptions of someone else. They didn’t play this at the concert, but I was really wishing they would have played something from “Bleed Like Me”.

Beyond that, Garbage played a newer song, “Even Though Our Love is Doomed”, at the concert that really spoke to me. The main refrain kept asking why we kill the things we love the most. I kept wondering the same, as my feeling time and again is that extraordinary was traded for ordinary in my situation. I can’t help but feel like I was told I was superlative repeatedly but then was not chosen because of more or less bullshit reasons that never really made sense and seemed historically revised and over-hyped over time. In the end, I have to wonder why we kill the things we love the most, and I’m sure I won’t be the only one who feels a resonance with that question. Furthermore, the song has a “even though” this killing is doomed, you still want the person anyway because you see the beauty of that love. I couldn’t understand that any deeper than I already do. As a friend pointed out today, that’s why I hurt so much now and feel dead – I loved that deeply that its passing is a grief to my core.

Between sets, songs played over the speakers, and an old fave came forth and reminded me precisely of the strength of crying out against not having been chosen, of the feeling of what it is to roll in the deep of the abyss. Adele’s song is a classic for a reason in this genre.

In a note more fitting with my usual musical journeys of late, I was walking home today, listening to my newest post-rock album release of focus, the fantastic Transmission Zero’s “Bridges”. Their song, “Still No Sign”, has this haunting feeling of floating through space, waiting for some signal and it never coming. That’s the feeling of waiting and not hearing anything, of feeling on edge with the hope that continues to cut rather than soothe, as every moment is that Buddhist play of dukkha and tanha arising together. I felt so haunted by this song that I stopped in opening my building’s door and just rested my head on it for a second to catch my breath and resolve. It’s simple but feels like a deep journey of waiting and yearning.

Finally, most importantly, I wanted to share a positive note. Alanis ended her set with “Thank U”, and it struck me hard, even though it was a song I never really liked before. The journey through pain, through the heartbreak, even in its angriest moments like some of her more memorable moments from “Jagged Little Pill”, is ultimately soothed in gratitude, in moments like telling the audience that she certainly recommends getting your heart trampled on to anyone. These are part of living with others and vulnerably putting our hearts out there. In the end, that’s how we become strong and how we give back grateful compassion. Every day, I feel like dying right now. I really wish my heart would stop sometimes, but ultimately, I also always paddle on past that abyss of deep waters, keeping my resolve to continue, do well, and give my kindness to others. It’s incredibly hard, but every time, I’m thankful for continuing, despite feeling unworthy and unfit for the challenge. I love the closing lines. I’m thankful for my own disillusionment, my facing nothingness, my sitting in silence, and the clarity of strength I find in myself every time I do that with vulnerable surrender and resolve rather than anger or self-involvement:

Thank you India

Thank you providence

Thank you disillusionment

Thank you nothingness

Thank you clarity

Thank you, thank you silence

Alanis Morissette – “Thank You”

May this help others feel both expression and some gratitude for continuing forward in heartbreak.

Gassho!

Considering Connection and Lost Time

I woke from dreams yesterday, a bit confused, and lay in bed for a while to process the ideas and feelings mindfully, rather than hopping out of bed and forgetting them.

In an earlier dream, my family were all together, travelling, talking, and I spent time with my dad, catching up. A subsequent dream made the first a dream within a dream — waking up from the first, I remembered that my dad was gone, and my mom and sister were both completely lost, shattered, going through the motions of daily life, trying to make it through each one. My sister warned me not to talk to my mom about … something… and when I went to go talk with her, sure enough, she went rigid, cold, and mechanically started doing chores, almost knocking me over as she pushed forward in completing them.

This contrast and some of the associated emotional ambiance of the dream highlighted the emotional difficulties of grieving and letting go, how the process throws us out of our element enough to put us on rails of pain and heartbreak, and in my own case, it accentuated the abstract, almost surreal quality of disconnection. I mean — in my own processing of this event, recently, there have been times where something makes me think: “I can’t wait to talk to Dad about this.” Only a second or two later do I realize that that’s impossible. The few times this has happened have each been equally a moment of bitter realization; it seems the event is just too big, too much of a change of the structures of life for it to readily sink in at the new-normal operating level, even after a few months.

I think that this ultimately speaks to the one piece that I struggle to accept in losing him, the one thing that doesn’t fully digest: I regret not seeing him more since I left to college over a decade ago. There were years when I saw him not at all or only once for a few days. We were both too busy a lot of the time to readily keep up on the phone. Etc.

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That’s ultimately the problem with death, as the existentialists and Buddhists constantly warn us, it’s not operating on our time table. It can come out of nowhere, and it waits for us as soon as we are born. That’s why Heidegger sets the ultimate challenge as being resolute in the face of it, creating your life through your projects, seeing it coming, and knowing that it could pop up at any time. The mahayana path of Buddhism tells us to do similarly: start practicing now, in this moment, and be grateful for the opportunity of being alive and experiencing the truth of the Dharma. You have this one chance to lead a wise, compassionate human life. Don’t waste it.

Unfortunately, I wasn’t as mindful of this in my relationship with my dad as I could have and should have been. I feel like our relationship in the last few years is captured with “Cats in the Cradle” by Cat Stevens (I listened to a rock cover of it a lot in high school by Ugly Kid Joe). I’m sure my dad probably experienced me growing up and zooming off out of our small hometown at a more or less breakneck pace, and he was always just a bit too busy to be there as much as he would have liked, and when I grew up, it was the same for me — too busy doing other things and in places far away (so I experienced the inverse and see that now).

My point with all this is be aware and grateful of the connections you have in your life — both large and small. Try to make the time to be present for them. Reach out. You never know when your time or your friend’s/partner’s/colleague’s/acquaintance’s/family member’s time will be up, and if that time passes, there’s nothing that can bring it back.

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