Tag Archives: 2018

Summary for the year 2018

Here’s a summary of Hermetic Library activity for the year 2018.

Every year there’s so much going on, I’m sure I’m going to miss some things. Consider going through all past summaries for more details about what was going on each week of last year. However, here’s some important things that come to my mind immediately.

Personally there was a lot going on for me. The place I had been living was sold. I moved across the country, with everything and cats, in almost an exact reverse of the historical Oregon Trail. I had my computer die, and went through a 4+ month ordeal of trying to get it fixed. And, all the sundry trials and tribulations one goes through …

The biggest project for 2017 was the switch from static, hand-coded HTML to the new wiki engine. I’ve made a lot of progress in 2018 on more of this, but I’m still working on it. Both old and new pages are constantly being worked on, and I think the library is already better than ever with this change. I knew that the transition was going to be a huge project, and require a lot of work; but, I honestly didn’t realize just how big and how much. I’m glad I did it, and there’s so many things that are better than they were, for me working on the site and for visitors trying to find things and navigate the site; but there’s still work to do. I feel so much gratitude for the support of my ongoing Patrons for making all this work on the library possible.

This year, I released Magic, Music and Ritual 14, the 2018 issue from the Hermetic Library Anthology Project. The newest release joins all the others, and they’re all great! Check them all out, and check out the anthology profiles for the artists who participate.

Magick Music and Ritual 14 The Hermetic Library Anthology Album 2018

Last year, I created a process to pitch ideas for submissions to the blog and the library. This hasn’t been as active as I had hoped. The only submission to make it through the process this last year was The Unknown Soror. There was only one in 2017 as well, but I’d hoped that there would be more. With the generous support from Patrons of the library, I did increase the available honorarium already, and this year I’ll be increasing that again to further encourage submissions.

I did have the opportunity to have a conversation with musician Jesse Heikkinen, who then went on to become an artist on the 2018 anthology. Perhaps there will be more conversations with others in this next year?

Hermetic Library has actively pursued its mission of archiving, engaging and encouraging the living Western Esoteric Tradition, Hermeticism, and Aleister Crowley’s Thelema for 20 years. Thanks to each and every Funding and Patron supporter of my work and the library for making the Hermetic Library possible for everyone, that mission continues!

Still looking for help and others to join me in a working community around the library, of course.

Lots of new pages and work on old pages on the site, which is pretty much every week, really. You can always check the front page of the site which shows the most recent changes and new pages, or check out the Recent Changes special page for a full list.

Want to join me on this blog and create new art or writing for Hermetic Library? Pitch your Idea.

Help get some conversations started over on the BBS and Chat.

Be sure to check out the actual Hermetic Library, and drop a buck in the tip jar, subscribe on Bandcamp, or become a Patron.

Consider also checking out what I’m up to on my personal blog and at Odd Order.

Top 50 posts on the blog last year

Top 50 sections at the library

Top 50 pages at the library

Top 50 posts on the BBS

Corpo Elipsis


Corpo Elipsis

This piece was first conceived as a sound intervention for the art exhibition “Corpo Elipsis” of Pedro Magaña, a contemporary Mexican artist.

The pieces created by Pedro revolve around the concept of Musica Universalis. Following this idea, the sound piece presents different sound sculptures mixed in 5.1 and set to rotate around the art show room, orbiting the physical pieces in the exhibition.

Each sound heard represents a planet and started out as a sample of its most culturally representative occult/mystical symbolism (mars = war samples).

Each sample was then processed through different sound manipulation techniques defined by each planet’s hard scientific data (the orbit defined the sound’s length, among other things).

This results in an aural representation of an alchemical union between the planet’s symbolic ethereal aspects and its fixed hard properties.

The piece is also named Corpo Elipsis (as the exhibition) and here presented in a 2.0 stereo mix.

What started out as a more traditional approach to “trying to make it” playing in a band in the music business, has now turned itself into an exploration of that undefined thing known to some as “sound-art”.

Hermetic Library Anthology Artist Jesús A Vergara

What started out as a more traditional approach to “trying to make it” playing in a band in the music business, has now turned itself into an exploration of that undefined thing known to some as “sound-art”.

I consider myself primarily a cheater with a love for philosophy and an affair with all things occultism and alchemy.

I love to have those two in my bed every chance I get and these experiences (along with some psychedelic ones) have taught me that there might not be a real difference between them… nor art for that matter.

I work and live in Monterrey MX.

Follow Jesús A Vergara via
Anthology profile


The Witch House and the Reverberate Abyss


The Witch House and the Reverberate Abyss

Inspired by HP Lovecraft’s The Dreams in the Witch-house story. Imagine yourself finding the secret room in that eldritch building, being set upon by the witch and the Black Man of the Sabbat, slowly falling down an abyss and coming to terms with the abject indifference of the cosmos while traveling outside of space and time.

Hermetic Library Anthology Artist Chris Stibrany Terborgh my summer home

Raised for half of his life in The Netherlands and Germany, Chris also spent much time studying and working in Japan and Korea. After many various jobs and a short time in the Army, he currently resides with his wife in Colorado. Besides magick and meditation with a focus on Thelema, his hobbies are reading (fiction (horror, sci fi, classic lit), history, metaphysics/occult) playing the drums, and hiking and swimming.

Follow Chris Stibrany via
Anthology profile


Twin Pillars Crumble and Shake


Twin Pillars Crumble and Shake

A previously unreleased track …

Hermetic Library Anthology Artist Robert Furtkamp

In the beginning was the Word, and the Word was God. And in those sounds, the proto-sounds that came out of the void, the first form from formlessness, there is beauty.

Music for me has always been a spiritual pursuit — before I ever picked up an instrument, I found the ever-living spirit of the void in a fountain pen. And as I wrote, and read the works of Crowley and Spare and whatever a young man could scrounge before the Internet was young, words began to fail at times to convey the spirit of the Voice in the Void.

It wasn’t about verse-chorus-verse or format or key or even a definited note — if the Voice wanted to speak in those terms, it would just use words. But there were things I found, things I woke up with dancing in between my ears, that would not stop until I committed them to tape, that led to years of work with “automatic music”, the equivalent of automatic writing or drawing but with sound.

Sometimes it’s harsh, sometimes it’s beautiful. Sometimes the Angel sings. And sometimes it’s smaller than the moment and bigger than me. Hook up the recorder, plug in an instrument, hit record, bell, book, and candle, and it’s there.

The best things that come from my hands and my lips and my eyes aren’t mine. I don’t dare claim them as anything but the literal product of the Work. Even as my body has failed me and blessed formlessness is near, the Voice and the music and the echo is there.

These days I am a magician and musician and dreamer, mystic and idiot, effectively locked away from the world by the curse of failed flesh, but in the Voice and the sound and the music, I am free.

I have played absolutely free for twenty years — I have only broken this rule once, just to break it. I do not play covers or set songs or even my own material twice. It is a thing of the moment, living, breathing, dying, and remaining as a record of that thing, that intent. It is a sigil of the pain, the joy of existence, the sound of the moment.

It is generally recorded live or as live as it can be given that there are times when to satisfy the piece and the moment I cannot clone myself. Overdubs are limited to complete passes and what I call “pseudo-live” in that it’s “use what’s committed to record” or “scrap the whole thing” to prevent losing the moment in the pursuit of perfection.

If at all possible, I record live in one pass, 24 tracks available at a time to allow me to focus on performance rather than mixing (and to use totally wet processing where needed live, not in post production).

Follow Robert Furtkamp via
Anthology profile





Created during the process of charging the the first and second pentacles of Jupiter from The Key Of Solomon The King by Mathers in order to explore the idea of an angel, the entity was consumed and assimilated during spirit trance.

Hermetic Library Anthology Artist Children of Osiris

My name is Marc, I first encountered esoteric ideas when I was 15 years old in a book called The Black Arts by Richard Cavendish, It was not until I was 17 that I was introduced to the ideas in the Book of Thoth by Aleister Crowley (especially The Tarot and Animism) . I am now 45 and have related to various esoterica through music, art and personal practice during the intervening time. From Psychic TV and Coil to The shamen and Goa Trance via Throbbing gristle and everything in the Rave scene from the late eighties onwards. It seems impossible to fill this space with all my influences from the world of musick.

My process to create starts with words, I use keywords and expressions around an intention and cut up the ideas until they give birth to something that intuitively feels correct. I then paint the assemblage of language into a montage of symbolic images and colours. After this I charge the image through acoustic percussion and mantra (traditional or otherwise). Once I have obtained communication with my project and entered into a contract with it I move to my PC maintaining the state of trance and interaction in order to assemble a sonic tapestry of samples and sounds that reflect or are guided and informed to be representations of my communion with my work, I then edit and restructure. (Though not always) The sound has to be a reality of the contract/contact those are the terms and conditions.

I compose sound under three names Wolven Angel (Inspired by T.A.Z), M.A.R. and Children of Osiris, These personas/conditions/constructs serve different attitudes of purpose in order to guide certain aspects of my projects. Each set of conditions forms a set of temporary expressions recorded.

Follow Children of Osiris via
Anthology profile


The Revealing


The Revealing

The lyrics come from an ancient Shiite text, The Mother of Books which has a very gnostic character, this passage talks about the mystical nature of the 7 angels and 12 dimensions of manifestation. These seven and twelve are reflected down into the composition of the “astral body” of the human being.

For this I recorded my oud along with analog synth and drum machine plus my tonal plexus which enables me to work with 72 tet tunings when plugged into the iPad software synths like the Moog modular emulation.

Hermetic Library Anthology Artists Shams93

Shams93 is the brainchild of composer/performer Brian Redfern. Brian graduated from CalArts in 1998, having studied composition with Nyoman Wenten, Kobla Ladzepko and Wadada Leo Smith. In 2005 Brian switched from guitar to the ancient middle eastern instrument, the oud, studying with virtuoso Yuval Ron.

Previously Brian had been the guitarist for Los Hermanos de Jazz who had opened up for bands such as the Stone Temple Pilots and performed sessions for Death Row Records, back in the wild and crazy early 1990s. Back then he also created a project called “Aleister’s Bastards” inspired by the work 777 by Aleister Crowley. However at the time, he had no idea he lived right down the street from the famous occult author, Lon Milo DuQuette.

Shams93 runs the gamut from purely acoustic solo oud to electronic music and live electric performance. Brian plays both acoustic and electric oud and uses the ancient system of “Maqam music” from the middle east to compose new material based on ancient patterns.

He is greatly inspired by recent John Zorn projects such as the Crowley String quartet, which explore occult concepts with instrumental music inspired by western classical and avant-garde.

Besides having earned an MFA from CalArts Brian is an initiated Freemason, 3, 32, Thelemite and self-initiated Sufi/Ishmaeli. He’s also a 3 in the OTO and a probationer of the A∴A∴, so occult practice and meditation are massive influences on the music of Shams93.

Follow Shams93 via
Anthology profile