ISSUE 25: “Free Tone”

This issue explores various perspectives on music via the “spiritual science” of Rudolf Steiner and his Anthroposophical Society. We’ll explore not only how music is fundamental to Steiner’s teachings but how music served as a vehicle for Anthroposophy’s spread in the U.S. First, I offer a detailed summary of the musical origins of American Anthroposophy at Carnegie Hall during the first few decades of the 20th century, noting its role in vocal pedagogy and modern music therapy. Next, we’re gifted with a contribution from musician, poet, and photographer Oliver Ray, who offers a personal reflection on the writings of German Tibetologist and Anthroposophical music philosopher Hermann Beckh (1875-1937). This is followed by an AMP archival window into the world of under-regarded pianist, educator, Walt Whitman scholar, and Quaker Anthroposophist Clifton J. Furness (1898-1946).

ISSUE 24: “The Winged Word”

Celebrating the Spring season, this issue explores the mythic birdscapes of music and metaphysics. Avian imagery has long pervaded metaphysical philosophy, most commonly as angelic figures or divine messengers, while birdsong and music share an enduring historical and heavenly affinity. We begin the issue with a contribution from Bọlá Chinelo (Àrokò) overviewing her work with birdsong through poetry, esoteric symbolism, and sound art. Then I offer a spiritual reflection on the life of early 20th century Muscogee soprano Tsianina Redfeather Blackstone, a celebrated musician-turned activist who fused her indigenous heritage with Christian Science theology. We are next graced with the presence of poet, translator, and musician Louise Landes Levi. While Levi was studying Buddhism with master Dzogchen teacher Namkhai Norbu in the mid 1980s, a magical constellation of events led to her transcendent debut album Kinnari, named after the celestial bird of Hindu and Buddhist mythology. Here she shares a special reflection on that period of her life and how the album came to be. Finally, I overview the sonorous and avian séances of forgotten turn-of-the-century composer Leander Fisher. Fisher’s springtime piano scores, like “The Robin’s Return,” are still performed by budding pianists today, but none would suspect he spent 25 years dwelling among birds of the spirit world.

ISSUE 23: "A Magic Rustling": A David Lynch Memorial

I am blissed out to devote this 80-page issue to one of my personal heroes, David Lynch. As most now know, an emphysema-related heart attack took David’s life on January 16th, 2025, amidst his evacuation during the L.A. fires. This issue celebrates David’s art life, soundscape, and spiritual influences. The issue begins with my “sonic glossary” of Twin Peaks. Then I offer a reflection on my recent encounter with Rebekah del Rio at Bob’s Big Boy and the singing ghost of Mulholland Drive, which has us exploring the Mexican folk legend of La Llorona. Then I’ll share a look into the AMP archives regarding the lost ending of David Lynch’s Dune through some original production materials and recent authorship. The second half of this issue is dedicated to guest submissions, each honoring David in their own way through photography, painting, poetry, essay, and more. Thank you: Eric Bonce, Chris Bugnacki, David García Casado, Ashley Cassandras, Matthew Corey, Arrington de Dionyso, Lorna Dune, Patrick Emm, Samuel Garrett, Chris Jones, Kate Laity, Este Lewis, Laurence Lillvik, Beth Liseck, George Meflesh, Tristan Peterson, Nick Podgurski, Afifa Sanef, Alexander Terrazas, Cat Tyc. And thank you, David Lynch.

ISSUE 22: "Healing Sound"

This issue explores sound healing from two unique perspectives. One introduces the underregarded work of painter, composer, weaver, instrument designer, Coptic minister, and Neo-Pythagorean sound healer Barbara Hero (1925–2021). I’ve put together an overview of her work followed by a short original article, “Sound Healing,” originally written by Barbara in 1981 and revised in 1991. An interview-enriched podcast on her life is also in the works—my first Secret Sound episode in a several years. Next I share my recent interview with composer, author, educator, and sound healer Lavender Suarez, aka C. Lavender. Working as a sound healer for a decade, Lavender earned her B.A. in art therapy and psychology and went on to study with Pauline Oliveros, Jonathan Goldman, and Laraaji. In 2021 she published Transcendent Waves: How Listening Shapes Our Creative Lives (Anthology Editions). We reflect on her sound healing practice and recent album Rupture in the Eternal Realm (iDeal Recordings, 2024).

ISSUE 21 - "Sonic Theology"

This issue explores the idea of “sonic theology,” a phrase coined by musicologist Guy L. Beck in the 1990s and referring to a phenomenological method for the comparative study of religion through sound. While paramusicology casts a wider net of numinous sound experience, sonic theology focuses our attention on sound within religious tradition. This issue begins with “Freedom’s Harmony,” exploring the metaphysical backgrounds of the Hutchinson Family Singers and their friend Frederick Douglass, all of whom viewed music as a divine tool of social union and liberation during the second half of the 19th century. This also pulls us into the orbit of Andrew Jackson Davis’ musical metaphysics and “harmonial” philosophy. Next, I share my research into African sonic theology, specifically looking at the Yoruba and Bambara traditions, including original illustrations and hard to find translations. I have never in my life seen this African perspective included in discussions of “sonic theology,” neither by academics and metaphysical practitioners, nor otherwise—it’s time! Finally, I re-share a brief and revised review of Guy L. Beck’s recent pioneering tome Musicology of Religion.

ISSUE 20: "Correspondences"

This issue moves from poet to pianist to historian. The mediums and perspectives may shift, but each is listening through the symbols, principles, and ancestors rippling through their environment and this signifying nation. The ethereal East Village poet and image-wielder No Land kindly offers a new poem “blue flower, the watchword” and a previously unpublished interview with Hanna Qadir from 2021. No Land also provides the cover illustration, corresponding with her poem. Following her beautiful articulation of the trans-sensory language and Mysteried-ear of the poet, we revisit concert pianist and composer Katherine Ruth “Kitty” Heyman, the “high priestess of the Scriabin cult” and the leading hierophant of (ultra)modern American composers. We’ll reflect upon the influences of Zen and Theosophy in her work, giving attention to the symbolic correspondences by which she supersensually engaged and taught music. And we end with a review of Ronnie Pontiac’s deliciously extensive tome American Metaphysical Religion, a “chronicle of rebellious and individualized spirituality” through American history.

ISSUE 19: "Sounding Sufism"

This issue explores American Sufism through two musical perspectives. The first is through a talk with contemporary guitarist, composer, curator, and organizer LuFuki Ismaeel. Besides being an incredible artist in his own right, LuFuki is also a longtime muridin within the Naqshbandi Sufi Order and an active preserver of Dr. Yusef Abdul Lateef’s musical legacy. Through the Autophysiopsychic Millennium, he has developed Dr. Lateef’s spiritual and musical philosophy into a new arts pedagogy aimed at empowering Black youth and community. We explore numerous aspects of his work, including the relationship between jazz, Black identity, and Islam, his religious upbringing, the nature of Autophysiopsychic pedagogy, and the meaning of the self. Also offered is a reflection on enigmatic Sufi guitarist, Robbie Basho (1940-1986). Looking at Basho’s metaphysical biography and in light of his posthumous releases, we’ll focus on how Meher Baba and Sufism Reoriented influenced the artist’s life and art. Along the way we’ll cross paths with Pete Townshend and Bobby McFerrin. In-between these offerings I’ve also included a short intro to the history of Sufism in the U.S., focusing on the contrast between Islamic Sufism and syncretic forms of the lineage, notably Sufism Reoriented. Wishing everyone peace, compassion, and fortitude in this uniquely uncertain November.

ISSUE 18: “Psychedelic Sound”

This issue explores the sound, ceremony, and psychedelia. “Song of God” explores the pioneering LSD-induced, Vedically ceremonial, and commercially controversial album Om by John Coltrane. Anyone looking into the history of this album will have met rumors and dismissals—this article synthesizes what is known, sets the record straight, and affirms Coltrane’s most dismissed album. Here we proclaim it’s historical importance as one of the earliest music recordings made on LSD. “Igor Offers Alice a Mystery Drink” explores the relationship of the John and Alice Coltrane to composer Igor Stravinsky, reflects on Stravinsky’s connections to LSD, and inquires into a curious drink shared between Igor and Alice. This is followed by wonderful talk with Psychedelic Sangha co-founder Doc Kelley and vibraphonist Chris Dingman. Psychedelic Sangha offers a safe communal space fusing tantric Buddhist practice, psychedelic ritual, and live healing arts. We discuss the Sangha’s approach to psychedelia, aspects of trance and meditation, the role of the vibraphone, and much more. The issue closes with a brief look at the “experimental religion” of Episcopalian mystic, hymnwriter, and author Kenneth Sylvan Guthrie and his noetic reflection on anaesthesia experiences with chloroform, ether, and laughing gas.

Cover image: “The Tunnel” by Dolores Chiappone

ISSUE 17: “A Cosmic Ear”

This issue explores two cosmic perspectives on music (or vice versa). First we speak with Roman Norfleet, Kennedy Realness, and Harlan Silverman, aka The Cosmic Tones Research Trio. Based in Portland, Oregon, the trio emerged out of the Be Present Art Group, an Afro-centric music collective and arts organization pioneered by Roman Norfleet. We discuss their spiritual backgrounds, how they came together, and their views on music, while looking forward to All Is Sound, their upcoming release via Mississippi Records. Then we look back in time to a forgotten publisher, optician, illustrator, and Theosophical teacher, the enigmatic W.W. Harmon (1857-1937). The AMP offers the first complete biography of Harmon’s life as well as an introduction to the AMP’s Harmon Papers, which include some of his rare handwritten and illustrated teaching documents. With passionate and laborious devotion, Harmon elucidated Theosophical teachings through a rich symbolic language of tone-color geometry and arcane philosophy on cosmic harmony.

ISSUE 16 / “Spirit Invocations”

This issue offers two perspectives on spirit invocation practices. The first explores sound, symbolism, and metaphysics in the recent blockbuster horror/rock-n-roll film, Longlegs, by Osgood Perkins. “The Pale-Faced Cuckoo” is an in-depth reflection on the film and Perkins’ filmography, explored through the lenses of Theosophy and ceremonial magic, which ultimately questions the nature of prayer while claiming the film to be one itself. It also synthesizes many of the currently available interviews and easter egg sleuthings—spoilers galore. The second half of the issue is an interview with Nuyorican Ifa and Lucumí (a.k.a. Santería) priest/percussionist, Abraham “Aby” Rodriguez, the leader of Okonkolo, an ensemble which orchestrally dramatizes this sacred drumming tradition to wonderful effect. As Abraham affirms himself, this tradition is in no way “evil,” as it has been consistently portrayed and demonized in the media and, most of all, by colonial oppressors who’ve sought to destroy its influence and the affirmation it provides to its indigenous communities. With its roots in the Yoruba religion of West Africa, this long-standing tradition has evolved and flowered in diverse regions across the globe. In our talk Abraham outlines his unique lineage within this beautiful tradition of invoking the Orisha spirits for healing, celebration, and communal worship. In closing, he offers a summary of the annual Ifa divination for this year. Hell on earth, Heaven on earth. Godspeed to us all!

This issue ("Haint Harp") explores metaphysical perspectives on string instrument design from true seers of the instrument. We begin with a reflection on three visionary folk luthiers: New Jersey farmer Arthur Kirk Ferris, Arkansas farmer Ed Stilley, and North Carolina farmer Freeman Vines. Each began crafting their unique instruments following a powerful paranormal experience. And I am thrilled to share a new interview with one of my favorite musicians and luthiers, David Michael Moore, based in Rosedale, Mississippi. Still unknown to many, Moore’s homemade zithers and flickering music is a breath of fresh air, a vast and magical body of work which is now being reissued by Ulyssa Records. His friend Dr. Jim joins us as we explore the ideas of Lao Tzu and Heraclitus, bottle tree magic, the meaningfulness of the cicada as the current Broods appear this Summer, and much more. I’ve also included a couple of my “haint harp” paintings in the mix. The term “haint” is a southern variation of “haunt.” I call a “haint harp” any metaphysical and symbolic harp (or any stringed instrument), or one that is played by a hidden hand.

This issue explores magic, mystery, music, and death through three American artists. First we meet forgotten 20th century musical magician Evans Brown, whose occult magic would inspire the corniest and “most nonsensical” band in American history, The Korn Kobblers. On the heels of their latest album, Bearings: Soundtracks to the Bardo, I spoke with sonic mage Ka Baird in April of 2024. They share their early childhood influences and perspectives on their performance practice. Ka also offers insightful reflections on caring for their mother through the dying process. While we unpack how this powerful experience and the Tibetan Book of the Dead informed their creative process when making Bearings. Finally, the AMP shares a rare biographic pamphlet by Waldemar Tonner, which celebrates his lifelong partner, psychic pianist Francis Grierson. Following the final chord of his last concert, Grierson passed away on May 29th, 1927.

Throughout global history folk culture has ascribed spirits to nature’s teaming variation and the four elements that form its foundation. Among these nature spirits we meet fairies, nymphs, gnomes, goblins, will-o’-the-wisps, neiads, jinn, leprachauns, brownies— an endless variety of magical creatures. This is related, though in contrast, to the personified spirits of the deceased whom spiritualists, mediums, and others claim communion with. But just as these latter spirits have pervasively influenced American music, so have the more mythical nature spirits. This issue offers the first paranormal exposé on composer Amy Beach through her relationships with psychic Pearl Curran, Episcopalian priest and parapsychologist Rev. Elwood Worcester, and The Potters, a female arts collective based in St. Louis, Missouri. We’ll also look into paranormal aspects of her compositions, which involved a numinous engagement with nature—a selection of compositional excerpts follows the essay. Next, we explore the “tonal spirits” of the Southern Blue Ridge mountains through the life of the recently deceased Tennessee-based ceramicist, guitarist, illustrator, author, metaphysician, and philanthropist Phil Mayhew. Through a metaphysical relationship with the mountain landscape, Mayhew developed a family of nature spirits. Invoking these spirits through music, he channelled the metaphysical philosophy which would guide his art and life.

• This issue is dedicated to Phil Mayhew and the Mayhew family

Issue 12 (“Cosmic Flower”) welcomes and celebrates the Spring season by exploring the role of flowers and floral geometries as sonorous images and metaphysical teaching tools. Included is “Lotus & Lily: Listening to the Cosmic Flowers of East and West,” which comparatively explores floral symbolism in tantric and theosophical traditions. I’ve also included a lesser known mandala from the AMP archives, the original “symbolic chart” of 19th century British theosopher Christopher Walton. I have provided some nice quality scans of the the chart with magnifications and some of Walton’s handwritten notes. Serendipitously, this year marks the 400th anniversary of Jacob Boehme’s death on November 17, 1624. May all flowers flourish in Gaza!

Issue 11 (“Song of the Seed”) explores the mysterious kernel at the heart of Nature’s teachings, the creative process, and the imaginal agency that flowers in futurity. We’ll look at how this seed-idea plays out in various art forms as well as its resonance in Pythagorean philosophy and the life of an under-regarded civil rights magus and herbalist. Proprietor of The Rose Books & Obscurities Ernest J. Rose presents “The Creative Expression,” a metaphysical reflection on the seed of Pythagorean philosophy, the monad. With “The Seed Mind” AMP editor Matt Marble offers an extensive look into the seminal concept that runs through the philosophy, astrology, music, paintings, and poetry of Dane Rudhyar (1895-1985). We close this issue with a brief Commonplace of hearkening poetry and prose from songpoet, priest, Underground Railroad guide, and herbal physician Joshua McCarter Simpson (1820-1876). In the seed-ideas presented here, Rose calls us to be present, Rudhyar directs us to the future, and Simpson rings out a prophetic view from the past.

Issue 10 (“Praying Piano”) explores the role of prayer, energy work, mediumship, and social service in the lives of three American piano masters. We’ll be looking at three female pianists who were devout Christian mystics, two rooted in the Catholic faith. “Flicker Flicker Flame” looks at the AMP’s recent aquisition of a handsewn 1930 prayer sampler by jazz icon Mary Lou Williams (1910–1981). Through this piece of fabric we’ll look at the personal story of tragedy and fortitude surrounding it. Connections are also made to the depiction of magic in children’s literature and one of the witchiest songs in Girl Scout history. “From the Dragon’s Mouth” offers a metaphysically lensed biography on biracial child prodigy pianist Philippa Duke Schuyler (1931–1967), including rare materials from the AMP archive. The issue closes with a commonplace of quotations from the students of legendary Boston piano teacher, Madame Margaret Chaloff (1896–1977). Many of her students, among them numerous jazz artists, regarded her as a spiritual guru. The testimonies offered here focus on the spiritual nature of her teachings.

ISSUE 9: “January Song”

January hugs the transition of the end and beginning of the year, once represented in ancient Rome by Janus, the double-faced god of transition. This issue explores devotional song from three different perspectives, all pertaining to this Januarian passage in the cycles of life and creativity. To start, I’ve offered some reflections on a painting of mine (The Song of the Fourth Ear), with some insights drawn from the sonic theology of Kaishmir Shaivism. This is followed by an essay on mystical balladeer Antoinette Sterling (1841-1904) and her sacred quest via unaccompanied song. The issue closes with a Commonplace of quotations revolving around the term “song” from the writings of 16th century German mystic Jacob Boehme.

ISSUE 8 (“Hyperspace”) explores cosmic and metaphysical landscapes through various artists’ perspectives. “Hyperspace” generally refers us to diverse concepts and experiences of metaphysical spaces, or imaginal spaces unbound by physical or phenomenal limitations. And in this issue we’ll be entering dreams, dragon lairs, solar attunements, and Venusian atmospheres, all engaging musical spaces beyond the merely acoustic. Symbols mark the path of these imaginal territories, as sonic maps of a greater Mystery. We begin with poet Lucía Hinojosa Gaxiola, who shares some materials from a new film-in-progress, Dream Sequence, which honors her friend and collaborator Louise Landes Levi. In “Temples in Psychic Space” I talk with musician and visual artist Arrington de Dionyso about how trance experience informs his music and painting. This is followed by “Mapping the Sun,” a talk with composer Kara-Lis Coverdale, who offers reflections on her recent motet, Sol, as well as insights into her creative process and spiritual perspective. We close the issue with “Sun Ra’s Symbol Cymbals,” my essay on Solomonic myth and magic in the life of cosmic jazz magus, Sun Ra.

ISSUE 7 (“Clairaudience”) reflects on ancestry, death and spirit communication, and the history of spiritualism. This issue inquires into “clairaudience,” that subtle mode of liminal listening which is at the center of all spiritualist and broader metaphysical philosophies of audition, as well as our more general human experience. We begin with the editor's essay introducing DIY country music producer, celebrity psychic, and fan club pioneer, Chaw Mank, whose estate archive is part of the AMP collection. Next, an introduction to the spiritualist power couple of the Longleys and the first spiritualist record ever made--including the original sheet music. And I'm thrilled to include the visual art and poetry of both David Moreno and his mother Dolores Chiappone (HBD Dolores!). The issue closes with an editorial compilation of clairaudient reflections from American metaphysical literature in the public domain.

ISSUE 6 (“Guitar Visions”) offers a hefty guitar-themed issue. I've put together a memorial essay on Wilburn Burchette, mail-order metaphysician and visionary guitarist, and his collaborator/brother, Kenneth, both of whom were found deceased in their home this past July. I've also included a transcription of my 2021 interview with North Carolina luthier and folk philosopher Freeman Vines, here with significant visual supplements. This is followed by my recent interview with Tennessee guitarist Joseph Allred, who reflects on theology, guitar playing, trauma navigation, and southern culture. And we are fortunate to have an exclusive exposé of the personal Hexadic notebooks of guitarist Ben Chasny (Six Organs of Admittance). The issue closes with my reflection on early 20th century American guitar figures inspired by the Theosophical Society.