In 1989 he moved to Stockholm where he met Stefan Kéry, a psychedelic connoisseur, and gave him a cassette with some of his many recordings. To Mikaels great surprise he found that the tape was received with great enthusiasm and an album was soon made out of that very tape. The album was titled ”Visions Of A Trespasser” and was released early 1990 in an edition of 150 copies only. The album cover featured a colorful, organic vortex with images of beings of the galaxy in it painted by Mikael. Each and every record had differently hand painted labels. The album was mainly distributed among friends. It showed his very personal style of music covering all kinds of musical directions, all laced with the psychedelic sound. Among these ”not-meant-to-be-heard-by-others”-recordings you will find unbelievable sound’s from tea-balls, spoons and boilers. Except for the 3 studio tracks which was recorded together with a friend, he played everything himself - singing through his guitar-amp and using a pitched guitar for a bass.
In March 1991 he released his follow-up, ”The Unknown” , an odd home cassette- collection with new old haunting songs. The album was distributed the same way as the first one.
After forming Xotic Mind Productions Stefan Kéry let him go into a 8-channal studio and Mikael built up a whole new album all by himself (the only way he knew to work) step-by-step, beginning with the drums and nothing else but except a good memory! The result: ”Claustromania” (meaning: manic obsession for locking oneself in, which derives from the introspective state of mind he always go into while creating!) . The music is filled with pulsating, organic expressions, always emotionally gripping with his soulful voice. The album has a circular concept: The songs about other worlds, man against infinity and the human mind, soul and spirit are linked together with small musical inventions building a story that never ends, ending the way it started, starting the way it ended. The composition also reflects his past life of loneliness and emptiness that now has been replaced by a new existence of love, happiness and possibilities. Mikael says “Claustromania” also is an homage to LSD which helped him make the transformation possible.
st mikael
His creative years had only begun. In 1994 Mikael wrote a book with novellas in the horror-fantasy tradition crammed with drawings done during the last 15 years and drawn, copied and shaped 4 volumes of comic-fanzines - all still available in Swedish only! He acted in a 16mm film and in his own 3 fantasy video films as well as taking acting- and dancing- lessons! During the years he has been invited to participate on other Xotic Mind projects, like playing sitar on Adam Axelzons well-received ”Eura” album and with sitar and Tablas on the ”Gnostic Mass”-LP by The Entheogens, an improvisation-group he joined together with Adam Axelzon, Måns ”Word of Life”Månson and Stefan Kéry, among others.
In January 1994, people Xotic Mind released S.T. Mikaels new album ”Psychocosmic Songs” which was even better received than any of his previous LPs. The LP was recorded in a modern, high-tech studio. This time the tracks was a mixture of acoustic and electric singer-songs painted with sitar and tabla jams, heavy fuzz guitar sessions and airy, pulsating sounds done in the same step- by-step method like Claustromania! Although it is serious and soulful in tone, ST Mikael himself says he misses the playfulness and vitality which is more prominent in his home recordings.
In the spring of 1994 ST Mikael was living in a rented house with a beautiful garden of fruits, berries and flowers. For the first time he found an immediate presence of self confidence and also a more emotional and limitless way to express himself. In changing direction from somewhat stylish compositions to more improvised-on-the-spot creations he found that the happiness of a live-performance could be caught on a Pot-induced multi tracked solo recording.
During 1994 he made a huge collection of organic home recordings, far away from any inexperienced studio-technician, planning to release some of the material as a new album. With the addition of the extended studio track ”Summer In My Life” , which was recorded by an experienced crew and with additional musicians like Adam Axelzon. Xotic Mind released it in 1996 as a double-album - titled Soul Flower. As always - with a homemade painting on the cover. It can be seen as a rock opera without a plot, an invitation to a small living room full of impressions of many far away places.
During the years that passed since that album, St Mikael seemed to become more secretive and reclusive, but was still making homemade music. Some of this music, still stretching out in many different musical directions, has been done freely and spontaneously in an extremely relaxed and happy environment, and has been compiled into the home-made double CD, "Mind Evolution", which is not really an official album. Since the turn of the century, Mikael has renewed his lifestyle, has found love in Cheska, an American woman, and has travelled around in Europe, and recently in the USA.
source: http://www.subliminalsounds.se/DOK/stmikael.html
Intro
St. Mikael Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I been hollerin' at you man.
I been tryin' to call you 'bout 3 days
I called your cell phone, your pager, your voice mail, over you mamma house.
Your uncle Daryl and I paged Kewan like 3 time,
Ya'll get at me man I just want to holler at
You player, you know I'm out here in Cali just doin it up,
Hangin' out here you know chillin'
Rollin' around here in a big body Benz with 2 dollar worth of gas,
Huh who said there wasn't no future in your front
Put it down like dat wit that country grammer right,
I heard about it
Using them words like St. Louis, "hurr" "thurr" puttin'
Them two capital "R" on everything
I feel you on that right, I feel you so just get at me,
So I can do a little something for you
Flip a few things, just call me back what ever,
You can't get me, call on my mammas house
They know how to page me, they'll page me to your number
Then I'll call you back or you can just page my cousin Keith
And he'll call my cousin lil Daryl
Who got my real pager number and then I call you back
On his cell phone, what ever you do player, do it St.Louis style.
Put it down for the STL aight
Now get at me
The intro of the song starts with a conversation between Cedric the Entertainer and Nelly, where Cedric the Entertainer attempts to get in touch with Nelly for a few days. Cedric the Entertainer is in California, enjoying his time as he is trying to do some TV work, and he claims that he is driving around in a big-body Benz with two dollars of gas, indicating his lavish lifestyle. The conversation between Cedric and Nelly highlights the use of slang words in St. Louis, evident from Nelly's use of words such as "hurr" and "thurr." He even emphasizes the use of the two capital "R" sounds on everything, which became a signature of St. Louis.
The song's intro depicts how celebrities stay connected with each other, and Cedric the Entertainer uses multiple channels to contact Nelly, such as his cell phone, pager, voice mail, and his family's contact numbers. He emphasizes that if Nelly cannot connect with him, he should page his cousin Keith, who would then reach out to Nelly via his cousin Lil Daryl, who has Nelly's real pager number. The lyrics show the importance of personal communication for networking in the entertainment industry.
Line by Line Meaning
Yo, hey Nelly what's up dog? It's Cedric the entertainer get at me man
Cedric the entertainer is asking Nelly to contact him.
I been hollerin' at you man.
Cedric has been trying to communicate with Nelly for some time now.
I been tryin' to call you 'bout 3 days
Cedric has been attempting to contact Nelly for three days.
I called your cell phone, your pager, your voice mail, over you mamma house. Your uncle Daryl and I paged Kewan like 3 time,
Cedric has been trying all available methods to reach out to Nelly, including calling his cell phone, pager, voice mail and even contacting his family members to deliver messages.
Ya'll get at me man I just want to holler at You player, you know I'm out here in Cali just doin it up,
Cedric wants to talk to Nelly and tells him that he is currently in California having a good time.
Hangin' out here you know chillin' Tryin' to do a little tv, you know how I do it, Rollin' around here in a big body Benz with 2 dollar worth of gas,
Cedric is spending time in California and enjoying his luxurious lifestyle with a customised car and a limited amount of fuel.
Huh who said there wasn't no future in your front Put it down like dat wit that country grammer right, I heard about it
Cedric has heard about Nelly's success in music and agrees that he is doing well with his unique style.
Using them words like St. Louis, "hurr" "thurr" puttin' Them two capital "R" on everything I feel you on that right,
Cedric acknowledges that Nelly uses words from their hometown St. Louis and emphasises on the 'r' sound, and he agrees with his stylistic choice.
So I can do a little something for you Flip a few things, just call me back what ever, You can't get me, call on my mammas house
Cedric wants to help Nelly out and asks him to get in touch with him whenever he can, even if it means calling Cedric's mother's house to pass on the message.
They know how to page me, they'll page me to your number
Cedric provides an alternative way that Nelly could have someone reach out to him, by contacting his mother who knows how to contact him.
Then I'll call you back or you can just page my cousin Keith And he'll call my cousin lil Daryl Who got my real pager number and then I call you back On his cell phone, what ever you do player, do it St.Louis style.
If Cedric is not reachable, he provides another set of contacts that can get a hold of him, including his cousin Keith and lil Daryl. He encourages Nelly to continue being true to his roots and represent St. Louis in his endeavours.
Put it down for the STL aight Now get at me
Cedric reminds Nelly to always represent St. Louis and tells him to contact him.
Lyrics © Universal Music Publishing Group
Written by: Jason Epperson
Lyrics Licensed & Provided by LyricFind