The mystical essence of Nature

“[…]nature becomes manifest as the space of a people, as countryside and homeland, as soil and ground. Nature, as the power and law of that hidden transmission of the inheritance of essential instinctive predispositions and tendencies, is set free. Nature becomes a normative rule in the form of health. The more freely nature reigns, the more it is possible to put at her service, in the most excellent and controlled way, the formative power of authentic technology. By being tied to nature, supported and overarched by her, at once fueled and limited by her, the history of a people is realized. In the struggle to trace out the pathway to its own essence and to ensure its duration, the people grasps its identity in the growing constitution of the state. In the struggle to represent itself its capacity for greatness and its destiny as essential truth, the people presents itself authoritatively in art. The latter attains its great style only by adopting the totality of the existence of the people in the imprinting of its essence.” (Heidegger – winter semester 1933 – 34)
A most beautiful and mystical passage connecting the principle essences: Nature, a people, a homeland, authentic technology, state, greatness and destiny, art. Heidegger, a great philosopher and thinker, summarizes and interconnects in a few sentences such great and universal concepts. This is Alchemy on a personal, a völkisch and aeonic level! I advise you to read this over and over again.
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Von Sanngetall, 128 yf

The Death of the King


In order to awaken your “Sinisterly-Numinous” nature you need to turn away from the mechanics of what Georges Bataille describes as the homogeneous order which in the alchemical emblem is depicted as the city, a sign of a victorious civilization. The world of the city with its trade, commercialism and technics can be seen as a beautiful example of mankinds Faustian nature, namely his blind will to achieve results, his will-to-know, his will to conquer Eorthe, and above all his longing after immortality.  One may ask whether this is necessarily a bad thing? And our answer is: No! Western man has proven his greatness because of this Promethean essence. But, and we refer to Bataille, mankind should NEVER become a willess slave of this Promethean drive. As depicted in the Alchemical emblem we witness a drowning King who represents the mortality of a divine body / Ego. In order to ‘control’ and spiritually develop our Promethean essence and to steer it into direction of the higher Destiny of the West, even divinity itself must be put to the test. Today the man in the West has sacralized his humanity leading up to his disastrous and most hubristic actions. 

The central figure in this Alchemical emblem is the King. As an archetype the King represents a “superior personality exalted above the ordinary, he has become the carrier of myth, that is to say, of the statements of the collective unconscious.” (Jung) Bataille as well regarded the King as a sovereign being, as representing something other. The crown of the King “symbolizes his relationship with the sun” (Jung) and this his solar nature. In his important work ‘The Golden Bough’ J.G. Frazer analyses the pagan Weltanschauung and he described how the pagan gods were seen as mortal (as opposed to the Magian gods). The great gods of the Egyptian civilization, the Greek high gods all died at one point, and if the King was seen as a divine embodiment, “a god who lodges in a frail tabernacle of flesh” (Frazer) why should he escape the same fate? Therefore the man-god would grow old and become feeble at one point and in order to prevent the King from suddenly dying and the potential loss of his divine Soul, the King had to be put to death. This would ensure the transference of his Soul to his youthful successor. Frazer describes such ritual actions by ancient tribes and also refers to mysterious disappearances of Roman kings. Sometimes the King did not have to die himself but a sacrifice was appointed. Frazer refers to Scandinavian traditions:

Scandinavian traditions contain some hints that of old the Swedish kings reigned only for periods of nine years, after which they were put to death or had to find a subsitute to die in their stead. Thus Aun or On, king of Sweden, is said to have sacrificed to Odin for lenght of days and to have been answered by the god that he should live so long as he sacrificed one of his sons every ninth year. He sacrificed nine of them in this manner, and would have sacrificed the tenth and last, but the Swedes would not allow him. So he died and was burried in a mouth at Upsalla. (Frazer)

As the Alchemical tradition is in essence a pagan one the Archetype of the King is therefore mortal as well, despite the magian influences. In the emblem we see that the King is almost drowning: his body  is situated on the border of the element ‘air’ (consciousness) and the element ‘water’ (unconsciousness). What is being shown here, is the start of the transformation of the King “from an imperfect state into a perfect, whole and incorruptible essence” (Jung). He is becoming old and it is time to transfer his Soul

The King holds his head above the water, so his thinking, his ratio is free and not tempered by the unconscious forces: water typifies the lunar unconscious. His heart is in the water as the heart is the chamber of one’s emotions. According to Jung the dissolution of the heart in water corresponds to “the union of male with the female” (coniunctio). The King’s pelvis concentrates the magnetic tensions which tie us to our past and they are in the water as well. The past of the West is something which we should be proud of and this triggers our emotions.

Now, when we look further at the drawing we notice that the King is drifting away from the world of Arbeit as he holds his palms upwards as if he wants to push the city away. This is an important Alchemical gesture of the will to transform. Furthermore he stretches his arm like a Christ-figure which depicts his willingness to surrender as the gnostic Christ gave up his divinity when he was nailed at the cross. But that does not mean that one is weak or a willing victim. This open attitude is one that invites the Sinisterly-Numinous forces in order to enter the Nigredo. The legs are crossed as this refers to one’s decisiveness. You should not be hesistant to enter the Nigredo as this is necessary for your transformation, your alchemical growth. Being in the water, being baptized by this element shows that the Alchemist is ready to dissolve (solutio) his ego-centred thinking / willing / feeling. One’s triparite nature (Salt, Sulphur, Mercury) must be set free from self-centred and mundane aspirations which roam the city. Your hubristic mindset dissolves in the water in order to be able to focus yourself on the Sacred tasks that lie ahead. In order for the King’s essence to be reborn in the homunculus the old King had to die first. The drowing symbolizes this Alchemical act. 

As described by Atu XV (ONA) you must achieve a liberation and unchain yourself from temporary abstractions, ideas, and dissolve (solutio) those in the moonlit waters (the dark pathway from the Moon to Mercury) of terror. You become an ‘accuser’ as by drifting away from the mundane world you become sceptical and no longer affected. By inviting the acausal forces a higher consciousness can be achieved. Consciousness and unconsciousness become one (coniuctio) and this allows the alchemist to presence repressed, ‘malevolent’ forces that can alter 1) your own spiritual development and 2) the direction the West is heading towards. The Alchemical principle of ‘One is all’ and the insight both a civilization and we are interconnected organisms reveal the massive responsiblity you have with regard to the occult Destiny of the West. A Destiny that is not troubled by hubris, enslavement to mindless ‘progress’, but a Destiny that is Sacred and Cosmic. As Spengler writes:

“it makes a great difference whether anyone lives under the constant impression that his life is an element in a far wider life-course that goes on for hundreds and thousands of years, or conceives himself as something rounded off and self-containted.” (The Decline of the West, p. 7)    

If your worldview is self-contained, caught within the city, there is no possibility for a further development of your Soul as it is trapped. Within the city, the world of Arbeit, your view is limited, but if you venture out in the dissolving water, you can open yourself to the eternal Geist and you recognize yourself as an organically and spiritually indispensable part of the Destiny-community (Schicksalsgemeinschaft, Heidegger).  One must get rid of the ‘old King’ within.

Therefore you should not be afraid to venture into the waters of the unconscious for this is the start of the Alchemical Opus. And as the West is in decline (it is drowning) now, we have to the duty to prepare a change, “a creative Change” (Exeat), namely a transference of its rich Soul to a worthy successor. The transformation process of the Alchemist involves seeking “a presence of what is new and alternative”. The inaugeration of a new aeon is needed. The goal of the Sinister Tradition (ONA – TBO)  “is this aiding of our species to seed the stars.” , namely a Galactic vision (Exeat).  The first step involves revitalizing the drowning corpus of the West and re-invoking the magnificent and regal Destiny-community which will offer a solid and spiritual foundation for the Galactic Empire.

Agios O Noctulius!

Von Sanngetall, 128yf

Sources used:

Exeat: The Sinister Western Tradition (ONA)

-Mysterium Coniunctionis (Jung)

-The Golden Bough (Frazer)

-The Decline of the West (Spengler)


Agios O Vindex


A few days ago V.K. Jehannum published an intruiging post with the title ‘There is no Vindex‘. As always a well researched blog post which challenges the reader and confronts him with suppositions which have not been questioned, such as the background of the Vindex archetype. V.K. always delves deeply into the particular history of the occult symbols and therefore frequents various sources. Our Acéphalic Weltanschauung is grounded in the mysticism of Georges Bataille, Traditionalism, Hermetic mysticism and the Sinister Tradition of which the ONA is one of the most exemplary emanations.  Therefore Vindex is one of the most important Archetypes to us. 

The central question V.K. Jehannum poses here is why the creators of the ONA highlighted  the connexion of this Archetype with the historical figure of Gaius Julius Vindex. As pointed out by V.K. the description used in the original ONA MSS is none other than the historical description of Gaius Julius Vindex:  “[Gaius Julius Vindex] was powerful in body and of shrewd intelligence, was skilled in warfare and full of daring for any great enterprise; and he had a passionate love of freedom and a vast ambition” (Cassius Dio, 63.22.1-2).

This historical connexion with Gaius Julius Vindex does not come as a suprise to me for it has always been clear to me. The Latin word ‘vindex’ has an imperial connotation: defender, protector, avenger and in my personal research many years ago I stumbled upon Gaius Julius Vindex. The question is why did the founders of the ONA choose this name.

  1. First of all, there is the Latin meaning: defender, protector, avenger. The last term has definitely been used to refer to the antinomian essence of Satan. Within the Sinister Tradition is Satan the Adversary, the Dark God that challenges the status quo, the ruling order for this particular order, the current Western aeon, has been superimposed upon the strong, the ones who live according to a master morality. Satan is the Shadow Aspect and as the embodiment of the Will to Power he keeps the Wheel of Life spinning. Satan represents none other than the chtonic and heterogeneous forces that are able to destabilize the current hegemonic order.  
  2. An important aspect of the Weltanschauung of the Sinister Tradition is based on the organic nature of civilizations (Spengler). The Magick of the Sinister Tradition is not only a personal one, but the Magician also operates on an aeonic level for in the end the scope of the Sinister Tradition lies beyond the current status of humanity and beyond Eorthe. Not just a simpleminded destruction but a trangression by building upon the rich Tradition of our forefathers and of the West. Its current degeneracy leaves us no other choice than to hold on what is still intact, what is still Traditional (ancient values, knowledge, aural and written folk traditions), cherish those treasure and strive towards the Stars. This means that the Archetype of Vindex, as a defender/protector of the ancient values/knowledge/traditions is a more than fitting one. The historical figure of Gaius Julius has its historical significance: Gaius Julius Vindex was a rebel and he wanted to dethrone Nero whom Gaius saw as an unworthy Emperor. Instead of seeing him as a ‘sovereign’ Gaius called him a ‘harpist’. The notion of sovereign is very dear to me: Bataille regards emperors, the aristocracy, madmen, mystics, … as ‘sovereign’ because they fight against the status quo, they embody sinister aspects which are not compatible with the status quo. I can imagine that Nero’s rule did not please Gaius Julius Vindex. Therefore the archetype of Vindex is very well chosen. The word associated with Vindex is ‘opher’. One must rise about the selfish concern typical for mundane behaviour. True Magic lies beyond oneself and just like Gaius one must be prepared to sacrifice oneself in order to prepare the Aeon of Fire.

Of course, it is a known archetype: the Wotan archetype, the archetype of the warrior, the champion warrior / warror caste can be studied in the writings of Julius Evola as well. Beside that there is Kalki (Hinduism), the Gnostic Christ of the Rosicrucians. These figures are warriors, mystics, prophets who oppose the ruling System because it has betrayed ancient and eternal values. These ‘defenders’ stand for a timeless tradition of the Sacred.  Bataille himself called upon antinomian, heterogeneous forces. The Bataillean figure of the Acéphalic man is a sort of Vindex figure as well: leading the rebellion with the heart and not through ratio (headless). The Vindex figure is therefore neither a hoax nor propaganda, as we are talking about the changes on an aeonic schale.  We need such a mythos in the present technologcial times as it keeps our head fresh. The antinomian power of the Vindex mythos should not be underestimated.

Another important source I would like to refer to is Metaphysics of War by the mystic Evola.  He devoted a chapter to the Roman conception of Victory which is very interesting in this respect and demonstrates how the Romans “believed in a meeting and mutual interpenetration of divine and human forces”. For the ancient Roman the manifestation of the Sacred, the Divine was “to be found in time, in history, in everything which is carried out through human action”. The importance of a mystical counterpart was important to the Romans and this leads us to the conclusion that Vindex’ rebellion against Nero, who had betrayed ancient Roman values through his decadence, is a mystical rebellion, and thus honourable. This intensfies and consolidates the Archetype of Vindex even more. Evola refers to the Samurai as well by explaining the Roman concept of devotio, what we would call ‘tragic heroism’. It was a warlike ritual action in which the sacrifice of oneself was vowed “and one’s own life was dedicated consciously to ‘lower’ powers, whose unleashing was to contribute to bringing victory.” Committing ritual suicide is not mentioned here but like the Samurai I can imagine that devoted imperators such as Gaius Julius Vindex committed his own death for the sake of victory. His army may have been defeated, his action did start a revolution against Nero whose suicide is nothing but cowardly. Vindex’ revolt was therefore a Traditionalist one and most mystical. So, I would say the historical reference is accurate and implies further thought. 

I find the reference of Evola to ‘lower’ forces particularly interesting as it has a most Sinister-Numinous connotation: summoning chtonic forces by certain ritual acts of war. Hermetically and acéphalically speaking we can say that the Vindex Archetype is the Solar rebirth after the chaotic phase of the Nigredo. The Vindex Archetype brings the defeat of a cancerous society and order by a courageous Self-Sacrifice. To embody this Archetype demands courage, sacrifice, devotion, true nobility, and not te be forgotten humility. The Archetype is the antidote of self-deification which I regard as one of the most festering diseases in the occult world. It is not about ‘becoming a living god’ but about a warriorlike and mystic devotion to  a higher standard in the service of the Sacred.

Agios O Sol! Agios O Vindex! 333!

Von Sanngetall, 128yf


The Destroyer: Apollyon

“They had as king over them the angel of the Abyss, whose name in Hebrew is Abaddon, and in Greek, Apollyon.” (Revelations 9:11)

Drawing from Abaddon (Source: Le Prince de ce Monde)

In Revelation 8–9, the apostle John describes the announcement of the apocalyps when the angels sound seven trumpets. Each of these trumpets signals the coming of a new judgment on the people of Eorthe. John describes that when the fifth angel blows his trumpet, the Abyss will open, and unleash a horde of demonic “locusts” on mankind as a punishment (Revelation 9:1-3). God will grant these creatures the power to torture any person who does not bear God’s seal (verse 4). The pain inflicted will be so severe that the victims will wish to die (verse 6). The ruler of the Abyss is Abaddon or Apollyon and he is the king of these demonic locusts. (

The Swedish entity Irakallian Oracle has transmitted unto us mortals a message from Apollyonthe Destroyer of those believers not bearing God’s Seal; the King of the Locusts. In my dictionary of demons, Le Prince de ce Monde, Apollyon is personified with Death: as Apollyon he stands for “Death, Devastation, Desolation, Famine and Extermination”. Abaddon should be evoked on Friday and should be visualized as a beautiful naked woman, with the claws and the head of an eagle (see drawing).


Cover from Apollyon – design by D. Herrerrias

In the occult vision of Irakallian Oracle Apollyon is depicted as a holy flame, and this flame symbolizes “beauty understood as Destruction” (IO). And this Destruction will infect the whole universe.

Wihin their vision man is blinded and put to shame by the sheer power of the Infernal Svn as it distorts his visual senses. Just like Bataille’s Solar Anus the Infernal Sun of IO offers no wisdom, no solace, no allevation of mundane discomfort because it represents “aimless contemplation”. Man is simply dumbstruck by this celestial Inferno and his limited ratio is totally blurred. In other words, man has lost head and in this acéphalic condition he cannot resist the sheer attraction of the exploding Sun belching out an ongoing flux of energy. This Abysmal Svn, sent from the underworld (Irkalla), “appears as a monstrous oracle”, and the speech of this oracle is not to be understood.

Here we have a most monstrous depiction: this oracle brings no answers, and its “thoughtless word is made flesh”. Beyond ratio, beyond our limited capacities, the sorcerer is left clueless and struck by lightening. Bataille’s Mysticism did not seek any ‘unio mystica’ either for the Sacred / Numinous is beyond our capacity. We must admit our tragic finiteness (Nietzsche) and our Sein-zum-Tode (Heidegger), yet true devotion, ritual, meditation, respect and humility we can become Nexions and thus find ourselves in union with the Acausal. Not to find answers to our mundane desires or lusts, but in a moment of pure transgression (Bataille) in which we can find our way back to richness of the pre-modern societies.

IO does not provide answers and they do not claim to. Their vision has uplifted Apollyon from a magian demon to a Destroyer beyond the reach of man. Just like the Dark Gods of the Sinister Tradition these acausal entities are not at our mundane disposal.

This is a Dark Grail offering no comfort, but only bewilderment and chaos. After the Death of God there was only a Void left, and this is a central concept as it is reflected in the name of IO: an oracle within the Void where only the Sacred Silence can be heard and the whispering of tongues unknown to man. In the Void’s Beauty one finds no ‘creation’ but only utter destruction.

IO has transformed Apollyon, from the original setting of the magian God who rules mankind, and who bestowes punishment upon them, into an Alchemical entity. Apollyon is no longer an instrument in the hand of this false magian god, but he has become his own judge. He is no longer some demon from an ancient tradition, but his virtue has been alchemically and artistically translated. 

The importance of Alchemy is clear if one looks closely at the beautiful cover created by the esoteric artist David Herrerias.  As the nameless vocalist of IO explained in an most interesting interview with Bardo Methodology the artist drew “a mummified corpse going through the alchemical process of ‘nigredo’, or ‘blackening’ – a state where one is cleansed of emotion and thoughts; purged of the chaotic impurities that constitute our regular state of consciousness.” The Nigredo is the first stage of the Alchemical Opus which confronts the Alchemist with his conflicting emotions, feelings, urges, and the Black Svn rules over this chaotic and desolate phase. This is a phase of fruitful destruction and a period of ritual cleansing and introspection. The confrontation with the Abysmal Svn is nothing less leaving behind all hope and security. The Alchemist’s journey through “Irkalla’s self-less lands” is a most harsh one but it prepares one for the darkness of God:

“I said to my soul, be still, and let the dark come upon you

Which shall be the darkness of God.” (IO)

The Acéphalic Weltanschauung offers no Salvation either. The Darkness of the Bataillean Nothingness is eternal, just like the Cosmic. The Acausal offers no safe home, no afterlife, but it invites you take take part in the Continuum.

Leave therefore your humanity behind as you enter the world of the Sacred. Behold the mysteries of the  Abysmal Svn and let the holy flame murder your innocent Soul.

Von S, 128 yf


  • Apollyon (Lyrics) by Irakallian Oracle
  • Le Prince de ce Monde