Interview with Daniel Faria of Trismegistia

September, 2017

Trismegistia: Alchemical



Hailing from Rio de Janeiro, Brazil, Trismegistia is the brainchild of Daniel Faria, creator of the Santuário Lunar (Moon Shrine) website. A musical project steeped in paganism and mythology, I was intrigued, and after listening to the tracks on Spotify, was lucky enough to grab some time with Daniel to find out a bit more about this relatively new project.


Mabh Savage: How did this musical project start?


Daniel Faria: Trismegistia started by chance. Jesse Guelfi and I shot the short film Nunnos in December, 2016. The idea was to make a short film honouring Cernunnos. The video would be part of Jesse’s new videobook and would also be posted on Santuário Lunar, a Pagan website we own. During the editing process I made the soundtrack. We showed the video for some people before uploading it to YouTube and the reactions were all positive. Among the comments, people praised the ‘relaxing music’. Jesse then asked me: “Why don’t you make a song from this track?” And then I made Nunnos’ Healing Song.


For releasing the song, I needed an artist’s name. We tried many different things, but one night I dreamt of Hermes Trismegistus and I saw the name ‘Trismegistia’ written in many different places in my dream. Then it was set. We considered the process of creating this project as being alchemical, so I thought Trismegistia was a good name for that reason.


MS: How is the band made up?


DF: I, Daniel Faria, am the creator, producer and composer of Trismegistia. I’m 27 years old and I’m from Rio de Janeiro, Brazil. I work with digital marketing and I created Santuário Lunar (Moon Shrine) website for sharing posts related to the Goddess in her different forms around the world, as well as other issues related to Witchcraft and Paganism. Nunnos Short Film was part of the site, which led to Trismegistia. Everything is connected.


Nunnos’ Healing Song features Jesse’s voice. Jesse is an actor, singer and English teacher from Rio de Janeiro too. He is 49 years old. He will be back on more tracks as long I create them.


MS: How would you describe your musical style to someone who had never heard you before?


DF: Trismegistia is a mixture of sounds of nature and new age, ambient music. I would describe it like this. I’m thinking about using different nature sounds on each track. For example, in Nunnos’ Healing Song there are birds; in Hounds of Hekate there are dogs, wolves and crows – leading to another track. In other tracks there will be some sounds from the sea and from other animals.


MS: Where does the influence for your music come from?


DF: ally it comes from great artists that I admire since I was a teenager like Enigma, Deep Forest, Delerium and Enya, for example. The influence for the song themes, however, comes from the nature, from the Deities, from the Elements. I usually dream a lot about them.



MS: Hounds of Hekate uses breath as a kind of percussion, which makes the overall sound more intense. Where did this idea come from?


DF: In the beginning of the video we see Vanessa (our pet dog) sniffing. It’s like the dog is in the mind of the person and not there physically; it seems Hekate is trying to communicate with them. I love dogs and I wanted somehow to insert them in the whole song. So after the initial sniffing, the sniffing sound becomes some kind of a beat and then the song starts.


The idea of Hounds of Hekate is to continue the story from Nunnos. In Nunnos we meet a character who is injured – many people told me they could see themselves as the injured character in the film – and then, after drinking the magic potion and being healed by the flute Nunnos plays, the person sleeps and then wakes up in the forest.


Suddenly they start listening to a dog sniffing in their ears.


MS: You’ve mentioned the short film Nunnos. Tell us how this came about.


DF: Nunnos was shot to be part of Jesse’s new videobook and also to be part of Santuário Lunar. We chose Cernunnos to be the first honoured God because we really love him and we see him like one of the main symbols of fertility and abundance among the deities around the world. And the description and images we have about the ‘Winter Cernunnos’ protecting the animals and the forest matches Jesse. The story shown in the short film was written by myself right after I asked Cernunnos for some inspiration.


MS: Do you think Cernunnos is still as powerful a figure in modern Paganism as in ancient times?


DF: Yes, I do. Cernunnos may not be as popular as other Deities due to the media. But among us, Pagans, I do believe he is one of the favourite ones. I believe whenever we think of the Wheel of the Year, Cernunnos is the first God we think of.


MS: So far you have two singles on Spotify. Will there be an album soon?


DF: Yes, there will. I’m planning to release an album in 2018. I don’t know the precise date, but I’m sure it’s going to be in 2018.


MS: Who is your music aimed at? Who will get the most out of it?


DF: The music is aimed at people who enjoy new age music, music for introspection, relaxation and similar ideas. I think the songs from Trismegistia invite the listener to an inner journey where they can be in touch with themselves and forget about the hectic world we live in.


MS: Do you have any live shows coming up?


DF: No, not really, I don’t think about making any live shows at the moment.


MS: What compels you to write Pagan music?


DF: It is my way of honouring the Goddesses, the Gods and the nature. Through these songs I make a tribute to them and I create enjoyable music which anyone can listen to and also be in touch with these energies. I think this is somehow a way of contributing with Pagans all over the world, offering one more option for their repertoire.


MS: What’s next for Trismegistia? Where should we expect to see you this time next year?


DF: Currently I’m working on the album. I can say there are going to be more singles, music videos and short films until this time next year. Many Goddesses and Gods are going to be honoured in them all.


MS: And finally, what’s your favourite season or festival, and why?


DF: Mabon is my favourite festival. I always enjoyed autumn and winter. It’s the best season here in Brazil, the weather is very nice. I was born on March 22nd, which is Mabon here in the southern hemisphere, maybe there’s a connection, I guess.


Thanks for talking to Pagan Pages, Daniel! Follow the progress of Trismegistia on Twitter, Spotify or at the website. is also available at iTunes, Google Play or CDBaby.




About the Author:


Mabh Savage is a Pagan author, poet and musician, as well as a freelance journalist.

She is the author of A Modern Celt: Seeking the Ancestors and Pagan Portals: Celtic Witchcraft.

For Amazon Information Click Images



Follow Mabh on TwitterFacebook and her blog.














The Making of the Video for ElectraChic’s Song Erde/Terre

September, 2017


ElectraChic is a German based band who released their debut album, ImPassionnément, in November of 2016. They find their influences & themes in Shamanism and through the Sacred Feminine.



When it was time for ElectraChic to set out to make a video for the first song, Erde/Terre, off their new album, ImPassionnément, they did not have very far to look. Singer Annick Moerman & ian Rike Casper turned to Annick’s son, 25 year old Thomas Govaerts, a recent graduate of the School of Media.


We asked Thomas to share his thoughts with us on the making of the video for Erde/Terre and here is what he had to share:


For a couple of years I’ve also been passionate about spirituality and esotericism. During my studies I had the chance to try a shamanic journey with drums. I looked for many other practices since then (paganism, mediation, or yoga for example).

About one year ago, my mother (Annick Moerman) made this album, ImPassionnément, with Rike Casper. She asked me if I could do a music video for her. I could choose any music off the album and I immediately chose Erde (“Earth” in German) because of its shamanic sounds.

In my job or during my studies I worked on great projects, but none of them had a spiritual meaning or aesthetic. I’ve always had a wish to insert spiritual contents in a pure visual form, almost abstract and without using words in videos.

So, for me shamanism is the perfect subject. During a shamanic experience (not necessarily using drugs, but only drum or dancing) someone can get information, not in a literal form but through images or sensations. Maybe that’s the reason why there are many symbols in old mythologies.

This is the kind of feeling I wanted to put in a video, I wanted to use visuals to deliver a spiritual feeling. 

For this reason I did a lot of research on pagan symbols: Icelandic magical staves, Viking runes, Aztec symbols, Rongorongo alphabet. The sami drums was also a major inspiration (more info:

In this video there is a mix  of old and existing symbols and symbols of my creation.

Even if those symbols come from very different times and places, I find them very similar. They are very simple and naïve but they have the power to connect you to something very old and ancestral. They don’t interact with your intellect, but they go deeper. It’s as if they could activate an unconscious force.

I also wanted to represent the sacred feminine and its connection to nature and earth. I think that the dance is a visual form that can perfectly express this. The dance  allowed me to do a fluid and dynamic video, and not only to show static symbols. I tried to create a unity between the symbols, the music, the dancing and nature, to make a very alive and organic video. In the same way, during a shamanic experience, things are connected but always changing: what is usually hidden to the eyes becomes manifest. At the end of the music video the dancer completely merges into this unity. 

So I hope that the video works on the viewer’s unconscious and that, in some way, it connects him to the invisible aspect of nature.

I don’t know if I succeeded in this task, I’m still a young filmmaker and this is one my first works. I see that there are still a lot of mistakes in the video. However, I hope that in the future I’ll make other better videos. I would like to make videos that have a real impact on the viewer, as if they were spells. A little bit like Lynch’s or Jodorowsky’s movies.

The shooting of the video was made in the forest near Brussels. For the equipment we used a Canon 5D. The cinematography is made by Quentin Govaerts. The dancer is Charlotte Bossu. I did the directing, editing and the visuals effects.”


We’d like to thank Thomas for taking the time to let us in his head to experience what he did while making this video.


We now present the video for ElectraChic’s Erde/Terre, Enjoy!!





You can find ElectraChic’s Album for purchase on their site:


They also have an ElectraChic Facebook Page at:




About the Author:

Jennifer Sacasa-Wright is an Eclectic Witch who runs PaganPagesOrg eMagazine. She has many opinions, thoughts, & suggestions, and, at times, has problems holding her tongue. She loves hearing your opinions and thoughts on the magazine and welcomes comments.

Interview with George Nicholas of Cernunnos Rising

January, 2016

George Nicholas: Cernunnos Rising




Just before Yule I was fortunate enough to catch up with a favourite interviewee of Pagan Pages, George Nicholas of Pagan band, Cernunnos Rising. George was kind enough to bring us up to speed with what’s been happening since he last spoke to us.
MS: It’s been five years since we last spoke to you, and there have been two more Cernunnos Rising albums in that time. How has the band evolved? Who are you working with currently?
GN: Albums to date have been Cernunnos Rising, Wild Soul, Urban Druid, and the latest is Nature’s Child. The band members are now Martin Robinson on flutes and keyboard; Phill Orme on various instruments, vocals and lead guitar; Terry Gallagher on bass; Carla lewis on vocals and Eric Smith on drums. I tag along too.
MS: Going back to your third album, the title Urban Druid will no doubt resonate with many Pagans who live in our ever increasing cities. What was the primary inspiration for this album?
GN: My primary inspiration for creating the Urban Druid album was living in London; years of commercial business and hassle, and a feeling of being disconnected from nature in particular. I would seek out green spaces whenever I could and write my poetry and songs. Many of the songs are about trees, in fact, and some of their lost lore and mythologies. One song in particular was inspired by an ancient Yew tree I use to visit whenever I could, up in Borrowdale in the Northern Lake District; still alive thousands of years later, and going strong.
MS: What made you decide to use the theme of different trees throughout Urban Druid?
GN: The theme of trees seemed to sit well for me on the Urban Druid album, because trees and wild natural places occupied my mind so much when i was surrounded by concrete and city structures. It was my method of escape: visualising, drawing and writing about trees, and their ancient myths and legends.
MS: Is there a particular tree you connect to spiritually and why?
GN: I have no particular favourite tree really. I love them all, from the acorn decorated oak, to the essential apple tree, to the Elder tree with her beautiful, rich berries and aromatic flowers, to the ancient thick dark verdant Yew. All of them, special.
MS: Are you still an Urban Druid yourself, or are you more surrounded by nature and the countryside these days?
GN: I have seriously made it my business to spend the remaining years of my life enveloped and surrounded by nature. I live in an open aspect upon a hill. I welcome the clear vista of the sun arriving in the east, and relax and admire the beautiful sunsets that this aspect allows me to enjoy of an evening. I also spend much of my time on my land where I have my own stone circle with a central fire pit, surrounded by a mixture of trees; my peaceful little Nemeton.
MS: When and where do you feel most connected to nature or your spirituality?
GN: I feel most connected to nature and in the moment when I’m in a storm, or swimming in a cold mountain stream, or diving in the sea, or hang gliding, or skiing, climbing or in caves; in fact any aspect of land, sea and sky and in all seasons.
I certainly feel divorced from nature stuck in front of the T.V. or glued to a computer or mobile phone in a built up, urban scenario. Dissolves the soul.
MS: Tell us a bit about this year’s album, Nature’s Child. How has this latest album differed from your first two? Has it been more of a challenge, or as you create more albums, does the process become easier?
GN: The Natures Child album is different from the other albums in as much as I have mixed up the treatment and styles of the songs, as not to follow any format. There are personal songs on there; there are heartfelt ecological concern songs and protest songs on there; even new mixes of older popular songs, particularly Blessings Of Beltane. I had my Daughter Katie and co singer Carla do a much more sensitive and feminine version. I feel they have a quality in their combined voices i could never achieve and their version is closer to the Goddess.
MS: Do you have favourite tracks from the albums? If so, which are they, and why?
GN: I’m afraid I don’t have any favourite tracks from my albums. It’s the same with my artwork or paintings; once I’ve completed it I no longer like it! I instantly move on to the next creation.
MS: Do you have any gigs coming up over the festive season?
GN: There are many gigs we are considering at the moment, including a very large one in North Wales. We like to visit and play to our fans at our usual yearly venues like Pagancon in Preston, Lancashire etc. We will be confirming our dates in Jan 2016. Our last gig for this year will be our Yule event for the Merseyside Circle of Pagans at the `Casa Liverpool city centre.
MS: What has been your favourite gig to date, and why?
GN: My favourite gigs to date have been PaganCon as it is so friendly and warm, and a wonderful communitas has developed. Also I loved playing in the beautiful wooded areas of Silverdale for Wood Spirit Camp.
MS: How many of you are there when you play live, generally?
GN: 6 or 7 usually in the band when we play live, but can cut down to 3.
MS: Which do you prefer: composing, studio time or performing?
GN: I really like studio time. It seems like  a magical creative process, where things come to life and the last drops of inspiration jump from the cauldron and add to the tale.
MS: Do you consider yourself a Bard?
GN: People describe me that way… I consider myself a ‘creative’, be it poetry, music, art, sculpture. I consider myself fortunate and blessed.
MS: Who have been your biggest musical inspirations? Is there anyone you would absolutely love to work with, given the chance?
GN: Again, I try not to follow another’s style or skill. I don’t want to have musical inspirations if i can help it. The words and lyrics are my own, and the sound of the songs just happens, although some of my songs seem to me to have a formula. For instance Urban Druid has a jazzy twist, Beyond Us is the Cost has a Spanish feel, etc.  I’d love to work with Kate Bush, Nigel Shaw of 7th wave music, Brendan Perry of Dead Can Dance, Mike Oldfield, Loreena McKennitt… Ha ha, don’t want much do I?




MS: What other projects do you have on the go at the moment?

GN: I have projects upon projects!! My charity takes up so much of my time it’s hard to get anything done, but I’m doing a new album, launching The Werebears (my character creation) again, various mural projects, possibly building a roundhouse meeting centre and devising a new book.

MS: And finally, how will you be celebrating the festive season?

GN: I`ll be celebrating the season with family and friends, with music and laughter… and prayers and deep thought for those now and in unborn time who the British government decided to turn to dust and exterminate. /I\

Lord – Music Review

September, 2009


Lord is an Australian heavy metal band that is really a mix of styles from all over the world with their own unique spin on it that’s hard to quantify exactly. I would say more than anything you can hear a hunger and a drive in Australian metal because the scene there is so small, and to be a cut above anyone else and to make a real go of it you need to be up there with the best in the world or you have no hope of making the leap from small bar band to international touring act. That hunger trickles down from the top tier of international touring acts right through the entire scene. It’s that drive that gives the Australian bands a freshness and energy that’s lacking in some of the more over saturated markets.

With LORD, while they say they’re a heavy metal band, there’s much more to their sound than just being under that label. They have the obvious elements of traditional and power metal, but they also mix it in with a good helping of thrash, melodic hard rock, melodic death, and even incorporate elements of things as diverse as prog metal, mainstream rock, AOR and many extreme metal styles. It’s that diversity that makes up the LORD sound, so while they are proudly an Australian heavy metal band, they’ve also evolved into something far more broadly than that.

LORD was born from the ashes of Dungeon, who were one of the longest running and better-known Australian metal bands. The singer/guitarist of Dungeon was under the name of “Lord Tim” (which is actually more of a joke name than anything else), and he released an album of solo material as a side project in 2003. He disbanded Dungeon in 2005 and started LORD as a proper band rather than a solo project. It was convenient to use that name because they already had an album out, so the name was known, plus LORD is a fairly ambiguous word that can mean a lot of different things to different people, so it suited the diverse sound that they were aiming for. Essentially LORD is Dungeon when you break it all down, but with even more diversity in its style.

Dungeon, toured with Megadeth, Opeth, Mayhem, Destruction, Doro, Angra, Edguy… the list goes on. LORD has toured with Nightwish, Queensryche, Nevermore, Gamma Ray, Saxon, and lots more as well. They are very fortunate that their profile makes them one of the go-to bands for promoters to choose as a support to international acts that tour there, and getting the opportunity to tour the world with the likes of Megadeth, Queensryche and Edguy who are some of their favorite bands, and play with incredible musicians like Angra and Opeth is just a fantastic experience. They have also had the great honor of collaborating with members of bands like Doro, Dio, Megadeth, The Poodles and Angra. As the band puts it,” It’s amazing thinking back to when you were growing up and seeing posters of these people on your bedroom wall and then one day you find you’re not only just a fan, but you’re now a peer that is either touring or collaborating with them. That’s a pretty amazing feeling!”

It’s a pretty amazing feeling when we listen to their music as well. On A Night Like This is actually a cover of a Kylie Minogue song, believe it or not. It’s one of those wacky ideas that they did semi-seriously and it turned out great, and has since gotten national airplay and tens of thousands of plays on their My Space page. It’s a cool song and a lot of tongue-in-cheek fun.

Rain is one of the more popular songs on the Ascendence album, with a very Queensryche kind of vibe. It’s possibly the most ballad-like song on the album but when it gets to the middle section, it becomes quite heavy. The band says,”  It’s a challenge to play live but very satisfying and I think we’d get lynched if we ever stopped including it in the live set.”

Footsteps in the Sand is another mainstay of their live set. The lyrics are about deja vu and precognition, with a discussion asking if destiny is already mapped out and we’re just following “footsteps in the sand”, or if there are infinite possibilities and paths to follow. The band says,” This song is great to play live because there’s a big Iron Maiden-esque sing along part in the middle that always gets a great reaction.”

Reborn has so much cool stuff in there – dozens of guitars, hundreds (literally) of vocal tracks, orchestras, choirs… you name it – and because it tells the story of the demise of Dungeon and the birth of LORD, it’s very symbolic.

As for Last Rites, the subject matter is fairly thought provoking and it goes through a wide range of movements and themes to tell the story.

One thing everyone says about LORD is that even if they’re not particularly a fan of their style of music, they still enjoy the performance. The band likes to put on a show rather than just standing there and playing their instruments. There’s a lot of crowd interaction, lots of jokes and crazy stage moves. People can see they’re having a great time on stage and not taking some of the stuff they do too seriously, but all the while actually managing to play the complex material they have on their albums.

LORD has the following albums out: A Personal Journey (2003, remastered and re-released in 2005 when LORD became a proper band), Ascendence (2007), Hear No Evil EP (2008) and 2009 will see their new album Set in Stone released. There’s also been a limited edition live album called Live at the Metro (recorded live in late 2006, released 2007). They tend not to count A Personal Journey as a “real” LORD album, although they’re still proud of the material on there and play some of it live, so as far as evolution goes they would say it starts with Ascendence. That in itself was a continuation on from Dungeon’s style and was very much a transitional album between the more straight ahead heavy metal sound Dungeon had into the more adventurous sound that LORD was developing. That continues on into Hear No Evil where there’s more of a blend of elements like thrash and mainstream rock into the core heavy metal sound, and Set in Stone is more diverse again, and the most ambitious project that they’ve done yet in both LORD and Dungeon.

The band is currently putting the finishing touches on their new album, Set in Stone, which should be due out this year. You can expect a couple of video clips and possibly a limited edition DVD sometime this year as well, and then they plan to take a much needed break from writing/recording until 2010 sometime because it’s been absolutely non-stop tour/record/tour/record for the band since it was formed. They’d also like to concentrate on touring and recharging their creativity before they tackle the next one, and given the high mark they are setting themselves with Set in Stone, I think they’re going to have a tough act to follow.

No tour dates in the US yet, unfortunately, but they are working on international dates at the moment. Hopefully that’ll take them to the US sometime in early 2010 if all goes well and their distribution is in place. For all of LORD’S tour dates, the best place to check them out is on their My Space page: they’re just about to embark on an Australian and New Zealand tour in a week, and they’re adding more national and international dates as they get confirmed.

You can get LORD (and Dungeon) albums at their online store: and you can also legally purchase MP3s from the Hear No Evil EP from places like iTunes, Rhapsody, Napster, etc.

Modern Invasion is the Australia label that released A Personal Journey and Ascendence. Soundholic is the label that released Ascendence in Japan. From Hear No Evil onwards, LORD has been and will be released through Dominus Records, which is their own label. They’ve chosen to go that route to give them more control over their product and marketing, and they’re arranging distribution and sub-licensing for territories around the world.