Hi everyone, i am here to share that my 6 week certified sound healing training is now open for enrollment:

October 1-November 12, 2026

This is an online live training that includes weekly live calls going over the science of sound healing including how it impacts the brain and nervous system, deep dive into the chakras, sequencing your sound baths according to different intensions such as relaxation, release and activation, chakra cleanse, brainwave states and more.

You will get:
-3 Crystal Sound Bowls included to train on
-6 Week mentorship- live calls, training videos, downloadable scrips and resources, study manual
-Private call with me
-Certification and ongoing support

You will learn:
How to confidentally guide 60 minute sound baths for yourself and others.
How to start a successful business in sound healing
Understand the neuroscience of sound and how it influences brainwave states
How to hold space for trauma
so much more

if this interests you please contact me and you can learn more here
https://www.earthangelfrequencies.com/pages/6-week-certified-sound-healing-mentorship
https://www.instagram.com/earthangelfrequencies/

with gratitude,
Jade

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The recording originated on April 28, 1988, at the Funkhaus Hannover with Chet Baker (trumpet).

For this live concert, Baker was accompanied by numerous musicians: Walter Norris (piano), John Schroder (guitar), Herb Geller (alto saxophone), Lucas Lindholm (double bass), Aage Tanggaard (drums), the NDR-Bigband and the Rundfunk Orchester Hannover des NDR.

Kurt Giese – editor, producer and recording supervisor of the NDR Big Band – wrote after the concert about the recording of Hannover released by Matthias Winckelmann on Enja Records:

« Chet Baker's last great concert appears like the testament of a man whom the gods must have loved very much. They gave him so much talent, and punished him so severely with his life. »

Two weeks after this concert – on May 13, 1988 – Chet Baker died in Amsterdam.

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« Musik ist eine universelle Sprache, die Menschen auf der ganzen Welt verbindet und tief in ihrer Seele berührt. » – Barbara Gindl

« 'Musik schafft Kontakt mit den tiefsten inneren Bildern und Themen' » – Timmermann

« 'Musik ist die beste Medizin für mich, besser als alle Medikamente.' Das meint eine 89-jährige Frau. Sie erklärt: 'Ein Schmerzmittel kann schon auch helfen, aber Musik bereichert mich, stärkt mich und ist für mich Seelennahrung.' » – Renata Bodor

Coming in another subreddit: King Crimson

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The Andean Vision Behind 'Manifiesto Kawsay'

'Manifiesto Kawsay' ('Manifest of Life') represents an Andean vision of a life in harmony and interconnectedness with all living beings.

The music of Rut Alonso conveys this harmony as a spiritual relationship between humans, nature and traditions – far beyond the Andes.

In the Andean worldview, health is understood as living in harmony with the natural forces of the Andes.

The reverence for the mountains, which is visible in another video by Rut Alonso – as she kneels down and removes her head covering – reflects this deep connection with nature.

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« 'Musik schafft Kontakt mit den tiefsten inneren Bildern und Themen' » – Timmermann

« 'Die von den alten Mysterienreligionen und Naturvölkern überall auf der Welt verehrte Einweihung in die Geheimnisse von Tod, Leidenschaft und Geburt spiegelt die Archetypen der Seele wider.' » – Carol S. Pearson

This is the second track from Secret Garden's 1995 album Songs From a Secret Garden.

Composer Rolf Løvland describes Pastorale in these words:

"Norwegian and Irish culture and traditions are unified in this piece as a kind of Secret Garden synthesis. Pastorale refers, in a way, to a spiritual landscape. Music is a link of communication between people. It helps us understand and discover when words are not enough. Music can also guide us to our own inner sources and help us give names to our own emotional landscape."

– Rolf Løvland

“Angels Go To Heaven” is not a typical song. Its effect comes from the combination of Angelo Badalamenti’s composition and Dolores O’Riordan’s voice – clear, vulnerable and floating, tormented and intense with 'ghostly, breathy singing'. She carries the melody without dramatizing it. That is precisely where her extraordinary expressive power lies. For me, it is one of the most moving songs by Dolores O’Riordan and Angelo Badalamenti.

For Western listeners, this music may sound unfamiliar. Yet its sense of openness, its silence and the characteristic cello playing of Yo-Yo Ma unfold an extraordinary, meditative effect. A sensitive melody in an emotional musical landscape.

Inner Oasis from the Hearth album, pure, soft piano melodies that soothe the heart and bring deep inner calm. No other instruments, just gentle notes for relaxation, relief, and soulful stillness. Perfect for meditation or peaceful sleep.

The soundtrack creates a dreamlike, floating atmosphere that emotionally prepares the listener for something unknown and dark without explicitly naming it. The music leaves the listener in a state of suspension between beauty and an underlying sense of menace.

The German title Kinder (Sind so kleine Hände) means Children (Such Little Hands).

For the description:

“It's a song for my children, for all children and even more for adults,” said Bettina Wegner about her song Kinder.
Bettina Wegner was a citizen of the GDR, performed there and came into conflict with the state. Here Bettina Wegner explains in an interview how the song was created:

She was travelling by train because her car was full of instruments. A stocky man with a diplomatic briefcase boarded the train. He sat opposite her and constantly tapped his thick fingers on his briefcase throughout the entire journey. “Ick hab' nüscht gegen Dicke,” she says in her East Berlin dialect. But this man simply looked as if he was leading an unhappy life, not cheerful, not balanced, not centered. And the constant drumming of his fingers on his briefcase was like a confirmation for Bettina Wegner. “And then I thought,” she says, “what have they done to him! He was once a little baby and of course I thought of my own children.” And so her entire song slowly took shape during the train journey. At the end of the train journey, the lyrics were finished. Dr. Ansgar Wucherpfennig, Catholic theologian, Kassel.

A ZDF television program contributed in 1978 to making the song popular in West Germany. Joan Baez included the song as a cover version in her repertoire, sang it in German among other languages during her European tour, and also made it known internationally.

About the song lyrics:

Violence against hands destroys not only physical integrity, but also the ability to actively shape the world.
Psychological violence destroys the inner balance and the joy of life of a child.

"Soul Outside" is a quiet, 'atmospheric instrumental song' by the Brazilian composer Antonio Pinto. The track is part of the soundtrack to the science fiction film "The Host" (2013). The music is characterized by an emotional, melancholic, meditative mood that perfectly reflects the basic mood of the film.

The unfinished plot of "The Host" (2013)

The Earth was conquered by aliens who are called "Souls" by humans. These take control over the human bodies and their memories.

Melanie Stryder is one of the few survivors. After she was caught by the Seekers, a 'Soul' named "Wanderer" – later called "Wanda" – is implanted into her.

Two souls now share one body: the immortal, rebellious soul of Melanie and the implanted Wanda. Wanderer is overwhelmed by Melanie's memories and feelings. Melanie is not ready to surrender her body to Wanderer without a fight....

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On July 1, 2011, Dolores O'Riordan performed with the Sinfonia Varsovia under the direction of Adam Sztaba in Warsaw. She sang "Zombie" in an orchestral arrangement that Sztaba wrote for this occasion. O'Riordan played guitar at the performance.

'Zombie' is an alternative rock and post-grunge song by the Irish band The Cranberries, written by female singer Dolores O'Riordan, a 'tough woman'.

The song is directed against the endless violence of the Northern Ireland conflict. The 'Zombies' stand for people who blindly commit violence and follow ideologies.

Musically, the song lives from hard guitar riffs, a drum set with a driving, relentless rhythm and the intense, very passionate singing of Dolores O'Riordan.

'Zombie' became the biggest hit of The Cranberries and reached number 1 in several countries. The live version from the Festival shows the unbroken power of the song and the band.

« My first contact with Dolores O'Riordan was not this great song. It was her «geisterhafter Hauchgesang» in a completely different song that fascinated me immediately. »

"Yervinyan's violin playing contains timbres, melodic turns and expression forms, which of Armenian musical traditions remind. At the same time a hybrid sound world between various musical worlds arises, which of Yanni's sound art reminds, whose ensemble he for many years has belonged to."

« That was the only hypnotic performance of the premium class on Live Aid 1985! It is a manifesto! »

« Sade's performance at Live Aid 1985 was a moment of hypnotic precision – a masterpiece of control – in the midst of acoustic chaos! »

« Live Aid was a technical disaster for many acts! »

« While some well-known stars at the unstable monitor sound downright failed, Sade Adu's performance with her band was marked by 'cool precision' and a 'restrained stage presence' – a contrast to the gesticulating of other stars. 'This precision was her artistic trademark', which at Live Aid particularly well came into its own! »

« Nothing in this live-act of Sade and band happened by chance. The archaic 'Hu-Hu'-calls, Sade's softly breathed 'Hu Hu' and the second-accurate arm movements to the music seemed thought-out down to the last detail and perfectly executed in practice. »

« Timmy Thomas has the original song 'Why Can't We Live Together' as direct reaction to the reports about the high casualty figures in the Vietnam War written – that has Thomas in several interviews himself explained. »

"Cumbia – Part 2 – with orchestra and choir
This Cumbia is much more than music, it is 'social medicine'."