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I'm gonna make a few connections between indie music in D.C. and the suspicious activities and imagery surrounding Comet Ping Pong Pizza. It is impossible to incriminate any individual based on their art or their public statements. This can always be explained away with statements like the Majestic Ape's memorable (and ironically incriminating) "We all have our preferences," or an Abramovich-ic claim that one's art does not necessarily reflect his or her private habits or behaviors. However, as human beings we naturally notice patterns, which help us to form hypotheses and reasonable suspicion. When a clear enough pattern of potential foul play emerges, this should lead to a warrant and subsequent investigation of the individual.

It is beyond any reasonable explanation why there has thus far been no official confirmed investigation of James Alefantis and Comet Pizza.

I'm not saying that the individuals in this article need to be investigated, but perhaps the connections I've made can help form a clearer picture of the strange "tastes" of the prominent owners and patrons of Comet Pizza in D.C. Is it a coincidence that an artist who regularly attends and recommends Comet Ping Pong Pizza has lyrical content glamorizing child abuse and cannibalism? Is the graphic and confessional imagery of artists who talk about cannibalism, in the expected heavy metal and death metal genres, and even in the not-so-expected genre of edgy indie rock, actually a reflection of reality? Well, from what I found, I would at least steer clear of certain people based on their lyrics.

Mary Timony's Band Helium

I absolutely loved the D.C.-based band Helium in college. They were a seemingly innocuous, non-metal, (mostly) non-punk indie band that sounded like a girl-fronted Pavement (seminal '90s indie rock band).

Here's a music video that was actually featured on MTV if I'm not mistaken. Some buried-alive, pushing-up-daisies death themes, pretty clear cut in this low-budget '90s vid from the Dirt of Luck era (album we're going to be looking at):

They were fronted by Mary Timony, who has a newer band, Wild Flag, with Carrie Brownstein from the band Sleater-Kinney—and more famously the co-star of IFC's popular sketch comedy Portlandia.

Mary Timony's (far right) early 2010's band, Wild Flag

MTV Appearance

Though they had a decidedly "indie" presence in the history of rock 'n roll, like so many bands of the same status, Helium was featured on MTV (probably on 120 Minutes or something like it). They were even interviewed by Janeane Garofalo (the actress Queen of indie "crossover").

Mary is into arts & crafts apparently

Mary Timony's Favorite Venue Is Comet Ping Pong Pizza

Wild Flag and a lot of bands occupying their obscure space in the rock zeitgeist—who have been moderately successful and maintain a degree of hipster name-checkability and recognition—are the kinds of bands that play at Comet Pizza. However, Comet wasn't actually around in the band's heyday in the mid-'90s. Even so, I'm going to take a shot in the dark here and Google if any info comes up connecting Mary Timony and Comet Pizza...

Yup, I just found this article which confirms that Helium's lead singer, Mary Timony, goes there regularly. This makes perfect sense considering what I'll be sharing from her lyrics. Gleefully, the author of the blurb about Mary unabashedly acknowledges the Comet's connection to pizzagate (liberals are so shameless, I guess to them it's a badge of honor):

"If I ever make it back to D.C. like I’ve been planning, I’m going to hit up Mary[ Timony]’s favorite spots to see music. She says she frequents Comet Ping Pong — the center of the Pizzagate conspiracy!!! — because Sasha Lord books great shows there."

The author used THREE (count 'em!) exclamation points!!! They must really think Pizzagate is ridiculous or kind of get off on the 'who cares, conspiracy theories are dumb!" aspect of Mary's proud support of this establishment.

Helium's Lyrics About Baby-Eating

I found some suspicious and frightening lyrical references while thumbing through the lyrics booklet for their seminal Dirt of Luck LP that just happened to be lying around. These can't be a coincidence, guys. They bring to mind so many things I've gathered from my readings on mind control and Satanic Ritual Abuse. Anyway, I had been digging through my old CD's one day, and I picked up Dirt of Luck by Helium to flip through it after noticing it had all kinds of occult imagery in the artwork. I was suddenly overwhelmed with curiosity as to what all they were saying amidst this decidedly witchy imagery on the album cover (front and back).

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Almost instantly upon opening the booklet of lyrics I noticed some pretty explicit occult references in the lyrics of many songs from the Dirt of Luck LP. While rocking out dozens of times to this album all those years ago, I guess I somehow missed all these direct references to cannibalism—the most prominent being in the song "Skeleton":

Skeleton

Song by Helium

Did I tell you, I've got tiny little fingers
I've got bones where the ring goes
they go like a plant grows, they go slowly
they go over your new clothes, they go over your money
they go over your head, man, the only good man's a dead man
I like pretty baby candy, it goes right to my head
it makes my lips as red as rubies, I'll eat it 'til I'm dead
did I tell you that you can't get to heaven in high heeled shoes
you're such a loose little belle, a fallen angel
you go down into the big pit, it is deeper than a tar pit
your lips are red as lucifer, your hair is up in curlers
I like pretty baby candy, it goes right to my head
it makes my lips as red as rubies, I'll eat it 'til I'm dead"

Other titles on the album include "Comet #9" (yes—you can check it for yourself and "Baby's Going Underground." Here's the lyrics from "Comet #9" (maybe the meal number for the "special pizza?"):

Black angel, you're my centerfold
Though you're two years old, your love is so bold [WTH?!]
My heart is so cold
My heart is so cold

Come and get me, we'll fly
On your wings through the thunderstorm sky
Kiss me, oh my
Little kiss of death and things that die

The wings of a dragonfly
The kiss of a butterfly
Sing alleluia on high
Sing alleluia on high

Come and get me we'll fly
On your wings through the thunderstorm sky
Kiss me, ah
Little kiss of death and things that die

The kiss of a rattlesnake
The body of a black lake
Sing a lullaby to wake me
A lullaby to wake me

Come and get me we'll fly
On your wings through the thunderstorm sky
Kiss me, oh my
Little kiss of death and things that die

The first line is already quite obviously pedophilic, with its reference to "little fingers." I highlighted the 'butterfly' and 'alleluia' part, because that seems to be a reference to something Satanic Ritual Abusers and MKUltra programmers do, which is thoroughly covered in Fritz Springmeier's book about Mind Control, where he discusses this butterfly/alleluia connection:

WARNING: The following excerpt is extremely graphic!

One of the “appropriate” tortures is to place a bar between a little girl’s legs which spreads the girl’s loins for rape. Then the bent spread legs are flapped, while the victim is specifically told she is a “Monarch butterfly”. Many victims have created butterflies in their minds while being raped. The programmers may tell some of their victims that out of caterpillar-worms come beautiful butterflies. While raping the child, the Programmers will describe their sperm fluid as “honey comb”, and will cry out “hallelujah” when they come. It doesn’t take long for the child to realize it has no ability to resist what is being done to it.

WARNING: The above paragraph is extremely graphic!





So, apparently I've been listening to Satanic garbage my whole life, and I was none the wiser, because the sound was fairly tame, while still being quite hip/cool. I mean I expected Satanic messages to be unearthed in Metallica and Ozzy Osborne—but something as unassuming as Helium? Nah.

But yes, I'm a hipster at heart, so I was easily drawn into bands that were not as obviously pushing sex or drugs. Also, as a young Christian, I was looking for bands with a "wholesome" message with less cussing. This phenomenon of concealed (or hidden in plain sight, rather) occult messages in music is something to definitely look into more if you've been duped by the draw of the artistic "indie" label. Not just involving Mary Timony, but the entirety of the D.C. Underground scene, as well as indie rock bands that have made it big across the country.

Your Pavements, Sebadohs, Sonic Youths, Pixies, and countless other beloved indie legends might not have the legit underground, punk, DIY credibility we all once thought they did. There's a reason that Sufjan Stevens and Grizzly Bear get to work with the best visual artists and cutting edge music video directors—in the same league (and often the very same people) as those afforded to Justin Timberlake, Lady Gaga, Jay Z, Beyoncé, and Creed. Our job is to figure out why they might be getting their breaks.

How did the music I love end up in my lap? Have they legitimately earned their degree of exposure through talent, without any "extracurricular" assistance from occult activities and references?

A few extra thoughts...

Mary Timony also has an album called Ex Hex—an occult-sounding moniker now shared by her current music project/band. (All great stuff by the way.) For what it's worth, Mary Timony is an incredibly talented and rockin' musician. (Why does the devil get all the good music?) I think everyone would agree that Helium and Mary's solo work are far more artistic, talented—and way more subtle—than say, something like the Majestic Ape's Heavy Breathing. They're certainly hipper than Lady Gaga.

But is it all coming from the same occult origin after all, along with the same underground pedovore cannibal culture tied to it? I truly believe that time will tell, and all will be revealed. Justice will be served in God's time. The True Underground will ultimately be unearthed as we keep digging and calling for investigations. So please do.

More than anything else, though: Pray for the remaining victims who are still suffering at the hands of the perpetrators. They are helpless—passed around like playthings. They cry out, but their wailing falls upon deaf ears. It is lost in the dirt that buries them in their desolation, or it is echoed back to them against the concrete walls of their remote oubliette prisons. This unconscionable slavery needs to end—once and for all.