As music obsessives know, what makes a label fascinating is not just the sounds they release. The most intriguing labels offer a conceptual framework and consistent aesthetic philosophy that connects their releases, creating a mysterious, immersive world that enthralls the listener and demands that one absorb all their releases as one cohesive body of work. Often these types of labels construct a hidden, private, esoteric atmosphere with an occult mystique that cultivates a small dedicated cadre of followers who revel in the enigmatic and the secret, an obscurity that encourages the listener’s imagination to fill in the gaps. Ritualistic compositions, unsettling imagery, clandestine knowledge, and limited access offer listeners an experience that is as thrilling as it is collectible. One such label that has developed this kind of intimacy is Attic Shrines. 

“Ancient tape loop rituals. Murmured death chants. Shrieking petitions. Exhumed tones darkened with the patina of rotting nostalgia.” –Attic Shrines website

The netherworlds of the experimental cassette underground are as fascinating as they are daunting. A plethora of labels seem to be releasing hundreds of tapes each week; each one a riddle wrapped in a mystery inside an enigma, running the gamut from harsh noise walls to death industrial to power electronics to dark ambient to dungeon synth and all points in between. Curious listeners have to navigate this deluge of sound, and when one finds a port in a sonic storm, it’s worth sharing with like-minded epicureans.

Attic Shrines is a cassette tape label that began releasing albums in 2017. Located in Atlanta, Georgia, the label specializes in dungeon synth, dark ambient, industrial, drone, and noise music. Artists such as Magic Find, Ossa Coronata, Sigil & Key, Voidbearer, L.B.R.P., and cassilda have released a number of unsettlingly crepuscular albums on the label. On January 1st, 2022, Attic Shrines established a sub-label solely for the works of an artist (s?) who has remained nameless. The sub-label and project have merged under the title The Projection of the Astral Body. So far, four tapes have been released (with a fifth promised): the material of the albums is an amalgam of spectral ambient, monstrous noise, and mournful textures, all inspired by and aurally recreating infamous historical paranormal phenomena and events. Fear, suffering, psychic exploration, violent manifestations, and supernatural awe are recreated through soundscapes that transcend material existence and push the listener into environments that are threatening, shadowy, and despondent.

The label itself describes the sound as “ASTRAL DEATH AMBIENCE/HAUNTED HARSH NOISE.” The music of The Projection of the Astral Body could be compared to other Ghost Noise releases by artists such as Skin Crime (Ghosts I Have Been [2018], Skin Crime X Wilt:  The Horror of Fang Rock [2018], Legacy of Blood [2019], Stories and Studies of Strange Things [2020], Lot 249 [2021]) and Magic Find (Seeping Auras [2017], Then thou scarest me with dreams and terrifiest me through visions [2023]), and yet The Projection of the Astral Body has an even more antiquated feel, as if the listener is hearing wax cylinder field recordings of the actual occurrences as they happened in the mid-19th-early 20th centuries. The physical packaging and tape art for the four releases embrace this antiquarian aesthetic, using black and white images and text from old books about the paranormal phenomena engaged on the album, hand collaged to resemble a researcher’s collection of clippings and evidence.

Projection 01: THE PROJECTION OF THE ASTRAL BODY

“For my part I see life as the curse. I regret that life exists. No mortal mind can advance even the weakest argument in defense of life. I regret that the Materialist is mistaken. I regret that death does not end all. I wish that death would bring one long and dreamless sleep. but alas, my experience have proved conclusively to me that --"dust thou art and to dust returneth"-- was not written of the Soul.”

The first album on The Projection of the Astral Body label is THE PROJECTION OF THE ASTRAL BODY released on January 1st, 2022. There is no specific artist or title emphasized and so it must be assumed that they are one in the same. The album consists of a single track “Death is Merely a Permanent Projection” and the same track appears on both sides of the tape. Information in the liner notes claims that the release was recorded in the “BREATHITT HOUSE MMXXI.” and distributed in “darkness under the banner of ATTIC SHRINES.” The cover art is photo of author/psychic explorer Sylvan Muldoon, framed with text excerpts from his books The Projection of the Astral Body (1929) The Case for Astral Projection (1936), and The Phenomena of Astral Projection (1951) with the words “The Departure of the Astral Body at Death” standing out. The life, works, and theories of Muldoon are the central theme of the album. Muldoon was one of the earliest proponents of the notions of astral projection and out of body experiences, that human beings had an ethereal body that could remove itself from the physical body and travel through space and time. As a child, Muldoon’s mother took her son to a Spiritualist retreat in Clinton, Iowa where he had his first out of body experience, feeling as if he had died and then been brought back to life. Muldoon described the feeling as if his astral body was connected to his material body by a never-ending silver cable that kept the spirit always tethered to the physical up until death. Muldoon’s experiences led to his work with paranormal researcher/investigator Hereward Carrington[1], which would result in two co-authored books:  The Projection of the Astral Body and The Phenomena of Astral Projection.

“Death is Merely a Permanent Projection” clocks in at 44 minutes and begins with a looming, eerie atmosphere as a crackling drone is soon joined by an ominous hum that keeps rising, getting pulled upwards into the ether, as waves of beeping cries and whispers are subsumed into a maelstrom of sound. Surging frequencies resonate as if they are attempting to break through a barrier, until slower, bubbling slabs of reverberation and distorted grumbling tones indicate that the listener is in another state of being and the astral body has broken through. Deep whirring echoes, and a creaking racket stretches, smears, and skids across piercing vibrations until we are pulled back and swallowed by the return of the initial hissy drone.

Projection 02: YOU ARE MINE TO KILL 

“Holding onto each other, breathless with awe, all kept their eyes glued upon the letters as they were formed, one by one. The sound of the metallic object continued, slowly scratching a sentence into the plaster. Finally the message was finished. It read: YOU ARE MINE TO KILL.”

The second The Projection of the Astral Body release is YOU ARE MINE TO KILL, released on February 2, 2022, again recorded within the “BREATHITT HOUSE MMXXI.” The release contains one track “Why victims of violent death re-enact their death in the astral body[2].” The track appears on both sides of the tape. The cover art follows the template of the first release, featuring a striking photo of Esther Cox, the focal point of the Great Amherst Mystery, in the center of the cover with cut texts from Walter Hubbell’s The Great Amherst Mystery, A True Narrative of the Supernatural (1888) spread over the interior and exterior art. The Great Amherst Mystery is one of the most fascinating, yet little known, supernatural events in paranormal history. In 1878, Esther Cox of Amherst, Nova Scotia was sexually assaulted by an acquaintance at gunpoint. The trauma of this attack left her in a state of hysteria and while suffering through the consequences of the assault, Cox attracted poltergeist activity and endured uncontrollable seizures and bodily swellings. Demonic voices threatened her, saying “Esther Cox, you are mine to kill!” Doctors and family members attempted to communicate with the abusive entity, which would knock responses to their questions. Esther claimed to see a “ghost” named “Bob Nickle,” who punched, slapped, and stabbed her, even telling her that it would burn her house down. Other spirits such as “Peter Cox,” “Maggie Fisher,” "Jane Nickle," and "Eliza McNeal" tormented Cox, all documented by Walter Hubble, an actor and amateur Spiritualist investigator. Hubble would write an account of Cox’s experiences The Great Amherst Mystery, A True Narrative of the Supernatural and took her on a speaking tour, which was poorly received. Cox would return to Amherst, be convicted of arson, imprisoned, and later married and had a family. The spectral attacks ceased after her time in prison, and she was no longer plagued by the ferocious spirits.

The 28 minute “Why victims of violent death re-enact their death in the astral body” starts with a repeated grinding roar that relentlessly pushes into your brain until jagged, turbulent stabs of static and penetrating distortion creates a mesmerizing cacophony. Behind the din, muffled articulations sound like someone trying to talk with a gag over their mouth. This strident lashing grows into shrieking chaotic signals, as if a malevolent force is pushing and pulling your mind right to the brink of hysteria, and then, silence. Alien chattering and forced exhaling establish themselves before a tumultuous avalanche of pulsing, ringing, and blaring heaves back and forth. This swirling vortex of modulations gets louder, dirtier, and more unhinged over time until the bawling resembles sounds that would emerge from shredded vocal chords, choking on one’s own blood. A clattering rhythm pounds over and over again, getting slower and slower until the tape abruptly ends.

Projection 03: A REPORT OF THE MYSTERIOUS NOISES HEARD IN THE HOUSE

OF JOHN D. FOX, IN HYDESVILLE, [TOWN OF ARCADIA,] NEAR NEWARK, WAYNE COUNTY, N.Y.

“In presenting this Report to the public, we do it not for the purpose of gratifying the morbid tastes which the ignorant and superstitious always have for whatever is marvelous or unaccountable, nor for the purpose of increasing the excitement that has been already created by the indefinite and exaggerated rumors in regard to this mysterious affair.”

Released on July 1, 2022, A REPORT OF THE MYSTERIOUS NOISES HEARD IN THE HOUSE OF JOHN D. FOX, IN HYDESVILLE, [TOWN OF ARCADIA,] NEAR NEWARK, WAYNE COUNTY, N.Y. is the first The Projection of the Astral Body album to have more than a one track program, containing the pieces:

1. asked the spirit to knock when near the place where the cadaver was hidden. (05:46)

2. murdered committed by a Mr. ⸺ ⸻, on a Tuesday night, at 12 o'clock; by having the      

    throat cut, with a butcher knife (05:02)

3. she screamed amid her weeping (03:10)

4. awed by nocturnal "talking with the dead" (03:55)

5. an almost entire human skeleton found between the crumbling cellar walls (04:17)

Recorded this time “throughout the BREATHITT HOUSE MMXXII,” the album takes on the aesthetic of an official document, “Authenticated by the Certificates, and Confirmed by the Statements of the Citizens of that Place and Vicinity, " listing 18 witnesses to the strange events surrounding the Fox sisters. The cover art consists of a hazy, sallow profile of John Fox (resembling the kind of image taken through spirit photography), the father of the astounding Fox siblings, encircled by excerpts from E.E. Lewis’ pamphlet A Report of the mysterious noises heard in the house of Mr. John D. Fox, in Hydesville, Arcadia, Wayne County, N.Y. : authenticated by the certificates, and confirmed by the statements of the citizens of that place and vicinity,  the first published account of the events that initiated the Spiritualism movement in the United States. In 1848, sisters Margaretta and Catherine Fox of Hydesville, New York claimed to be in contact with an eidolon, who used “rappings” and “knockings” to communicate with the young girls. The phantasm claimed to be the spirit of a murdered peddler who was buried in the basement of the Fox house[3]. Eventually the oldest Fox sister Leah began to talk to spirits as well, and thus was created long careers for all three Fox sisters as mediums. News of the fantastic events in upstate New York spread across the country and the Spiritualism movement was born, helped, no doubt, by the speaking tours and public demonstrations engaged in by the Fox women[4]. Seances, channeling, automatic writing, table levitating, spirit cabinets, and ectoplasm became part of American turn of the century culture. Margaretta Fox would later confess that all the spectral activities and manifestations were hoaxes, bodily contortions/noises, and sleight of hand deceptions. Beyond the spectacle and show business pretense, spiritualism was, first and foremost, centered on death and the need to reach through the veils of physical existence, to connect with what was behind them, and validate the reality of an afterlife.

The first track “asked the spirit to knock when near the place where the cadaver was hidden” commences the album with evil feedback howling and gurgling timbres creating a churning nausea. Insistent chirping and merciless clanging resonate at different transmissions imposing a raging atmosphere of impending dread. Next, “murdered committed by a Mr. ⸺ ⸻, on a Tuesday night, at 12 o'clock; by having the throat cut, with a butcher knife” proceeds with a barrage of crashing and banging pandemonium penetrated by squealing whines, a dense unearthly clamor with an undertone of sinister sonority. “she screamed amid her weeping” starts with a calm repetitive tonality that rises into a tormenting pitch that wails and squalls until shifting into the next track “awed by nocturnal ‘talking with the dead,’” which unleashes a gale force that seethes, rattles and knocks into a malevolent ferocity. Finally, “an almost entire human skeleton found between the crumbling cellar walls” ends the remorseless experience with dissonant blasts and detonations, thunderous reports crashing and pealing with no attrition until the track ends.

Projection 04: THE HAUNTING OF CASHEN'S GAP

“The voice was malevolent and full of venom. It said: ‘Doubter, Doubter.’”

THE HAUNTING OF CASHEN'S GAP is the most recent release on The Projection of the Astral Body label, released on January 18, 2023. The cassette contains four tracks:

1. his voice appears where his body is not (02:35)

2. devilment seemingly unimpeded by physical obstacles (05:26)

3. in time he would develop his own power, and would ultimately assume human form (07:12)

4. thou wilt never get to know what I am. (09:46)

These particular sounds were “recorded in walls of the BREATHITT HOUSE MMXXII,” and, considering the subject matter of the album, is an apt environment for the tracking of a ghostly, verbose mammal of the genus Herpestidae. The cover art displays a center photo of the badgered Voirrey Irving with collaged textual fragments from Harry Price and R.S. Lambert’s 1936 Fortean narrative The Haunting of Cashen's Gap filling up the rest of the outer and inner cover art. The subject of the album is the curious case of Gef the Talking Mongoose, who cohabitated with the Irving family on the Isle of Man[5] from 1931 through 1945[6]. Starting with animalistic scratching and weird noises behind walls, soon a voice identified itself as Gef, a mongoose from India that was born in 1852, to a shocked John, Margaret, and Voirrey Irving. Gef seemed to take a particular shine to Voirrey, who claimed to have seen the chatty animal and described him as like a small rat with yellow fur and a bushy tail[7]. Gef himself claimed that he was an “Earthbound spirit,” “a ghost of a mongoose,” and, most spectacularly, “I am a freak. I have hands and I have feet, and if you saw me you'd faint, you'd be petrified, mummified, turned into stone or a pillar of salt!" Besides his non-stop need to soliloquize and gossip, Gef helped out on the Irving’s farm and was rewarded with biscuits, chocolates, and bananas. The saga of Gef eventually reached the press and noted paranormal researchers such as the aforementioned Hereward Carrington, Nandoor Fodor[8], and Harry Price investigated the extraordinary occurrences, resulting in Price’s The Haunting of Cashen's Gap. Local denizens had their doubts, as it was noted that Voirrey was talented in the arts of ventriloquism. After the death of John Irving, Margaret and Voirrey had to sell the farmhouse and bid adieu to their loquacious varmint, and as recently as 1970, Voirrey was still insisting on the veracity of Gef.

THE HAUNTING OF CASHEN'S GAP opens with “his voice appears where his body is not,” a screeching monotone that is soon overlaid with a ferocious crackling keening that brusquely stops and starts again in the next track “devilment seemingly unimpeded by physical obstacles” evolving into a scratching beastly discord as we follow Gef through his cryptic habitrails. “in time he would develop his own power, and would ultimately assume human form” has a deeper, more abrasively furtive ripping that transforms into a chittering, cackling uproar building into frenzied caterwauling. “thou wilt never get to know what I am” opens with squawks and shrill yowling, vibrating into ungodly ear-pummeling high pitched treble barks that border on white noise, finishing on a bellowing overload.

The Future of The Projection of the Astral Body

A spokesperson for Attic Shrines has stated that the fifth release on The Projection of the Astral Body will be the last. The subject of this album will be the infamous Bell Witch of Tennessee, and this release will hopefully be the most horrifyingly transcendent of all the sub-label’s releases. Although its disappointing that there are no plans to continue the series, perhaps that’s what makes these releases so special: finite investigations of experiences that go beyond the bounds of material reality and existential cynicism. The Projection of the Astral Body summons entities through harrowing sounds expressed as metaphysical and extrasensory questions:  exorcising the ghosts of our own nothingness through obliterating noise and the shock of what exists outside.

Attic Shrines Interview

A representative of Attic Shrines graciously agreed to answer questions about the label, The Projection of the Astral Body sublabel, and its releases.

WB: How did the Attic Shrines label start?

AS: The label started in 2012 as a host for the dark ambient projects, Sigil & Key and Laþian. Individual physical copies were made on reel-to-reel for personal use but it wouldn’t be until 2017 that material was publicly distributed on cassette tape. Attic Shrines has remained active and continued to release a small number of tapes each year since then.

WB: Was there a certain type of artist/ release/ sound that AS was interested in supporting and disseminating?

AS: Dim atmospheres created with decaying electronics. Ambience with presence.

WB: What was the motive behind starting a sub label? Why The Projection of the Astral Body? Did the concept or the artist(s) come first?

AS: The sub label was established to make a distinct series of noise releases each based on written accounts detailing experiences of beyond the bounds of life. The validity of these documents is unimportant as the deception and ambiguity presented are equally essential themes.

The reading of The Projection of the Astral Body by Sylvan Muldoon was the initiation point but at that time no specific artist was in mind or yet contacted for the series.

WB: Is there a specific reason for the artist (s)’s anonymity?

AS: The concept of an artist can be a distraction. One can come across other objects or environments, such as a photo or architecture, and not immediately have the question of the human source come to mind. Instead, the viewer focuses on aspects of the form or subject. This freedom is less often encountered with music as the artist name is generally paired with the work wherever it is consumed and this context shapes the perception. There is no need to bring this to the forefront if the project does not relate to the artist's persona or background. These artist-less releases also allow a variety of participants without any restriction or expectation.

WB: What musical, artistic, occultural, historical or philosophical influences does the artist(s) claim?

AS: These works are self-contained and concentrated on certain aspects from the larger psychical investigations. Those specific points of view are highlighted in the quoted portions in the release art.

There are of course a wide range of other influences but it is better if those curious find their own path through the referenced texts and follow their own interests deeper.

WB: The sound of the four TPotAB releases reminds me of some of the contemporary works of Skin Crime and Magic Find. Does Attic Shrines and/or the artist(s) see the project fitting into the horror/occult ambient noise genre?

AS: The projections definitely fall within the ambient and noise genres. There are certain standard elements that are used heavily here such as field recordings, loops, tape manipulation and pedal work. Skin Crime and Magic Find share some similarities but there aren’t any specific projects that are a conscious reference point. As far as being horror/occult themed, one could describe the projections that way but those terms also have broader meanings that fall outside of this material.

WB: On the surface ambient music and noise seem to be opposing sound phenomena and yet on these releases their use establishes an unearthly dynamic. How does the artist (s) reconcile these two different approaches?

AS: Ambient music builds an environment for the listener to pass through. The environments represented here range from dark, seemingly empty places to claustrophobic, rotting rooms containing abrasive unknowable entities. The harshness of noise is used to describe these places and add a specific texture to the tones.

WB: The first release The Projection of the Astral Body is an eerie aural experience.  What kind of effect was the artist (s) striving for?

AS: To mirror the experience of astral projection and begin to reconcile the implications of such abilities - that death may be an endless projection rather than a long dreamless sleep.

WB: The album seems to be based off of the work of the paranormal/psychic investigators Sylvan Muldoon and Hereward Carrington. What is it about these thinkers that motivated this release?

AS: The instructions, encounters, corroborating experiences, and most importantly their conclusions, all called for long form aural representation.

WB: How did the artist (s) achieve the sounds on the album?

AS: This was the most dark ambient leaning of the series, noise elements would feature more in the later entries.

WB: The second release You are Mine to Kill is my favorite of the four releases. It’s unrelentingly oppressive right from the beginning. What kind of effect was the artist (s) striving for?

AS: Ceaseless escalation. To witness and share the torment endured by Esther Cox.

WB: The story of the Great Amherst Mystery is filled with obsession, duplicity, and physical violence. What was it about this event that motivated this release?

AS: The irrational and unending tragedy of the experience. Bizarre torments, unexplainable and without reason.

WB: How did the artist (s) achieve the sounds on the album?

AS: Excessive repetition. Numerous false endings.

WB: The third release A REPORT OF THE MYSTERIOUS NOISES HEARD IN THE HOUSE OF JOHN D. FOX, IN HYDESVILLE, [TOWN OF ARCADIA,] NEAR NEWARK, WAYNE COUNTY, N.Y. is steeped in a swirling, menacing cacophony of strange sounds. What kind of effect was the artist (s) striving for?

AS: To attempt to convey the experience of spectral communication via knocks and scratches from an unseen presence.

WB: This release directly references the Spiritualism movement started by the occurrences manifested through the Fox sisters in Hydesville, New York in 1849. What was it about this event that motivated this release?

AS: The focus here is the investigation that was conducted to solve the murder of a peddler and the hammering and rapping noises that were interpreted to indicate that there were restless remains beneath the house. Suspicion and accusations resulting from this add an additional dimension separate from the other tapes in the series. The incidents documented here also have broader consequences later leading to growth of that entire movement.

WB: How did the artist (s) achieve the sounds on the album?

AS: Techniques were used to aid in spirit tangibility.

WB: Why do some of the TPotAB releases have individual tracks and others are singular full movements?

AS: All of the releases consist of parts that flow together and parts that have transition points with stops and starts. There isn’t any particular intent with the different approaches.

The collaged portions of text on the covers could easily serve as further names and descriptions to individual moments throughout each release.

WB: The fourth release The Haunting of Cashen’s Gap is another favorite of mine as the screeching sounds not only unsettle but also seem to be attacking the listener. What kind of effect was the artist (s) striving for?

AS: The animalistic screeching here is used to give voice to the entity residing in Cashen’s Gap.

WB: This release appears to be centered around the truly bizarre phenomenon of Gef the talking mongoose, which (who?) was investigated by well-known paranormal investigators Harry Price and R.S. Lamber as well as Hereward Carrington, who is referenced on the first TPotAB release. What was it about this event that motivated this release?

AS: This event was less directly malicious than what was found in Amherst but the spirit was far stranger in its directness of communication and the variety of its claims about itself. It is also unique that the phenomenon was mostly tolerated by the occupants of the house. The manifestation being tied to the daughter in some way adds to the peculiarity and offers some explanation for the entity’s mischievousness. Also unique to this case was the physical evidence of footprints, photographs and fur samples, though the quality of these only enhanced the mysteries.

WB: How did the artist (s) achieve the sounds on the album?

AS: There was extra attention and experimentation given to force the equipment to scream.

WB: The four albums have all been released as cassette tapes. Why that medium? What is the label and the artist (s)’ feelings about physical media in the age of streaming and downloads?

AS: The projections were all recorded to tape on various 4 tracks. That medium in particular has certain characteristics and flaws that amplify the mood of each piece by using the tape and recorder themselves as an instrument. Releasing on cassette is the closest method to keeping that feeling intact.

Physical media is the most complete and full sensory experience but it isn’t necessary or possible for all listeners. However, those that seek a deeper experience often find it when holding and playing the original object.

WB: The cover and interior art of each of the releases are collages of old texts and pictures that relate to the paranormal phenomena that the music attempts to embody. Why this aesthetic? Does it connect to the overall experience of the releases?

AS: The text used comes from the original documents and commentaries on the cases. These highlights are used to bring the listener closer to the source of the material and gather some brief insight to what is represented in the audio. The books referenced are the same as the name of each release, except in the case of You Are Mine To Kill which is based on The Great Amherst Mystery. The photo on each is of a primary figure in each event: Sylvan Muldoon, Esther Cox, John Fox, and Voirrey Irving.

WB: As of now, the fifth and final release on the label has been announced but not released.  Why is the project being terminated? Will the label release material from other artists or will the label also cease to exist? 

AS: The artists will move on to other projects. Perhaps some will return, perhaps others will take up where the series left off. There are more stories to tell but there are no plans to continue currently.

WB: Was the label and its releases originally planned as a finite project? 

AS: It was intended to be a limited series but each release followed naturally without long term planning. The fifth projection, concerning the Bell Witch, began during research for The Haunting of Cashen’s Gap. No further projections have shown themselves to follow this release.

WB: Is there a future for the label and/or the artist (s)? 

AS: The influence of the projections may linger within Attic Shrines into the future.

Although the final release of The Projection of the Astral Body has not materialized yet, Attic Shrines’ recent releases have all been worthy of attention: Cassilda’s It Is Done, Fairy Ring’s Dimensional Ouroboros, Tortured Ghost’s Unattended, and the absolutely stunning A Symbol Used In Black Magic, which sounds as if it could be on the same unearthly plain as The Projection of the Astral Body. Attic Shrines continues to release music only found in the borderlands between our reality and the next world.

https://atticshrines.bandcamp.com/music

https://atticshrines.bigcartel.com/

[1] Hereward Carrington was one of the preeminent paranormal/alternate culture scholars of his time, with over 100 books, articles, and lectures on a vast array of supernatural and holistic health topics. He was in contact with occultural figures such as Aleister Crowley, Israel Regardie, Nandor Fodor, Harry Houdini, and Arthur Conan Doyle. Carrington would also investigate the Great Amherst Mystery and Gef the Talking Mongoose, both topics of later The Projection of the Astral Body releases.

[2] Although the cassette and download of the release indicate that the music is presented as one track, the Bandcamp page for the album states there are three movements to the piece:

Why victims of violent death re-enact their death in the astral body I

Why victims of violent death re-enact their death in the astral body II

Why victims of violent death re-enact their death in the astral body III

[3] Though much of the Fox sisters’ claims were discredited, neighbors who lived in the vicinity of the Fox home stated that the house was indeed haunted and had been manifesting uncanny happenings even before the Fox family moved in.

[4] The Fox Sisters even explored the music business, publishing “The Haunted Ground” in 1851, with lyrics by Felicia Hemans and music “channeled” through Leah Fox.

[5] Cashen’s Gap (or Doarlish Cashen in native Manx) has a long history of strange phenomena even before the manifestation of Gef.

[6] The Irvings moved out of their farmhouse in 1945 and the following owner Leslie Graham stated that he shot and killed Gef in 1946. Gef, we hardly knew ye …

[7] I always imagined Gef looked like Brown Jenkin from H.P. Lovecraft’s phantasmagorical “The Dreams in the Witch House.”

[8] Fodor’s investigation is the subject of the 2023 film Nandor Fodor and the Talking Mongoose, starring Simon Pegg as Nandor and over-esteemed, now disgraced writer Neil Gaiman lending his voice to Gef.