Tag Archives: samhain

Malkunofat

 

Malkunofat
(Barron)

This track belongs to an ongoing series on the Tunnels of Set, and was created as the grounding of the tunnel of Malkunofat. This exploration consisted in a mythical descent to the Underworld of Ereshkigal in order to learn her teachings on the real nature of death. This didn’t come without a price, since it is naked and bowed low that Inanna enters her throne room. Yet it is rewarding to never protect your life, so you can throw it away whenever you need to.

y3mk is a music solo project from Pablo Barron, born in Donosti in the Basque Country and established in Madrid, Spain. His music is influenced by a wide arrange of artists and genres, though mostly created through the use of computers.

He often considers songs lacking an inner dimension intertwined with them as a hollow husks, and conceives music as the extirpation of the inner pouring it into an outer form, therefore an useful tool for the exploration and knowledge of the self. Pablo is also a humble servant of Cracky-Chan: Urban Mermaid, Reluctant Angel, and Cyberpunk Princess of the Wired.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

In the Company of the White Rabbit

 

In the Company of the White Rabbit
(Radio Free Clear Light)

Radio Free Clear Light is a collective of artists devoted to experimental, electro-acoustic improvisation music as a collaborative mystical practice. Our approach draws its inspiration from Thelemic and Discordian thought, and other schools of esoteric wisdom. We use digital and analog electronics, found sound sources, vocals and a variable set of traditional musical instruments in an improvisational process that yields results as eerie as they are sublime. Stylistically speaking, our output contains elements of dark ambient, industrial, dub, IDM, minimalism, noise, shamanic and psychedelic musics, drones and free jazz.

Central to our philosophy is that all people are musicians, whether or not they believe themselves to be. It is our intent to create spaces of musical freedom where all people are participants, actively creating the unique and changing soundscape with their presence and sustained attention. In this way, the music created is always site-specific, altered each moment by the environment and musical contributions of the those in attendance.

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Research on presence
has brought to us
a blindingly strange
understanding.

In order to evoke an illusion
it is said
things might work better
in the company
of the white rabbit.

Thereafter we are set free
to explore different mediations
of virtual reality.

Then again, snow
despite its being a major concept
in this field,
is most often overlooked or confused
in various studies
in the field of cognition.

Such problems can’t be avoided
without the help of
external perceptual inputs.
Soon the entire process
tends to disappear,
dismembered.

It will go on to form
a space-time referent
in which one will
be able to experience
a particular sensation.

Various theories
have been proposed
They all amount to
gooble gobble
gooble gobble.

Electric fire
purely evoked
by our mind
becomes
the dream.

 

Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

Zum schwarzen Ferkel (Oktober Mix)

 

Zum schwarzen Ferkel (Oktober Mix)
(Lindblom)

This mix created for Magick, Music and Ritual 9.

Antibarbarus is based in Eskilstuna, Sweden, sometimes channeling the ghost of August Strindberg, using field recordings, electronics, and guitars.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

The 57th Step of the Pyramid

 

57th Step of the Pyramid
(Tweddell)

Each set of stairs on descent into the heart of the Pyramid is comprised of 57 steps and at the end of the 57th, a small platform was provided against the outer wall, one scant slab barely large enough to seat one thin man. Why these slabs were provided remains a mystery, for surely they were not designed as a resting-place in an area where no one was ever expected to travel.

Nothing was left to chance here and everything was deliberate. We believe in the power of numbers and that numbers resonate with harmonic frequencies. This is the frequency of the 57th Step.

Twelve Hides is music for the third eye, inspired by deserts of Arabia and the Pyramids of Egypt. All music is by Ben Tweddell, and vocals are from Tiffany Bryant, both ex-members of Psychedelic-folk band Thistletown.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

hand in hand we explore the inferno

 

hand in hand we explore the inferno
(idaydream)

“As flowers bent and shrunken by night at dawn
Unfold and straighten on their stems, to wake
brightened by sunlight, so I grew strong again—

Good courage coursing through my heart, I spoke
Like one set free…”

idaydream is the music of Ryan Pulito.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

Labyrinth

 

Labyrinth (Remix 2013)
(Radio Free Clear Light)

Radio Free Clear Light is a collective of artists devoted to experimental, electro-acoustic improvisation music as a collaborative mystical practice. Our approach draws its inspiration from Thelemic and Discordian thought, and other schools of esoteric wisdom. We use digital and analog electronics, found sound sources, vocals and a variable set of traditional musical instruments in an improvisational process that yields results as eerie as they are sublime. Stylistically speaking, our output contains elements of dark ambient, industrial, dub, IDM, minimalism, noise, shamanic and psychedelic musics, drones and free jazz.

Central to our philosophy is that all people are musicians, whether or not they believe themselves to be. It is our intent to create spaces of musical freedom where all people are participants, actively creating the unique and changing soundscape with their presence and sustained attention. In this way, the music created is always site-specific, altered each moment by the environment and musical contributions of the those in attendance.

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One day he noticed a flier advertising for a director of training.
This was, of course, not his first stint in the desert.
By that time he no longer believed in a uniform, absolute time.
“But we cannot possibly ignore certain pathological aspects of the subject,” he wrote.
“I will analyze the actions of men as if it were a question of lines, of planes, and of solids.”

He applied for the job and eventually got it.
He then projected an infinite series of times,
and he postulated that he could get humans
to choose the path he designated.

“Each choice we make feels to us as if it must be unique,” he wrote.
He found a human community nearby
and began to notice that in a growing, dizzying net of divergent choices
a choice could be handled by his intellect as any other object is handled in a lab.
“They came to me to solve problems,” he wrote.
They wanted him to lay bare the causes in which the choice originates.
They didn’t really know what he was doing with the tangled webs of their lives.

In later years, he focused more on mass psychology than on individual intelligence,
on convergent rather than parallel times.
“A deep consideration came upon me”
“It was me,” he wrote. “It was just me all along.”
It was then that he developed a full-blown systematic approach to training,
involving a great network of choices which approached one another.
“I am no such thing as many. I am MYSELF, MYSELF alone. That’s what each of us believes.”

He built three pieces of equipment
each of which forked, broke off, and even became unaware of one another for centuries.
This game eventually became immensely popular
as it embraced all possibilities of time,
all conceivable choices
all possible outcomes.
His name has long been lost but the game persists in the desert
where the lines can almost be seen with the naked eyes.

 

Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

Enchanters

 

Enchanters
(Phillips)

A track about the secret lives of “spellcasters”.

Since playing with a reel to reel machine back in the 70s I’ve always loved the concept of grabbing sounds and playing with them. My music is experimental, mostly electronic and tends to develop intuitively from an impulse. Occasionally I will have a concept of the meaning of the track when I begin but this may change through the creative process and becomes something else entirely. The best work unfolds as a mystery and it is a wonder as to how it came in to being. In terms of the hermetic traditions I was influenced by the works of Aleister Crowley from the age of about 17 or so. I’m most fond of the books Magick without Tears and The Book of Wisdom or Folly. I took my ‘stage-name’ from the enigmatic equation 0=2. My music tends to come in creative periods that can be separated by several years.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9

 

A Ladder

 

A Ladder
(Triefenbach/Day)

From the forthcoming album Between Dragons. Copyright 2013 Universal Love Upload.

Sun Duel is an open-ended esoteric musical project of the Universal Love Upload, creating inspirational sounds for use by its members as well as the general public.

Over-arching thematic concerns include an existential examination of Self in its processes, such as the nature of Time as biological function and social construct, “Otherness” in gender and sexuality, and the co-opting of public spaces as sites of trance and transgression. We emerge in works of instability and hybridity. Through storytelling and the performative application of ceremonial and archetypal signifiers, we confront and inhabit Mystery, Cruelty, Joy, and the Uncanny.

This structuring of duration on site is achieved through theatricality, prayer/ focused intention, and the internalization of collage processes so that the resulting sounds, images and actions come to function somewhat as marks on a map, and the primacy of individual works is subsumed into conceptual clusters to be read in whole or in part- a system in continual growth and collapse.

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Magick, Music and Ritual 9, the Fall 2013 anthology album from the Hermetic Library
Hermetic Library Anthology Project – Magick Music and Ritual 9