by Gerhard Hallstatt
Foreword by Joscelyn Godwin
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A compendium of all English content from the Aorta and Ahnstern booklets dating from 1.994–1.999
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Lucifer Rising: Kenneth Anger
Night of the Stigmata
Karl Maria Wiligut
Castel del Monte
The Blue Light: Leni Riefenstahl
Oskorei: Varg Vikernes
Baptism of Fire
Field of Force
Blutleuchte is 324 pages in length and printed on soft recycled paper with wine red and chestnut brown text, and is housed in a wine red cloth binding with a duo-tone inset photo and black end papers. The book also includes 16 pages of photos from Gerhard's archives. Blutleuchte compiles all 20 Aorta and 9 Ahnstern tracts into a comprehensive hardback English edition. The translations have been revised and fine tuned with the help of various editors and the author.
Blutleuchte should be viewed as a meta-historical compendium. The book becomes a romantic vision of Gerhard's own personal take on many topics that have inspired many and grown into popular themes within the industrial, neo-folk, heathen and black metal underworlds.
Gerhard's research, along with magical-mystery tours to various cultic sites and interviews with prime players in the world of art, music and culture, culminate in a passionate narrative drawn from primary documents, heretical and sacred writings, philosophical treatises, psychotropic experimentations, and experiential learning.
The book works through Gerhard's enthusiasms for various persons and movements, religious sites, architectural accomplishments, natural mysteries, celebratory festivals and scientific advancements.
The Sinister Tarot A Musickal Working, Instruments Modern and Voice
LP with 12 page A5 booklet.
The sinister tarot is a variant of the “standard” tarot.
It is described fully in the Order of Nine Angles’ key guide
to practical Satanism, NAOS.
Each track is an interpretation in sound of a specific card
(from the major arcana only for the purposes of this "album").
The musick herein can seen as well as heard, being a
spontaneous manifestation expressed through the
magickal meditations of each element, associative and
dissociative, linear or otherwise.
The musick, like that of the individualized tarot cards of
the sinister deck, being self-divined, self-made, self-sourced
to a largely personal degree, still has immense relevance for others
as it further informs and enriches the egregore of the Septenary path
that is ONA.
With visualizations in sound of:
Col Cruachan, the hill of the wizard (1. The Magickian)
Forest tides (4. Lord of the Earth)
Inversely twisting oak gibbet (12. The Hanged Man)
The geryne of Satan (8. Change)
Sisters of the starry mere (10. Wyrd)
Ere the dancers depart (19. The Sun)
A Deverills man at the Bladud’s Head (20. The Aeon)
The glade of flowery broken skulls (3. Mistress of Earth)
Bestride a corpse with my face (14. Hel)
A curious long barrow view, one of many (0. The Fool)
Dawn’s flow (17.The Star)
Quote "From the Dust Returned":
"Every so often, a band will come along and give an established genre a firm kick in the ass by breaking it down into its constituent elements and producing a distinct work that hearkens back to a time of 'innocence' for that niche. I realize it's hard to use that word 'innocence' in conjunction with the black metal medium, pretty much the antithesis of that particular virtue. And yet, Sweden's Head of the Demon have done just that with their eponymous debut: clutched the despoiled orchid of modern black metal by its roots and clipped off any of the withered foliage above ground level, to produce a captivating and primal substrate of rich evil that just beckons to be experienced. Precious few other bands, outside of say Darkthrone, Vultyr, and Sarke, have manifest such a pure and hellish concoction as this, but this trio is only just getting started. Granted, several of the members are not newcomers, having done time in bands like the grave churning Kaamos or the melodeath obscurity A Mind Confused, but nothing quite so eerily resonant as this beast...
Head of the Demon is essentially a mesh of black and doom metal aesthetics, the former coming through the dire atmosphere and strained, hoarse vocals ala Tom G. Warrior or Nocturno Culto and the latter through the generally slow-paced tempos that dominate the record, not to mention the waves of opaque psychedelia created through the guitars. Dress it all up with a vintage, fuzzed out yet choppy guitar tone, and the ominous presence of solemn, subtle backing choirs that hover out into the vaulted Underworld ceiling of the record's dominant mood, and you've got yourself an experience that can instantly dial you back 30 years and grant you a portent of what MIGHT have been, if more bands took a more steady, minimalistic path that honed in on unnerving, simple riff architecture rather than vile speed and vitriolic rasping. Ranging from 6-10 minutes each, there is no track among these that will not take it's time with the listener but the vine-like crawl of the guitars is incredibly focused, and each bit of atmosphere, like a slowly riding piece of percussion, a cleaner and mournful vocal line, or a groovy bass-line strutting its own path is perfectly placed to maximum effect. Thus, Head of the Demon does so much with so very little that you cannot help but feel it's genius, one of those anomalous recordings that sacrifices the normal playbook to win the game.
Not every winding, grooving riff is incredibly catchy, mind you, but the lion's share are interesting enough that they never betray that pervasive, haunted atmosphere surrounding them. The drums have a great, live feel to them, and the bass is always audible. Organs and other effects are chilling and simplistic, but never frivolous or excessive to the point that they couldn't be reproduced live with a stunning clarity. Most importantly Head of the Demon earns its 'doom' stripes by actually compelling the listener to just such a feeling. After an hour or so spent with the Swedes' debut, I fell into a stretch of utter hopelessness. The sun wasn't ever coming up again, and I'd yearned a bottle of absinthe in which to drown my woes. "By Titan Hand" dragged me into this unlit, subterranean realm of consciousness, and the remainder of the record held me under with a firm grasp. I almost want to compare it to Ghost's Opus Anonymous or Jess and the Ancient Ones' debut: not that the three have many aural aesthetics in common, but what the first did for the whole Mercyful Fate heavy doom thing, and the second for the acid-washed occult trippers, this group seeks to accomplish for a blacker medium. Consider this their first success, easily recommended to fans of acts as wide as Negative Plane, Mortuary Drape, Vultyr, Darkthrone, Furze or Black Sabbath. Or, really, to advocates of anything ancient, shadowy, and obscure that vanishes with the dawn.
Quote from CCLAW : An enigma, but one well worth trying to penetrate, Eerie, flowing music, tribal rhythms for a new age of burned out buildings and dreams of freedom. Vocals weave in and out of the hypnotic beat, contributing to the hallucinogenic effects. Much better than the usual…this is music that demands you feel.
"This one has been in the planning stages for a couple of years. Imagine a gloomy, old silent film. Imagine the soundtrack for that film. This CD would be the music you would hear.
Germany couldn't be a more appropriate home for SILBERNACHT, project of one Frank Esser, for this musical score seems to fit in perfectly with an era of film that is legendary the world over thanks to the genius of many a German filmmaker.
The release is on a 4-panel chipboard stock, with hand printed panels, is set up to look like the work received from Herr Esser over the years."