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The Magick of Music: Why Some Songs Do The Work

FireBorn

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Been following the thread by @Van Horne (which is killer, thanks man), and wanted to offer something a little different.

We all know music is powerful, but I think a lot of people miss that music is magic, not just when it’s full of dark aesthetics or esoteric lyrics, but in the way it works on us.

Music can be a ritual. It creates altered states, fractures time, draws you into inner silence, or forces you into your body. Whether the artist intended it or not, certain songs act like spells. Some are invitations. Some are initiations. Some are outright banishings.

I’m not a professional musician, but I’ve got an ear, and I’ve spent enough time on both sides of ritual to know when a song moves current. Not just makes you feel, actually moves the needle inside you. Also, my ADHD is highly focused on music and patterns. I see how music affects us deeply.

If there’s interest, I’ll start picking tracks (some obvious, some not at all) and explain why I think they’re ritual in sound, from the arrangement, structure, tonal choices, to the emotional architecture.

First up: “Return to Serenity” by Testament

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What makes this song work:

It opens with a lead guitar phrase that plays like memory. The high-low-high interval leap gives it this aching sweetness, like something is reaching down to pull you into a moment that’s already slipping away. It's not just melancholy, it’s a kind of sonic visitation. The tone is clean but mournful, almost tender. There’s warmth in the sadness, which is what makes it dangerous. It lures you in.

Then the guitar and bass walk down together, which is rare, but deliberate, like they’re descending (or stumbling down a staircase) into the subconscious. There’s no resolution. No payoff. You’re just there, standing in the space it carved open.

The whole thing feels like a ritual built around stillness and grief. Not performative grief, but private. Internal. Like the song isn't asking you to feel anything, but it reminds you of something you already carry.

The musical arrangement was masterful in this song. They knew exactly what they were doing. Clean guitars for the intro. Clean bass. Typical crunching rhythm guitars. Outstanding solo that didnt overplay the song (Alex Skolnick is way better than the band musically). Nothing was accidental here. It was all deliberate.

The engineering and production were mid at best. The song was a high level orchestration and it was produced with a flat production and engineering perspective. Kick drums were flat, toms were hollow. Bass was there, but barely. Just narrow. It could have used layers. Everything produced "upfront" challenged the song in my opinion. Still great for what it was, when it was written and produced in the early 90s with the grunge era moving in (probably why less money was spent on engineering and production).

If you’ve got songs like that, not just that sound cool, but that do something regardless if style or genre, bring ‘em. And tell me why. Lets talk about it. Hell, any song will do actually.

Let’s make this thread a playlist and a spellbook.
 

AlfrunGrima

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Have to go to work now, but later on I will be back with Bach.... Yes with Bach! I will take some scores and some youtube videos with me. Bach is magic ritual drama and the podium can really be a magic space/circle.
 

juanitos

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I have always admired the organ concerts..Organ music is truly magical...deep and mysterious. Bach has some wonderful organ concerts.
 

AlfrunGrima

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Have to go to work now, but later on I will be back with Bach.... Yes with Bach! I will take some scores and some youtube videos with me. Bach is magic ritual drama and the podium can really be a magic space/circle.
I think that I don't have to elaborate the story of the passion, the story of the Christ that as Lam of God had to die on the cross for the sin of humanity, the bridal theology that portrays the communion with Christ as a sacred/mystical marriage. It is not theology that I want to put out here, I want to put out some of my mystical experiences with the ritual drama itself. If you put yourself in the role, the part of the story you are singing and you put yourself into the very heart of the emotions, it is no less than transgressive magic, magic that changes thyself. For that, you have to really know your parts so you can take part of the actual drama. When on the podium and doing this as a group, I have often watched that it touches people and that people change after that experience. The podium becomes a bubble of intens energy. I have heard people saying: it is like we are in another time and place, I forget that there is public, everything feels sacred and different from normal. This is even be said by people who are not in occultism or religion.... I have to choose some moments in Matthew, there is a lot more and I can only scratch the surface with this post. But it is to give you any idea. I sing mostly in choir 1, so i give the perspective from out that choir. I put out some shadow work things, invocation. For people in Nort-West Europe who are willing to travel to Utrecht, there is a sing along Matthew. Link under in the post.

When you are lucky to be in choir 1, you can be and act in the first choir as mourners (Kommt Ihr Töchter, helft mir klagen. The second choir has a different role mostly) have you ever put yourself intentionally in the position of deep mourning and lament, with al the pain that there is? Seeing the spirit of Christ carrying the cross with love and mercy? (Sehet ihn, aus Lieb und Huld, Holz zum Kreuze selber tragen) You really have to see that in mind, while mourning and be in the experience.

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Then over to 'Wozu dienet dieser unrat". You have to have Mary Magdalene in mind who uses fresh sprinkling water to put over the skin of Jesus. And then, in the choir, you have to one of the disciples. Those disciples are angry and mad. Why is that woman spoiling this expensive water? It was possible to sell it and give that money to the poor people? For people it is confronting to be in that role, to be the angry one. It is shadow work, people don't like it to be the angry one. Some people feel misogny in it if they have to sing that, and that is a confronting thing too. People mostly don't want to put themself in that position.

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Then over to the betrayal of Petrus in the form of a choral. Jesus talked with his group about the fact that Petrus will betray him before the rooster calls 3 times. All the disciples sing the to Jesus: I would stand here beside thee; do not then scorn me! From thee I will not depart, even if thy heart is breaking. When thy heart shall grow pale , in the last pang of death, I will grasp thee in my arms and lap. They have to sing this AND believe this, while knowing that there is a betrayer among them and they even know who! Here is a new part of shadow work: willing to stay with the complete group without kicking out the betrayer, that is against human nature for most of the people..... (And from there, most people know 'erbarme dich' which acts about the sorrow of the betray, but that is much later in the story but people get tears of only listening to it)

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Sind Blitzen sind donner is much easier to sing for most: people can sing about the anger and call for revenge of the believers after the capture of Jesus. I hear always around me that people get an angry and mean voice when singing the last sentences of that choir part. Somehow if people feel it is justified, they like anger.

Ever sang the aria 'Mache dich mein Herze rein'? It wil touch your heart and can act as an invocation. You bury the actual body of Jesus, but let its spirit reborn in your own spirit/being.

Mache dich, mein Herze, rein,
Make yourself pure, my heart
Ich will Jesum selbst begraben,
I want to bury Jesus himself within me,
Denn er soll nunmehr in mir
For he now within me
Für und für
Forever
Seine süße Ruhe haben.
Shall have his sweet rest.
Welt, geh aus, lass Jesum ein!
World, depart from my heart, let Jesus enter!

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Like I said, I only scratch the surface and it is even impossible to catch hours of music in one topic. Here is a link to the text and a link to USKO, the sing along project. (no I am not in it, I sing in another choir, specialized in baroque and Bachs music, we have concerts in another part of the country)

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