Aeoliah - Music of goodness, towards Revelation

There are few protagonists of the seven notes ready to swear that their mission goes well beyond a matter of disposable consumption; in the arduous effort of spreading the fruit of their beauty, they row against the current, immersed like everyone else in a business that, at every level, cannot avoid turning the work into a mere product. Aeoliah, from his first recording in 1981 to today, has taken every step of his discography in the light of an incorruptible mission: to create music of Joy. Looking at his most famous works of the Eighties right up to the latest singles published on his official website in 2024, not once has he winked at market convenience, even at the risk of appearing naïf, an out-of-time hippie, speaking of capital-T Truths without the crutch of theological studies to certify his competence.

Born in Germany in 1950 but having moved to the States in 1960, Jonathan Fairchild didn't fight to become a composer; he didn't build his artistic alter ego at a desk: the name "Aeoliah", like his mission, he claims, were given to him from on high, a matter tinged with mysticism and, therefore, unprovable according to the logical reasoning so dear to our perpetually declining West.

Aeoliah, I read that it all began while you were painting a picture, "Musica delle sfere".

Yes, I began expressing my artistic visions as a painter. The work you're referring to marked a real turning point for me; that's when I received my artistic name: Aeoliah. I was working on that painting with the intention of figuratively representing the celestial "music of the spheres". I painted a light radiating from a Third Eye placed at the top of the canvas; it represented, precisely, the eye of God, from which luminous rays emerged that took the shape of the strings of a harp whose body was formed by an upside-down letter omega. I wanted to paint the fifth of the Seven Divine Aspects, that is, the Green Ray, identified with healing energy. As I was finishing the work, I thought: "There must be a way to set to music the frequencies underlying these five tones of color". The concept of the harmony of the spheres, or "universal music", gave rise to my gradual transition from painting to music. It was 1979. Two years later I made the album "Inner Sanctum". I never thought I'd be capable of creating music, but I had access to truly magical collaborations with people who supported me in this first experience, and so I was able to effectively handle a language that was new to me.

So we come to your debut, the gem "Inner Sanctum". How did it come about?

I was in the midst of the end of my marriage, and my daughter had just been born. The process was naturally very emotionally demanding. As the relationship with my wife fell apart, I was guided to somehow express the deep feelings of pain, sorrow, and disappointment dwelling within me through a special musical alchemy. I clearly heard an inner voice that began guiding me and explained that I would create music capable of transforming suffering into healing, love and forgiveness. The voice also specified that I would be accompanied by the bodhisattva Guanyin and the Violet Flame, so as to be able to transmute those emotions into compassion. And there you have it, the beginning of my musical mission revealed.

So, despite yours being devotional music, it's also founded on pain.

Absolutely. It's been the right medicine on so many occasions. When we go through a period of suffering, it's first and foremost an opportunity to stimulate our capacity for healing, growth and evolution. There are two possible paths: either fester in the role of victim, blaming the outside world, or take the noble path of introspection, in order to understand why we unconsciously brought about that pain. And when you take that noble path, you fully take responsibility for your own life, and stop blaming others or yourself. That's when you begin to understand what true compassion is, which leads to understanding the cause and effects of every kind of suffering. It's true for everyone: certain music can guide us on a redemptive, transpersonal journey in which, by setting ourselves aside, we come to perceive love and compassion. That's precisely why some rightly claim that Love is the greatest source of healing dwelling within sentient beings.

In music, as in spirituality, is it more important to seek or to find?

Both are equally important. The search begins and ends with the Self. "Who am I?" is the fundamental question to begin the search and lay the groundwork for understanding. But by "Who am I?" one must mean "How can I serve the greater Self, not the egoic personality, but the true Self, imperishable within each of us?" This quest for Self-realization brings us closer to the Truth, which has the power to free us from the illusions and sufferings of the third and fourth astral dimensions.

In your modus operandi, how much technique and how much intuition?

Here too, both are important, but when I started out I had no technical skill to speak of, aside from a few violin lessons taken as a young child. My first two albums are 100% the product of intuition and improvisation, with no planned structure whatsoever. I had no idea how they'd be received. I simply gave myself over to a process of exploration that was entirely new to me and that I loved, a process aimed at a regenerative transformation from pain to joy. With "Angel Love", in '85, I instead began writing out every single note, and structure became central to the compositions.

Your melodic choices betray a certain fondness for Classical music.

Classical music is the foundation of everything I compose. Mozart and Bach are two guides who never leave my side. But there are many others I adore, like Albinoni, Puccini and Caccini.

Your masters?

I have a few unique and very powerful musical masters and guides who constantly help me give shape to my compositions. There isn't just one.

Your painterly aesthetic, for instance, draws on which masters?

I was deeply moved by the teachings of the Ascended Masters, whose knowledge first reached the West thanks to the occultist Helena Blavatsky. Some of those masters, in fact, later became part of the Theosophical Society. Blavatsky had an enormous influence in spreading Eastern spiritual philosophies and sciences in the West. I own several CDs of guided meditations based on the teachings of the Ascended Masters, and some of them have proven crucial in my life.

Any names of the Ascended Masters?

Jesus Christ, Buddha, Metatron, Maitreya, Saint-Germain, Kut Humi, Rāmaṇa Mahārṣi and Paramahansa Yogānanda.

Your album covers often depict imaginative portraits. Where do those faces come from?

Some covers did feature that kind of imagery, yes, but not anymore, because I no longer attribute an album to a specific Master or angelic being. For instance, the cover of "Angel Love" depicts an interpretation of the Angel of Healing, which embodies, precisely, the forces of healing and love. However, I've come to understand that music has a universal nature, so I don't want to limit its manifestation to one specific being or presence.

How do you explain the commercial success of “Angel Love”? You've produced far more accomplished albums, such as “Majesty”, which however never achieved the same response.

Good question, I've often asked myself the same thing. Let's say the world is crossed by forces and spirits of unimaginable power that determine specific influences for the benefit of humanity. “Angel Love” became a new age classic in a very short time, that's true. And I completely agree with you that some of my albums raise the listener's consciousness to a higher level of expansion, titles such as “Majesty” but also “Ascended Victory”, “Elixir Immortale”, “Divinaura” or “Maitreya's Sanctum”. However, for many people who were struggling, or who were approaching a higher spiritual level, “Angel Love” meant a bridge they could cross safely. I think the other albums will be appreciated later on, when people are on average more aligned with more advanced levels of consciousness and self-realization. It should also be said that “Angel Love” benefited from the indirect publicity of a famous Hollywood figure who, during the CBS This Morning show, brought the cassette on air and recommended it to those present, namely host Paula Zahn and actress Mary Tyler Moore. That was an immense level of media exposure for my career, free publicity that I took as a gift from the Universe to me and my listeners.

Can the spread of music online hold any surprises?

Look, I recently released a song called “Shangri-La”, a full 10 minutes long, which in less than a month racked up a million live streams on Pandora Radio. You'd ask yourself: why this one and not others? And the answer above applies here too.

“The Journey Home” is one of your most atypical albums, marked by an almost cinematic sense of communication.

Excellent question. Yes, “The Journey Home” marked a new beginning, the exploration of territory that was new to me. At the start, the long title track aims to integrate the shadow aspects inherent in everyone's life, embracing them with the intention of no longer fearing them, moving toward the unknown with courage and trust. In doing so, I wanted to welcome into my music the dark and unfamiliar landscapes of the collective subconscious; by determinedly accepting what appears unknown to us, and therefore dark and frightening, one gradually comes out freer and, ultimately, victorious, thus dissolving the illusion of the light-dark duality. With these premises, the music evolved into a galactic journey that was decidedly more cinematic than before, through the “stargates”, I'd say.

YouTube is packed with music said to contain frequencies of every kind. It's not just the golden tuning of 432 Hz but also 528, 741, 111, 396 Hz and so on. Is someone bluffing?

Another excellent question. There are different opinions on this. One is that it doesn't matter which solfeggio frequencies are artificially inserted into a sound recording. What matters most to me is above all intention, purity – together with technical, artistic and spiritual mastery – elements that go beyond adding this or that solfeggio frequency. Personally, I prefer to record, mix and master at 432 Hz, a type of tuning said to have healing and meditative properties, and to be more in tune with planet Earth. Unlike the standard 440 Hz tuning used in most music today, some claim that 432 Hz is mathematically consistent with the patterns of the universe. Of course, it all depends on one's beliefs and personal resonance. For me, recording and mastering at 432 Hz feels more natural than inserting artificial solfeggio frequencies into the music, but ultimately, to each their own.

You were born in Germany. Is there any Teutonic element in your musical choices?

I was conceived in France, near Paris, by parents of Ukrainian origin, and then born in Germany. I lived in Germany until I was 10; I feel there is a specific reason and purpose why the soul chooses to incarnate in a given situation. And this certainly influences your development and your opportunities in life. Mozart and Bach were my musical guides. I have them in my blood. I listened to Classical music from the time I was a teenager, and I learned a lot from it. Another thing I learned during my formative years is meticulous attention to detail. This trait is present in my astrological chart. When, for example, I compose a piece lasting 12-14 minutes, it can take up to 300 hours between editing, mixing and mastering. Most people have no idea how much time, energy and concentration go into a musical creation of this kind, but for me there's no other way. Technical mastery must be at the service of spiritual intention, which requires taking a simple recording from the form of a rough diamond to that of a brilliant, flawless diamond. It's a magical process similar to alchemy, the transformation of common metals into gold.

Which artists manage to elevate your spirit?

I love Morricone, your own Andrea Bocelli's voice, and then also Iasos, Constance Demby, Andrew Forrest, Anugama, Mars Lasar, Liquid Mind, Deuter, Jonn Serrie and even Celine Dion. Each of these artists has a personal approach to music. Among them are names that maybe aren't so famous but who, as in the case of Iasos, are masters in their genre. He was a friend of mine and, I can say with certainty, his work will only be fully understood in the future, since he was too far ahead of our time. The mainstream world, needless to say, grants popularity even to those who don't possess a high level of consciousness. The mainstream demands a price that, fortunately, elevated souls aren't willing to pay. That's the case with an Italian artist who today lives in Montreal, Canada, a woman with the voice of an angel, whom I love and respect very much, Giorgia Fumanti. A few years ago she was approached by a major label that, however, wanted to force an overtly sexy look onto her, in order to make her more marketable. And she refused, she didn't want to be characterized that way. That refusal touched me deeply, so much so that I wrote to her to congratulate her, wishing her to always remain true to her own soul and grateful for her innate musical talent. In the pop world, they tried to do the same with Jewel, and she too refused. Unfortunately there are far more pop stars who sell their souls to a fundamentally corrupt industry, becoming puppets in the hands of greed-driven corporations.

Is a concert's setlist influenced by the venue?

To a certain extent, yes. If I were to play a concert in India I'd propose compositions with an Eastern flavor like “Mahavira” or “RaMaDaSa Mantra”, and then I'd also include some more ethereal choices, to give the audience a breath of freshness. In Europe, I'd present pieces with more of a Classical inspiration, like “Angels Of The Heart” or “A Tribute To Gaia”, while also including more interdimensional moments, in order to help raise consciousness. I have such a variety of compositions and genres – like chill out music, trance dance and so on – that I can put together the right setlist pretty much anywhere in the world.

You've called your experiments in the world of rhythm “trancecstacy”. What's the function of those pieces?

First of all, I have to make clear that my music doesn't live in a small box… I mean, I need to be able to breathe, to expand my consciousness and my inspiration so that they can spread their wings and explore new horizons. A lot of my musical compositions draw on these different genres, like chill out, lounge, ambient, meditative, interdimensional, contemporary classical, and so on; I don't want to get stuck in a corner where the music stays caged within the limits of genre. That's not me. Breaking the rules of tradition makes me feel more alive and free. That's how it was with the 2012 trance dance album "Entranced"; I'd reached a point in my career where I needed to shift gears and step outside my comfort zone. I've always loved trance: it's so vital, and I listen to it when I work out at the gym. My trance incorporates ethnic elements and biophilic atmospheres, even though the core remains a driving rhythm. Every track on "Entranced" has an uplifting energy that harmonizes with the expansive energy connected to the earth and to the root chakra.

Listening to some of your lesser-known tracks, the ones where rhythm really takes center stage, I was wondering whether the chill out of bands like The Orb interests you.

I don't know much about The Orb, but I do like listening to chill out, especially in the afternoon, and above all the kind with Middle Eastern influences or that Buddha-Bar sort of style. Some tracks are really evocative, elegantly exotic, and boast excellent rhythmic progression. It obviously depends on the mood of the day: sometimes you need something energizing, other times something that relaxes you.

In your highest sense of the word, what is an artist?

Wow. Tough question! An artist is someone who can turn what is ugly into something beautiful, someone with the ability to bring love and compassion into a difficult situation, someone who sees beyond the illusions of the physical body and its physical sensations. A true artist, in my view, is someone able to tap into the deepest essence of beauty, which comes only from God, or from the emanation of His Spirit… because true beauty is the highest expression of an everlasting love. When you examine the causes of suffering, you begin to understand that it stems from unresolved desires, attachments, habits, and from clinging to obsessions and addictions. Once humanity has understood this and is able to release what no longer serves its evolution, it will begin to admire the true beauty that lies beneath the surface of temporal sensory experience. Then everyone will end up embodying that unconditional Love and that supreme Beauty I was talking about.

A worry you haven't managed to root out of your mind?

There are, of course, the fears common to all human beings. Since I don't have an obsessive personality, I don't worry excessively about anything. Every day I learn a little more to accept what truly is, and the less resistance I put up, the more easily Grace can find its way into my life. An important part of our growth is learning to surrender to what we cannot control. That's how you build a trust in the present, which is, ultimately, a supreme teacher.

In everyday life, what's your primary need?

Every person has basic human needs: to be fed, to stay healthy, to be accepted and loved, and so on. The only trap is that if you become dependent on other people for your own fulfillment, you enter a loop of continuous suffering. For me, overcoming the tremendous illusions and the maya of this third dimension means, first and foremost, mastering yourself. And mastery begins and ends with the Self. Once you realize this, the search is over. There are so many illusory traps along the way that it takes great discernment to stay lucid and make the right choices. So, in my case, the greatest need is to love and unconditionally accept both my human, vulnerable side and my true higher Self, and to understand that we are all One, all interconnected. That leads to treating others as you would want to be treated, with love, kindness and respect. Knowing Love also means staying true to your deepest Self, serving the Light and the Truth.

In the titles of your tracks, the word "angel" comes up often: what are angels to you?

Let's start by saying that angels don't exist only on the etheric planes, but also here, in the physical dimension, on Earth, and they mingle with us. And there are many human beings who are angelic souls. Essentially, they are servants of the Divine Father Creator / Mother God / Source of All That Is. They have incarnated to assist in the healing and uplifting of humanity. As I understand it, when an angelic being incarnates on Earth, it isn't spared the trials and tribulations common to all of us. But only for one final incarnation. Since they have no free will, when angels receive this final birth in human form, they do so in order to evolve from angel to Ascended Master.

When I asked you about your painting aesthetic, you mentioned a few masters of Eastern and Western wisdom. But who has allowed you to access higher levels of awareness?

I've been accompanied on my path by Ascended Masters, angels and Elohim. Master Kuthumi is perhaps the one I'm still in contact with today at a particularly high level. I also can't leave out my deep connection with the Divine Mother: the side of Love that manifests in the Sacred Feminine is prominent in many of my compositions.

Does confining yourself within a religion limit your own possibility of expanding your Consciousness?

It depends on the quality and the level that faith has led us to. Does someone who believes, believe after having questioned their own belief? Or do they believe blindly, like sheep following whatever the masses have decreed to be the Truth? Many religions are based on someone's interpretation of the ultimate Truth. I'm not discrediting the concept of religion; I think it's a valid system for guiding souls, especially "young" souls that need precise behavioral structures and discipline. But true knowledge goes beyond faith as we understand it. Faith implies that we still can't have access to Consciousness, so often people simply stick to a set of behaviors and never evolve beyond that. I find that limiting, don't you? Once a dogma is accepted, along with the rules that come with it, it's no longer within Truth, because Truth is free from rules, norms and human interpretation. Ultimately, once a soul reaches self-realization, it will go beyond the religions and belief systems we know. It won't just live the Truth—it will embody everything that is True and Real.

In new age circles it's often argued that humanity is heading toward a collective awakening of consciousness. When I look at the news, I find myself more skeptical about that…

When a soul like mine looks at this world in relation to human evolution as a whole – and not just at what's happening right now – it becomes clear to me that we're living inside a kind of holographic projection in the third dimension, a simulation coming from the original matrix. For any sensitive soul, witnessing the brutality of this realm is, at times, unbearable! The endless cycles of creation and destruction have been unfolding on this planet for over 260,000 years, and the manipulation of the human genome and DNA has been going on since the first human being was created, over 260,000 years ago. Today the game of genetic manipulation continues through sophisticated technologies and biological weapons. We're now at the third attempt to manipulate our race, this time through tools like AI, lab-created viruses, 5G, the HAARP project, a heavily contaminated food chain, GMOs, chemtrails, and so on. The entire planet is suffering because of the tremendous corruption of those in power, who have helped pollute the oceans, poison the soil with pesticides, and worsen air quality. We're living through a time that is as critical as it is crucial; every soul must choose whether to awaken to its own sovereignty or blindly become an automaton governed by AI, enslaved to a demonic, hyper-technological autocracy – I mean the New World Order, which will decide our future on our behalf. Unfortunately, some people don't even realize they have a choice, and believe the narrative pushed by the mainstream media circus, letting themselves be manipulated and controlled by lower astral forces.

Life after death?

I'm convinced that almost every soul will experience an enormous elevation once it frees itself from the cage of the physical body. The soul will embrace the glory and beauty of God, beyond the limiting frameworks of religious belief systems. If the soul is evolved enough, it will eventually move beyond the simulated astral realms that have been identified with the Catholic, Muslim, Hindu paradise, and so on. A truly evolved soul will ascend to the universal realms where Divine Love, Light and Bliss reside. It all depends on each individual's evolution.

What's the most extraordinary aspect of being an artist?

To be a humble instrument of divine Love, Intelligence and power. Having the Universal Ascended Consciousness work through me is an incredible honor, privilege and joy. I serve others in a way that not only uplifts and brings healing into my own life, but also allows me to touch the lives of millions of people around the world, who can benefit from my creativity. A true artist is a servant of the Divine, an apostle of Truth, Beauty, Love and Grace.

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