#Æolus

[comparativetarot]

Woman of Music. Art by Ed Buryn, from The William Blake Tarot of the Creative Imagination.

(Water of Fire — Matter of Passion) This card is from a design to Gray's poem, "The Progress of Poesy," illustrating the lines: Awake, Æolian lyre, awake, And give to rapture all thy trembling strings. From Helicon's harmonious springs A thousand rills their mazy progress take: The laughing flowers, that round them blow, Drink life and fragrance as they flow. Mt. Helicon's anciently famous springs of Aganippe and Hippocrene (hippo=horse + krene=spring, because unearthed by the winged horse Pegasus), are the home of the Greek muses and thus the birthplace of music and poetry. Their waters inspired whoever drank them, and the fragrant flowers surrounding them were reputed to deprive snakes of their venom. Helicon was named after the goddess Helice, a virgin form of Hecate (see II—Mystery) whose name means 'willow' in Greek, for willows were planted by streams and their wands used for divination. This Grecian muse is Helice, and like her namesake willow, she merges with the stream — right foot forward to indicate her spiritual qualities. The 'trembling strings' of her lyre (from Æolus, the wind-god) are the song of the wind in her branches. The humanized flowers along the rills of the stream all drink and toast the inspirational waters, a metaphor for Gray's "rich stream of music." The muse or Woman of Music is here associated with fire (in the border), air (the Æolian wind), water (the springs), and with earth (the living flowers). She is the Enchantress who channels and integrates energy, thoughts, feelings, and spirit. Her "living music" is "loud" and clear. Compare this card image with the Queen of Cups in the traditional Tarot. This is the part of yourself or another who listens to the inner chords for life's ecstatic moments. You seek pleasure and tranquility, are naturally graceful and gentle, and enjoy all the senses. This person excels at 'diffuse consciousness' — an instinct for taking everything in without focusing on anything in particular. She may be very psychic, and easily reflects other people's feelings and projections. In the face of harsh realities, she may escape into solitude, addictions, or anodynes. Loving life, she is likely to vigorously laugh with joy, or unashamedly wail with sorrow. In the creative process, this is when you vibrate in tune with everything around you, sensitively aware of life energy in all its forms, from which you create something new through the filter of your own consciousness. KEYWORDS: EMOTIONAL DEPTH • FLOWING PSYCHIC SKILLS • SOURCE OF INSPIRATION TO OTHERS • ENCHANTING PERSONAL MANNER • MULTIPLE AFFINITIES AND TALENTS •

[thistle-harvest]

Pines are the trees of myth and legend. They strike their roots deep into the traditions of an older world, but wind and star love their lofty tops. What music when old Æolus draws his bow across the branches of the pines— --Wild Honey, John Foster

[roseslaces]

3. That the Romans did not show their usual sagacity when they trusted that they would be benefited by the gods who had been unable to defend Troy.

And these be the gods to whose protecting care the Romans were delighted to entrust their city! O too, too piteous mistake! And they are enraged at us when we speak thus about their gods, though, so far from being enraged at their own writers, they part with money to learn what they say; and, indeed, the very teachers of these authors are reckoned worthy of a salary from the public purse, and of other honours. There is Virgil, who is read by boys, in order that this great poet, this most famous and approved of all poets, may impregnate their virgin minds, and may not readily be forgotten by them, according to that saying of Horace,

"The fresh cask long keeps its first tang."

Well, in this Virgil, I say, Juno is introduced as hostile to the Trojans, and stirring up Æolus, the king of the winds, against them in the words,

"A race I hate now ploughs the sea, Transporting Troy to Italy, And home-gods conquered. "...

And ought prudent men to have entrusted the defence of Rome to these conquered gods? But it will be said, this was only the saying of Juno, who, like an angry woman, did not know what she was saying. What, then, says Æneas himself,—Æneas who is so often designated "pious?" Does he not say,

"Lo! Panthus, 'scaped from death by flight, Priest of Apollo on the height, His conquered gods with trembling hands He bears, and shelter swift demands?"

Is it not clear that the gods (whom he does not scruple to call "conquered") were rather entrusted to Æneas than he to them, when it is said to him,

"The gods of her domestic shrines Your country to your care consigns?"

If, then, Virgil says that the gods were such as these, and were conquered, and that when conquered they could not escape except under the protection of a man, what madness is it to suppose that Rome had been wisely entrusted to these guardians, and could not have been taken unless it had lost them! Indeed, to worship conquered gods as protectors and champions, what is this but to worship, not good divinities, but evil omens? Would it not be wiser to believe, not that Rome would never have fallen into so great a calamity had not they first perished, but rather that they would have perished long since had not Rome preserved them as long as she could? For who does not see, when he thinks of it, what a foolish assumption it is that they could not be vanquished under vanquished defenders, and that they only perished because they had lost their guardian gods, when, indeed, the only cause of their perishing was that they chose for their protectors gods condemned to perish? The poets, therefore, when they composed and sang these things about the conquered gods, had no intention to invent falsehoods, but uttered, as honest men, what the truth extorted from them. This, however, will be carefully and copiously discussed in another and more fitting place. Meanwhile I will briefly, and to the best of my ability, explain what I meant to say about these ungrateful men who blasphemously impute to Christ the calamities which they deservedly suffer in consequence of their own wicked ways, while that which is for Christ's sake spared them in spite of their wickedness they do not even take the trouble to notice; and in their mad and blasphemous insolence, they use against His name those very lips wherewith they falsely claimed that same name that their lives might be spared. In the places consecrated to Christ, where for His sake no enemy would injure them, they restrained their tongues that they might be safe and protected; but no sooner do they emerge from these sanctuaries, than they unbridle these tongues to hurl against Him curses full of hate.

[thesunlounge]

Robert ÆOLUS Myers - Sadhana Environment [Pharoahs Mana Mix] (from Talisman, Origin Peoples 2019)

[ltwilliammowett]

'Thurot's last fight' off the Belfast Lough, 28th February 1760, by Derek G.M. Gardner (1914-2007) inscription on the revers: 'February 28 1760 Terpsichore 24 Brilliant 36 Pallas 38 Blonde 36 (distant) AEolus (32) Marechal de Belle Isle 44 (Thurot)'

During the Seven Years' War (1756-63) came to several significant major battles, such as Hawke's spectacular triumph at the battle of Quiberon Bay on 20th November 1759. There were however many less significant successes, most of which are largely unknown today, and one such was the defeat of a potentially dangerous French privateering squadron, under the command of Captain François Thurot, off the north-east coast of Ireland early in 1760.

After several humiliations the previous year, the French made strenuous efforts to retrieve their position at sea in 1759 and, during its course, assembled three expeditionary forces, the smallest of which – under Thurot – was to convey troops from Dunkirk to either Scotland or Ireland. Despite being blockaded for much of the summer, Thurot managed to slip out of harbour during heavy weather on 15th October and headed into the North Sea, his destination unknown to his pursuers. With 1,300 troops aboard his ships, Thurot went first to the Swedish port of Gothenburg, partly to procure stores but also "to baffle pursuit or observation". After nineteen days, he sailed for Bergen and thence, via the Faroes, to the northern coast of Ireland where, in late January (1760), an attempted landing at Londonderry was thwarted by bad weather. By now his ships were in a parlous state and Thurot's captains begged him to abandon the expedition and return to France. Thurot refused and, after a brief respite period in Claigeann Bay, on the Isle of Islay, put to sea again on 19th February and anchored in Belfast Lough the next day. On the 21st, 600 men were landed to assault Carrickfergus where they soon forced the garrison to capitulate, in addition to taking, looting, and then destroying a number of small merchant prizes lying in the Lough. Thereafter, Thurot wanted the troops to advance on Belfast but was overruled by their commander.

Meanwhile, the Duke of Bedford, Lord Lieutenant of Ireland, gathered whatever ships he could find and sent them north. Fortunately, these included three naval frigates – Æolus, Pallas and Brilliant – and Captain John Elliot, in command, found himself off the entrance to Belfast Lough on the 26th but could not sail in because of contrary winds. Remaining on station, he then sighted the French ships off Copeland Island at 4.00am. on the 28th and immediately gave chase. After five hours sailing, a furious action lasting about an hour-and-a-half began around 9.00am., at which time all three French ships, by then badly damaged aloft, struck their colours and surrendered. Elliot took his prizes into Ramsey, Isle of Man, to refit and two of them, Blonde and Terpsichore, were subsequently repaired and assimilated into the Royal Navy. Thurot's own ship, the Maréchal de Belleisle, was deemed too battered to be saved and Thurot himself, who had been killed during the battle, soon achieved the status of martyred 'folk hero' by his fellow countrymen, such had been his reputation for honour, generosity and humanity.

[drarryspecificrecs]

H/D Birthday Bash 2010 : (fics only)

hd-birthdaybash || official masterpost || ∑= 28 fics + 11 arts The Mod(s) : chantefable & @vaysh11 + Banner © : pink_mint

20 Random Facts About the Things in Draco's Bag (or, 20 Randomly Precious Things) by snegurochka_lee [M, 1k]   *not on AO3

Bag of Tricks by @multiplefangasms [T, 1k]   *not on AO3

Bed, Knobs, and Broomsticks by @stripedsilverfeline [M, 12k]

Black Hole Circuit by mijeli [E, 25k]   *not on AO3

Flamingo Invasion by geinahop [G, 1k]   *not on AO3

The Gift, or What Tuesdays Bring by @stripedsilverfeline [T, 3k]

Gifting Harry by @stripedsilverfeline [M, 10k]

Hot by charmed310 [E, 1k]

I Know Who I Want to Take Me Home by @emansil [T, 2k]

The Last of the List by leo_draconis [E, 8k]   *not on AO3

Money Can't Buy You Love, But a Firebolt Sure Gets Close by @khasael [E, 12k]   *not on AO3

A Most Complex and Unusual Birthday by @rcxeira [E, 1k]

O for the wings of a dove by wemyss [T, 800]   *not on AO3

Of Love and Perfection by @catzintheattic [T, 300]

Pass the Ogden's by romaine24 [G, 600]   *not on AO3

The Perfect Life by bgd_thrifty [M, 7k]

The sack they had of Æolus, wherein the winds were kept by wemyss [T, 1k]   *not on AO3

Seen It All Before by @emansil [M, 3k]

A Spoonful of Sugar by okydoky [E, 3k]

Standing In The Way of Love by scarletladyy [G, 2k]

Sunrise at Dusk by thepretender501 [M, 2k]   *not on AO3

Terms of Bereavement by mijeli [T, 2k]

Unfading by musamihi [G, 1k]   *not on AO3

A Younger Year by mabonwitch [E, 29k in 3 parts?]   *not on AO3

---

✔ other lists

[violettesiren]

See Night, all majestic, lean over the hill, Dark daemons recline on her breast; Fond memory cease, or a moment be still, For sweet Philomel sleeps in her nest.

She restless, like me, still laments for her mate, A stranger to pleasure and sleep; But her sorrows have been of so lengthen'd a date, She's forgot both to sigh and to weep.

That voice which so softly I heard from a cloud, Was surely the voice of my swain; Be quiet, ye winds, if ye whistle so loud, I never shall hear it again.

Oh, hark! it is he—'tis MARIA he cries! How sweet stole the sound on my ear; Like ÆOLUS' harp now it vibrates and dies, And leaves me to doubt and to fear:

Return, gentle spirit, in pity return; From death would you borrow a dart: I'm weary at midnight to wander and mourn, Then strike me at once to the heart.

A Night Scene by Rebecca Hey

[demonangelsplaytime]

Original Character Masterlist

The Zone of the Unknown

“The Trio”

“The Queen”

“The Lost Child” 

“The Royal Advisor” 

Anvolanx 

Nymph 

Leila 

Negi&Tive 

Negative 

The Goddess 

The God 

“The Dark Lord” 

The Amazons 

“The Spider” 

“The Shadow” 

The Elven Zone

Raindrop 

Queen Autumn 

Empress Flare 

Trial 

Honeydew 

Dewdrop 

Sanctuary 

Majestic 

Orchid 

Atlantis 

King Vortex 

Lyric  

The Chaotic Advanced Zone

Æolus 

Petrichor 

Gaia 

Reaper 

“Golden Eye” 

“Silver Fang” 

Salem 

Lilith  

“Scarlet” 

“The Dog” 

Nyx 

Miss Elliott 

“Rose” 

Khloe 

Mata Hari (Separate Story)

Medusa aka XIII 

Neil 

“Twin” 

“Sinner”&“Sins” 

Siren/Grandma 

Beast aka XII 

Messenger aka X 

The Blacksmith aka XI 

Tituba aka I 

Hao 

Jellyfish 

“Vlad” 

Faustus 

“Faustus’ Father” 

Anastasia

“” = Placeholder Names

Official names may change overtime

[storiesofoldgreeceandrome]

Chapter 3, The Deluge

The children of Epimetheus and Pandora wandered in the gardens of the earth just as their parents had done; and the generations that followed them lived peacefully and were happy, in spite of the brown-winged sprites that went about doing mischief. Men helped each other to cultivate the fruitful soil, and offered sacrifices to the gods in return for a bountiful harvest.

This golden age of the world's history might have lasted forever if men had continued to reverence the gods; but after a time they ceased to offer prayers for health and safety, and boasted proudly of their own strength. They looked no more to high Olympus for help, but each man trusted to his own right arm. Then strife and discord arose, and fierce wars were fought among all the peoples of the earth. Brother killed brother, and fathers strove with their own sons. Every man's hand was against his fellow, and he knew no law but that of his own will. Seldom now were the fires kindled on the neglected altars, and the smell of burnt offerings dear to the gods no longer mingled with the17 smoke that rose up to the white clouds around Olympus. The sacred vessels moldered in forsaken temples; around the shrines of the gods the snakes crawled lazily; and the bat and owl dwelt undisturbed among the pillars of the temples.

For a time the gods sat patient, believing that this state of things could not last; but seeing that mankind was growing worse instead of better, year by year, they determined to put an end to godlessness and to destroy the whole race of man. Then Jupiter called a council of the gods to decide on the most effective way of wiping out every vestige of human life so completely that not one soul would be left to tell to his children the story of those evil days, when men neglected to worship the immortal gods and allowed their temples to decay.

The most terrible punishment to visit upon man would be to set the whole world on fire, to make of it one great sacrificial altar on which human victims, and not the garlanded ox, would burn night and day, and from which the smoke would rise up into the heavens so thickly that it would shut out the sight of a blackened and smouldering earth. The one objection to carrying out this plan was the fear lest the flames would leap so high that they would reach even to lofty Olympus, and so endanger the sacred throne of Jupiter. Though the fire might18 not utterly destroy it, the gods could not bear to think of its burnished red-gold base being touched by any flame from earth's unholy fires.

The only other effective method of destruction was water, and this the gods decided to employ. So on a certain day when men were everywhere feasting, and singing songs, and boasting of their victories in battle, Jupiter rent the heavens with a mighty thunderbolt, whose crashing drowned all sounds of merriment, and made men turn pale with fear. The skies opened, and the rain poured down in torrents; the rivers became swollen and flooded their banks; the waves of the sea, rising higher and higher, swept in great fury over the land, washing everything before them like so much chaff. Æolus, god of the storm, opened the cave where he kept the winds securely bound, and let them loose to work havoc on the earth. Soon all the lowland was covered with water; not a dry spot remained anywhere but on the hills, and thither the terrified people rushed in the vain hope that the flood would subside before the mountains were submerged. But the waves rose higher and higher; and the winds, rejoicing in their freedom, beat up the water until it almost touched the clouds. The frail boats to which men had at first desperately clung were shattered to pieces in the fury of the storm, and on the crest of the waves the bodies of the dead were tossed19 like playthings. Higher and higher rose the water, until at length the mountain tops were covered, and all dry land had disappeared. So were the gods avenged.

There was one spot, however, that was not yet hidden under the waters, and this was the top of Mount Parnassus, the highest hill of Greece. To this place of refuge had fled Deucalion and his wife Pyrrha, two virtuous souls who alone, of all the people on the earth, had lived uprightly and worshiped the gods. When Jupiter saw them standing on the top of Mount Parnassus and weeping over the universal destruction, he remembered their piety and decreed that their lives should be spared. So he gave commands that the rains and the floods and the winds should cease, and the dry land appear. Then Æolus brought the winds back from their mad wanderings and bound them again in the cave. Neptune blew upon his conch-shell, and the angry waves returned again to the sea. Little by little the tree-tops showed above the water, and the green earth smiled again under the warm rays of the sun.4

But it was upon a desolate and unpeopled world that the eyes of Deucalion and Pyrrha rested, and in their utter loneliness they almost wished that they had perished with their friends. They went slowly down the mountain-side, not knowing where to go,20 being led blindly by the will of the gods to the temple at Delphi5—the only building that was not destroyed. To this sacred spot men had been wont to come in the old, god-fearing days to consult the wishes of the gods and to learn their own destinies. Here was the divine oracle that not even the most daring mortal would refuse to obey.

When Deucalion and Pyrrha found themselves at the temple of Delphi, they made haste to consult the oracle, for they wished to repeople the land before another morning's sun could look down upon a lifeless earth. To their surprise the oracle returned them this answer:—

"Depart from here with veiled heads and throw your mother's bones behind you."

This command seemed impossible to obey; for they could never hope to find any grave, when all landmarks had been washed away; and, even could they do so, it was an unheard-of sacrilege to disturb the bones of the dead. Deucalion sought, therefore, to explain the strange words of the oracle in some other way; and at length he guessed the meaning of the god's answer. It was no human remains that he was commanded to desecrate; the bones referred to were those of Mother Earth. So husband and wife left the temple with veiled heads; and as they went they gathered up the stones at21 their feet and threw these behind them. All the stones that fell from the hands of Deucalion turned into men, and those that Pyrrha dropped became women.

Thus it was that through the kindness and wisdom of the immortals the earth was repeopled with a new race of men that feared evil, and reverenced piety, and walked humbly before the gods. Never again was Jupiter forced to send a deluge on the earth, for men no longer let the altar-fires burn low, nor did they neglect to offer sacrifices because of forgotten prayers.

[graywyvern]

( lanny quarles on fb / @spaceliminalbot )

Juno's course.

"Let Æolus boast his power within these halls, And reign in the pent prison of the winds!"

--Cranch's Virgil, I.177-8

Myths of the Exile and Return.

distorted version of "Apache" · lightning bugs on the TV screen

those swarms in West Virginia far too dim to show the way

"Let us go, then, you and me..."

[jasonblack]

Robert “ÆOLUS” Meyers and The Forgotten Beginnings of Hawaiian New Age

Since 2010, Aloha Got Soul has made waves by mining Hawaii’s undiscovered musical past. With its first two LP releases, the Honolulu-based rare soul label run by Roger Bong has reissued forgotten gems like Mike Lundy’s 1980 funk-soul album, The Rhythm of Life and Aura’s self-titled disco debut.

For its third full-length release, Bong, 29, has decided to broaden his original vision for Aloha Got Soul beyond 1970s and 1980s funk, soul and disco jams from the Islands to include electronic music.  One night back in 2014, Bong was browsing on the ambient blog and record label Sounds of the Dawn when he came across ÆOLUS’ ethereal second album, Rays. Digging into it further, he realized that Global Pacific, the New Age label that originally released the record, had at one time been based in Hawaii.

“I jumped around the room for a few minutes, freaked out about finding ÆOLUS’ music and the notion of a New Age or experimental scene in Hawaii,” he recalls. “Until then, I’d only been familiar with ‘70s and ‘80s jazz and soul.”

With his new find in mind, Bong got Robert Myers’ phone number straight from Sounds of the Dawn and reached out to ÆOLUS himself. Together, over the next two years, they collaborated on a comprehensive retrospective of Myers’ four solo works including 1982’s Aeolian Melodies, 1985’s Rays, 1989’s The Magician and 1993’s High Priestess. The result is a 13-track magnum-opus: ÆOLUS: A Retrospective.

The idea of experimental electronic music in Hawaii, specifically New Age, sounds like an exotic curiosity. In truth, there was no local scene to speak of at the time, as Bong himself points out in the release’s liner notes: “One might assume that ÆOLUS carved a new path for electronic music in Hawaii, but the islands never quite fully embraced the burgeoning New Age scene that ÆOLUS found himself a part of during the 1980s and early 1990s.”

Yet, even though ÆOLUS was charting his own creative course, Hawaii always been known as a diverse cultural and musical mecca: an open-minded and accepting safe haven where East meets West in the middle of the Pacific Ocean. Musically speaking, jazz, funk, soul, rock, reggae, and traditional Hawaiian music all mix and mingle together to inspire all kinds of artists, create a laid-back island vibe and most of all, reinforce a strong sense of welcoming togetherness or “ohana” (Hawaiian for “family”).

“On the surface, you could say it's the natural beauty and the warm people,” Bong agrees. “Dig a little deeper and I’d say it’s ‘Aloha spirit’ that inspires so many artists here in Hawaii.”

In 1975, when he was 22, Myers transferred from San Diego State University to the University of Hawaii to study ethnomusicology and to surf. Over the next two years, he immersed himself in world music including specific study in sitar, shamisen, hula, South Indian singing, Javanese gamelan, and even Middle Eastern ensemble. He notes that, “Most important, at the time, was my introduction to shamanism and how [shamans] were the holders of not only the music of a culture, but the spiritual and cultural epicenter of any given people.”

In his spare time, he surfed all over Oʻahu, hiked through the mountains and down into the lush, green valleys, and ultimately, “was exposed to the culture and the unflinching beauty that is Hawaii.”

In addition to his ongoing academic studies in world music, he discovered and was inspired by visionary electronic and New Age artists of that era including Vangelis (Specifically China), Jean Michel Jarre, Brian Eno, Philip Glass and Giorgio Moroder, among others.

In the years following graduation, he became an accomplished working musician playing bassoon for the Honolulu Symphony as well as flute and percussion for other groups around town. He was a leading member of the local avant-garde performance arts scene as well as presenting his own solo work and collaborative concerts throughout the Islands.

“I was not a part of the greater island music scene at least not the clichéd island scene,” he says. “I was a member of isolated music scenes on O’ahu and the outer islands.” Ultimately, you can hear ÆOLUS — and all of his early musical influences — on A Retrospective. Standout selections like the contemplative constellation, “Orion” leads you on a deep journey inward with echoing flute and reverberating synth. Then, the meditative “Mystery of Music Park” wafts like a love song to reassure your senses. Next, “Archangel Michael” heralds the breaking dawn with resounding trumpet-like synth stabs. It’s heady, late-night headphone listening — and totally transportative.

Now, Myers, 63, lives in Portland, Maine and works as a counselor and psychotherapist, as well as continuing his passion for music on various side projects. But it’s been exciting to connect with Bong and bond over Hawaii and his early electronic compositions—and collaborate on this exclusive Aloha Got Soul reissue. “Roger has been a joy to work with,” Myers says. “He’s very musically informed and impeccable in his business acumen. His mission to bring forward undiscovered and underexposed Hawaiian music to a wider audience is inspired and genuine. I’m honored that Roger found me and I’ve been enlivened by his energy and diligence for our collaboration.

Bong, who’s busy right now working on an upcoming Aloha Got Soul documentary (set for a release in late summer or early fall), agrees: “Robert has been positive, insightful and very responsive all the way through. I only wish we lived closer so we could hang out more often.

He adds: “I think fans of Aloha Got Soul are curious because this is a real departure from our previous releases. My hope is to expand the Aloha Got Soul imprint, as well as expand the perspectives that people might have of AGS and of Hawaii.”

“So far, the response to the record has been spectacular,” Myers affirms. “It’s been a dream come true to breathe new life into this music.”

[biointernet]

Hourglass 168 and metal coins

Time will explain it all. He is a talker, and needs no questioning before he speaks. EURIPIDES, fragment, Æolus

Hourglass 168

Hourglass 168 and metal coins Vintage Hourglass Photo: Wooden Hourglass and metal coins on MHC virtual museum

Hourglass 168 MHC Virtual Museum: Hourglass CollectionExhibitionsArt ObjectsArt GlassMHC Magic TicketArt LightExperiments with TimeMagic JewelryMHC Time Souvenirst

Hourglass 168

MHC – My Hourglass Collection

MHC Virtual Museum – virtual museum about Time, Space and Magic MHC Virtual Museum – the Biointernet Hub on The Network MHC Virtual Museum based on My Hourglass Collection

Hourglass 168 What is the symbol of time? 

Symbol of Time – The Hourglass

Time symbolism – What is the symbol of time? My Hourglass Collection – Time and Hourglass History and Symbolism. Welcome to MHC Virtual Museum! What is the symbol for time? - SI Units The international system (SI) of units, prefixes, and symbols should be used for all physical quantities except that certain special units, which are specified later, may be used in astronomy, without risk of confusion or ambiguity, in order to provide a better representation of the phenomena concerned.  SI units are now used to a varying extent in all countries and disciplines, and this system is taught in almost all schools, colleges and universities. The units of the centimetre-gram-second (CGS) system and other non-SI units, which will be unfamiliar to most young scientists, should not be used even though they may be considered to have some advantages over SI units by some astronomers. General information about SI units can be found in the publications of national standards organisations and in many textbooks and handbooks. timesecond Hourglass 168 and metal coins Read the full article

[edicoescn]

Out today on @originpeoples .... Robert ÆOLUS Myers "Talisman" dbl lp. Collecting five tracks + extra remixes by @dreemsdreems , Pharaos, K Leimer and myself. Enjoyed reworking the faboulous music by this Hawaiian based artist into a new composition describing the main island of Oahu. .... "Over two years in the making, 'Talisman' is a retrospective and re-interpretative celebration of the work of American musician Robert ÆOLUS Myers. Touched first by the emotional depth of the music, and subsequently by the warmth and wisdom of the man, Origin Peoples sought to capture a snapshot on this special vinyl release. This newest chapter of the ÆOLUS myth seen for the first time on vinyl are five of his most expressive pieces, alongside a quartet of remixes by kindred spirits from all corners of the globe. This is the first time his music has been interpreted by others, and Robert's delight at the result speaks volumes of his adventurous and open-minded attitude. Approaching the often intangible new age genre with a humanist approach, Robert creates immersive and expansive pieces which connect with the listener on a spiritual and emotional level." (bij Diamond Head Lookout) https://www.instagram.com/lievenmartensmoana/p/Bwl0v-Ql_aA/?utm_source=ig_tumblr_share&igshid=5i5b9klwb9xt

[thesunlounge]

Reviews 259: Robert ÆOLUS Myers

In 2017, Hawaiian archivists Aloha Got Soul released A Retrospective, introducing me and many others to ambient starmaster and spiritual healer Robert ÆOLUS Myers. Existing within the broader new age tradition though also standing apart from it, ÆOLUS’ music is borne of deep communion with nature and the exploratory possibilities of electronic synthesis, with fluttering arpeggiations, dreamwave sequences, and ethnological rhythms supporting cloudform symphonies and mystical flute improvisations. And though those descriptors could apply to any number of indistinct massage parlor soundtracks, ÆOLUS has always maintained that he makes “new age music to wake up to,” with an intense focus on helping the listener realize their inner sense of truth. Going beyond this, his music exudes a sense of magical adventure, and the sonic universes that unfold across A Retrospective work as well for soundtracking fantasy kingdom explorations, starscape space journeys, twilight jungle dances, underwater forest treks, and psychedelic vision quests as they do for therapeutic purposes. So even though new age is a fair description for the work of ÆOLUS, I sense a closer sonic kinship with the Hearts of Space sound centered around artists such Michael Stearns, Kevin Braheny, and Steve Roach as well as Klaus Schulze’s Innovative Communication, especially Software’s work with flautist Toni Schneider.

To better understand ÆOLUS’ sonic world, it helps to trace his artistic path, which began with playing clarinet as a teenager in Ohio and bassoon during his studies at San Diego State. Like many California-based surf rats of the time, Myers was lured to the sparkling waves and paradise beaches of Hawaii, where he also played drums and completed a degree in ethnomusicology. Following this, he abandoned the world of percussion to join the Honolulu Symphony as a bassoonist, a setting which proved important to a developing experimental, new age, and space music scene in Hawaii driven by Jai Ma Music and Global Pacific Records. Indeed, the Honolulu Symphony also provided work for violinist Steve Kindler and his brother Bob, a cellist and audio engineer who would go on to produce and collaborate on many of Jai Ma’s and Global Pacific’s early records, including ÆOLUS’ Aeolian Melodies and Rays. And for while, it must have seemed like Hawaii was on the verge of establishing a fertile creative community, one that also included avant-garde sound artist Nelson Hiu and guitarist Paul Greaver. But it was not to be, for when Global Pacific uprooted and moved to California, many of the musicians followed, and once Hiu departed for Hong Kong in 1985, ÆOLUS was left on the islands to chart his own artistic path through the cosmos. 

The years since that dizzying period of collaborative creativity have seen Myers furthering his studies of devotional music and indigenous cultures while also continuing to release albums and perform live through a variety of contexts, including dance pieces and theater performances. And his talents in sonic healing have never stopped developing and now find broader expression through the practice of depth psychotherapy in the “alchemical tradition of Jung.” Which brings us to Talisman, a new and lovingly curated retrospective and re-interpretation project released by Origin Peoples. In keeping with the label’s tendency towards the left-hand path, this 2xLP set is unlike most archival compilations and augments its collection of previously released tracks from The Magician and High Priestess with an unreleased dreamscape, a breathtaking live performances from New York City in 1987, and most striking of all, contemporary interpretations of ÆOLUS’ music by K. Leimer, Pharaohs, Dreems, and Lieven Martens Moana. Thus Talisman both compliments A Retrospective and shows the ways in which Myers’ art has reverberated out through time, providing seeds for everything from fractal foam kosmische to jazz folk balearica to mutating deep house to fourth-world sonic collage.

Robert ÆOLUS Myers - Talisman (Origin Peoples, 2019) “Oracle,” coming from 1993’s High Priestess, sees universal bass currents pulsating with ominous intent while being swirled around by cosmic breaths. Kalimbas and bell-chimes decay across spacious expanses before blooming into mermaid choirs and a fourth world rhythm ritual fades into being, built around rimshot cascades, tom tom ceremonials, white noise shakers, and ethnological hand drums transformed into exo-planetary fluids. Overheard, alien pan-pipes slide in ways that defy logic and feedback vapors arc across the sky...all while synthesized orchestrations glow with ethereal shadow energy. “High Priestess” follows with wisps of spectral feedback swimming through the void as string synthesizers fade in, with Schulze-ian viol reveries flowing above swelling cellos and contrabass drones. As threads of cosmic melancholia wrap around the body, a simple and obscured drum rhythm emerges, generated by tribal tom tom pulsations and danced over by synthesized idiophones and exotic music box lullabies. Atmospheres of psychotropic minimalism and exotica are repurposes for space age exploration, with flashes of cold blue light moving within the miasma of galactic sound. At some point the mood changes drastically and the air grows humid and tropical as propulsive hand drums pan across the mix. Afro idiophonics are joined by pinging Berlin school arpeggiations and knocking percussive tones while electro-claps crack through reverb caverns and all throughout the mix, bending woodwinds weave rainforest incantations and majestic string hazes obscure the dances of mysterious jungle fauna. 

As far as I can tell, Talisman is the first place “Dreamscape from the Night Kitchen” has appeared and the piece starts with crystalline strands of new age liquid floating within a haze of angel synthesis. Arpeggiations dance through exotic lullaby patterns and hand drums are heard through soft liquid layers while ominous currents of bass energy swell in and out of the mix. Hypnagogic hallucinations and moonlight forest rituals are evoked by ÆOLU’S flute performance as longform breaths of melodic mysticism evolve into sprightly elven dances. Colorful prism formations refract unseen light sources throughout the background, generating chiming decays that flutter through reverb oceans. And there’s a distinct sense of sitting within some spiritual sci-fi cavern where liquids made of glass drop into glowing pools of ether. As the track progresses, it sometimes floats in a relaxing state of hypnosis, while at other times, things move with a mysterious sense of purpose as subsonic pulsations hint at a dark ambient ceremony. Then in “Sunset,” taken from 1989’s The Magician, wisps of white light swim through cricket chirps while a zheng weaves dreamy rainbow incantations encompassing bending plucks and harp-like waterfalls. Spectral vapors move across the stereo field and sometimes blend seamlessly into the continuous insect orchestrations while up above, flutey synths lock into a sequential fantasy bounce. The vibe is transportive, otherworldly, and aligns with the recent work of Meitei in the sense that futuristic atmospheres are transformed into ancient sonic environments. 

Another track exclusive to Talisman is “Embrace,” presented as live version from 1987 in New York City that perfectly exemplifies what a powerful performer ÆOLUS was. Aqueous synth waves splash across the spectrum while a universal hum of drone modulation flows through the stereo field. Bleary piano chords decay over the watery ambiance and their freeform fantasias, atonal note clusters, and gentle jazz adventures drift eternally throughout the track. Heavenly atmosphere flow in, though distorted and threatening to spill over into white light feedback and bass textures grow increasingly present and unsettled…their fast motion vibrato wobbles disturbing the hallucinatory float. Feedback melodies scream across the sky as everything momentarily swells together while elsewhere, mermaid pan-pipes dance through future ocean kingdoms and childlike sea-spirits join the new age sound bath with wordless choral ecstasies that float upwards on unseen sea currents. Eventually, intimately blown flutes journey across the mix with overlapping dream enchantments and fragile melodies that hover in place before dispersing like a mirage. And for the rest of the track’s length, ÆOLUS executes a breathtaking trade off between mystical woodwind magic and shrieking blasts of feedback euphoria…all proceeding through an underwater paradise of pianos, choral arias, and subsuming synth fogs. 

The first reinterpretation of ÆOLUS’ work comes from K. Leimer, who presents his “Temporary & Indefinite” edit of “Environment.” Sequential synth bubbles float through space foam fuzz and Cluster-leaning lullabies are smothered in a fourth world heatwave haze. Controlled clicks, static pops, and unidentifiable scrapes float through that air while industrial hums, factory drones, and machine breaths set the stage for blissed out tapestries of smeared brass and vocals…these wisps of symphonic magic emerging from nothingness and growing into shimmering baths of sonic transcendence, with melodic movements paying tribute to the sunrise. Everything is blurry and indistinct…as if seen through a polychrome fog...while bell tones decay and trace behind them harmonious trails of light. Scraping strings are beamed in from a faraway galaxy and layered cellos sweep the heart to lands of fantasy romance before pulling away into silence, leaving the body afloat in a void of burning ambiance and vibrating metal. Spare shaker rattles hit and percussive detritus floats while orchestral swells grow increasingly distorted, eventually giving over completely to bowed string tonalities. Deep in the ether, tamburas are manipulated into droning insect psychedelia and FM crystals melt into liquid lightforms before everything morphs into a methodical fade out of Indian drone mysticism…like Pandit Pran Nath playing from within a black hole.

It’s mostly been silence from the Pharaohs camp since the release of 2017’s In Oeland, but they make a welcome return here with their “Sadhana Environment (Mana Mix)”. Crashing cymbals introduce sun-soaked folk guitar energetics while tropical bass synths wiggle through water waves and acidic bubbles blow in a warm breeze. Electric guitars loop hypnotically high in the sky before giving way to solar synthesis and layers of hand percussion dance through sea-spray…all while sampled waves crash to shore. Synthetic tones of plucked crystal weave equatorial dream melodies, jazzy acoustic guitar solos move in counterpoint to the jaunty riffs, and heatwave swells cycle all around as feedback tracers drop globs of rainbow glass. At some point, otherworldly vocalisms enter…that characteristic and wholly unique way that Pharaohs uses the human voice…mystical, tribal, joyous…with wordless scats and LSD babbles floating within a cloud of balearic exotica. Electric guitar mantras slide towards the sky over prog fusion basslines and kick drums and crashing static cymbals enter at some point, giving the groove a more defined shape. It’s a swaying jam through aquamarine tide pools, wherein smoldering six-string blues solos are repurposed into island paradise magic while vibrant cymbal splashes and pulsating drum fills join together for a narcotizing ocean jazz groove out.

Dreems’ “Natürliche Liebe” remix of “Sadhana Environment” sees a four-four beat underlying glowing glass windchimes and robotic house basslines, all thick tubular tones jacking upwards. Strange sonic vapors and bodies of incandescent gas flow alongside jungle frog squelches, hand drums bounce off of neon palm fronds, marbles made of electricity oscillate out of control, and glowing hypo-sequences join together with skittering noise textures to generate a double-time pulse while a feverish theme plays out on drunken pad modulations. New age mermaid choirs are transmuted into deep house hypnosis as martial snare rolls portend some dark club explosion, but Dreems subverts this expectation by cutting away all rhythms, instead leaving the body to float amongst silvery chime strands, aqueous bass euphorias, galactic lasers, and deep space spirit communications. Eventually, we flash into a minimal expanse of drug dance magic, wherein kick drums and flubby basslines are accented by rolling hand percussion, pinging echo fx, and fractal smears. Claps and snares give the militant stomp a swinging sense of groove while post-modernist dub panoramas rattle around the mix…a sort of Chain Reaction-style weirdness abstracted even further into extra-terrestrial sorcery. Heatwave pads introduce another rhythmic drop, wherein cave liquids, disjointed snaps, universal bass pulsations, and industrial chants waver through dream mutations. And as a crazed starlight sequence fades in from nothingness, the kicks resume their march beneath post-house cymbal fire and mutant acid stabs.

The final version of “Sadhana Environment” comes in the form of Lieven Martens Moana’s “Oahu Suite,” which proceeds like a hallucinatory collage tied together by birdsong and insect chatter. Contrabass drones fade in from the center of existence and generate waves of La Monte Young-style minimalism, which fade into arcs of bowed metal and space sirens evoking the piercing communications of 2001’s monolith. Scraping textures and feedback noises swim through bodies of water while radiophonic explorations devolve into burning waves of laser light. Sickly waverings and mosquito buzzes flow through tremolo transformations as bulbous bass clouds waver into the void. Shadow visions of hand percussion develop into rainforest drum rituals and Shepard-Risset glissando fx scream across the sky, with everything fading out as soon as it begin. Back in the world of primitive electro-experimentation, caterwauling static blends into dark liquids lapping against an alien shore and vibratory metal abstractions are smothered in ringing reverb as they swell into a towering noise assault, which then gives way to a dreamwaltz through deep sea forests. Machine spirits laugh and sing, pianos are mimicked by ring modulators, and “High Priestess” is evoked through a cloud of smoke while elsewhere, timpani drums, horror string cascades, and marimba exotics are destroyed by blasts of searing noise. Towards the end, we return to the bowed string fantasias…the deep and methodical double bass energies now joined by melodious cellos weaving glorious dawn incantations. And as it all comes to a close, waves crash to shore and birds sing in the sky. 

(images from my personal copy)

[hiiakamercy]

(Robert ÆOLUS Myers)