New Lyric – The Dreaming

I first went to Australia in 2009 just before the launch of Tales from the Crow Man. I went to play music at a concert/festival called The Druids Dreaming near Adelaide and I fell in love with the country immediately. I’ve been back twice since to tour with Spiral Dance and each time I have brought a little more of Australia home in my heart (or maybe I’ve left a little bit of me in the land). Australia is alive and infectious. The Spirit of the Land and the people get under your skin. The history and spirit of the native stories still sing from the land, from The Dreaming.

The seed for this song was planted back in 2009, when I saw my first Roo, when I met Old Gum Tree, and walked in the warm waters of the ocean. The shoots and leaves unfurled on my next two visits when I learned more of the land and its stories, and now the flower has taken full bloom.

So this song is dedicated to all of my Australian friends, to that glorious land, to anyone who has been there and knows what I’m singing about, and to anyone who dreams of the long trek down under.

The Dreaming – Damh the Bard

Verse 1:

Welcome now a visitor to your shore,

Following a dream I can’t ignore,

From a distant land you may never know,

Of sun and rain and snow.

Here where the endless skies reach for the sun,

The Gum trees stand like the Oaks of Albion,

And the land sings in lines of ancient song,

For the soul to sing along.

Chorus:

And the Southern Cross shines down on where I stand,

And I hear the voices from the Singing Land.

Verse 2:

Here where the land still is king,

Beneath red sand the Ancestors are dreaming,

And a Mother knows which song will be sung,

When a new life has begun.

A serpent made a path across the land,

Formed the rivers and mountains where they stand,

These songs are in the kookaburra’s call,

But she’s laughing at us all.

Chorus:

And the Southern Cross shines down on where I stand,

And I hear the voices from the Singing Land.

Bridge:

Oh I can feel you dreaming,

Oh I can feel you dreaming,

Oh I can feel you dreaming, Oh.

Verse 3:

Familiar stars now shine from up above,

I’ve returned to the land that I love,

But my heart must try to understand,

It’s now shared by another land.

Beneath the Plough I look to the setting sun,

As I stand once more on the land of Albion,

But the Southern Cross will guide me to your shore,

To hear you sing once more.

Chorus:

And the Southern Cross will shine down on where I stand,

And I’ll hear the voices from the Singing Land.

Oh, can you feel me dreaming?

Oh, can you feel me dreaming?

Oh, can you feel me dreaming, oh.

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A Story of Pagan

Pagan loved the Sun. No one could doubt that. And she loved the Moon too, and each night she would lie on the grass in a field just outside her house and look up at the stars that shone like tiny pin-pricks in the black velvet of the universe. There she could see her children marked in patterns across the sky. Gods of a land that was caressed by a warm near land-locked sea, and others too, gently moving in the night. Pagan loved the Earth too. She could see the shapes of giants in the rocks, and the Goddess in the rolling chalk hills.

Everyday she would go for a walk across the countryside and into the woods and sometimes, if she was lucky, and in the right place at the right time, she would see a group of deer, or a fox. And sometimes if she was luckier still she would catch the eye of the great stag that lived in the forest nearby and, just for a moment, she would feel its Spirit. And as the stag returned her gaze she could feel that the animal knew and understood her inner being too. These connections reminded her everyday that she was a part of the web that connected all life.

Nobody knew how old Pagan was. She had certainly been here since the first humans painted images of animals and dancing horned figures on darkened cavern walls, creating colour from minerals found within the bones of Mother Earth. And here she was, still looking at the Sun, Moon and Stars, still understanding her connection to all of life. The only person who really knew where she had come from was Pagan, and she was keeping her secret. Sometimes she felt bad about this. She knew that people longed to understand her more. When she occasionally went into the town she could see all of the books that had been written about her. Hundreds of books. All telling the story of her life, what she’d done, and what she believed. And she could see the people reading these books and she felt bad for them too. She wasn’t sure when it had happened but people had begun to look into the mirror of life and believe that what they saw there was the truth. If she could only smash those mirrors! Then people might look at each other more, and see their own reflection in the faces of their kin, not the reflected and reversed image of their own face. Just a face. Just a face. So she watched as people read books to try to understand exactly what it was that she believed.

And some of them argued too – about the right way to do things. About grades, levels of experience, whether the Elements really existed and, if they did, what made them correspond to particular directions. Were the Gods real? That was the one that upset her the most. Were they real? She could still remember the first people who, when hearing the sound of thunder, began to make offerings. She could still remember the hunter whispering words to an unseen power. And as years went on she thought of those days, and watched as those same people, years later, raised mighty earth tombs in honour of their dead, and still those lips moved in prayer. To what? She would never say. She never had to. Ever. But that seemed to be the missing part of the mirror people. She shook her head. The first people had no books, yet they knew. They had eyes, and ears.

Pagan loved to play. She would dance and sing, laugh and run about. She loved her circles, her elements, her patterns in the sky, the Sun, the Moon, the tales she told of ancient gods and heroes. She loved peaceful ritual, and ecstatic trance. She loved the simplicity of prayer and meditation, and the complexity of ceremony. She loved being with groups of people, and with the solitary on the hill. She knew all of the Gods by name, and she knew they were inside, outside, and nowhere. She knew with all of her heart that there were no secrets, but there were mysteries. And she also knew that each revealed mystery would be different for every soul that ever lived. And that is why sometimes she cried when she heard voices that tried to dominate with only one truth.

Pagan sometimes wondered why she was still a child.

Final Spirit of Albion Movie Diary

Well, it was a year in the making and nearly three years from conception to the finished film, but just about a week and a half ago we went to the southern premier of the Spirit of Albion movie and it was such a wonderful night. The support this film received from so many people was really quite overwhelming, as the 5 minute credits of the end of the film will attest.

I opened the evening with a 30 minute set and then we all sat back to watch the film. The atmosphere was so wonderful and at the end there was a standing ovation from the audience to Gary and the cast and crew.

It was such an amazing and at times quite surreal experience to have been involved with, and I’m so proud to have been a part of this project. I really hope that this film will inspire more films with a Pagan theme. So it has begun, here’s to the Spirit of Albion movie, and to the other creative projects it might inspire!

Here is the final movie diary from that night. Enjoy!

http://youtu.be/JbvhVoUDXVI

It’s a boy, no a girl, no – It’s a film!

On the 30th April 2011 the cast and crew gathered in a woodland in Sussex to begin filming Sprit of Albion, the Movie. Before we did anything else we held hands in a circle and asked for the blessings of the Spirits of the Land and of the Old Ones to see the film through to completion. We took some deep breaths, then the filming began – the first shoot being my performance of Pagan Ways, then I watched my song Green and Grey come to life before my eyes. It was an amazing moment I will never forget.

A year on to the day and there are two premiers being held in the UK tonight, one in the north of England which still has a few tickets left, and one in the south at the Hawth in Crawley that is sold out. Then tomorrow the DVDs go on sale. I can barely believe it’s actually finished.

I know that there have been independent films created in the past that have held magic in the hearts. The films of Kenneth Anger spring to mind, and I know that many Pagans (me included) love the old 70s horror film The Wicker Man, but that has really been adopted by us, and the final scene isn’t exactly the best publicity message for the Pagan community. I think with The Wicker Man it’s the magical vibe, and the songs, that we love.

Well, now we have a film that is truly ours, and I hope it will be loved just as much as Anger’s and The Wicker Man. A film that is about magic, and our relationship with the Land and it’s old myths and legends. It will take people on a journey, and there is one message held at the very heart of the film, a message that we don’t get very much from our regular TV, movies, or other media.

The message is one of hope.

Happy Birthday Spirit of Albion – The Movie!

New Lyric – Branwen’s Lament

I was ‘noodling’ on my guitar and found a sequence of notes that I knew were going somewhere but couldn’t quite find my way into their meaning. I played them to Cerri and we both agreed that it sounded like a lullaby. But then in one of those special moments when the Gods just open their mouths and whisper into our ears Cerri said, “It’s Branwen’s tale.” We sat in silence for a while as it sank in, and both of us found our eyes welling with tears.

Branwen’s story from the Mabinogion is one of the saddest tales we have within the mythology of the British Isles and I felt I had to give her voice the respect and honour she deserved, but sadly did not receive in life.

I wrote these lyrics yesterday and just played the song to Cerri. I didn’t make it all of the way through without tears.

Branwen, White Raven, I offer you this song,  so you know that the Bards still tell your story.

So mote it be.

Branwen’s Lament – Damh the Bard

(Branwen sings)

Dearest Brother hold me here,

Safe in your embrace,

For I feel, death is near,

Her breath upon my face,

Across the Irish sea, you came to rescue me,

Leading an army to avenge my shame,

Two islands torn apart, like my broken heart,

From your army just seven remain.

(Bran Sings)

Sister I heard you calling to me,

O’er the Irish sea,

I brought a war to those foreign shores,

For to set you free,

Now I feel I’m dying poison in my veins,

But for you my dear Sister I’d do it again.

(Branwen Sings)

I can hear as I close my eyes,

The screams of my young Son,

Cast into the burning fire,

By Efnysien,

After death I’ll find  peace, all of my pain will cease,

Brother you are my dearest friend,

Now I will welcome death, I will draw my last breath,

And this Raven will fly again.

(Bran sings)

Lay her body within the Earth,

In this four-cornered tomb,

So her Spirit will know rebirth,

From our Mother’s womb,

And though you lie in the earth so cold,

Know that your story will forever be told,

Bury my head facing over the sea,

And while it remains this land will be free.

Major Influences Part 3 – Dougie Maclean

Well, not so much an influence, as a Kindred Spirit.

Me and Cerri were on holiday in Scotland, travelling to some of the Herbidean Islands when, at breakfast time in one of the B & Bs on the Isle of Skye, I heard this song being played. It was a lovely B & B and I had fallen in love with Skye, but it was to give me an even greater gift on that morning. As I listened to the song I simply fell in love with it.

I write songs that I would listen to myself, I mean, if I wouldn’t listen to it, why would anyone else right? And here, drifting though the speakers of this B & B was a song that was about the closest I had ever heard to the kind of music I was trying to create. I asked the waitress who it was and she told me it was a Scottish folk singer/songwriter called Dougie Maclean.

When we left the B & B for that days trek, one of the destinations was a music shop to see if I could find a CD from this man. There, hidden in the rack I found his album Roif. I popped it into the car’s CD player and I knew I’d found a musician that spoke my language, he even sang in the same key as me. The themes of his songs were certainly rural, and some also held within them a Pagan edge too.

I played that CD all over the rest of our Hebridean holiday (Cerri was admittedly a little tired of it by the time we got home…) but then I bought the rest of his albums, and fell in love with each and every one. A few months later I saw he was playing at a small venue near us in Sussex so I bought tickets, and when I saw him live he even entertained and communicated with the audience like I do!

His voice and songwriting is a joy, and his love of the land, and old traditions is palpable. If you like my music, you would love Dougie. So have a listen and watch these videos and, like me, I think you’ll be drawn into his world, and fall in love with his music too.

Sacred Sound – The Tale of Oak Broom & Meadowsweet

(I wrote this article some time ago but I thought I would post it here on my blog as, to me, it illustrates some of the ideas of surrendering to my faith I wrote about in my previous blog. I hope you enjoy the tale!)

There was a time when music was seen as a sacred thing. Consider for a moment a deep, reverberating musical note. A constant sound; a vibration that is contained within all life – within the very fabric of the Universe itself. This sound exists. It is the note at which the Universe vibrates. Scientists now have equipment that can tune into this note.

Consider another thing. Why is it that our major scale is made up of 7 notes running from A to G, and once we reach the eighth note of a scale we have reached the same note, eight higher? Why is it that the first, third and fifth notes in a scale sound beautiful to our ears and form the major chords, yet a first, second and fourth are horrible? Why is it that most songs are written around the same first, fourth and fifth chords of a scale? This is the basis of folk music, blues, twelve bar, and most modern pop tunes. To me this science is truly magical, the foundation of the Bard’s Magic. By placing note, next to note, we are weaving a magic that is in tune with the Universe, and with the Gods. I’d like to take you on a journey, to the place and time when I first experienced this power.

I was sitting with my back against the trunk of an old Oak. It was early May and the bluebells carpeted the woodland’s sun-dappled floor. I took a deep breath of air, filling my lungs, a sensation that was as sensual as tasting the best Champagne. It was my lunchbreak, and I was lucky enough to work so close to this special place. My spaniel dog sniffed around, then came and lay down next to me. I was here to commune with the Spirits of Place. One of the things that had attracted me to the Druid path was that it didn’t view this Earth as a place to escape from. The idea that life was something evil was totally alien to me. The thought of reaching a state of enlightenment that meant I no longer had to return to Earth for future lives I found terribly frightening. It was days like these that I lived for.

I know that some people find silence the trigger for their connection to Spirit, and there are many times when I too find this the case. But on this occasion, I had brought my mandolin with me into the woods. I felt totally at peace, with the world, with myself, and with Spirit. I closed my eyes and began to play, not to anyone else but to the Spirit of this mighty Oak, and the nature Spirits whose space I was sharing. I played a D minor chord. Minor chords sound mystical, sometimes sad, and you’ll find that most chants have been written in a minor key. A minor key can shift our consciousness into a place where we are open to the unseen world. I just picked around this chord for a while, listening to the notes as they carried on the wind, occasionally humming along, caught up in the moment. Another magical thing that music does is to bend time. Time becomes something very different whilst in this space. I’m not sure how long I was sitting there, just playing around with sound, but after what seemed like both a couple of seconds, and yet hours, I sang a line.

Gather round people, let me spin you a tale,
Of a Mother’s anger, and a curse doomed to fail.

I didn’t stop playing the mandolin, but I did open my eyes. For a moment less than a second I saw faces looking at me from within the bluebells. Tiny shimmering lights sparkled, then were gone. Yet their impression was still there in my mind. Although I could no longer see them, I knew they were still there. I closed my eyes once more, a sweet sensation within my chest. I sang the line again….

Gather round people, let me spin you a tale,
Of a Mother’s anger, and a curse doomed to fail.
Arianrhod’s baby, whom she did disown,
And Gwydion stole him, to raise as his own.

A song was forming from the moment. The sacred sound of the mandolin was blending with the note of the Universe, and voices were whispering to me, voices that seemed to come from both outside of me, yet I was hearing them inside my mind.
“Tell my story,” She said.
“Who are you?” I asked.
“I am your muse, I am the Lady of Flowers, the May Queen, the Queen of Death, and the ghostly Owl of the night sky”.
I closed my eyes, and felt the power of the Oak behind me, heard the whisper of the breeze within the branches, and within those whispers I heard Her voice once again.

Now the boy he grew to be strong and brave,
But his Mother cursed him not to be given a name,
When he cast a stone where a Wren it did land,
She said, “The Young Lion has a Steady Hand!”

Then instantly, a chorus sang within my head. A chorus of voices that rang through the woodland, a chorus that I knew must be there.

Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!

I had only written two other Pagan songs at this time, one had come to me whilst driving, the other as I walked through the woods like an ancient Bard, playing my mandolin, once again to the Spirits who would listen to the gift I offered them. This one, once more, came as if from nowhere. I knew the story that was being told. It came from the Fourth branch of the ancient Welsh book called the Mabinogion. I had learned the entire Four Branches by heart, to be able to tell them around campfires, under the stars, as part of my Bardic training. Now another aspect of the Bard was emerging, the telling of the myth, in the form of song.

The voices were singing once more. It was a cacophony of sound. I played along to the singing, and tried to listen for words within. A word here and there, but nothing to draw from, then…

So she laid upon him a new destiny,
You shall never have any weapons unless given by me!

A great and powerful man then came into my awareness. “This will not be!” he shouted.

Then a mighty army by Gwydion’s charms,
Forced Arianrhod to give Lleu his arms.

A seething woman’s face, twisted with rage. Turned to face me, her arms outstretched.

Then in rage and torment she laid down this curse,
“He shall never marry a woman of the race of the Earth”.

Two cloaked figures entering the deep forest.

So Gwydion and Math planned to foil her hate,
And with the herbs of the forest, they twisted his fate.

Again the chorus rang out within the woodland. A thousand ethereal voices singing in total harmony.

Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May, Call the May, Call the May!
Gather round people and Call in the May!

I had to open my eyes once more. I was exhilarated, I felt completely at one with the Spirits of the Woodland. The place felt joyous, the air was electric, it felt like something was changing. I played with the chords, keeping the energy flowing, sensing the dancing figures just outside of my awareness, within their realm. In a place where the sacred sounds of our worlds combine. I closed my eyes once more….

I saw a Grove deep within the woods. It was the dawn of Beltane, and around a vast cauldron, two magicians were chanting, occasionally one would add another herb into the brew.

So they gathered from the forest, from the Grove where they meet,
Flowers of Oak, Broom and Meadowsweet.
And uttering upon them a verse of power,
A figure began to form from the flowers.

From within the cauldron, new life was forming. A woman of such beauty and radiance whose feet would bring life wherever they fell upon the Earth.

Oh rise and wake fairest Lady of Spring,
Come and be wed to the Forest King.
‘Flower Face’ is your name, sweet Blodeuwedd,
You carry life, within your breath!

And she danced within the Grove, feeling the warmth of the dawn’s rays upon her skin, a Goddess within the body of a human, her senses reeling with delight, as the voices chanted the verse of power.

Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Hawthorn, come May!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Blodeuwedd, come wake!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Hawthorn, come May!
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet,
Come Oak Broom and Meadowsweet, come Blodeuwedd, come wake!

Then joining in a chorus of celebration.

Call the May, Call the May Call the May, Call the May!
Gather round people and Call in the May!
Call the May, Call the May Call the May, Call the May!
Gather round people and Call in the May!

The song was finished. I stopped playing the mandolin and let the final chord ring out into the woods, and fade away. I sat for a little while, eyes closed, just taking in the peace of the moment, as my awareness returned to the outside world, to the calling of the birds, and the smell of the earthy air. I open my eyes, the sun’s glare blinding me for a moment, until I re-adjusted to the brightness that surrounded me. I never wrote down a word of that song, I just knew it, and would write it down later when I got home. I kissed my hand, and placed it upon the earth just at the base of the Oak, giving thanks for the gift of Awen, the gift of Bardic inspiration. Then after a short time, I began to walk back – I had to get back to work.

The Awen isn’t like the Life Force. It isn’t with us all of the time. It comes in flashes of radiance, it is the quest of the Bard to bring more into their lives, to drink from the cauldron that creates the Fire in the Head. I’ve found that to sit and try to write a song is impossible for me. I cannot force inspiration, it simply is there or it isn’t. I have only rarely found it in my home. Most often it is found in the wilder places, on the moors, in the woodland, or upon the Hollow Hills where the Faerie dance on Midsummer’s Eve. And the key I have found is the use of sacred sound, whether that is a drum, mandolin, guitar, or the celtic harp. The Gods gave us music, and when we play in their sacred places, they listen.

Proof and Faith

Yesterday I read with interest a blog post by my friend and Druid author Kristoffer Hughes and it got me pondering my own relationship with Celtica and Druidry. The original blog post is here. 

I too was originally drawn to Druidry through its connection with the ‘Celtic’ world. It seems to me these days that it’s so hard to say things like ‘Celtic’ because there is always the person waiting on the sidelines to ask exactly what you mean by Celtic, that there was no Celtic race, that it was a culture, that the perception that the Welsh, Irish, Breton, and Cornish are the inheritors of this Celticity is wrong, and that there is just as much ‘Celtic’ DNA in the English as there is anywhere else. In fact I’ve recently read an article that suggests that the Irish are more Spanish than ‘Celtic’… That the Druids never wrote anything down so how can I call myself a Druid? Etc etc. So open your mouth and say the word Celtic at your peril! But I’m going to say it anyway, as it was this that was a big contributing factor that drew me to Druidry in the beginning.

It is also the Brythonic Deities that have always made my blood pump harder. Another historical hot potato that one. Mention the Mabinogion and the Gods from that wonderful book of tales, or the themes from the poetry of Myrddin or Taliesin, and once more you may find yourself being cornered to produce evidence that the ancient Druids even knew the name of Gwydion, Blodeuwedd, Rhiannon, and that is as difficult as proving that Jesus actually existed.

So already if I say something like ‘I am a modern day Druid who seeks to follow in the footsteps of my ancient ancestors and revere the Gods of this magnificent and magical island in the form of Rhiannon of the Horses, Blodeuwedd the Lady of the Night Sky and the Spring Meadow, Mryddin of the Druid Way’, there are many ready to question that, as much as they might question how someone can be a Christian Druid, or A Buddhist Druid, they ask how I can be a modern Pagan Druid.

My answer? I can’t prove it, nobody can, but I don’t need a history book to confirm my inner connection has that validity – I guess the person asking the question might but not me. See I have something that I’ve noticed some people find quite hard to say let alone admit. I have a faith. At some point I had to let go of searching for an accurate history of Druidry, and begin a deeper, less intellectual but more intuitive, quest.

I have never wished, nor needed, to find my personal spiritual connection to my Path through history books. If I did there are far easier options for a Pagan to follow than Druidry! My connection comes from our songs, our stories, our folklore. When I hear these old myths spoken by a master storyteller, they draw me into an inner experience, and it is there that I meet my Gods. Then, when I return, I find their same faces in the trees, in the mounds of the Hollow Hills, in the cry of the Owl, or the thunderous pounding of hoofs.

I love archaeology and history, and if I wanted to know the history of a site these would be the people I would ask, but if I wanted to know the local folklore, the stories and myths that were told about a certain hill or woodland copse, I wouldn’t necessarily go to a historian, for those I would seek a local Bard, a storyteller, a poet. No proof necessary, just take me on that journey.

Antlered Crown and Standing Stone

Writing and recording an album is quite some undertaking. Each of my albums have taken on their own personality as each note has been played and recorded. During Herne’s Apprentice I was excited and nervous to see how my music would be received by people. Hills they are Hollow was probably the most gentle ride of all, as I’d found my feet and was thoroughly enjoying finding my way around the recording studio. The difficult third album was not so difficult in the end and, on the whole, Spirit of Albion flowed beautifully.

It was my fourth album The Cauldron Born that gave me my biggest challenge. Songs were coming that were deeply personal (Imramma – A Soul Quest), some political (Only Human), some written with an aim of putting the record straight (Green and Grey), whilst others told of a deep inner need to reconnect to the natural world (Land, Sky and Sea). The Cauldron Born lived up to its title as it felt like it was torn from my very soul, as I looked back into the depths of the Cauldron, and saw my own reflection.

I think it might have been this experience that led me to change direction with my next studio album by recording an album of classic traditional folk songs in Tales from the Crow Man. Some people ask why I did that, and the truth is that I really felt the need to give something back. I’d recorded a few folk songs on my previous albums (such as Raggel Taggle Gypsies and John Barleycorn), and each time I played these songs I became aware of a huge pyramid of ancestors stretching back behind me made up of all of the people who had sung these songs over the centuries. Nobody knows who wrote them, and that to me is part of the magic, but they are still being sung. These old folk songs tell of our human experience, and a folk song has to do that otherwise people will stop singing it, and it’ll disappear. So I chose the songs that had moved me the most over the years and went back into the studio.

I quickly realised that I didn’t just want to re-record covers of these songs, I wanted to really get to know them, explore them, feel them, then make my own mark on them, and that’s what I did, and that’s why Tales from the Crow Man was the hardest album of all. There was a pressure and a responsibility there that I wouldn’t deny. So it took a while, and it also took Cerri coming up with the concept of the Crow Man, this mysterious figure in the field outside the village that had seen the events of all of these songs happen. So he told his tales, and in the end I was really pleased with the result.

Last year I released my first live album As Nature Intended, and it is really lovely to have that available for those who simply cannot get to one my shows, and for those that can, but want to relive the experience.

So where next?

I am now halfway through recording my latest album, and it has already taken on a life of its own. It has taken this amount of time to tell me its name – as I’ve recorded the songs I’ve realised that it is a return to my roots. I am writing and singing about our myths, the land, and the Greenwood again, and it feels wonderful. This return to my roots led me to think about what it is that keeps drawing me to these subjects, and it is the mysticism, the spiritual connection to the beliefs and ways of our ancestors. And when I look into the mists of the green I always find the Lord of the Wildwood staring straight back at me.

So this album will be called Antlered Crown and Standing Stone. I said I was aiming at a March release but as usual I’ve been a little optimistic… So I will keep writing, and recording, and when it’s ready, it will be born.

Can’t get your head around the Oak/Holly King cycle?

Since my last post I’ve heard from a number of people who cannot get their heads around the Oak/Holly King cycle. I was always confused about this too until I realised that I was trying to fit a ‘cosmic’ event into an agricultural cycle. It clicked when I realised that the Oak/Holly King is about light and the Sun, and this is personified by the evergreen Holly and the mighty Oak.

So at the Winter Solstice, at the time of greatest dark, the King of the Waxing Year is born and crowned, symbolised to many as The Mabon, and within this mythos as The Oak King. His light grows throughout the Waxing half of the year until the Summer Solstice, his Zenith, the Longest Day. But at this time the Holly King is also born, and the crown is passed over to the King of the Waning Year who rules until the Winter Solstice when the Wheel turns once more.

So the Oak/Holly King cycle doesn’t fit very well into the agricultural cycle of the 8 festivals of the modern Pagan Wheel of the Year as that is more about temperature and things that grow. This cycle is much more about the activity of the great Eye of Bel, the King of our Solar System, our Sun. The Oak/Holly King cycle is his mythos, the symbolism of his Journey.

At least that’s how it works for me.