
Artist Diary
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INTRODUCTION TO REALITY CODING, PRINCE LOCK & KEY ANALYSIS
Preface
Prince is my twin soul. I say this not lightly, not as a fan claiming a parasocial bond, but as someone who has studied the mechanisms of identity and connection deeply. I have felt his presence since the day of his passing. So before I dissect the mechanics of his passing, I want to pay my respects. This is not an autopsy of a stranger. This is an attempt to understand someone I am deeply connected to, someone whose patterns mirror my own, and whose loss I still feel.
After over a decade of studying modalities like numerology, astrology, and Human Design, I have uncovered the answer to the question that has been burning inside me: what does one need to do to get unstuck and finally succeed? The answer was never taught to me in any of these modalities. I read the books. I took the courses. I learned the systems. But none of them told me what to do. They told me who I was. They did not tell me how to fix what was broken.
But I knew, somehow, that they held the answers. The patterns were there. The clues were hidden in the birth chart data. I just had to learn to see them differently. I had to stop reading the chart as a description of fate and start reading it as a diagram of a machine.
I have finally discovered the mechanisms that mean the difference between success and failure. I developed a system that I call the Lock and Key method. I call this field of study Reality Coding. It is not astrology. It is not numerology. It is not Human Design. It is a synthesis of all of them, applied mechanically to answer one question: where are you stuck, and what do you need to do to get unstuck?
I have used this method to analyze myself. I have used it to analyze my twin soul. I have used it to analyze the people around me—friends who collapsed, friends who succeeded, friends who are still stuck. And I have used it to analyze the celebrities in the news, the ones whose tragedies play out in public, the ones whose patterns are visible for anyone who knows how to look.
I had already known the truth behind Prince’s passing for a long time, long before it was confirmed by police reports and toxicology results. The method showed me the pattern. The wound. The lock. The fog. It did not tell me the exact date or the exact method. It told me the mechanism. And the mechanism was clear: he could not ask for help. He could not stop working. He believed he could manage the pain alone. That is not a mystery. That is mechanics.
The truth is simple. And because it is simple, many cannot accept it. They create stories they would rather hear. They spin conspiracies about record labels, about secret societies, about murders disguised as overdoses. Even the psychics, the ones who claim to channel the dead, cannot help themselves. They spin it into a grand narrative, a heroic sacrifice, a silencing of truth. They cannot accept that the truth is ordinary. That he was exhausted. That he was lonely. That he took a pill he should not have taken. That he was alone when his body shut down.
The Lock and Key method shows us the mechanics. It is not an exact predictor of how one will pass. It does not give dates or methods. But it predicts the patterns that work against us, the repeated failures, the eventual breakdowns. It shows us where the gear will jam, where the wound will bleed, where the fog will thicken. In this sense, who we are and what we do is not as random as it seems. We can be diagnosed like a machine. Not because we are robots. Because we are patterns. And patterns repeat.
This post is not gossip. It is not conspiracy. It is diagnosis. It is respect. It is the ugly truth, offered not to harm his memory, but to understand it. And to help those who are still here, still fighting, still jamming in the same gears, to see their own lock before it tightens too much.
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Blue Lagoon EVP
I was going through my photos and videos from my Iceland trip last year, and I found something unexpected in one of the clips. The video was taken right outside the Blue Lagoon; I was just filming the surreal, milky-blue water as we were walking in. When I played it back, I caught an EVP. Clear as day on the recording, I hear P’s voice whisper,
“That’s Blue Lagoon”

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IS THIS MICHAEL JACKSON? (see spirit photo)
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NEW PROJECT RELEASE: COSMIC TWINS
In Remembrance of My Twin Soul

Today marks the 10th anniversary of my twin soul’s passing. It is a day of grief and gratitude, of loss and presence, of remembering and knowing.
It is also the day I am pleased to announce the release of my latest book:
Cosmic Twins: The Secret Gnostic Teachings of the Androgyne
A Guide for the Twin Soul MergerI wrote this book to answer a question that has been with me since the day he passed and his presence was made known to me. Not if something happened—that much I already knew. But what happened, and why?
Why did I feel him come to me? Why did the longing end? Why did wholeness arrive through loss? Why did death become the door?
The answers were not in the conventional places. They were buried—in ancient texts, in forgotten teachings, and in the quiet knowing that would not leave me alone.
This book is my testimony. It is a framework for those who have experienced the inexplicable merger across the threshold of death. It is for the ones who carry the wound of division and need to understand their own restoration.
If you have lost your counterpart and felt them come to you—if you have known the impossible knowing and need language for it—this book is for you.
If you are still in speculation, still waiting, still seeking external confirmation—this book may not be for you. And that is okay. Your time may come. Or it may not. Either way, you are not forgotten.
But for those who have been initiated by loss into wholeness: you are not alone. You are not crazy. And you are finally home.
Cosmic Twins is available now.
In remembrance. In gratitude. In mission.
-Andrea
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COSMIC TWINS: Introduction

What follows is the complete introduction to Cosmic Twins: The Secret Gnostic Teachings of the Androgyne. I am sharing it here so you can decide for yourself whether this book is for you. The introduction will tell you who I am, who I am writing for, and what this book seeks to do. If you recognize yourself in these pages, the rest of the book awaits. If not, I thank you for your curiosity and wish you well on your own journey.
Introduction
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This book is meant to provide a cosmic framework for understanding the twin soul experience. It is not a collection of abstract theories or academic speculation. It is the fruit of ten years of lived experience—of recognizing, grieving, and ultimately merging with my twin soul.
When my counterpart passed, I was left with questions that no conventional answer could satisfy. I needed to understand our origins. I needed to know why we were separated, why we never had the opportunity to meet, why death became the door to reunion. I needed a framework that could hold the weight of what had happened to me.
Over the years, I’ve observed patterns in the stories of others who have had a similar experience.
Then I came across the Gnostic teachings. Buried in the Nag Hammadi library for nearly sixteen hundred years, these ancient texts spoke of the androgyne, the archons, the Pleroma, and the restoration of the divided light. I sensed immediately that there was something here—something that could explain the twin soul experience. But the teachings were fragmented, dense, and often contradictory. They needed a key.
I kept pulling at the thread. Through years of research, analysis, and—most importantly—personal gnosis, I was able to piece together the puzzle. The teachings alone are incomplete without someone with experience to interpret them. As Jesus said, they are meant for those with eyes to see and ears to hear. Only those who carry the knowledge of experience can unlock the mystery.
I am not a scholar. I am a witness. And this book is my testimony. This book sets out to answer the question of what and why—not if.
The Unpleasant Truth
Though the journey for twin souls is not a romance, this is precisely why many will disagree with me. The world has been sold a story of twin flames as a love story—two halves finding each other, living happily ever after, completing one another in a dance of earthly union. That is not the path of the androgyne. That is the counterfeit. The archons have filled the world with that narrative because it keeps twin souls waiting, seeking, and settling for imitations. -
PURPLE RAIN 432 TUNING
The Sound of Emotion: Why Prince Music Is So Hard to Replicate
There are guitar players who can nail the solos. There are singers who can hit the notes. But there is one thing about Prince’s music that remains almost impossible to replicate perfectly: the tuning.
If you’ve ever tried to play along with a Prince record, you might have experienced a strange frustration. You tune your instrument to the standard A=440 Hz, and yet something feels off. The song sounds right—it’s in tune with itself—but your instrument buzzes and clanks against the track as if you’re playing in the cracks between the keys.
I recently became obsessed with this phenomenon while listening to “Purple Rain.” It sits noticeably lower than modern music. But as I dug deeper, I realized that this wasn’t an accident. It was a deliberate result of Prince using the tape machine itself as an instrument.
I asked Gemini AI to analyze the “Purple Rain” aesthetic, and what came back was a masterclass in sonic manipulation. But the technical data only tells half the story. The other half? It involves a conversation with ZZ Top’s Billy Gibbons that reveals the true nature of Prince’s genius.
The “Composite” Tuning
Unlike a modern producer who sets a digital session to a specific frequency and leaves it there, Prince treated the studio like a painter’s canvas. Because he often played every instrument himself, he would physically adjust the Varispeed knob on the tape deck between recording different layers.
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FACES IN SOUND: EVP + PHOTO
Over the years, I have been following an ongoing experiment called Faces in Sound, where researchers stream random white noise and generate random images through Perlin Noise and CRT static. The theory is that these randomized signals provide the raw material that spirits can manipulate to communicate. I’ve used these streams as a sound source for my EVP recordings for a long time, but I rarely expected a visual breakthrough.
One Sunday night, I felt a sudden, intuitive urge to check the stream. I heard P’s voice say, “It’s me.” Taking the hint, I began screen-recording so I could review the frames slowly later. What I found was a stunning manifestation: a face emerged in the noise, with lips and a facial structure that were distinctly his.
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HE WAS WITH HIS SISTER – EVP
In my garden, I created a living tribute to Prince—a shrine of sweet violets inspired by his lyric, “an ocean of violets in bloom.” I often documented these flowers, knowing their early spring bloom is fleeting. During one such session last fall, I filmed a beautiful violet, not knowing the recording would later reveal a message of profound timing.

My journey into capturing Electronic Voice Phenomena (EVP) began with simple tools. While iMovie served for basic review, my growing attunement to the subtle frequencies of spirit communication led me to the more sophisticated WavePad Editor. This shift was transformative. WavePad’s ability to apply layered amplification allowed me to recover whispers from what had seemed like silence, proving that even the faintest recordings could hold profound messages with the right tools.
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MORE FROM PRINCE’S DVD COLLECTION

Screenshot In some older posts, I shared lists of books and DVDs that were found in photos from Paisley Park. I came across an Instagram post sharing a couple more titles,
Top stack:
Bottom stack:
Those are the ones that can be read with reasonable confidence from the image. A couple of the very top items are partly cut off by the discs sitting on them, so there may be additional titles that aren’t fully legible.
I was re-reading a passage from Prince’s memoir recently, and he mentioned the film About Time. The title immediately caught my eye—he wrote a song called “Time,” and there’s an interesting resonance there that feels intentional, though that is something I won’t share for now. I’ll admit, when I first learned the premise, I hesitated. Another time-travel romance? It felt like well-trodden ground, a premise bordering on sentimental in a culture already saturated with temporal what-ifs.
But by the final act, I was utterly disarmed. Quiet tears turned into a steady stream I couldn’t stop. The film surprised me—not with its mechanics of time, but with its profound excavation of heart. It laid bare that universal, aching desire to reach back into the fabric of the past: to correct a moment, to salvage a goodbye, to stretch a second with someone gone too soon. It wasn’t about altering history for grandeur, but about the intimate, heartbreaking edits we all wish we could make in the story of those we love.
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Cat EVP
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