Marco Zonka
Marco Zonka


Thunder over Varanasi

The city of Benares/Varanasi is one of the oldest continuously inhabited city in the known world.

Steeped in eons of history that disappear into the mists of our most ancient human experience, Varanasi is wreathed by the holy Mother River Ganga, gracing her rising and sinking temples like a necklace of shimmering beauty and seething sorrow; here, human beauty and majesty lives and breathes beside human suffering and indignities on a scale of contrast that will astonish the heart of all who witness and embrace her. Ma Ganga, the Holy Mother of all Rivers; elephants bathe in Her as the bodies of children float by, face down; garlands of fresh flowers and candles on floating leaves, tokens of the prayers and hopes and dreams of unseen multitudes, are carried slowly downstream; exquisite perfumes and oils on floating effigies of Gods mix with human and animal effluent, all of it drifting away toward the unseen ocean beyond the distant horizon; all of it a living breathing metaphor of the human experience.

“India does not exist for herself alone; India exists for the whole world” as Mahatma Gandhi once said.

And that is especially true of Varanasi, crown jewel of North India, a city where ancient past and modern present meet for tea everyday; iron in the blacksmiths hearth rings out --molten and glowing-- under hammer blows of the blacksmith, as it has for a thousand years, next door to the cell phone shop, where a trendy young man, impeccably dressed in Western attire, demonstrates the latest programming features in the very latest wireless handheld.

When thunder clouds form and explode with lightening over this sacred city, sheets of rain follow, washing away all manner of tawdry excess and human and animal detritus, purifying the air and earth, and also cleansing the hearts and minds of all who live here, who love and revere and fear the cycles of flood and famine that are the life blood, and returning death and rebirth, of this seething human organism known also as “The Eternal City.”

 This song, based on the Hindustani Raga/melody known as Raga Megh, evokes the power of thunder and the torrential rain of heaven, that are often both the fatal onslaught and the very life’s blood of this of this blessedly beautiful city. Sitting on the floodplains of the river Ganga, where Shiva’s heavenly generosity floods Ma Ganga’s bosom with life-giving water, River Ganga bursts forth from her banks across the wide river basin around Varanasi, to re-fertilize her soil every spring, while also taking a lethal toll on the elderly and the young and infirm, for her life giving waters are also life-taking as well.

  “Thunder over Varanasi” calls forth the power of heaven to bring forth new life, its heroic pathos evocative of the power of nature and the living spirit within us, its stately rhythm reminiscent of the walk of elephants, carrying all earthly patrons along the road of beauty, sorrow, joy and illusion; our souls journey of awakening through this exquisitely miraculous and mysterious world.

  “Thunder Over Varanasi” features the sublime vocal imagination and sitar artistry of Deobrat Mishra of Varanasi; the beautiful and lively rhythmic guitar phrasings and of Keeth Apgar of Port Townsend Washington, and myself on percussion and supporting vocals. This song is of authentic “East/West” vintage, and is literally the play of one afternoon together in our home studio in Seattle; please savor it as a rare feast of delicious sound-food for heart and soul.     -marco zonka


Marco Zonka
Marco Zonka


About YahwehAllah!


The full name of this song is “Yahweh-Allah-Oum-Dei-Jah!”

It is a combination of sacred names from Judeo-Christian, Islam, Sanskrit, Latin, & Carribio-Jamaican sources,

and it celebrates “making a joyful sound” using ALL the beautiful names of the Living Spirit giving light and life to all things and all worlds.


Please join all loving people of Mother Earth in celebrating the Living Spirit animating and enlivening ALL people everywhere, by any and all of his/her “sacred names”.

And enjoy for yourself and those you love the spirit of celebration and unity of feeling this song evokes.

“YawehAllahOumDeiJah!” is a celebration of the Living Spirit/God by any all of His/Her beautiful and sacred names!

 This song features the late-great maestro extraordinaire Randy Mead on intertwining/serpentine Saxophones and keys, vocalists Jennifer Youngdahl and Stazya Richman on supporting vocals, and myself on percussion, keys, and all male vocals.  -mz

Marco Zonka
Marco Zonka


About Planets of the Sun


“Planets of the Sun”, with a soft and sensually seductive jazz feel, tells a story of love lost, temporal yet eternal, using the metaphor of planetary orbits around a single central sun –as all loves revolve around the radiant source of ALL LOVE—and the deliciously agonizing sweetness of love touched upon and lost into the mists of time.

Drink the rich dark wine of your sweet sorrow, beloved!

Be emotionally courageous! It is the living proof of a loving heart!

Love is never lost, true and knowing lover! All love that is found, anchored in the fabric of the living spirit, is found forever!


You say: “love is never free”

Why do, you give it all to me?

You say: “love must pay the price”

Why does, paying feel so sweet and nice?

Allah! Hymn na dere na! (Spirit! The song of love is here!)

Allah! Hymn na dare nom  (God! That song is your name!)

You say: “Love must pay the price”

Sweet Sugar: Why do, lovers live in paradise.

You say: “Gravity’s our chain”

We can’t change, the orbits we’ve arranged

We’re just planets of the sun

We can’t touch, cannot pull our paths apart.


Once, we believed in love

Shadows don’t fall during high noon.

Then, while white fires raged

Arrows did rain upon black doves.



Marco Zonka
Marco Zonka


About the Song “Yeti”


In the deep forests and wilds of the Pacific Northwest and British Columbia, I sometimes feel a hidden presence, sentient, knowing, watching me from hidden places. And I often sense that it is Yeti or “Sasquatch” as the Native Americans call it.

This rarified being, spoken of and reported throughout the world by people of diverse cultures, is said to be an ancient form of human being, preceding the all-too-often inhumane “human beings” that dominate blessed earth today.

While widely believed to have been a very “primitive” human, there is reason to believe that “Yetii” (plural of Yeti) who lived through many cycles of ice-ages on earth, though not developed as ‘civilized’ in any outward sense (are we?) were in fact linguistically and psychically and spiritually far more advanced and evolved than many of us.

The book “Cities of Dreams” posits that the elusive origins of what we call the “Indo-European” root language shared by most languages on earth, may have come in fact from the Yeti, and may have been acquired by our more direct ancestors from association and/or interacting with the Yeti/Neanderthals over many millennia, now shrouded in the lost or hidden mysteries of our unseen shared past.

Evidence also suggests that, as primarily “nocturnal” beings, the moon was their beacon and guide, and they were very advanced in its observation and understanding, knowing, for instance, that it actually revolves around the earth from west to east (despite appearances to the contrary). Other evidence indicates that they may have been the first to create the original ”astrology” based not on the sun but on the moon, and so had 13 signs, because the children born under pure lunar influences not confused by the non-circadian rhythms that obscure and confuse human menses under the artificial lights of so-called “modern civilization,” would have been born in 13 clearly defined lunar “batches” so to speak, when the human fertility cycle was more closely and finely attuned to the lunar cycle that is it most estrogenic source.

So the song “Yeti” is not just a song about our “lost” (are they really?...) human brethren, who may in fact have given us the very best of themselves (even as we persecuted them to extinction and/or perhaps just deeply hidden occlusion); the song “Yeti” is a paean of love and loss toward a deeper human kindness that often eludes the so-called “human beings” that inhabit earth today.

The song “yeti” is therefore a metaphor for the often lost yet most essential “humanness” that is the essence of what makes (at least some of us) “homo sapiens sapiens.”

Even today, in this time of gathering and deepening human darkness and suffering, before we arrive at the new dawn of the new humanity, “yeti” is a song of invocation, evoking the spirit of love, wisdom and kindness.

And lastly, Yeti is a song of the strength in hope, that we may persevere in remembering our deepest and our truest and our highest humanity, our most sacred birthright: wisdom, kindness and the infinite love available to all of us, kith and kin, given to all who know and breathe to sing and dance in the spirit of love, given to us forever through the crucible of the knowing-heart.

 This song features the exquisitely soulful and subtle guitar styling’s of Keeth Apgar ( with myself on all vocals.   




In a long forgotten time

kindly were our kin

now a darkness rises from within

does a mirror recognize

faces it reveals does a hand that taketh so reveal

Hey Yeti Yeti Yeti Yeti yeah

where do all the fallen children lay


Hey Yeti Yeti Yeti Yeti Yeah!

where will all the future children play


Marco Zonka
Marco Zonka



How long will we hunger for justice, equality and freedom among all people and all nations?

Someday, it is said, a child will be born among us; a child of wisdom, power and loving radiance, enlightening all who live in the shadows of death, upholding justice, freeing prisoners from their prisons; kings will stand mute and powerless as nations sing and cry out his name. Gird only in the armor of justice and faith, a thunder issuing from this man-child’s mouth will echo throughout the earth (it is said) the very breath of his lips withering the wicked; and that spirit-child will rise with the power and glory of the rising sun!

O morning star! O luminous one! O holy child!The people living in darkness hear your voice and hunger for your light!

Great knowing and loving one!Your birth shatters the grandiose temples of unholy men!

Your loving wisdom, a light to all nations, all worlds!And that child shall be named “Emmanuel”, which is to say: “The Radiant One is with us!”.

And those who hunger for justice and freedom cry out: “O come! O come! Emmanuel!”

 In its earliest incarnations, this song is said to date back to the 8th century, and was a climatic song sung on the seventh day of vespers (December 23/Solstice) and known as the “evensong”, and the promise of coming-light/dawn/wisdom & loving knowledge.

 As is also traditional with this song, we do not put the “new wine” of new seasons (new understanding) in “old bottles” (old forms/old ideas); we “put new wine into new bottles”, as Yeshua/Jesus said.

And so we have.

 This version of the ancient hymnal/antiphon “O Come O Come Emmanuel!” has been re-phrased into an heroic rhythm of 7/8 time and features the deeply spirited Romanian Mandolin phrasings and gorgeous harmonies and supporting vocals of Felicity Gerwing, with Randy Mead on the deeply sapient and serpentine oboe, and myself on percussion and all lead and male vocals.

And as “liberty is never given but must be taken”, liberties were duly taken with the lyrics as well!


O come O come! Emmanuel!

Shall come to thee of Israel!

Who morn in lonely exile here

Then to thy tribes on Sinai’s height appear!

Rejoice! Give Voice!


Shall come to thee of Israel!


O come O come!

Desire of nations bind

In one the hearts of all mankind

Bid thou our sad divisions cease!

To us the paths of knowledge now release!

Rejoice! Give Voice! Emmanuel!

Shall come to the of Israel!


O come O come

Thou wisdom from on-high

And teach of all things loving far and neigh

And open wide the gates of our home

A star that born in darkness fills with light

Rejoice! Give voice! Emmanuel!

Shall come to thee of Israel!


Marco Zonka
Marco Zonka


About Allah Oum


The “membranophone” (aka “drum”) is one of the most ancient instruments on the face of the earth, widely used all over the world since ancient times as one of the most effective and primordial instruments of ceremony, celebration and invocation. Less well known is its tremendous power as a vocal-enhancement instrument. Using the drums “note” or “tonic” as the resting note or “key” to which a melodic/vocal exploration is “tuned”, the “harmonic resonance” of a well-tuned membranophone/drum, responding “sympathetically” in the well-known natural physics of musical sound, the drum generates a profoundly mesmerizing “overtone series” of powerful and mysterious subtlety. If you listen carefully and deeply into this “harmonic overtone series” –unique to every voice and drum-- you can hear what is sometimes referred to as “the voices of the muse”…harmonies and “voice-ings” coming from within the drum itself. 

       The “hoop drum” (also known as the frame-drum) is seen in ancient Mesopotamian pictures and other etchings from primordial times, and is prominent in an ancient Egyptian hieroglyphic in the form of a woman playing the hoop-drum, in the symbol that denotes “joy”. This particular composition/song features a contemporary Middle Eastern form of hoop-drum known as the “tar.”     

       Using a multilayered vocal technique of interwoven melodies in subtle rhythmic syncopation, Allah Oum builds upon the deep harmonic power of the ancient Vedic “OUM” syllable, known through yoga to contain deeply harmonizing harmonic resonance, attuned to the earth, the human heart and mind, and through them, the cosmos itself. 

       Release yourself into the endless river of harmonic sound, and let it carry you heart and soul toward hidden horizons of remembrance and awakening.

marco zonka
marco zonka


"Trumpty Dumpty" is an acapella multi-layer rhythmic & choral style vocal arrangement, with ethereal ambient "Gregorian Chant" overlays. Definitely, an unusual hybrid audio artifact.