SHABDA: Working On New Album

SHABDA: Working On New Album

“Pharmakon/Pharmakos” is the new spiritual colossus by SHABDA, following the highly acclaimed “Tummo”, released in 2014 by ARGONAUTA Records.

Two tracks, more than 45 minutes of intense oriental tinged drone/doom for a blowing experience of deep-listening music, tracing a red line between West and East traditions.

Featuring their well-known melting of down tuned guitars, rich sitar textures and…

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Inner Sound Meditation: The Opening of the Inner Subtle Hearing Faculty

“At first we receive this Teaching through our sense of hearing, but when we are fully able to realize it, it becomes ours through a Transcendental and Intuitive Hearing. This makes the awakening and perfecting of a transcendental faculty of hearing of very great importance to every novice. As the wish to attain Samadhi deepens in the mind of any disciple, he can most surely attain it by means of his Transcendental Organ of Hearing. For many a Kalpa – as numerous as the particles of sand in the river Ganges – Avalokiteshvara Buddha, the hearer and answerer of prayer, has visited all the Buddha-lands of the ten quarters of the universe and has acquired Transcendental Powers of Boundless Freedom and Fearlessness and has vowed to emancipate all sentient beings from their bondage and suffering. How sweetly mysterious is the Transcendental Sound of Avalokiteshvara! It is the pure Brahman Sound. It is the subdued murmur of the seatide setting inward. Its mysterious Sound brings liberation and peace to all sentient beings who in their distress are calling for aid; it brings a sense of permanency to those who are truly seeking the attainment of Nirvana’s Peace.” (Surangama Sutra, Sacred Text of Mystical Buddhism)

“Sants have articulated about the closing of three gates of the body to experience the inner Sound. The three gates are eyes, ears, and mouth. Close these and, only then, can one hear the inner Sounds. According to Sant Kabir: ‘Close your eyes, ears, and mouth, and listen to the anahad (inner Unstruck Divine Sound).’ Sant Nanak Sahab says: 'Close the three gates and listen to the reverberation of the Divine Sound.’ Sant Maharshi Mehi and also Sufi Sants have used similar vocabulary to describe the process of closing three openings for hearing the inner Sound.

"Someone asked, 'If the Sound is not heard with the physical ears then with what kind of ear is this subtle Sound heard?’ When the mind becomes concentrated, then the physical sense of hearing becomes quiet and one does not hear. This occurs because the attention withdraws from the senses and one is unable to hear physical sound.

"In response Sant Tulsi Sahab says: 'A practitioner who is able to focus in the Sushumna or the tenth gate for some time will experience the opening of the inner subtle hearing faculty. That inner sense of hearing is also known as the consciousness Current.’ My Guru Maharshi Mehi said: 'A practitioner hears the sweet Sound of the flute through the stream of inner consciousness.’ When the outer ear ceases to hear and the mind is fully concentrated within, then the inner hearing opens up and the practitioner can hear the Divine Sound within (through the inner ear)…

"By focusing on the third eye he must attempt to recognize the Central Sound, as instructed by the guru. As soon as the practitioner recognizes the Sound emanating from the center of the light realm, this Sound, like a magnet, will attract the consciousness and will draw it to the center of a higher realm. Once a practitioner grasps the Central Sound, he will continue to ascend upward until the soul reaches the ultimate goal of realization of the Divine. Maharshi Mehi says: 'It might be possible to separate the magnet from the iron but the consciousness Current which is attracted to the Divine Sound cannot be separated in spite of any outward distractions and dangers.’ Sant Daria Sahab elaborates: 'My mind is always drawn to the Divine Sound (Shabd) and it has forsaken all worldly distractions. Day and night it is focused on the target and listens to the resounding of the Divine Sounds (Shabd) within.’”

– Swami Vyasanand Ji Maharaj, The Inward Journey of the Soul (Chal Hansa Nij Desh)

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zlos gar - emanation [of.], a play, show, drama, theatrical display [R] dance [one of four branches of shabda vidya, science of external expression interval when songs are repeated after dances strictly OR repeating words and dancing hence theater [IW]

yul bzhi - four sense-objects [form {gzugs}. or ru^pa, sound {sgra}. or shabda, smell {dri}. or gandha, and taste {ro} or rasa [IW]

yul bzhi - four sense objects. Form {gzugs} or rupa, sound {sgra} or shabda, smell {dri} or gandhe, and taste {ro} or rasa [RY]

The Unstruck Melody of the Sound Current (Anhad Shabd, Naam, Nada) in the Sikh Scriptures

1. The unstruck Melody that one seeks to hear, hear it thou in the instruction of the Guru’s. (Sri Rag M. 1) 

2. (Within me) rings the unstruck Melody of the Lord’s flute, yea, He in whose presence one’s mind is attuned to the sound (of the inner music). (Sri Rag, Kabir) 

3. Seated in my higher mind, I live in communion with God and within me rings ever the unstruck Music (of Bliss). (Sri Rag Var, Shloka M. 3) 

4. He, the Lord, is immersed in the unstruck Melody of the Word. (Asa, M. 1) 

5. He, our God, is the King of the whole Universe. And there (in His Presence) rings the unstruck Melody (of Bliss). (Sorath M. 5, Chaupadas) 

6. The Lord’s Name has no form, no sigh, and it becomes manifest through the Immaculate God as the unstruck Melody. (Asa M. 1) 

7. In the cave of equipoise do I now have my seat. And the luminous Self of God has burst into me as the unstruck Melody. (Asa M. 5) 

8. At the (tenth) door rings the unstruck Melody. The Lord echoes thus in every heart. (Vadhans M. 5) 

9. The skinless drums produce the Music (of Bliss), And the clouds rumble without the rainy season. And lo, without the clouds, it rains, if one reflects on the quintessence. (Sorath, Namdev) 

10. Now I’ve closed all the nine Doors, and (at the Tenth) now rings the Unstruck Melody. (Sorath, Kabir) 

11. All wisdom, all meditation is in hearing the gospel of the Perfect God and lo, immense is the joy of the Devotees of God, the Destroyer of worldly bonds, for within them rings the unstruck Music of Bliss. (Suhi, M. 5) 

12. Meditating on the Guru’s Word, the wholesome unstruck Strains one hears. (Sri Rag M. 1) 

13. Says Nanak: “Within him Perfect is whose Guru rings the unbeaten Sound.” (Asa, M. 5) 

14. How is one to perform Thy worship, O Thou Destroyer of coming-and-going? The unstruck Melody (within) drums ever Thy glory. (Dhanasri M. 1, Arati) 

15. What, pray, is the sign of the abode of gods? Therein rings the unstruck Melody of the divine Word. (Ramkali Beni)

Nada Yoga (Inner Sound Meditation): Nada is a Word for Divine or Cosmic Sound

Nada is a word for divine or cosmic Sound – hearing heavenly Music or Sounds with an inner spiritual sense of transcendental hearing. Most all religions and schools of mysticism have examples of Saints who reported hearing heavenly music. This is also true in Hinduism. Excerpted below is the essence of the Nada Bindu Upanishad of the Rig-Veda, translated by K. Narayanasvami Aiyar. At the bottom is a link to the complete Upanishad online. While not identical to inner Light and Sound Meditation practice, also known as Surat Shabd Yoga, it nevertheless can give one a sense of what it might be like to listen to inner Sounds, and how that beyond the Sound there is another level or stage called Ashabda, the Soundless State of the Supreme Spirit, which is the ultimate goal and Reality of the practice, in both Shabda and Nada Yoga traditions.

31. The Yogin being in the Siddhasana (posture) and practising the Vaishnavi-Mudra, should always hear the internal sound through the right ear.

32. The sound which he thus practises makes him deaf to all external sounds. Having overcome all obstacles, he enters the Turya state within fifteen days.

33. In the beginning of his practice, he hears many loud sounds. They gradually increase in pitch and are heard more and more subtly.

34. At first, the sounds are like those proceeding from the ocean, clouds, kettle-drum and cataracts; in the middle (stage) those proceeding from Mardala (a musical instrument), bell and horn.

35. At the last stage, those proceeding from tinkling bells, flute, Vina (a musical instrument) and bees. Thus he hears many such sounds more and more subtle.

36. When he comes to that stage when the sound of the great kettle-drum is being heard, he should try to distinguish only sounds more and more subtle.

37. He may change his concentration from the gross sound to the subtle, or from the subtle to the gross, but he should not allow his mind to be diverted from them towards others.

38. The mind having at first concentrated itself on any one sound fixes firmly to that and is absorbed in it.

39. It (the mind) becoming insensible to the external impressions, becomes one with the sound as milk with water and then becomes rapidly absorbed in Chidakasa (the Akasa where Chit prevails).

40. Being indifferent towards all objects, the Yogin having controlled his passions, should by continual practice concentrate his attention upon the sound which destroys the mind [distractions of thoughts in Chitta-mind].

41. Having abandoned all thoughts and being freed from all actions, he should always concentrate his attention on the sound and (then) his Chitta becomes absorbed in it.

42-43(a). Just as the bee drinking the honey (alone) does not care for the odour, so the Chitta which is always absorbed in sound, does not long for sensual objects, as it is bound by the sweet smell of Nada and has abandoned its flitting nature.

43(b)-44(a). The serpent Chitta through listening to the Nada is entirely absorbed in it and becoming unconscious of everything concentrates itself on the sound.

44(b)-45(a). The sound serves the purpose of a sharp goad to control the maddened elephant – Chitta which roves in the pleasure-garden of the sensual objects.

45(b)-46(a). It serves the purpose of a snare for binding the deer – Chitta. It also serves the purpose of a shore to the ocean waves of Chitta.

46(b)-47(a). The sound proceeding from Pranava which is Brahman is of the nature of effulgence; the mind becomes absorbed in it; that is the supreme seat of Vishnu.

47(b)-48(a). The sound exists till there is the Akasic conception (Akasa-Sankalpa). Beyond this, is the (Asabda) soundless Para-Brahman which is Paramatman.

48(b). The mind exists so long as there is sound, but with its (sound’s cessation) there is the state called Unmani of Manas (viz., the state of being above the mind).

49(a). This sound is absorbed in the Akshara (indestructible) and the Soundless State is the supreme seat.

The Hindu Upanishad About Inner Sound Meditation: “The Nada-Bindu Upanishad” – Online:

Para quem não sabe o significado de ॐ

O Om (ॐ) é o mantra mais importante do hinduísmo e outras religiões. Diz-se que ele contém o conhecimento dos Vedas e é considerado o corpo sonoro do Absoluto, Shabda Brahman. O Om é o som do universo e a semente que “fecunda” os outros mantras.

Te Ka Jeh… 😂😂😂 gak pake syndrom 😝😝😝 with Muhammad , Natalia, Imanata, Mustofa, Shabda, Dessy, Lydia, De_Cuellar, and Destrina – View on Path.

The Shabd [Divine Word or Sound] is the basis of all true religions, for religion means ‘that which connects us with the Lord.’ All forces of nature are sustained by the Shabd….Like electricity, Shabd, whether manifest or unmanifest, pervades everywhere. It is all-powerful and is the Creator of all. In the scriptures of all religions, Shabd is recognized as the Creator of the universe.
—  Huzur Baba Sawan Singh

Focus on the Most Subtle Inner Sounds During Meditation

The French mystic Edward Salim Michael (2010) stumbled upon this primordial “Nada” Sound by accident late in his life, opening him to a profound mystical experience of at-one-ment with the Universe… He describes the Nada of inner Sound in the following way:

“When the aspirant employs this Nada (inner Sound) as the main support for his meditation, he must follow all its slender fluctuations, subtle variations of note, and mysterious jewel-like glitterings, second by second, with the utmost diligence. He will discover that this unusual Sound with its strange vibrations, celestial twinklings, and, above all, enigmatic continuity will become a most precious support for his concentration in all his future meditations…When the aspirant has recognized this Nada [Inner Sound] and familiarized himself well enough with it, he will perceive that, contrary to the ever-changing inner and outer conditions that he was used to up to that moment, this mystical Sound has a strange unearthly continuity about it…it can also be compared to the soft whisper of the wind and the continuous hissing noise of the ocean waves, with a shrill "ultra” Sound on top of it, composed of all the harmonics in the Universe. On higher spheres, this sacred Nada will have a strange sort of silvery aspect to it, somewhat similar to the uninterrupted jingling Sound of very little pieces of glass, with other smaller, ever more subtle Sounds superimposed on it, until finally these finer Sounds seem to disappear into infinity.“ (Michael 2010)

Michael then goes on to describe the actual mechanics of meditation upon the Unstruck Sound:

"In the beginning, the seeker should fix his attention on the part of the Sound that is most shrill and, as explained in the previous chapter, oscillating slightly somewhat like the twinkling of a star. It will be easier to hear that way. Later, when the aspirant gets more familiar with it, he will begin to hear two or more Sounds at the same moment. At first he may not quite realize, or be really sure, that he is hearing two Sounds simultaneously. However, if at such times he listens carefully, he will note that one of these two sounds is slightly more obvious, whereas the other is a little more high-pitched and more subtle. He should listen carefully to both Sounds for a while until it becomes absolutely clear to him which of these two Sounds is the more subtle and high pitched. It is to this one he must then gently let his attention turn and concentrate on. He must not be tempted to follow the more obvious of these two Sounds any more – even though it will keep intruding and drawing him back to it.” (Michael 2010)

– “The Unstruck Sound: A Buddhist Perspective”, by Ozmo Piedmont, published by the Prajna Institute for Buddhist Studies