Fall of Man releases âMyrkĂŸursablĂłt: Nightside of The Old Norse Mythologyâ
Fall of Man latestâs Nox Sine Occasu release is now available. This new booklet focused on what they call the nightside of Norse Mythology is the publisherÂŽs second book on the subject, since their first highly successful release of GullveigarbĂłk. Â
MyrkĂŸursablĂłt, or Dark Ăursian Worship, is a look into the primordial gateway to learn its ethereal secrets of fire and ice in order to unchain oneâs spirit from the restraints of the mortal world. A journey through the untamed wilderness of darkness as one wades through treacherous tests of inner conflict, as the spirit fights to unleash itself from the prison of flesh, and ascend into the true light to obtain the secrets of the runes from the oldest beings. The keepers of all hidden wisdom, knowledge, secrets and magic. The Ăurs.
You can read all about it at http://fallofman.eu/myrkthursablot.html and order your copy at www.fallofman.eu.Â
The Temple is representative of a space within Space. It can consist of rudimentary symbolism, or can be developed into more elaborate symbolism. The two ends of the spectrum have their uses and functions, and while one is not necessarily better than the other, there are specific advantages inherent in each. The more rudimentary Temples are able to be built and dismantled in a more timely fashion, and are easier to attain. The day to day workings of most magicians are conducted in a more rudimentary setting as many magicians do not possess the necessary resources to devote a complete room to the function of magic, alone. However, the more elaborate the imagery contained within the Temple itself, the more the imagery and intent of the Ritual performed becomes built up or etched in the mind or subconscious of the individual(s). The Holy of Holies is an elaborate representation of the space used to commune or communicate with G_d, or The Creator. In approaching this space, or rather spaces, one must practice and observe several conditions. The individual must not approach the Holy Emanations of G_d while unclean, unchaste, or in an impure state. The reasoning behind these observations is indeed sound and should not be neglected due to an erroneous belief that the condition of purity is unhealthy, or unnecessary, due to the changing viewpoint(s) regarding sexuality by our cultures, as a whole. The Temples of antiquity required Ritual observances for specific reasons, and these reasons were not ill-informed, erroneous, or unnecessary. Consider the approach towards the Sanctum Sanctorum used in the Rites of Freemasonry, or even the ritual of the Perfect Initiate of the Ordo Templi Orientis. The magician/candidate/worshiper/observer takes several steps towards the inner Altar and these are accompanied by a pause (or genuflection) at each of these stations. Seven steps considered kabbalistically would, one may consider, represent the seven Heavens, seven spheres of the planets, and many other things (including the seven chakkras). However, the pause for reflection, bowing in observance, giving of signs (such as the penal signs, and/or LVX/NOX signs), and acts of due reverence are displays of humility, observation, reflection, and respect that are necessary when communicating with a being (or beings) greater than the individual(s).
The sovereignty of man is something to be respected, however this is not always the healthiest approach when considering the broader view of Creation. The attitude of Deus est Homo is better suited, perhaps, to the commanding of spirits, or the accomplishment of oneâs Will, the desired means to the end; and the outcome of the Rites, or Rituals, tend to be better accomplished when one has the one pointedness of Will that comes with the attitude adopted when using this motto. However, personal experience has demonstrated that every time personal confidence or assurance, when it tends towards arrogance or over-inflation of ego (which in its extreme becomes megalomania), I experience a humbling, or belittling of Self, at the hands of a power, or powers, which exist independently of time/space and/or my attention. This is never a pleasant experience, however necessary. It would seem that pride is a favorite indulgence of the ego, and almost every time pride is adjusted, or re-aligned, the ego experiences pain, as a result. The classical grimoires do not publish explicit instructions regarding the symbolism and creation of symbolism with the Temple. It almost seems as if this is assumed knowledge and that those who would dare these rituals would also be familiar with the holy writings, and due reverence. The use of devotional litany can be quite elaborate, intricate, and complex (it is true) however, this seems to be more a case of instruction in the proper application of something such as the Psalms, and the like as opposed to the construction of the Temple of Jerusalem. It was not something that Solomon purportedly asked the spirits for instruction in (as far as the Goetic spirits go) and the instructions may perhaps be received from the Angelic Hierarchy, instead. This being said, the consultation of the Holy Books can and should prove fruitful [much of the symbolism being incorporated into the rites of Freemasonry, the likes of which the Ordo Templi Orientis derives much (if not most) of its symbolism from] The Pillars used in the Temple of the Gnostic Mass of the Ecclesia Gnostica Catholica are derived from these sources, and therefore the Temple itself is a part of that eggregore, whether the attendants and participants present are comfortable with, or even aware of this fact, or not. The use of the holy reception of the Bride in designing and constructing the Temple is of inestimable value (and Crowley was well aware of this fact). It also stands to reason that the Temples of the Order of The Golden Dawn are so elaborate for this reasons. The House must be built for the God to indwell, and the construction of the house is not to be neglected, shunned, or short-changed. Therefore, the more elaborate the construction of the Temple before the rite of evocation the better, as long as the imagery and symbolism has been thought out or meditated upon and the meanings grasped. The traditional methodology of evocation that was taught to me did not simply involve a banishing, an invocation, and a conjuration. The Temple needs to be completely pure, in that mixing the energies of working will commingle the intent of the Rituals, and while this may be harmonious in many occurrences, in many it will not. If one desires much success with the rituals one must pay attention to detail and the more one can focus on the purity of intent without becoming bogged down by that which is unnecessary the more successful the rituals will prove. Hermetic Art is termed hermetic for a very good reason, and the hermetic seal was a concept I was given to meditate upon early in my occult career. This was profitable for me, and I am grateful to have been given this gift to reflect upon. Without such consideration the imagery also becomes muddled, and unless (and often even if one is) one is a master kabbalist it will become difficult to distinguish who is who and what is the source of causes in oneâs affairs. Therefore, it is necessary to keep the process of the ritual intact and not enter into a short-form of the Rites. The invocation of the thirty-two paths of wisdom is an excellent example of this, it is necessary before beginning to communicate with the Spirits to give due reverence to the Creator, G_d, or the Deity of your choice. In terms of Solomonic Magic, which much of the writing of this author centers around, the thirty-two paths of Wisdom are indeed important to reflect upon even if the individual is incapable of embodying these principles, or even able to visualize the nature of these paths. The Invocation of Ohr Ha Olam may not correspond to oneâs ethos exactly, however when in Rome one must do as the Romans do, or one will be sure to be met upon the receiving end of the Sword. The Bornless One was printed in the Goetia that was published by Aleister Crowley under the motto of Perdurabo as a method of reaching out to oneâs Holy Guardian Angel. It is explained quite explicitly by Aleister why one must deign to contact oneâs Genius of Birth in his extensive writings regarding this subject. Liber Samekh is a worthy alternative to the Bornless One, although this was written after he had published the Goetia, and this is probably why it was not included in his rendition. In terms of the Goetia it is assumed that a Temple is already opened, and mostly that of one of the Adeptus grades, (specifically the Adeptus Minor Temple comes to mind) However, the Vault of Adepts is not readily accessible to those not currently practicing in the Golden Dawn tradition. It is also difficult to reproduce physically, there are many requirements needed for such a thing. However, the recommendation of most members of the Golden Dawn, as contained in the curriculum of the outer college, is that evocation is reserved for the Adeptus Major, or on a limb the last emanations of the Grade of 5°=6â«. This is not just due, in part, to the consciousness that is purportedly attained upon reception of the Grade, but also due in fact to the construction of the Temple. The attainment of Grades is quite often misinterpreted within occult orders as status where it is more the recognition of a state of awareness. Liber ABA by To Mega Therion gives some in the form of diagrams, the likes of which are also published in the columns of Liber 777 also by Crowley. These equate the sephiroth with various visions or consciousnesses. For example the Vision of Sorrow is corresponded to Binah and the Grade of Magister Templi or 8°=3â«. The Temple is something which is internalized within the rite of the initiation itself and this is often overlooked in lieu of the resultant vision or attainment. However, the spirits respond differently to different Temples and the practitioner may or may not wish to gamble with success or failure in this regard. The author of these Rituals has spent considerable time within the confines of several variants of the Temples of the Grades, and these are not all correlated to the Golden Dawn, nor is that necessary. Certain images contained within the Scottish Rite, the York Rite, and the Ordo Templi Orientis are rife with symbolism connected to the mysteries contained in the kabbilistic texts including the directions of space written of in Sefer Yetzirah. Repetition of the Ars Goetia, and the descrying of the Aethyrs are also experiences which lend in the incorporation of symbolism designed to facilitate the accomplishment of True Will and success in the operations of Ceremonial Magic (most specifically spirit communication in the form of evocation) The Temple openings are used in the invocations of the WatchTowers and the performance of these Rituals will develop an understanding of the formulae (albeit not as deeply as initiation into those mysteries) In these instances the Holy Guardian Angel is invoked right before the conjuration as it is assumed that the magician is competent in the opening of a Temple corresponding to the R.R. et A.C., and does not need instruction from oneâs Holy Guardian Angel. The Angel will dwell within an Adept Temple much more fully than a Temple corresponding to the imagery contained within the imagery of the Outer College. Therefore, I have designed the Rituals to be elaborate in the openings and closings, the imagery is intended to build up oneâs consciousness to Tifaret (at the least) and raise oneâs awareness to a state that they are able to call the spirits effectively, and to communicate with, and bind, the spirits in a timely, and efficient fashion. Much of this has been gained over a period of a decade or more, and is not entered into haphazardly or without intent. The building of imagery demands that one is aware of the intent involved, and the more pure one is in approaching the Holiest of Holies and the Most Holy Revered and Wise, the better; as the baser nature is something that is transcended by such awareness by its very nature. Consider this well and let success be your proof, profit in your endeavors, and let the Glory of The Stars be received into thy company. Let thy Will be done and keep due reverence for the Creator and all that is Holy. Consider the lesson of Liber Librae; blaspheme not one God in anotherâs sphere and keep thyself humble before G_d.Â
Death Sutras, Art and the Occult: An interview with Clandestine Faith
From the hundreds of music labels appearing every year, few have the strong personality and focus CLANDESTINE FAITH has shown itself to have since its creation. This is an enterprise that goes beyond one music genre, or even beyond music; this is a home for those hungry souls searching for the forbidden knowledge of past eras, modernized to appeal to todayâs sensibilities but maintaining the true essence. We had some words with them, presented below:
Greetings! Can you introduce yourself and tell us a bit about Clandestine Faith? When was it founded, what are its goals, etc.?
Greetings as well,
2012 was when Clandestine Faith appeared into thought. Though not until 2015 did it fully manifest itself into the public sphere through the release of Samharaâs âDeathkult Sutraâ. That time gap was a moment of reminiscence and reflection upon the existence of this label and its detailed purpose.
The idea of releasing and distributing the physical copies of my personal project and others, with the attempt to make these releases as professional as they could be, swerved around my thoughts for quite the time and always felt it was the best way to set this journey into balance. I would be in full control. This mass of harsh spiritual presentations to be as a seeds in nature, to grow on their own, without the attention seeking clinging upon another labels or artists already well-recognized work, as miserably attempted by many. This labels work is to be harvested and ingested by those who could see its use, if they already wield any spiritual tools to cut and feed from its branches. There are a multitude of underground labels with nearing a hundred releases, but of what use are they when all together not carry the might of one excellent and well-presented release, lacking the metaphysical dispute, the expression of transcendental divinity through keys obtained within an occult branch or through a branchless self-born doctrine. They are those whom I spit upon.
If you notice⊠the illustration and logo which Babalon Graphics manifested through my vision carries much occult significance for it is based on a specific quantum mechanics multi-dimension theory as can be observed through its occult web of designs, an occult ensemble, crawling from a void, ripping towards you through the fabric of reality. The cross bones and scythe which are a marker identifying the presence of my work and those sharing a similar level of introspection, the âHierarchy Of Deathâ. There is much more to be explained behind the imagery which is portrayed and helps identify these goals. The illustration of the indigenous inhabitant seen drinking a form of psychotropic nectar, as historically documented of our past ancestors shamanic entheogenic practices and other notable historical events, shifting themselves towards the psychedelic state in attempt to retrieve divine information. Within the Vedic soma, to the Native American/Yaquiâs Peyote, to the Greco Kykeon presented in the Eleusinian mysteries. Practices never touched by the lesser and fearful. Through these statements, a base of goals from this label are now somewhat clear. We are hardly tearing the surface with such a topic but it will be left to a later discussion.
You appear to have a strong focus on the occult. Does your label limit itself to extreme metal bands, or are you interested in any musical expression of the occult?
This is a question in which I asked myself in the beginning. Should this be limited to heavy distorted music alone? It would not be fair to imply my label, a serious metaphysical platform dedicated to those whom have a valuable piece of information to share if it was limited to a genre of mere music. That would be to contradict my entire work. I would be surely open to releasing and distributing other musical genreâs so long as they are in the lines of what is being portrayed. Black metal music carries a specific essence within it which I found most suitable for representing this topic. As of the moment I will keep moving forward with black metal releases, as for the future, much remains yet to be molded with blood stained hands. May I point out, this is to be seen as an occult record label, not a metal music label.
Your first release was that of the band SAMHARA. As far as I understand, this band has a strong focus on Hindu mysticism, with one of the members being an Aghori. How was the experience of working with such a highly spiritual project? How was it received?
Myself, many years ago I began deeply involved in the world of the Vedas and knew I could come to excellent terms with this project long before we made contact with each other. I studied for many years upon the dark world of the lotus petal footed one with certain individuals whom were in their past times under Srila Prabhupada himself. There are powers, methods and practices not well known in Gaudiya Vaishnavism and even less accepted by modern Hindu traditionalist due to government law and primarily what our eraâs human psychology considers âMorally justâ. Samhara helps express the essence of these such works, in both philosophy and practice.
Deathkult sutra took itâs time, having taken itâs first shape through a Demo tape in the beginning and having finalized with a full-length mastered version on CD, which I produced through Mysterium Fidei. It was hard work which took many months but we could already taste fruits of the work before the first seed was planted, so the choice was to only move forward. As I have been told by many even, I strongly feel Samhara is perhaps the most serious Vedic based extreme metal project to date due to its content and what is practiced in the daily life of Sridash, which gave that content its strength to begin with.
Clandestine Faith has a subdivision called Temple of I, focused on occult artifacts; could you talk us about why you decided to start a different endeavor within Clandestine Faith? So far you have released some wonderful illustrations by Jose Gabriel AlegrĂa, but do you see yourself expanding into books and other kind of occult paraphernalia?
Before I Explain the vision of Temple Of I, let it be known now what this simplistic yet powerful term represents. It is pronounced âtemple of iâ not âTemple Of I (As in, the roman numeral âOneâ)â. Throughout occult history âTemple OfâŠâ has always been a common and notable term for offering praise to something divine, most commonly afterwards it is followed by the name of a God/Goddess, organization or that which represents an outer aspect of oneself which deserves attention. Far from glorifying the human ego or an attempt to elevate oneself pretentiously, this name speaks on behalf of those whom have chosen the solitary road and unchained themselves from herd mentalities which are found in such organizations leading to dead spiritual ends.
Temple Of I is a small and growing market separated, yet close to the products Clandestine Faith has to offer. This idea came to me as an attempt to bring the listener closer to the occult world by showing the concepts of the music we have to offer in a completely different shape and form. To take the labels music to the next level of realism. Though Temple Of I this has its own reason for existing apart from the label. I welcome conjurers of lost ways with their preferred method of invoking this art, not limited to books, not limited to prints, not limited absolutely anything for the true purpose of its existence is not material. This all will be clear in time as it grows within the label.
How important is it in your opinion, as a connoisseur of the occult, the link between music and literature? Do you think they are, in a way, two sides of the same coin?
There are feelings which burn inside of us so time may mold them unto a work which will show its matured initial shape, then evolve from there. Like the emotional pain of gained wisdom, which we saw through the trembling voices of northern Europeâs contemporary philosophers, their harsh ideals and poetry, that peak in human emotion has forever been the pinnacle of what is respected in any serious work, whether the viewer is aware of it or not. Art is art in the end and what differs is the message behind it, but the pain of experience is the true tie which births life unto it.
What is the selection process you follow in order to know which band or author you are going to release? Do submissions help, or do you rarely find something new that surprises you?
I was not shocked when I experienced how difficult it was to live up to such a standard as my own. Itâs not also surprising how record labels are able to put out so many albums in such a short amount of time due to the quantities of projects ready to do just about anything so pretentious light may be shined upon them. Generously said, those who spit on the name of art itself, along with the desperate labels who support what they do. Evolution is not a key factor with them, but quantity over quality.
The qualifications one may even feel are surreal and unrealistic. Sridash of Samhara, whom I respect very much, has lived his life according to his will under the ecstasy ever flowing from the shmashana influence, through acts of dedication we could not mention here. Clandestine Faith is reserved only to those whom have taken the next step, the final step of devotion and have entered the searing sphere self-realization.
You have recently announced that your second release will be the band MYSTAGOS (previously known as Chains ov Beleth). What can you tell us about this?
I was contacted by Heolstor of the recently re-named Spanish act MYSTAGOS out of his interest in my work. I am always skeptical of the emails I receive since all of us involved in the musical scene know how many projects are attempting to get their releases done by just about any label they can get accepted by. At the time I was not even aware of what Chains Ov Beleth was, but little did I know in that instant what Heolstor had to offer. It was sure to be a release through Clandestine Faith.
The upcoming malediction of Mystagos' âHo Anthropos Tes Anomiasâ is at its primitive setting in these moments with more to be revealed later. There is still yet some work to be done between me, Heolstor and here I announce Jose Gabriel AlegrĂa has come to terms with the both of us to depict through his magnificent work the philosophical tale of this album. Surely, 2016 will is the year the cocoon Chains Ov Beleth has cracked open unto Mystagos, to crawl out of the icy abyss and show its deformed face unto the world of man, as an abomination.
How strong do you think the link between extreme metal and the occult is? And why is there a link between the two, to begin with?
I will not bring such a long story to the table on the origins of heavy music. We could see even in ancient Greece how certain celebrations which involved the worship of Gods were conducted absurdly and animalistic with loud music or some sort of titanic noise accompanying it. One could say the same for the celebrations of uncivilized tribes who did not even have a system of currency nor written language but still share the similar practice in act. Throughout history we have always seen maniacal acts associated with the worship of Gods. Perhaps this is the ancient practice brought unto a 21st century setting? This may be a misconception, but ties in to the ancient practice of adoration for the divine when done in group like what the historian has documented. Food for thoughtâŠ
Apart from releasing MYSTAGOS, what are your plans for the future?
Aside from that and other music releases aside from my own, It would not be fair to spoil such news at this early point in time, but we will let the readers know there are massive investments to come for you to experience. The website has been under construction for close to a year now due to its detailed graphic work and internet market system. Currently Iâve gathered other business partners to help me take the next step even after that. I would only suggest to keep a sharp eye.
Thank you for your time, the last words are yours.
There is much for me to say but as of now we will put this to an end. This is the result from the ouroboros whom has swallowed himself entirely. Clandestine Faith, the cult-less shine of the swastika spinning ever left-ward to behead the common misconception of what occultism in art symbolizes.
Mark Alan Smithâs latest work, Crown Prince of the Sabbat is out now via Primal Craft, thus completing the Sacrificial Trilogy. Â For those new to this Arte this may be used as a standalone tome - for the true purpose of this Book of the Devil's Witchcraft is to empower the individual in incarnate and spiritual form. The manifestation of desires is achieved alongside the acquisition of the ancient power of the Dark Prince of the Witchflame Arte; the Ars Diaboli. The rites within grant individual empowerment that is unmatched. All copies are individually consecrated as Gateways of Primal Witchflame and portals to the source of their power - the Gods themselves. Crown Prince of the Sabbat is consecrated as both Key and Gate to the Devil's Throne.The original text was blessed and ignited with sacrificial mammalian blood.This is a single print run, there will be no second edition.
The latest release in Fall of Manâs Nox Sine Occasu book series, Chthonic Revelations, is now available. According to the publisher, âthrough the pages of Chthonic Revelations, we will learn of Trophonios' life as a mortal and his ascension to godhood from the perspective of a LHP practitioner, and for those who dare, the keys to making contact with the Giver of Nightmares are given as well. The first part of the book will take us to Ancient Greece, where we will analyze the particularities of Trophonios' Oracle and its links to other mysterical cults. The second part of Chthonic Revelations focuses on the applications a modern, solitary practitioner of the LHP can make use of, both for mundane and spiritual purposes.â
Teitan Press releases âThe Pauline Art of Solomonâ
Teitan Press have just released a significant new edition of this well-known magical text, comprising an Introduction by Alan Thorogood, a typeset transcription of Hockley's manuscript, and a black and white photo facsimile of the original Hockley manuscript. According to the press release, â This edition reproduces a transcription of a 1715 manuscript of The Pauline Art which was made by Frederick Hockley in 1838. The Pauline Art is in two sections, the first of which concerns the spirits of the twenty-four hours of the day, whose functions are "to do all things that is Attributed to the 7 Planets," their seals, and method of conjuration, whilst the second is concerned with the angels of the 360 degrees of the zodiac, with the primary purpose of determining the names and invoking the guardian angel or genius. Either deliberately or otherwise the text of the Hockley manuscript is abbreviated, and the accompanying diagrams for the most part incomplete. Thorogood addresses these issues in his Introduction and transcription, either supplying the wanting material, or indicating where it can be readily found. Importantly Thorogood provides a detailed history of the text, identifying many of its major sources (some for the first time), as well as offering corrections to a number of significant errors that had crept into the manuscript version over the years. The Introduction, Transcription, and Appendix with corrections are followed by a 144 page facsimile of the original Hockley manuscript, printed on special coated paper that gives a photograph-like quality to the reproduction. â
Fall of Man press has just released their latest title, Claves Regni by Nikolai Saunders. This new book is a continuation of Saunderâs previous work, Arbor de Magistro, and investigate the subject of magical evocation even further. According to the publisher, â Claves Regni has been released exclusively in a deluxe edition, limited to 96 copies. The copies of this luxurious edition are bound in dark green Italian silk, with the Claves Regni logo imprinted in matte gold on the cover and spine. The copies are finished with dark green end-papers and the hand-sewed spine includes a ribbon bookmark. Each copy comes with a slip-case bound in dark green faux crocodile skin and sealed in matte gold. There are 16 different seals, each one of them belonging to one of the spirits described in Tempestates Dei, and taken from the authorâs Black Books.â
Three Hands Press to publish âSylvan Dreadâ in June
Occult publisher Three Hands Press have recently announced the upcoming release of their newest title, Sylvan Dread - Tales of Pastoral Darkness. From the preeminent author of At Fearâs Altar and The Benighted Path comes Sylvan Dread, Richard Gavin's long awaited fifth collection of preternatural tales. Bound within are thirteen nightmares exploring the Sinister Pastoral, the dominion prevailing at the intersection of mortal reckoning and the primordium of Daemonic Nature.
Sylvan Dread is now available for pre-order from Three Hands Press. The book is 192 pages and is to be released in three editions.  More info at [email protected]
There are many books related to the occult being published nowadays, but this one promises to stand out by offering us a unique view into something that is extremely intimate for some practitioners; their ritual areas and altars. Filled with over 280 pages of essays and actual photos of authorsâ ritual altars, Ritual Offerings unites 12 practicing occultists who share their knowledge and experience with this fascinating subject. Traditions from around the world, such as Solomonic magick, Tibetan Buddhism, New Orleans and Hatian Voudou, Western Hermetic Theurgy and more, are discussed in great detail.
Contributors Include:
Aaron Leitch: Introduction: Magickal Offerings in Western Occultism
Aaron Leitch: Liber Donariorum: The Book of Offerings
Zadkiel: The Elements of Making Offerings: The Offering as Sacrifice
Bryan Garner (Frater Ashen Chassan): Whispers From a Skull: Lessons in Spiritual Offerings From a Conjured Familiar
Brother Moloch: Ancestors & Offering
Frater Rufus Opus: The Back Yard Path Toward the Summum Bonum
Denise M. Alvarado: Ritual Offerings in New Orleans Voudou
Jason Miller: Severed Head Cakes and Clouds of Dancing Girls: Offerings in Tibetan Buddhism
Nick Farrell: Offerings in Roman Deity Magic
Sam Webster, M.Div., Ph.D., founder OSOGD: Offerings in Iamblichan Theurgy
Chic Cicero and Sandra Tabatha Cicero: Ritual for the Declaration of Maa-Kheru
Gilberto Strapazon: Offerings in Ceremonial Magick and African Traditional Religions
De Occulta Philosophia is looking for collaborators
After five years of being mostly a one-man operation, we have decided to expand the scope of the blog and try to take it to its full potential. That is why we are now actively looking for a few collaborators, individuals interested in the Occult Sciences and Arts that wish to write reviews, interviews and essays about everything surrounding the occult world and the so-called âoccultureâ. We wish to include any kind of news and information that is related to this passion and life-path that is the occult.
 If you share this interest and have basic writing skills, please contact us at [email protected]
I am acquainted with the work of Ryan Anschauung and the Temple of THEM for a few years now. I was first introduced to THEM by Fall of Man, via their awesome Threshold: Black Magic and Shattered Geometry, and since then I had accessed several articles by THEM, including some issues of Oto Anorha first released from 2007 to 2012. I accompany THEM at distance but with great respect and admiration. First of all because I like the objective and clear way in which Ryan and THEM use to write, and secondly because I consider THEMâs writings and system to be genuinely original against the status quo of the occult mainstream. I believe in Ăons, and I believe they propagate in waves that influence human thought from time to time. I have not seen much originality since the last occult revivals in the 60âs and 70âs, except for a handful titles in the last five years. I enlist Ryanâs ideas and texts amongst those constituting the exception.
 I donât think it would be too presumptuous to consider THEM part of a new Ăon of magic. I can say that Threshold, released by Fall of Man in 2011, already broke enough ground with its radical attitude, innovative ideas and extreme honesty. But Liber Bathyal really surprised me when I thought anything could hardly do that. It exceeds Thresholdâs frightening creativity and goes beyond to tear reality in even more fundamental pieces â and Ryan does it in a very simple, verifiable manner. Starting with a modern analogy to explain the anatomy and the functions of the brain according to the interpretation of, and application by, THEM on the emerging discipline of Social Neuro-Science, he then takes us to find the impossible through Ăureka Nequeo. Ryanâs use of analogy to examine cities as living organisms elsewhere in his other works matches in Liber Bathyal its microcosmic counterpoise when he compares the human brain with a city, including citizens, skyscrapers, factories, stairs, ramps, alleys, byways, overpasses and bridges, as much as temples, universities, libraries, prisons, markets and much more. This approach made me recall and review philosophic thoughts I had in my early adulthood concerning the likeness of atoms and solar systems, cells as microscopic persons, and the role of DNA in case of reincarnation. In Ăureka Nequeo he provides a metaphysical zoom over Thrasz, the pre-initiatic symbol of THEM wherein the templeâs entire system is abstractly concealed. This unique and amazing map can easily substitute readersâ long cherished Magian models â like kabbalah and alike â and offer a truly original pathway towards self-knowledge, self-overcoming and the spirallic energy of life (or Lyfe, as it is used in the book to distinguish from the human-centred requirements for sentience and animation). Ăureka Nequeo shows a subtle influence of some theories presented in the latest works of Pope Pete â it is not a secret that Chaos Magic is one of the main influences of THEM â yet digested in Ryanâs own âAnschauungâ, no pun intended. It applies physics, optics and the anatomy of the human eye to create a mind-blowing map of reality, consciousness and the Creation. The next chapters will take us to a deeper journey across relativity and reality, as well as through a comprehensive ontology with the aid of a completely new inventory of lexical meaning units.Â
Although I enjoyed the book as a whole â Ryanâs ideas are always admirable and original â my favourite chapter was the one called Magic, God, THEM and the Pi Syndrome. There Ryan begins analysing the significance of Ăons and the fading of the modern Civilization, borrowing from the thoughts of Oswald Spengler in The Decline of the West, and further expanding the theory of cities as living organisms. He also inspects the Acausal, Individual and Collective Consciousness, the idea of Gods as a super-powerful slaves and the idea of THEM as a God that never does anything else than exist, that does not receive prayers nor gets done the human bidding and only incidentally interacts with us. The next three chapters will account for Purpose, the hypocrisy of Equality and the relationships of Ego with THEM and the Reptilian Limbic System. The book is beautifully finished with the black keys of Visitation, Orientation, Invitation and Dedication. Another brilliant work by/about THEM indeed, just as good as we could expect from Ryan given his previous writings. I strongly recommend Liber Bathyal to anyone looking for a unique alternative model outside the tendrils of the Magian current, both as a complement for Threshold and as a step further into the system of THEM. I hope we can have more of those insight-inducing, workable ideas in a near future. I hope we can have more of THEM published in the course of the next years. I hope THEM can always be there to make us REMEMBER.
âThe Black Book of Quimbandaâ has been released
Fall of Manâs latest release, The Black Book of Quimbanda, is out now. Apparently it was released a bit ahead of time, which can only be a good thing. This is the second title released by Ophis Christos and the Ordo Volucer Serpentis, after their successful The Ophidic Essence: Seeking a return to the Origin.Â
The Black Book of Quimbanda introduces us to the ancient magical tradition of Quimbanda as a vehicle through which to interpret reality. The ancestors revered in Quimbanda were originally individuals who opposed the society of their time, a society trapped in rules, laws and dogmas, and formed by individuals trapped in a herd mentality. Quimbanda describes the learning and life experiences of these ancestors, because it is through them that we acquire the capacity to evolve and to self-develop, and to find the divine identity present in us. Quimbanda is therefore a way of learning more about the reality of this life, and glorify death, for it is through knowing and glorifying death that we acquire the knowledge that leads us to the relinquishment of any kind of attachment to life.
More info at www.fallofman.eu, or in the bookâs dedicated site www.fallofman.eu/blackbookofquimbanda.html
The Interplay of Matter and Spirit:Â An exchange of energy considered through the Wake World
What follows is an excerpt of Nikolai Saunderâs upcoming book, Claves Regni, which he has graciously allowed us to publish here.
The Ritual of evocation, and that of invocation, additionally, is an exchange between two Worlds, that of Our World, that of tangible matter and existence, and that of the intangible spirit and reality. Existence itself has nothing to do with the True Reality, which is (in part) the apprehension of the illusion, and simultaneously the assimilation (in the form of rejection) which occurs as one moves beyond Maya. Maya is, and always will be the Vision of Another, and while another's vision may aid and assist, another's sight will never be expressed completely through One's Self. The Unity of All needs be apprehended while we are in Beriyah or Atziluth, the dualistic expression being that apprehended first by the mind, and then expressed through the individual, in terms of thought (which is itself untrue) in the lower Worlds of Yetzirah and Assiah. The exchange between Matter and Spirit is a crucial point in Magick, this is similar in Nature to Reason and Belief. The Magician needs to Know absolutely and without doubt, and also needs to assume on a rather large scale.1 The initial forays into Magick being accomplished, one starts to accept and understand the process in which it operates.Â
The Ritual of Evocation is that of communication, and as one enters into a discussion with a sibling or parent is the favourable, or more profitable, approach to the communique.2 An essential expression of this is the Light of Beyond pouring into our World through the inexpressible quality of Spirit. This is, later expressed through various art forms and philosophical ideas.3 Often regarded and interpreted as the structure on which our modern morality is dependent, the philosophy or underlying current within a corpus of Work, is also not the primary domain of the Creator. This is the reflection of the current and would be viewed through the reflection of the Second Emanation, or that of Female. This, is in terms of Chokmah and Binah. The Magician would look to the Water of the Sea of Tears as a pool, in which the Maya they have, in their Work, created is reflected. The cultivation of the form is accomplished through grooming, or refining. Therefore, attention must be paid, however there must be a refractory period, in which the cultivation occurs. The expression of this form occurs in the Mind of the Artist, or Writer, or Genius as the thought of Ultimate Truth. Expressed through its highest forms movements of art start to emerge and with it, changes in the way society (and large portion at that) view the world. Therefore, while not necessarily intended, the interpretation of the Work becomes that of the public and not the genesis from which it emerged. Therefore, even in terms of the Royal Art, the Work is never really the property of the Artist who developed it. Think in terms of Art. It is the sublimation of the Creative urge, and therefore difficult to express properly, for most people. If this were the case we would have a society of mostly poets, artists, and the like, and we do not. However, in terms of anti-currents to the establishment, they are the source. The existing structure has its purpose, however, the refinement of this structure will only occur through the repeated interplay of anarchy, or chaos in terms of societal structure, and the order and establishment it opposes. The danger of an artist has and always will be, the ability to interact with so many levels of society that they become in a way a centre or meeting point for these philosophies to interact. The interaction of strange bedfellows making for some unusual and otherwise, impossible events. The mark of evolution is adaptation and the ability to change when necessary. One essential message of To Mega Therion, and one so often overlooked in all the seriousness of the Aeon is that of the Wake-World. The dream we are all living is that itself, a dream. Only beyond this dream, and most, nay almost all of society spends its time abhorring such a thing, is the Truth. The World that we actually live in, and are dreaming in while we have this dream we call existence. But to spend too much time here is akin to Alice beyond the looking glass. However much we close our eyes and ears, once seen it can not be unseen, and this itself is also applicable to the Divine Truth of Unity and All Encompassing Love. The Rose, once it has bloomed, has grown into maturity and the Love which it is will fill One with Life. However, those automations which exist in the Wake World will continue to exist only to claim the Sovereignty of Matter. Regard this. It is in fact, the worst snare, or fetter to our Welfare. Being, the claim of something which is detrimental to our growth. The ability to see the bigger picture. And, if we are claiming to understand and appreciate, the importance of seeing the bigger picture, we can not deny the importance of learning to see beyond the illusion. Of apprehending the Truth. The more of this we can sustain and continue to function without doing harm to ourselves or others, the more inexpressible our Art will appear and the clearer its message. The research we spend in terms of evocation will almost always assuredly be rewarded, as it is a form of communication we are learning to develop, and not simply the base gratification of our desires, however enjoyable it may become to indulge in. Through the apparent failures, and there will certainly, be many of them, will come an understanding of the real gift, in terms of Wisdom and Divine Favour. The Creator is pleased when we learn. And when we learn to speak, in terms of the intangible qualities of Spirit, it is akin to a child speaking their first Words. Therefore, today I am grateful for the opportunity to communicate with these Spirits.
- Nikolai Saunders
1Â This, and only to begin with. It must be discarded later, as the assimilation of Knowledge, especially that of Undefiled Knowledge leads to an Understanding of Divine Truth. This, expressed in terms of Divine Law becomes an Understanding of the Nature of the Universe and the Laws which operate upon It. Therefore, one begins to Know more certainly, and needs Dare a little less so.
2Â This, as opposed to Divine Authority, or Imperial Command. The spirits will pander and flatter to the alpha male type magician as long as it serves them. The illusion will be swept away when no longer symbiotic. In other words, the rug will come out up from under their feet. (A being for twenty some odds years versus that of a spirit of countless time.)
3Â Although, at this point, I would tend towards a philosophical view, especially regarding Magick [being, basically, the Fundamental Laws of the Universe and Creation], to be cultivated through life, and expressed closer to the end point, rather than at the summit. This being the maturation of one's views.
âThe Black Book of Quimbandaâ is the title of Fall of Manâs next release
Fall of Man has recently announced their newest title, The Black Book of Quimbanda. Penned by Ophis Christos and the Ordo Volucer Serpentis, this new book will focus on the ancient Brazilian witchcraft of Quimbanda, focusing on the initiatory aspect and its link to modern gnosticism.Â
The Ordo Volucer Serpentis had already touched this subject in their first book, The Ophidic Essence - Seeking a Return to the Origin, but according to their site Quimbanda is the sole focus of this new volume.
More info at http://www.fallofman.eu/blackbookofquimbanda.html
Scarlet Imprint announces their next title, Star.Ships
Scarlet Imprint has announced that their next book, Star.Ships, is now available for pre-order.
According to their site, this is a defining text of the new magical renaissance; Star.Ships addresses the question of who we are now by tracing where we come from, and by drawing out the stories and spirits that have journeyed and evolved with us. The goal is the restoration of context.
More info at http://scarletimprint.com/books/star-ships/
The Temple of THEMâs last opus, âLiber Bathyalâ, now available
Fall of Manâs latest title, Liber Bathyal, is now available. This is supposed to be the last published work by the Temple of THEMâs mastermind Ryan Anschauung. In this new booklet belonging to Fall of Manâs Nox Sine Occasu series, the author includes for the first time the complete ontology of the Temple of THEM â and a full explanation of the symbolism of the Thrasz (including the complex Aeurekanequeo that is the esoteric heart of THEM designed to replace the Tree of Wyrd) and an in-depth analysis of Form and how it typifies the key principles of our understanding.
You can find more information about this release at Fall of Manâs site www.fallofman.eu
Be it through his music with Sanguinary Misanthropia, or his writings (such as his first book, Diabolic Gnosticism), Frater Kafyrfos offers us a unique vision of what being a Satanist is, a vision that takes us through acosmic chaos and revelations inspired by blood. Letâs here what he has to say...
Greetings Kafyrfos; could you tell us about your work as a magician previous to âDiabolic Gnosticismâ? What drove you in the first place to the occult, and more concretely to Diabolism?
My path has been based on active participation in the world, and as such I identify as being a Diabolic Gnostic, and a spiritual Satanist more so than a âmagicianâ. As a distinct -albeit hidden- current, Diabolic Gnosticism has been extant since 2007. However, the mythos and praxis of emergent Diabolic Gnostic ideas reaches back much further, to the dawning of the twenty-first century, whence I committed myself to theistic Satanism.
Since the advent of the 21st century I have been involved with a select few underground occult groups that have focused their efforts on understanding and working with the Runes, Heathen Traditions/Wotanism, Chaos Magick, theistic Satanism (including teachings of the Order of Nine Angles and the Temple of the Black Light), Temple of THEM, Western Esotericism, and Ceremonial Magick. Whilst this may sound like an eclectic array of traditions, it has been my Path of the Devil and it has led me towards Diabolic Gnosis. There are aspects of all of these bloodlines throughout the mythos and praxis of Diabolic Gnosticism.
Prior to my conscious and willful ritual work, I first witnessed a Mystery of the Blood in my youth. It was an experience that had a profound and indelible influence on me. As I beheld a handful of human Blood (from an unknown source) I looked into the Blood and started to attain a primitive form of gnosis. By way of this modest a/gnostic sacrament I came recognise the divinity of the Blood, and devoted myself to the adoration and worship of this numinous substance.
Alongside my Blood Gnosis, the apocryphal text âThe Book of Revelationsâ served as my main inspiration during my formative years âdespite having a secular upbringing. I admired the style of the writing, and identified strongly with the Devil in his struggle against, and loathing of, mankind, Yeshua and the Demiurge.
Diabolism evolved organically from theistic Satanism, which was tempered by the subjects I was writing, thinking and reading about since I can remember. During my early adolescence I first identified with what I now call Folk Satanism (so as to distinguish it from other types of more institutionalised traditional and theistic Satanism) precisely because I recognised a spiritual energy that was well and truly powerful beyond the faux spirituality of Christianity. As a deeply spiritual youth I could not accept the shallow spiritual agnosis of Christianity, especially because my experiences had revealed some of the splendour of other unknown mysteries. I appreciated and identified with the darker aspects of spirituality and continued to study and practice theistic Satanism.
You may be known mostly as the man behind the Black Metal band Sanguinary Misanthropia; what made you go from composing music to writing about your magical path? Some would say there is a connection between Art and the expression of one's spirituality, so was this a natural evolution for you?
My Devilâs music and spiritual paths have been mutually intertwined throughout the entirety of my musical life, however, I was involved in occult groups, studying the subject and writing about it before I began composing music. SM is one wo/manifestation of my Diabolic Gnosis âI create because I have an excess of vitality. All of my artistic endeavours have been ultimately dedicated to the sinister spirit of the Blood. Art can be a revealing expression of oneâs spirituality; it can show oneâs deep understanding of spiritual matters or oneâs dearth of knowledge and lack of empathy. I think that someone can be judged by the things that they love, hate, destroy and createâŠ
I was recently talking with Alberto from Devil's Mouth Recs. About how you are one of the few persons who keeps his message coherent, whether it is transmitted through your music or your writings. Why do you think people seem to need to separate their life into different compartments? For some of us the occult is something that permeates everything we do, but it may not be the same for everybody...
My message is coherent because it is honest. If an individual is really pushing the boundaries of free thought, anti-belief and occult practice they most probably should not let these things be known by the many-too-many less they be the target of the great unwashed mass. Many of us will keep our inner secrets private, and someone who can maintain secrecy is usually a good ally to have in occult circles. I do not go to and fro about the world telling all and sundry about my ideas âhe who gives knowledge freely does not give anything of value. It is better to go about as a Grey Wo/Man with mighty ideas than try and glory in hubris. He who knows does not say, he who says does not know. Thus it makes sense to compartmentalise our lives and restrict our messages to the right forums and the right ears. Keep in mind that there are many things that I say in person that I would not write in my books âit all depends on levels of initiation and trust.
What is it, in your opinion, about extreme metal (and black metal in particular) that makes it such a perfect medium for something as magic and ritual?
It is true that I use my music to promote my ideas and Diabolic Gnosticism more generally. Sometime before 2005 I made a conscious decision to use my music, vocal techniques, poetry and writing as ways to convey these ideas. I was somewhat inspired by the approach that Orryelle Defenestrate Bascule took by utilizing his strengths and melding his occult practice and message with art, writing and theatre works. I do not make art for artâs sake, but rather for the sake of conveying my messages and spiritual insights. With my music I have been able to travel and reach out to others much more effectively than writing obscure occult blogs. I do not believe that Black Metal or Extreme Metal are perfect mediums for magic or ritual though. I am involved with these types of music because of a natural personal inclination and interest in the aggression of the style, and because of the strong folk link to the Devil and Devilâs Music. Spiritual, philosophical, religious, ideological and political messages usually get drowned out by the method of presentation, and often misconstrued by the ignorant who happen upon the artistic output. I am at a point in my musical career where I wonder whether Black Metal is a degenerate form of art⊠I think that visual art is probably a better medium than Black Metal for capturing the essence and expressing the ideas. Visual art seems to retain its relevance for much longer than music, which often suffers from issues of irrelevance due to age and being of its time.
There appear to be more and more bands that turn to the occult for their inspiration. Do you think this is a real awakening, or is it simply another trend?
It is difficult to say whether the resurgence of occult inspired bands is a real awakening or not. The word âoccultâ would denote that rather than a re-awakening there is a hiding or covering up of their inspiration (their spirit of Chaos or Void). I am always suspicious of newcomers who have to proclaim their so-called occult inspirations. Nietzsche pointed out that as a people Westerns will be naturally drawn to religiosity. Evola went on to say that traditionally this has to do with our inclination towards forms of transcendentalism. Maybe this is the phenomenon that we are witnessing with bands has to do with a thirst for religiosity, transcendentalism and spirituality that is void in our civilisation. It could also be indicative of a Will to Believe, that those who are void of soul or spirit are inspired by the Belief itself rather than the essence. Belief can be strong and can provide a powerful compelling reason to sacrifice oneâs self, or devote oneâs life to, however, it is ultimately inauthentic. Unbelief is more powerful than belief, be it rational or irrational (see Kierkegaard).
Our civilisation is looking for the spirituality, essence and purpose that we lost, yet we have grown too cynical to trust in our Knowledge. Our Agnosis is strong thus our devotion is lacking. Having artists and musicians lurking around in the darkness of the occult is symptomatic of this. They believe that they have chosen the path, that they are authentic and that they are genuinely revered and reaping the earthly rewards for their efforts. In many cases this behaviour gets rewarded and they do benefit from their meagre efforts and thus continue their hollow pursuits. I do not believe that a re-awakening is happening, but rather it is needed. Because it is so desperately needed people are latching onto moribund symbols and gods. The death of these olden values is evidenced in our time by the bloody rise of Islamic Jihadist groups. The lack of Western spirit can be seen in the dearth of a militant and warlike response.
This is the core subject of your new book, but could you explain in a few words what Diabolic Gnosticism is, and how does it differ from other forms of Gnosticism?
Diabolic Gnosticism differs from other forms of Gnosticism in that it recognises the Great External Chaos beyond the hitherto highest Acheron, and the Cosmic Order being within a Noncosmic realm. We view the Entropic Flame within our Blood as being a portion of the Great External Chaos, whereas the Divine Inner Spark of Gnostics is regarded as being a pallid reflection of Soph. Keep in mind that Soph is an inversion of the Light (or Phos) of Lucifer/PhosphorosâŠ
The term âPhosphorosophiaâ appears throughout your book; can you tell us the meaning and significance of it? Why did you feel you needed to create a new term? Was it the fact that you are exploring concepts and ideas never touched by other writers in the way you do?
Ultimately (yet not entirely) Phosphosophia is the bright and shining Wisdom that Lucifer bears forth. He brings the phosphorescent light of revelations from beyond; from the outer world, the cosmos, the universe and every other place beyond these constructs. Lucifer in this capacity is the bringer of enlightenment.
Phosphorosophia led directly to the discovery of Diabolic Gnosticism, and is perhaps the most spiritual aspect of Diabolic Gnosticism. The term was invented in honour of a satanic gnostic inclination having many explicit meanings and connotations (such as âdivineâ Luciferian Wisdom, or Bearing the Light of Divine Wisdom). In many ways Phosphorosophia can be likened to an occidental form of Zen Buddhism, however, its roots are strongly grounded in the Chaos Magick theories of Peter Carroll and Austin Osman Spare. As such, Phosphorosophia becomes more and more difficult to define, and any concrete definition of the idea limits it unnecessarily. Phosphorosophia replaces the idea of Chaos Gnosis, as something more tangible (as tangible as a Chaoist spiritual path can be). Let it be known that there is a fearsome originality to the ideas that I have presented here.
What is the role of Lucifer in what you call Phosphorosophia? Do you see him as a real entity, or is it simply an archetype?
It is no mean feat to understand Jungian psychology and the concept of archetypes. The idea of archetypes maintains more validity than the beliefs of individuals. That being said, the beliefs and psychological processes of individuals hold strong internal and synchronistic relevance. Diabolic Gnosticism is not dogmatic in that way, it does not require overall belief in deities or gods, but rather urges individuals to recognise the forms that these forces can take, and recognise what these energies can do. It is important to note that the weltanschauung of Diabolic Gnosticism differs from the academic teachings of Jung in that we do not believe in universal balance. We are mostly aligned with Jungâs Gnostic text âSeven Sermons to the Deadâ.
Lucifer is an enlightening guide and a psychopomp who can lead us through the strange ways of Phosphorosophia. Lucifer/Phosphoros, Satan/Satanas, and Devil/Havayoth are archetypes (in the broadest sense of the word) of Diabolic Gnosticism, which in their turn are dark emanations from the Great External Chaos. As per the holistic Diabolic Gnostic understanding of these concepts, Lucifer exists in a spiritual realm or sphere beyond this world. From the base perspective of the Devil steeped in preconscious and unconscious psychological influences, Lucifer is a real entity. Belief in things is necessary for those outside of the Diabolic Gnostic Path of the Devil. Lucifer is real in that he can create an effect in my mind, and I can make an impact in the world in the name of Lucifer, however, the real aspect of Lucifer is his being the Devil, which in its turn is spiritual Luciferâs down-going. As such Lucifer is the overcoming of the Devil as Venus is the overcoming of Sol. The unenlightened human psyche is bound by the demiurge and the slavish worship of YHVH and gods of his ilk. The enlightened human psyche identifies with the Tripartite Devilâs Head of Psychology (Devil), Philosophy (Satan), and Spirituality (Lucifer). From the philosophical Satanic and spiritual Phosphorosophian perspective, the meaning and value of reality itself is questioned. As we bring light to these amorphous and ethereal subjects we also cast shadows. We aspire to see the thing-in-itself and the thing in relation to other things, and in relation unto ourselves âthis is an extremely relativistic existential philosophy.
You define yourself as a Devil Worshipper; what does this mean to you? Is it the ultimate act of rebellion, or something more?
Devil worship is the exoteric practice of Diabolic Gnostics. To me personally Devil worship is concerned with the physical and psychological matters of the Flesh and the Blood of Life and Death. The physical component of Devil worship revolves around meaningful rituals, targeted towards the body and the mind, whence the Devil is our god. By the Devil we move to destroy the slave races of the slave god âDemiurge. The Devil worship of Diabolic Gnosticism is one perspective of the Nine Emanations of Phosphorosophia; as we live and exist in the world of Flesh under the sway of mostly unconscious psychological processes, we recognize our affinity with the pre-judaic gods. However, from the Devilâs perspective, humans are loathsome creatures bound to love and to hate. We come to hate humanity as the Devil hates humanity. We come to appreciate ourselves as we come to loathe the mass of humanity. Devil worship is not only concerned with indulgence in Evil per se, it is beyond good and evil. It is sinister and it isnât. It is the primary duality of being and nonbeing. As such, the main ordeal of Devil worship is to believe and to unbelieve. Through this culmination of paradoxical ideas we can come to accept our unconscious a/gnosis, attain Diabolic Gnosis and discern the Devilâs Will. These concepts are then the foundations to our philosophy and spirituality.
To some people Devil Worship can be about rebellion, however, the Devil worship of Diabolic Gnosticism is a much more profound idea which is linked to our Phosphorosophian spirituality and it is essentially independent of the Shadowy projections of others.  Â
You are the founder of the Order of Havayoth; could you talk us a bit about this organization, its goals and ideas?
 The Order of Havayoth is the exoteric aspect of the Ecclesia Diabolica Gnostica. The core ethos of the Order of Havayoth is to âobey the infernal Will of the Devilâ. Before coming to obey the Devilâs Will one has to discern what the Devilâs Will is, which is the function of the Order of Havayoth and the Ecclesia Diabolica Gnostica. As such the Order of Havayoth is concerned with fundamental diabolic idolatry and represents the 'Devil Current' including Diabolic Gnosticism, theistic Satanism and Devil worship. Our main aim is to walk the Path of the Devil to attain Diabolic Gnosis. Diabolic Gnosis shows us the (free) Will of the Devil. We recognise that the Devil is a much broader god-form and archetype than it once was -it incorporates Swastika worship and anti-human hatred among many other practices, philosophies and worldviews. Our extremism is fundamentalist Devil worship first and foremost, the destructive antibelief of militant Satanism and the liberating nonbelief of Lucifer/Phosphoros beyond.
What and who are your biggest influences both as an occult writer and Adept?
Inspired Apocryphal and Gnostic writings have been my main stylistic influence. The central doctrine of the Gnostic inner Divine Spark was perhaps the most compelling and rousing idea that I encountered.
As I previously alluded to, âThe Book of Revelationsâ was a seminal influence on my writing style, thought, and how I approached the Devil and my understanding of spirituality. Other key texts in that direct current of thought include writings such as William Blakeâs âThe Marriage of Heaven and Hellâ, Carl Jungâs âThe Seven Sermons to the Deadâ, John Miltonâs âParadise Lostâ, Lord Byronâs âCain: A Mysteryâ, the Gnostic Gospels and other apocryphal texts.Â
Crowleyâs âBook of the Lawâ, Nietzscheâs âThus Spake Zarathustraâ, Austin Osman Spareâs âAnathema to Zosâ and Kahlil Gibranâs âThe Prophetâ are all other major influences on these ideas.
I have also taken key inspiration from the theistic Satanic ideas of ONA, TotBL and the Misanthropic Luciferian Order, the Death worship and practices of Frater N.A-A.218 and the Chaos Magick currents of Temple of THEM, Orryelle Defenestrate Bascule and Peter Carroll. Diabolic Gnosis is in many ways a functioning synthesis of all of the disparate ideas and illuminated thoughts.
And musically? You obviously are a fan of Beherit, since you have a cover in your latest album, but what other bands inspire your music?
For many years I have listened to lots of music. It is difficult for me to answer this question, because I am inspired by many different genres in different ways.
What comes next? Have you said everything there is to say on the subject, or is this an evolving matter? And what are you working on next with Sanguinary Misanthropia?
Diabolic Gnosticism is a continually evolving current. The first book of Diabolic Gnosticism is a preliminary glimpse into the mythos and philosophy of a new and unique weltanschauung. There are a few other texts pending that compliment and supplement âDiabolic Gnosticism: Mythos and Philosophyâ, including a book of occult poetry âLiber Aberrationâ; âLiber Sanguinisâ a manual dedicated to the Chaos Blood Temple and the esoteric rites of Ecclesia Diabolica Gnostica; âChaos of Zaiosâ which is a direct continuation of âDG:MoPâ; âDiabolic Gnosticism: Praxisâ, and âTo Summon forth the Knowledge of the Devil...â.
With Sanguinary Misanthropia I am working on the Blood Current, or the âSanguinaryâ aspect of the SM. My previous works have focused on the destructive misanthropic parts of SM, those which are blatantly diabolic in nature. Some of the rituals and lyrics that I wrote for âOf Death and Genocideâ, âDiabolic Gnosisâ and âLoathe over Willâ feature in my first book âDiabolic Gnosticism: Mythos and Philosophyâ. Within the Blood Current I see the divinity of the Blood. This could be compared with Jungâs idea of the Devil-as-Space and the Sun-as-God within that Devil/Space. I have an album pending entitled âBlodisonâ which means to consecrate an altar stone with Blood (and is the root of our word âblessingâ) and I am writing the third album proper with the double entendre title âDivinity of the Bloodâ. Some of the concepts of these albums are directly related to the content of âLiber Sanguinisâ.
Thank you for your time.
Many thanks to you brethren and to Fall of Man for seeing fit to publish this material. I would also like to acknowledge the pivotal role of certain members of Temple of THEM for having faith in the writings of a staunch Unbeliever and helping to facilitate this unholiest of unions. Glory be unto the Devil! HVHY!
