An emerging artist discusses the convergence of shamanic healing, sound medicine, and contemporary music production, describing experiences in the Peruvian mountains involving plant medicine (ayahuasca/IAS), ancestral wisdom about pyramids and time travel, astral projection, and the therapeutic potential of intentional sound frequencies to transform consciousness and heal the physical body.
What Is Sound Medicine and How Does It Work?
In this brief but dense musical statement, Shanin Blake articulates a worldview in which sound itself becomes a carrier of healing intention and medicinal power. The core proposition is straightforward: every lyric carries medicine, and true sound—when aligned with specific frequencies and intention—has the capacity to transform the mind and even affect physical matter. This is not presented as metaphor but as lived experience, grounded in specific practices in high-altitude Peru.
The mechanism Blake describes operates on multiple levels. At the neurological level, sound frequencies enter the body and alter brainwave states. At the spiritual level, intentional vocalization taps into what Blake describes as universal connection—the same technology that animated the pyramids, now available through conscious music-making. The artist is not claiming novel discovery but rather remembering and recovering ancient knowledge that once existed in human civilization.
Why Visit Peru for Spiritual Learning and Medicine?
Blake's retreat to the Peruvian mountains, specifically to work with indigenous shamanic practitioners and plant medicine, follows a well-established contemporary spiritual pattern: the recognition that certain geographic and cultural locations hold concentrated knowledge about healing and consciousness. The Peruvian Amazon and high-altitude regions are acknowledged globally as centers of shamanic medicine and ancestral wisdom.
The mention of drinking IAS (likely ayahuasca) with shamanic guides (referenced as "Sham stew page") positions this experience within a lineage of plant-medicine work that involves ingesting powerful entheogenic substances under controlled ceremonial conditions. Blake frames this not as recreational but as educational—"I've been learning by myself, finding out myth"—suggesting that the plant medicine creates direct access to knowledge that ordinary consciousness cannot retrieve.
This aligns with contemporary reports from those who have worked with these medicines: dissolution of ego boundaries, access to non-ordinary states, vivid perception of non-human intelligences, and what feels like direct revelation of universal truths. Blake credits this work with healing at the soul level, positioning it as superior medicine compared to conventional approaches.
How Do Pyramids and Time Travel Connect to Modern Sound Work?
One of the most striking claims Blake makes is the assertion that pyramids were used for time travel and that this technology is now recoverable through present consciousness work. This is not unique to Blake but reflects a broader contemporary spiritual narrative in which ancient civilizations possessed advanced metaphysical technologies that modern society has forgotten.
In this framing, the pyramids are not merely burial monuments but frequency-generating structures—geometric forms that amplify and direct consciousness or electromagnetic energy. Blake positions herself as remembering this knowledge through direct experience: "we're all connected to the pyramids" and "how we used to use them for time traveling."
The artist then reports astral projection as a means of navigating these higher-dimensional spaces: "now I'm astr projecting, remembering how to navigate the ethers." This suggests Blake understands consciousness itself as capable of moving through non-physical dimensions, with the ethers being the substance of that travel. Rather than treat these experiences as hallucinogenic side effects of plant medicine, Blake presents them as recovery of functional skills—learning "how to navigate"—that were once ordinary to humans.
Can Sound Frequencies Actually Heal Physical Illness?
Blake makes an unusually specific claim about direct healing: "kidney infection I heal that too." This is framed not as wishful thinking or metaphorical language but as direct causation—sound work produces measurable physical results. The logic Blake employs is that if sound can "make things move," it can certainly rearrange cellular function and pathogenic patterns.
The claim rests on emerging scientific interest in cymatics (the study of visible sound vibration) and on reports from sound healers working with specific frequencies. However, Blake's assertion goes beyond empirical documentation; it reflects a metaphysical claim that consciousness, intention, and sound are not separate from physical matter but operate at the foundational level of reality itself.
The artist acknowledges this will sound implausible to conventional thinking: "I've been doing things your brain can't comp that"—recognizing that linear rational thought has difficulty processing these reports. Yet Blake does not retreat into mysticism. Instead, she offers a path forward grounded in accessibility: "say It's Magic but you could do it just open up your heart and let it CH through."
What Does It Mean That "Every Lyric Is Medicinal"?
Rather than write lyrics as entertainment or emotional expression alone, Blake describes a compositional practice in which each word is chosen for its vibrational and healing properties. This shifts songwriting from art to medicine—the song becomes a delivery vehicle for specific frequencies and intentions designed to alter the listener's consciousness or physical state.
This approach draws on sound-healing traditions found across cultures: Vedic mantras, Tibetan throat singing, Qigong sound practices, and contemporary frequency medicine. In each case, the assumption is that certain sounds carry medicine—they are not merely pleasant or emotionally evocative but therapeutically active.
Blake's mention that "Tru sound transforms my mind's making things move" suggests that authentic (true) sound, as opposed to derivative or ego-driven music, carries a different order of power. The transformation is not psychological adjustment but actual alteration of mental state and presumably physical reality.
How Does Opening Your Heart Enable These Practices?
Blake concludes with an invitation that appears simple but contains depth: "just open up your heart and let it CH through." This is not sentiment but instruction. The "heart" in contemplative traditions refers both to the physical organ as an electromagnetic center and to the emotional and energetic body as a whole. Opening the heart means lowering defenses, releasing skepticism, and allowing direct transmission.
In this model, the barriers to these healing and consciousness practices are not intellectual but defensive—the mind's skepticism, the body's armoring, the heart's closure. Blake positions herself as having done the work to remove these barriers (through plant medicine, mountain retreat, shamanic training) and now channels these healing frequencies through her music.
The invitation to listeners is not to believe but to practice—to open receptivity and allow the medicine to work. This is congruent with how transformative practices typically function: the teaching (or in this case, the song) is a tool, but the practitioner's openness determines the outcome.
Where to Go From Here
For those drawn to this work, several paths become apparent. First, listen to Blake's music with explicit intention to receive healing, rather than as passive consumption. Pay attention to how specific frequencies and lyrics affect your nervous system and consciousness.
Second, investigate plant-medicine work in legitimate contexts—retreat centers in Peru and other locations that maintain authentic lineages, not tourism operations. These experiences can provide direct access to non-ordinary states and ancestral knowledge.
Third, study sound healing traditions more formally: sacred geometry, cymatics, frequency medicine, mantra traditions. Understand the theory behind why particular sounds carry particular effects.
Fourth, practice opening your own heart—through meditation, breathwork, and genuine emotional vulnerability. This is the prerequisite for receiving medicine in any form.
Finally, support artists like Blake who are integrating ancestral wisdom with contemporary music, creating work that is both artistically viable and spiritually functional. The healing arts require practitioners willing to do the deep work and share what they recover.
