Sunday, October 29, 2017

Imagining Bestia Centauri "Live"



Technological innovation has made possible solo live performances that would have been unimaginable a decade ago. As a result, such excellent sonically immersive artists and comrades-in-arms as Lustmord and Black Mountain Transmitter are now able to offer very effective performances in concert.

This fact led me to imagine, hypothetically, what a live Bestia Centauri performance might be in an ideal world. Almost needless to say, the financing, the demand, and most likely the technology for such a performance is non-existent. But what if...?

One idea for a Bestia Centauri live event would be to create a wholly immersive environment using either holograms or VR headsets. Bestia Centauri would establish, say, a week-long residence at a difficult-to-locate venue, and audiences would be limited to fifteen or twenty persons per "performance". The venue would be decorated to resemble an old-fashioned mental institution, and audience members would be either seated in chairs or lying on gurneys (straitjackets optional for those especially adventurous audients who might want to try to replicate the out-of-the body experiences and past life regressions of Darrell Standing in Jack London's oneiric 1915 novel The Star Rover).

Bestia Centauri would play parts live, accompanied as needed by backing "tapes". Each audience member would be connected to monitors, so that Bestia Centauri would receive basic physiological information from random audients (brain waves, temperature, heart rate). Bestia Centauri would then modify the backing, the sound, the volume, the lighting, and even the room temperature accordingly.

Another idea would be to perform the music, as described above, but to have the audience in an induced hypnagogic state, in which they are balanced equally between waking and dreaming. Or perhaps the audience would be fully asleep, and the sounds would be adjusted according to EEG feedback, particularly during the REM stages of sleep.

An impossible dream for an impossible project.

Sunday, October 15, 2017

Absolutissimae Primi Mobilis Tabulae II


Absolutissimae Primi Mobilis Tabulae I


Unusual Star Discovered in the Lupus Constellation

"For more than four hundred years, astronomers have used telescopes to study the great variety of stars in our galaxy.

Millions of distant suns have been catalogued. There are dwarf stars, giant stars, dead stars, exploding stars, binary stars; by now, you might suppose that every kind of star in the Milky Way had been seen.

That's why a recent discovery is so surprising. Researchers using the Subaru telescope in Hawaii have found a star with spiral arms. The name of the star is SAO 206462. It's a young star more than four hundred light years from Earth in the constellation Lupus, the wolf. SAO 206462 attracted attention because it has a circumstellar disk--that is, a broad disk of dust and gas surrounding the star. 

Researchers strongly suspected that new planets might be coalescing inside the disk, which is about twice as wide as the orbit of Pluto.When they took a closer look at SAO 206462 they found not planets, but arms.

Astronomers have seen spiral arms before: they’re commonly found in pinwheel galaxies where hundreds of millions of stars spiral together around a common core.

Finding a clear case of spiral arms around an individual star, however, is unprecedented.

The arms might be a sign that planets are forming within the disk."


(First reported from http://www.messagetoeagle.com; original story no longer available.)

Saturday, July 2, 2016

Sunday, October 12, 2014

Bestia Centauri Reviews--Some Favorite Comments

Below are some of my favorite comments from reviews that have been written over the years about Bestia Centauri's music  I am especially glad to note the humor in some of them. Although the music and the intent behind it are perfectly serious, it is also silly to take the concept or the project with utter po-faced gravity.


Christopher Donovan, Somnambulant Corpse Recordings:


"The projection of an inhuman perception, alien, hovering at absolute zero in the cold vastness of space".


Achtung! Baby:


"31 minutes of Eternity, Oblivion, and Fear, the sound of a voiceless wind, lingering groans of giant ruins, a confession of stars, and agonized poundings with a womb of flesh."


Seven:


"[O]pens with the groan of the unknown, of the deepest slobbering black holes of disease, and shimmering sounds like the twinkle of stars before death. Gurgling, spasmodic, throaty nuances follow, sounding like the unspeakable language that Lovecraft created, only garbled into incomprehensibility. [...]


The tones littered throughout these tracks brim with unearthly allegiance, gobbling stars and the blackest void itself, birthing obscenities of no beastly compare via mutilating the electro-acoustic and the electronically perverse. The whole presentation is an invitation to the sonic equivalent of Cthulhu's sonic masturbatorium. The aural definition of weird!"


LD-50:


"As if a mad artist would sit in front of the Photoshop of creation. I don't want to know what creatures can be invoked with this".


Ortus Obscurum:


"Like a gigantic cosmic vortex, this is not for the weak-minded!"


Industrial.org:


[A]n oily kind of blackness, slippery and difficult to clean off. Organic sounds make an appearance as well and somehow as unlikely as they are, always hit like the peripheral scream of Silent Hill or Half Life. [...]

Initially you become comfortable with the surroundings, strange as they seem. But just as you become conditioned to your environment something so fucking horrible and alien occurs that you are just locked in place, paralysis easier than dealing with the impossible wrongness of it. Like suddenly realizing the gentle rain upon your face is actually droplets of blood cascading down from the swinging corpses of everyone you have ever loved. Or that the prickly label scratching your neck is actually the barbed end of some ghastly alien tentacle snaking out from beneath your now writhing clothing".

Sunday, July 21, 2013

Interview With Ortus Obscurum


The following is an interview, Bestia Centauri’s first, conducted with a short-lived Swedish Web ‘zine called Ortus Obscurum.

BESTIA CENTAURI INTERVIEW

Ectonaut: Please introduce Bestia Centauri to our readers. What is Bestia Centauri all about? For how long have you been doing this and for what reason?

Bestia Centauri (“BC”): The public face of Bestia Centauri is a solo electronic music project that I initiated in 1999. By “electronic music”, I simply mean electronically produced music that utilizes modern sound synthesis algorithms. My work has nothing to do with the contemporary rave or dance music to which the label “electronic music” is often misapplied. There are other elements of this project, as well, but they are too personal to speak of at present. The curious reader can get an inkling of these other aspects of Bestia Centauri from the brief and slightly (but only slightly) tongue-in-cheek description of the project posted at www.somnambulantcorpse.com. As for my motivation, I do what I do purely as a source of pleasure and inspiration, and, more specifically, to create music that I would enjoy hearing but have not found elsewhere.

Ectonaut: Tell us something about the tracks on Ubbo-Sathla. Did you work with specific methods when you composed them? Is there a concept behind this release or anything else interesting that you think we should know about Ubbo-Sathla?

BC: The name of the title track derives from a short story by Clark Ashton Smith. Ubbo-Sathla is an interstellar entity who spawns “the grisly prototypes of terrene life”, and to whom all such life must eventually return. The Night Land II is inspired by William Hope Hodgson’s novel of (almost) the same name. The Catacombs of Ptolemais is a phrase from Poe’s prose-poem “Shadow–A Parable”. I intend to wean myself of over-reliance on literary references in the future, but these themes well illustrate various aspects of the “cosmicist” element that Bestia Centauri both represents and embodies. The aim is to create a sense of the numinous, the horrific, and the extra-human.

As for my methods, I work intuitively and spontaneously—at least, as much as software-based synthesis allows—but I do make a conscious effort to use a variety of tools and to make certain that the music possesses a certain flow. As Chris Franke once said, speaking of the music of early Tangerine Dream (I paraphrase), “Sometimes it’s a trickle, sometimes it’s a waterfall, but the music always flows”. I also take care to use, as much and as best I can, the sophisticated software employed more often in “pure” computer music or electro-acoustic music. The use of such tools has been the exclusive province of tediously intellectual academic composers or Post-Modern ironists for far too long.

Ectonaut: How would you describe the music of Bestia Centauri to completely new listeners? Do you feel that Bestia Centauri belong to a certain genre? Are there any bands that you think you can relate to soundwise and conceptwise?

BC: Apart from the general rubric of electronic music, I do not think that the sounds of Bestia Centauri fit into any genre. If pressed, though, I would say that my music falls somewhere between non-rhythmic dark ambient “soundscapes” and electro-acoustic music, with a slight bias toward one or the other in a given piece. Offhand, I cannot think of too many projects like my own. Although what I am doing is rather different, the early music of Tangerine Dream (circa1972-1975) has been a tremendous source of inspiration to me, as are certain of the works of the composer Gyorgy Ligeti (AtmospheresLux Aeterna; Lontano). Among much older works of electro-acoustic or tape music, I’m very fond of the music of Tod Dockstader and of Myron Schaeffer’s soundtrack to the film The MaskAs for more recent projects, of course, there’s much that I haven’t heard, but I’ve been most impressed so far by the work of Chaos As Shelter. Robert Scott Thompson is a contemporary composer of ambient and electro-acoustic music whose work I admire.

Ectonaut: What is most important in music according to you? How do you define quality music? What are your musical influences?

BC: I’ve answered the question about sources of inspiration (I prefer this term to the word influences) above. What is most important to me in music, as well as in anything else, is that it convey a sense of something poetic, imaginative, cosmic, Lovecraftian, and utterly beyond the human. “Quality music” to me is most likely to arise when the musician creates it out of a sense of inner necessity relating to the music itself, and not out of the usual social or egotistical motivations: that sort of, “Hey, look at me” mentality that is so prevalent everywhere today, but especially in the United States. I would certainly continue to do what I am doing whether there were any prospects for my music’s release or not.

Ectonaut: What plans do you have for the future? Are there any new Bestia Centauri releases planned? Anything else you would like to add?

BC: I plan to work at my own pace for as long as it gives me pleasure to do so, and to pursue the impossible goal of eventually replicating in spirit “the music of Erich Zann”! A piece entitled The Night Land will appear, I hope, within the next couple of months on an Afe Records compilation entitled No Abiding PlacesAnother, as yet-untitled, work will appear on a forthcoming Somnambulant Corpse compilation tribute to H.P. Lovecraft entitled The OutsiderThere may also be a full-length release later this year.

Thank you for initiating this interview, and for taking an interest in such a new and obscure musical project!

More On The Bestia Centauri Constellation



Cited from Richard Hinckley Allen, Star Names, Their Lore and Meaning (1899):

” ‘. . . another form that men of other days have called the beast.’

Poste’s Aratus.

Lupus, the Wolf, is the Loup of the French, Lupo with the Italians, and Wolff in Germany, an idea for the figure said to be from the astrologers’ erroneous translation of Al Fahd, the Arabian title for this constellation, their Leopard, or Panther; although Suidas, the Greek lexicographer of 970, is reported to have called it Κνηκίας, a word for the wolf found in the fables of Babrias of the century before our era. The Greeks and the Romans did not specially designate these stars, and thought of them merely as a Wild Animal, the Θηρίον of Aratos, Hipparchos, and Ptolemy; the Bestia of Vitruvius; Fera of Germanicus; Quadrupes vasta of Cicero; Hostia, the Victim, of Hyginus; Hostiola, cited by Bayer; Bestia Centauri, by Riccioli; and Victima Centauri.

The Wolf reappeared as Lupus in the Alfonsine Tables, and as Fera Lupus in the Latin Almagests, while Grotius said that Panthera was Capella’s name for it.
Bayer also had Equus masculus and Leaena; and La Lande, Leo Marinus, Deferens leonem, Canis ululans, Leopardus, Lupa, Martius, — wolf being sacred to Mars, — and Lycisca, the Hybrid of the wolf. Belua, the Monster, is found in early works.

The Arabians also called it Al Asadah, the Lioness, — found by Scaliger repeated on a Turkish planisphere and cited by Bayer as Asida, — and Al Sabuʽ, the Wild Beast, Chilmead’s Al Subahh. But the Desert astronomers seem to have mixed some of its smaller stars with a part of the Centaur as Al Shamārīḣ, the Palm Branches, and Ḳaḍb al Karm, the Vine Branch.

Zibu, the Beast, of Euphratean cylinders, may be for this constellation; and Urbat, the Beast of Death, or the Star of the Dead Fathers, is a title for it attributed to the Akkadians.

Caesius said that in Persia it was Bridemif, but Hyde, commenting on this from Albumasar, asserted that the word should be Birdūn, the Pack-horse, and was really intended for the Centaur.

Aratos wrote of it, ‘another creature very firmly clutched,’ and ‘the Wild-beast which the Centaur’s right hand holds’ as an offering to the gods upon the Altar, and so virtually a part of the Centaur; but Eratosthenes described it as a Wine-skin from which the Centaur was about to pour a libation; while others imagined both the Beast and the Wine-skin in the Centaur’s grasp.

Mythologists thought it the animal into which Lycaon was changed; Caesius, that it was the Wolf to which Jacob likened Benjamin; but Julius Schiller saw in its stars Benjamin himself.

Although very ancient, Lupus is inconspicuous, lying partly in the Milky Way, south of Libra and Scorpio, east of the Centaur, with no star larger than 2.6 magnitude, while the few visible in the latitude of New York City — γ, δ, λ, and μ — are even smaller than this.
Gould enumerates 159 naked-eye stars, among which is an unusual proportion of doubles.

α, 2.6, seems to be unnamed except in China, where it was Yang Mun or Men, the South Gate.

On the Euphrates it probably was Kakkab Su‑gub Gud‑Elim, the Star Left Hand of the Horned Bull, said to have been a reference to the Centaur that was thus figured in that valley.

It culminates on the 14th of June, nearly due south from Arcturus and north of α Centauri.

β is the Ke Kwan, of the Reeves list of Chinese titles, a Cavalry Officer. This is a very close binary, of 3 and 3.5 magnitudes, both yellow, 0ʺ.25 apart, the position angle being 90°.

α and β are below the horizon of New York City.


Other Chinese asterisms appear within the boundaries of Lupus, all bearing titles pertaining to military affairs, and so of the second period of their star-naming.”

Saturday, July 13, 2013

KUNM-FM, New Mexico, Radio Playlist



As you can see below, Bestia Centauri found itself in some interesting and unusual musical company in 2003, especially for a so-called "Dark Ambient" project.



Saturday, July 6, 2013

A Note On The Self-Immolation Rite

As detailed in the accompanying booklet to our version of The Self-Immolation Rite (SIR), the project originated when a pseudonymous person who claimed to be a member of a so-called "Traditional Satanist" group contacted Bestia Centauri. He asked whether we would be interested in re-mixing the original version of the SIR. We considered the request, and then counter-proposed an entirely new version of the SIR. Our interlocutor replied enthusiastically. So, off we went to work.

On the other hand, even then, in 2003-2004, we had strong reservations regarding this particular group's underlying seriousness and integrity. For that reason, we kept a wary distance from it. The basic idea of the SIR, however, seemed a worthwhile theme to explore musically.

Our point now is simply this: Had we known then what we currently know about the group in question, we would never have agreed to have anything to do with them, or to blend our name with theirs in any way. At most, Bestia Centauri and these "Satanists" used one another in furtherance of their respective aims. That is the best that can be said of this particular collaboration.

Today, Bestia Centauri does not wish to be associated in any way with this or any such group. We have nothing to do with the "occult" or with pseudo-esoteric "Orders", except to use them on a thematic level--which is, as a rule, all they are good for. 


We also have no regard or respect whatsoever for most of the individuals that that particular group of so-called "Traditional Satanists" comprises, and we prefer that the thematic aspect of our SIR be viewed for the purely historical artifact that it is. We will, however, allow that these people are clever gamesters. But Bestia Centauri has its own game to play, and plays strictly by its own rules.


In that vein, and as to the music of The Self-Immolation Rite itself, it should stand or fall on its own merit.

Saturday, October 13, 2012

Theatrum Mundi et Temporis (Joanne Paulo Gallucio, Venezia 1588)

A bit of historical information about the Bestia Centauri constellation, for those who may be interested.



Sunday, July 8, 2012

Diabolus Rex Comments On Bestia Centauri

We were somewhat surprised and flattered to learn that Diabolus Rex, occultural painter and sculptor in the tradition of H.R. Giger, and former Magister Templi of the Church of Satan, took time recently to comment upon an old essay of Bestia Centauri’s. The original Bestia Centauri text to which Diabolus Rex refers may be found here.

Below, we offer our brief response to Diabolus Rex in the following format: The original remarks that Rex cites, and then his comments, followed by Bestia Centauri’s (BC) rejoinders. Diabolus Rex’s complete and unedited remarks appear following these comments.

We hope that some will find this exchange to be of interest.

1. BC (original comment): [...] [T]he Beast and the Centaur [are linked] with what the writer and visionary Arthur Machen called, in a famous tale of his, “The Great God Pan”. This “god” is not some benign, “New Age” pagan nature spirit: It is the totality of all that is. Those few who have perceived the Beast too directly in rare moments usually go mad: The English word panic derives from the Ancients’ understanding of this idea.

   Rex: The writer here correctly observes a varnishing of the mythoes [sic] wherein the beast awaits sacrificial death to a second greater beast, but up-ends this perspective by joining the two creatures into a hybrid being whom he relates to the “Great God Pan” but is rightly one of the “Hounds of Tindalos”.

  BC (reply): The connection to Belknap Long's hounds is interesting, but one mustn’t be too literal, here. The relation is purely metaphorical, and alludes specifically to Machen’s conception. We wish to emphasize, in particular, the maddening effects of an encounter with a totality beyond conception.

2. BC (original comment): Those who resemble humans, but who are, in fact, demonic intelligences bearing the human form. This is what Nietzsche referred to as the Superhuman, a new sort of race—or, ultimately, species—altogether.

    Rex: This statement is collective in it’s [sic] perception, the authentic state is not a species, but a separate and distinct form, isolate.

    BC (reply): This objection seems primarily semantic. The species concept in general is, of course, open to question, but here it is merely a sort of shorthand, and, once again, not to be taken too literally. That said, we agree completely with Rex’s remark regarding separate, isolate, and distinct forms. If, however, these forms could interbreed, then the rudimentary biological definition of the term “species” might still obtain.

3. BC (original comment):  For those who wish to escape the general law, such conscious, self-directed evolution offers the greatest hope.

    Rex: Hope is a word for the weak and apprehensive, not the self directed. The Black Magician does not hope, but commands.

   BC (reply): Ah, yes, the specter of “Invictus” rises again! In fact, the word “hope” has an ancient lineage with multiple meanings and connotations. Our use of the word in this context was based upon one of these ancient and obscure meanings: “Expectation (without implication of desire, or of a thing not desired); prospect” (see the Oxford English Dictionary).

4. BC (original comment):This much is certain: However extraordinary, or even outré, one’s visions of “the Great God Pan” may be, the ultimate reality is vastly beyond the bounds of even the most advanced humanoid sensory abilities.

    Rex: This is a perspective held by those  outside of the preternatural and revelatory gnosis of the Magus.

    BC (reply): To be more precise, this is the perspective of someone who does not believe at all in the concept of the Magus or his alleged gnosis, let alone his authority. No one in his earthly incarnation is exempt from the limitations that inhere within that state—no one.

5. BC (original comment): If ever we were to confront it unmasked, we would likely face the fate of the narrator of Clark Ashton Smith’s epic poem The Hashish-Eater. Like him, we might stare into the maw of an utterly innominable force, and be consumed in the great alchemical furnace of the stars, “with lips of flame that open”.

   Rex: This statement reveals the scewed [sic] perception of the writer, who up to this point in his thesis has written from the perspective of the LHP. [...] The Satanist, the Black Magician does not seek submergence of the self, but refined definition in abject defiance of universal law.

   BC: This is an unfortunate misunderstanding. We accept partial responsibility for this misunderstanding, as we use a term, “crossing the abyss”, that has a “technical” meaning within occultism that we did not intend. The allusion to “consumption” was not to ego-death or assimilation, but, as we hoped our reference indicated, to an alchemical transformation, which is something very different.

In any case, it should be obvious that we do not advocate any sort of self-dissolution or merger within a greater whole, and that we also believe that preservation of the isolate individual intelligence, albeit transmuted, is paramount.

In conclusion, one should note that the remarks by Bestia Centauri that Diabolus Rex analyzed are at least ten years old, and that such views rarely remain static.

More to the point, Bestia Centauri is not seriously involved with magic or the occult, nor has it ever pretended to be. The purpose of the essay under discussion was to use certain concepts of the occult, and, specifically, the Path of the Left Hand, poetically, in order to introduce Bestia Centauri to the public. Those who take that statement too seriously, or too literally, merely reveal their own interpretive limitations. Indeed, the difference between Bestia Centauri and most occult practitioners we have met is that we do not insist upon the objective truth of our particular perspective. 

As for the “occult” and all the rest, art’s privilege is always to wander into areas where it does not strictly “belong”.

We express our thanks and appreciation to Diabolus Rex for taking the time to comment on our project.

Original Remarks By Diabolus Rex [BC: Typographical errors and misspellings are as they appeared in the original posting]:
Diabolus Rex – Wed, 03/16/2011 – 22:39
Releases on Afe:
Teratogenesis [afe093cd]
The Antediluvian Earth

This meditation on the sonic sorcery of dark ambient project Bestia Centauri was originally meant to be a response to a post on my FB wall by an online associate,  but as I delved into the perspective presented here, I decided to take the statements of the collective project in paragraphs and comment on them from the perspective of a Magus, quantum sorcerer, and occult engineer. All of my commentary is in bold…… [BC: We have changed Rex's boldface commentary to italics, in order to conform to the formatting of this blog.]

Myth is simply the re-interpreting of perceptions of temporal phenomena in terms of the trans-temporal. The “myth” of Bestia Centauri is one that I intuited in precisely this way. It began when I saw the cover of Tangerine Dream’s 1971 album Alpha Centauri. The cover was a strange, almost abstract black-and-white representation of that most proximate star, and it seeded my mind with a fascination with that region of the cosmos. In my meditations – a term that is much preferable to the New Age-like “pathworking” – I began to intuit a presence in this region: Bestia Centauri.
This region of space contains some of the hottest stars in existence as well as the occult super-nova SN1006 which made its first appearance on April 30th-May 1st (Walpurgisnacht) in the year 1006 BCE in the constellation of the wolf. In antiquity, this constellation was considered a monad with the Centaurus and was interpreted as an arbitrary animal about to be sacrificed to the centaur until Hipparchus of Bithynia named it Therion (the beast) some 200 years before the christian era. The accurate identity of this beast was unknown until translations of Ptolemy’s work into Latin identified it as “a wolf.” In Babylonian lore this figure was identified by his cuniform designate “UR” which identified all large carnivores, lions, wolves, mastive dogs, (the orgin of the gladitorial breeds), and bloodlusting supernatural beings.

Bestia Centauri is Latin for “the Beast of Centaurus” (hereafter, “the Beast”), an old and obscure name for what is now called the constellation Lupus (“Wolf”), near Alpha Centauri. The common tradition holds that the beast in question is a prey of the Centaur. This interpretation is, of course, incorrect. It is a sort of Christian-like sanitization of its deeper meaning, which links the Beast and the Centaur with what the writer and visionary Arthur Machen called, in a famous tale of his, “The Great God Pan”. This “god” is not some benign, “New Age” pagan nature spirit: It is the totality of all that is. Those few who have perceived the Beast too directly in rare moments usually go mad: The English word panic derives from the Ancients’ understanding of this idea.
The writer here correctly observes a varnishing of the mythoes wherein the beast awaits sacrificial death to a second greater beast, but up-ends this perspective by joining the two creatures into a hybrid being whom he relates to the “Great God Pan” but is rightly one of the “Hounds of Tindalos”.

The “physical” matter of the Beast is located in the aforementioned constellation. It lurks there, an indescribable force, in its lair of dark matter. (I would state dark energy), {This is the Ylem, the cosmic super-heated primordial sludge of the big bang at about 400.000.00 years after, composed of high energy protons} Certain artists and poets have periodically been inspired, wittingly or not, by this force, and have described elements of it and its influence in pictorial, poetic, and fictional works. Among these artists are H. P. Lovecraft,(AZATHOTH) Clark Ashton Smith, Arthur Machen, Edgar Allan Poe, Algernon Blackwood, William Hope Hodgson, John Martin, and many others. {The Hounds of Tindalos can rightly be understood as emissaries of AZATHOTH and as cannid-beings emminating from the lair of the Beast. They are the random elements that appear as a result of immersion into chaos theology and are “dangerous” to the mind unprepared for a manifestation with no common frame of reference.

The aim is to understand and channel the Cthulhu-like emanations of the Beast consciously, as a sort of Earthly avatar or representative. The Beast is akin to Lovecraft’s fictional Cthulhu, in that it “calls” those who are receptive to its nature.{angular resonance} Its emanations are closely related to what the Traditional Satanist group the Order of the Nine Angles terms “acausal” energy, a form of energy that is diametrically opposed to the causal energies that we perceive as a part of the tri-dimensional universe. This perception is arbitrary in time and demands the reduction of time by way of techno magickal concepts implemented in the ritual chamber. Acausal energy depends upon angular inertia information as they are linked in the workings of greater black magick. The figure of “Satan”, however, is a mere acolyte at the altar of the Beast, which is, in itself, far from such a human conception. {As Satan is the adversary of spirituality he is the nadir of the material reductive and un-related to Azathoth or Yog-Sothoth, In fact, the Beast is utterly beyond any human conceptions; one can, at best, use figurative and poetic language to capture its attributes. Beyond common human conceptions, yes, but noeticly apprehended by those elect few within the human equation who by cosmic force of will and refinement of the psych have transcended beyond this sphere, and live a dual existence both appearing in human form in the mundane plane, but also linked to Yog Sothoth the overmind and “super consciousness” and are themselves the demonic Lords of Chaos. At the same time, however, attunement to the Beast is a means of transferring to oneself acausal energy from the outer spheres, in order to increase chaos and “presence the darkness” on Earth. This statement is a primitive reference to elevation and transformation to the state of the GOTOS a being existing between two worlds, a master of black magickal reality who carries within himself/herself a degree of the essence of the Prince of Darkness, and is recognized as a being of frightful power through command of an Aeonic principle, (in the case of Diabolus Rex the Word Chaos) The diffusion of such energy is necessary to the transformation of an elect few: Those who resemble humans, but who are, in fact, demonic intelligences bearing the human form. This is what Nietzsche referred to as the Superhuman, a new sort of race–or, ultimately, species–altogether. This statement is collective in it’s perception, the authentic state is not a species, but a separate and distinct form, isolate.

Of course, the Beast itself cares nothing for the humanoid species, or for any other: It merely emanates the energies that enable certain inhabitants of the cosmos to “raise the sail”, and to harness these energies in a sort of self-directed evolution. XEPER, comming into being, the aeonic word of the Ipsissimus of the Temple of Set . As the esoteric tradition of Gurdjieff and Ouspensky states, the majority of the human race are, despite appearances, mere unconscious automata. (4th Way) They exist only to provide “food for the moon”; that is, to provide energy off which other bodies in the cosmic economy may feed. (to this I would add “psychic food” for the GOTOS of the Temple or Lodge) For those who wish to escape the general law, such conscious, self-directed evolution offers the greatest hope. (Hope is a word for the weak and apprehensive, not the self directed. The Black Magician does not hope, but commands.) Few, however, are capable of following this path to its conclusion. (it is also not a matter of choice, but of remanifestation into this sphere and a continuing metamorphosis of the elect)This is because such an evolutionary pattern invariably takes the form of the monstrous, albeit in the original sense of the Latin etymology for the term monster: a prodigy, a wonder, something outside nature. Thus the curse of the Magus who becomes a frightening enigma to common man.

In sum, tapping into the “crawling chaos” of acausal energies, such as the Beast emanates, is one pathway to the Superhuman.(The Choas Imperium interpret the “crawling chaos” as the force of will and transformation implemented in the angular streams of magickal reality by way of the dual minds of the Nyarlthotep-Diabolus Rex GOTOS Being) This is why the music mediated through the inspiration of the Beast is so unhuman; in its small way, it spreads acausal energies that will affect those who hear it either positively or negatively. For those who resonate to primal myths of chaos, to Lovecraftian vortices, to the secrets of dark matter, or to the interstices of interstellar chaos, the music of the Beast will infuse them with degrees of acausal energy. To those who are not attuned to these mysteries, however, the music will sound like mere noise, or may even cause or exacerbate physical illness. Despite the reverberant, flowing textures that provide its sole link with the genre of “Dark Ambient”, this music is also dynamic and, most of all, disorienting, akin to the effect of the strange angles of the architecture of R’lyeh.

It is electricity that best bears the forces described above, which is why electronic music, with its ability to replicate and create such strange sonorities and frequencies, is also the best means of propagating this form of acausal energy. Matter can be manipulated by the principle of 3, visualization ,concentration, and vibration. A sigil of proper geometric value sonicly delivered whether by voice or artificial means can loosen matter at the subatomic and allow for reformation. Sonic magick can only be strengthened by welding its principles to the mechanics of occult engineering, the current domain of the Ch.I It is also worthwhile to mention that, if others wish to interpret the above merely as an allegorical or metaphorical evocation of Rudolph Otto’s concept of the Numinous (Mysterium tremendum et fascinans; “a fearful and fascinating mystery”), then they are welcome to do so. This notion encapsulates the mysterium (something wholly other and altogether alien to anything that we experience in ordinary reality), and correlates it with the idea of tremendum, something that provokes awe and even terror because of its overwhelming power. It is, however, also potently attractive and alluring, or fascinans.The simultaneous  attraction<>repulsion of the alchemical Being Shubb Niggurath wherein lies the allegory of Satanic gnosis. Only the Black Magickal adept can confront this principle with impunity and understand it in totality, as he separates and distinguishes himself as superior to all other metaphysical forms.

Of course, no one would insist on the objective reality of these notions, “objective reality” being defined as the consensus reality of ordinary persons who define “reality” solely in terms of the five senses. Such a view, however, also does not call their reality into question. Arthur Machen accurately limned the nature of Acausal reality in his “Great God Pan”: Again, the form is more accurately encapsulated  as the Hounds of Tindalos as the “metaphysical emanations of AZATHOTH. The forms that it takes are protean, and will appear differently, in true shape-shifting fashion, to everyone who perceives them. For some, the Dark Gods may be an incomprehensible gaseous mass of interstellar matter, for others, a giant mauve insect on a black star. The common denominator is the feeling that accompanies these perceptions that rend, however briefly, the fabric of ordinary reality. This much is certain: However extraordinary, or even outré, one’s visions of “the Great God Pan” may be, the ultimate reality is vastly beyond the bounds of even the most advanced humanoid sensory abilities. (This is a perspective held by those  outside of the preternatural and revelatory gnosis of the Magus)  If ever we were to confront it unmasked, we would likely face the fate of the narrator of Clark Ashton Smith’s epic poem The Hashish-Eater. Like him, we might stare into the maw of an utterly innominable force, and be consumed in the great alchemical furnace of the stars, “with lips of flame that open”. Some may recoil in terror, but I can conceive of crossing the Abyss in no other way. In crossing the abyss the aspirant is charged with abandonment of the “ego” and the self by proper preparation to meet the demon “Choronzon” with the aim of monastic re-unification with the objective Universe, true death from the perspective of the Black Magician. This statement reveals the scewed perception of the writer, who up to this point in his thesis has written from the perspective of the LHP. The Authentic Black Magician knows that to embrace Nuit is obliteration and a surrender to entropy, a position that Crowley himself discovered in the final moments of his life. It is only through an immersion into the dark energy of chaos, (the abyss) that the sorcerer defines himself from the very darkness and roaring of the infernal equation of AZATHOTH . The Satanist, the Black Magician does not seek submergence of the self, but refined definition in abject defiance of universal law.