Dark Imperium have answered an interview for the upcoming new issue of Fenrir Journal. The new issue should be out very soon. In the meantime, have a listen to the lovely “Agios o Lucifer”:
Archive for ona
Excerpted from an old interview, Christos Beest discusses his piano compositions and Sinister musick in general, in the latest issue of Fenrir.
Fresh this week out of the ONA’s very own Heresy Press imprint comes Hammemit’s “From the Old Hills Desolate” MCD.
This new release is a five track EP consisting of five sinister compositions anticipating the ‘world to come’, Imperium.
I must say, though the EP is still very much a Hammemit recording, there’s also a definite vibe of Mr. Beest’s work and of recordings like “Eorthe” etc. Apparently recorded between 2005-2010, there’s an almost Tangerine Dream quality to some of the tracks here as well.
For more information, visit the Hammemit website HERE.
Also check out this recent(ish) video from Hammemit’s “Nature Mystic” album:
I suppose it’s debatable whether this is actually ”sinister” musick as such, but I do love the obvious “Wicker Man” vibe in this music clip and video.
And check out this live video for some footage of Richard Moult (about 2:44) tinkling the ivories last year.
Regarding Aeonic Magick: Can creative-art be used in a way that – though not specifically or obviously a form of mimesis – can be imbued with the acausal and directed via the form in which it is created? Some examples may be some of the music of Bach, or the violins of Stradivari – which through their use or performance could, particularly if created for the purpose and imbued with the acausal – become as a Nexion. How effective could this be?
Anton Long: Yes, such things can be done, and should be done by those possessed of the skill and abilities. Indeed, it is possible to create a new art-form which does this, and imbue it with a sinister intent, for example, of manipulating the individuals who see/hear/respond to that art-form, or changing them in an evolutionary way.
One example would be to use computer virtual reality where images and sounds (music) are used to generate a virtual world – or rather, to generate an interactive art-work – that the individual can alter, and thus interact with. That is, each individual perceives something slightly or greatly different. Thus, this art-work would be unique for each individual perceiving/experiencing it, while still retaining the parameters of its creation. To enable this, the interaction could be via something like bio-feedback, with such things as brain-wave patterns being the computer input which alters the computer program which creates the virtual reality. This is still slightly futuristic. What this example would amount to is a modern version of the type of thing which Wagner wished to create through his Ring cycle and his theatre at Bayreuth: a total artistic experience which makes us aware of some mythos, a numinosity, a Destiny, which raises us to a higher level.
Of course, a less futuristic example is possible, using just images, music and some archetypal forms, and combining these in as sort of film-like way.