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On September 6, 2010, I got lost for over an hour in the unmarked criss-crossing paths of Salem woods. When I stopped to ask the nature spirits to help me find my way, my attention was drawn to these shadows in the moss. I took a photo of the heart you see, and then suddenly I could walk straight out of the forest, gratefully.
Call of the Past Lives

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For this song in mid 1997, I started with the idea to build on my synthesizer a new sound from custom layered harmonics. This soon gave an intense reedy organ effect with sharp clear overtones. I thought of the powerful organ music of Cesar Franck, then began to hear Celtic reel-like melodies. I soon felt like a warrior, marching with drums and men singing loudly. I became increasingly entranced and possessed by the energy as I reached for snare drum and bagpipe sounds. When the work was complete, I had to cap it with a lion-like roar that I processed from my own voice. This then exemplified the intuitive layering process of multi-tracked music for self-discovery, which I was interviewed about in chapter 26 of Music and the Soul. As I listened to my song over and over, surging with emotion, I felt the call of a powerful past life, which remained a mystery until this year.

I recently completed a series of sessions with a great energy worker who is trained in vortex healing, a modality overseen by ascended master Merlin. This woman assisted Jesus and Archangel Michael to remove a long cottony stuffing that had been packed into my heart; they said it was to help me survive emotionally my participation in a battle. The shift after was incredible; I was able to feel my own feelings and take action for my own life as never before, rather than always try to first identify with and process other people's issues for them. When I asked for details about the war, she saw me in a kind of army skirt about 5 lifetimes ago, which seemed Roman at first but that would be too ancient to make sense. Then her guides said it was Scotland, and I immediately remembered my song.

Only yesterday, for the sake of these words you're reading now, I researched 18th century Scotland and dared to find the answer that makes sense to me. In 1745 the Jacobite rebellion led by Bonnie Prince Charles marched down from Scotland to its first battle on English soil against the castle at Carlisle. The guns from the panicked English roared, but when the Scots arrayed their finest musicians they were overwhelmed. British historian James Ray who was present wrote:
'Now, when they heard the Scots were near, they (the British) began firing upon cows and sheep and oxen and asses, for they knew not in what form the Scots would come to surprise the city. However, when the Scots came and got their musical batteries into place, the sound silenced the mighty cannon of Carlisle and they surrendered. Now, these were the weapons of the Scottish Army: backswords and targes and muskets and dirks and bagpipes. Bagpipes, that bloody and inhuman weapon that caused the ancient city of Carlisle to surrender.'
When the rebellion was eventually crushed, the British punished the Scots for many years by persecuting symbols of their culture, including the wearing of tartans, which is the woven wool in criss-cross multicolored pattern that makes a kilt, and the playing of bagpipes.

I burst into tears when I read about this history. Emotionally, I was there, at the battle of Carlisle; you could say that I, Carl, knowing no man to be an island, surrendered across time and space to the greater power. I can't tell you how proud I was, to see that music could win a battle without the sacrifice of human blood. The capacity of sound to overwhelm the senses and paralyze the enemy is incredible. Tibetans make quite the racket to chase away the evil spirits; shamans of many cultures do. I am not saying that domination is the preferred method of diplomacy in any form, even musical, only that there was a greater progress made in vibrational technology to conquer the evils of war, and to this the soul of Hildegard, so long known for her angelic song, made a contribution in the secret sacred history of God.

"Call of the Past Lives" music by Carl Johann Schroeder, copyright 1997, all rights reserved, downloadable version for personal use only, no resale or commercial rights implied. Photo copyright Carl Johann Schroeder.
Creative Commons License"Call of the Past Lives" by Carl Johann Schroeder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Based on a work at Permissions beyond the scope of this license may be available at