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Wednesday, November 30, 2011
Insight: The Weeknd and Florence + the Machine (Esoteric Videos detailing the Occult)
If your eyes have been opened to consciousness then you can close your physical eyes & still see everything; but if your eyes have been closed to consciousness then you'll open your eyes all the time and see nothing. I personally have an eye out for the occult because I'm not symbol illiterate as most people have been trained to be. We can literally walk by something that's in plain sight all of the time and notice nothing uniquely strange, and it could be staring at you, right in your face. On this post I've taken the liberty to mention 2 music videos.
Bear in mind that in no way am I implying that these videos are satanic or conspiratorial in nature, but I do notice the symbolism and fine details that make them more then just visual aids for the song.
The Weeknd - The Knowing: This is the official video of Canadian singer Abel Tesfaye which featured on the mixtape House of Balloons' as the closing track, The Knowing. The video opens with a baffling prologue set in Ethiopia in the 1970s, and then it becomes a time-travelling odyssey that blasts the viewer to a planet called Ethia X in 16311 AD. If you think this video is about a girl who broke his heart then your not getting the deeper message.
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Florence + the Machine: is different from most singers for several reasons. First, there is obvious talent and artistry involved in her works, making them more profound than most pop songs out there. Second, there is a definite occult influence in her music but it is not hidden or concealed, for me it is all too apparent in this video entitled "Shake It Out"
This video tells the story of an initiation ritual in a strange secret society, taking place in a strange masquerade ball with masked guests – reminiscent of the secret society orgy in the movie “Eyes Wide Shut”. One of the masked characters strikingly resembles Hypnos, the Greek god of sleep - from which the term "hypnosis" comes from. I won't say more...
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