Vaniticism: an immense ocean of annihilation


Mental disorder – musical cursed matter – reigns supremely as I listen to Scatmother’s latest opher-ing Vaniticism. This is the non-place, the Empty place after the Death of God, the place from which the monstrous Archontes, chained to the empty throne of their creator-Demiurg, are howling. Like mad dogs they are barking and making Labyrinthic noise which infects my nervous system for this is cursed musick undermining any ‘human’ consistency. This is horrifying music leading the listener, as will-less but erotically aroused Sacrifice, to the most unheimliche caverns of his mind where he is to be tortured, raped and decapitated by the absent Demiurg – this wretched creator of this world.

Scatmother’s creations – or should we call them ’excretions’ – are contaminated, plague wielding and infested with rottenness. The artist has a fascination for extreme and deep display of human obsessions and these are powerful emotions to work with. From a most radical LHP point of view one could say that these creations are prime examples of what Bataille calls “base matter”, namely sacred objects which have a special status and which are infused with a most contagious power, with a deadly spark and a shock (Stoekl 2007: 19). From an Acéphalic-gnostic point of view matter  should be seen as an “active principle having its own autonomous existence as darkness, and as evil (which would not be the absence of good, but a creative action”. (Bataille Reader 1997: 162) The Magian point of view is one in which matter is seen as a degradation of superior principles which becomes clear in the ascetic approach. Bataille however stresses the importance of the organic, the energy infused in the flesh, the game of eroticism.

This organic approach can be heard in the particular power electronics of Scatmother as if it eminates from a gigantic corpse. Thematics such as degradation, humiliation (of the body, of the mind), debasement, deviant and criminal sexuality, pure unadulterated sadism and cruelty are inherently Sadean and transgressive in order to shock the listener, wake him up and hold him prisoner in a non-moral place where violence and filth are most pure.  

As a grotesque work of art the album stupefies the listener because of its horrific form and appearance. After listening to Vaniticsim I feel empty, sick, raped, stupified. As if I have become a masochist delivering myself to this sacred violence. This work of art will never be accepted just like shit, and most people will stay away from it as they find it repulsive, nauseating.

Just like Crowley’s decadent ritual of self-corruption one becomes an infected body as the fierce energy of the (de)compositions take over. Just like shit or vomit they are excreted, and in a Sadean way appropriated by the listener in order to be excreted again.  This is a demonic act of transmutation (Stoekl 2007: 20); a perverted and corrupted form the traditional alchemical process of the transition of lead (base matter: acephalic mysticism) into gold (elevated matter: monotheism). The acephalic alchemical transmutation is all about allowing oneself to be controled, grasped by the “formlessness” of that base matter. One becomes caught in the Lovecraftian structures of Scatmother’s black art. A spider’s web.  The artist describes “transcendence, dehumanization, isolation and passion” as very powerful concepts that allow one to get “to know your true nature, finding your path in life, being able to abandon certain things and follow others.” This is exactly what Acéphalic mysticism is all about: one does not follow blindly, one questions, one corrupts and destroys if it is necessary to grow spiritually. There is no ‘purpose’ for the Numinous is beyond human concepts, beyond the words and it must therefore be followed through experience, through action, through radical philosophy, meditation, transgressive arts, … One must leave behind the classical notion of utility which has become the norm in today’s neoliberal society.

But let us point out one thing: this radical path is a manifestation of the Sacred. Brutal ruptures are needed to focus on the Sacred again. Bataille describes two polarized human impulses: EXCRETION and appropriation. Each civilization has excremental collective impulses which are necessary for the status quo: the Greeks had their Dionysian cults, the Romans organized the Saturnalia as periods of time where transgression was allowed in order to free the Sacred energy within the flesh. These impulses can take various forms and Bataille lists

any sexual activity, whether perverted or not; the behavior of one sex before the other; defecation; urination; death and the cult of cadavers (above all, insofar as it involves the stinking decomposition of bodies); the different taboos; ritual cannibalism; the sacrifice of animal-gods; omophagia; the laughter of exclusion; sobbing (which in general has death as its object); religious ecstasy; the identical attitude towards shit, gods and cadavers; the terror that so often accompanies involuntary defecation; the custom of making women both brilliant and lubricious with make-up, gems and gleaming jewels; gambling; heedless expenditure and certain fanciful uses of money, etc. (The Bataille Reader 1997: 150)

Do we advocate limitless anarchy, limitless sexual debauchery? No, we regard these as sacred expressions of the Erotic which are important impulses of the human body. There is a Sinister Dialectic at work deep within our subconscious, and which should have its legitimate place in any society. However as Western civilization has entered its Kali Yuga, we must recognize the fact that this will no longer be possible. Therefore ritual acts, ritual & sacred music such as Scatmother’s remind us of these self-less tendencies and beyond. They are extreme beyond morality and we all have a potential madman lurking inside of us.

We must accept the eternal flow of rottenness as our gnostic legacy, as a primal force within matter. Our Vanitas as Super-Ego may work against that, but  you should ignore this. Instead of Vanitas one should welcome this continuous becoming as dripping slime and flesh. No false moralities but pure unadulterated Evil as a non-moral concept, as a concept that elevates and strengthens life. As Nick Land puts it:

“From birth we are brain-washed into conformity with the cage taught to accumulate, to shore ourselves up, to fear madness and death. Trapped in a constricting tangle of language routines we tread a narrow circuit in the maze. We are told that chance will not take care of us, and that it is difficult to live; work and seriousness are slums of delusion; the garbage-heap of individuation has no worth; what is called life at the outer edge of patriarchy is a bleak box of lies, drudgery, and anesthesia blended with inane agony; what matters about the outside of the box is not just that it is outside of the box, but that it is immense; what matters is the abyss, the gulf.” (Land, The Thirst for annihilation, p. 131 – 132)

Scatmother shows us how to open ourselves to sacred death by enjoying our Dionysian nature which must always find its balance again with the Apollonian (Traditions, Culture) and this is a constant struggle. Our present Western civilization has lost this struggle as the Dionysian and the Apollonian have been sold out, marketed, commercialized, anthropomorphized, … Therefore let yourself be tempted by Scatmother and “let an immense ocean of annihilation (A Zyklon Storm – Scatmother) stretch out before you.” (Land)  This annihilation, this Ragnarokr, as acquisition of pure primordial power (Scatmother) is very much needed! 333!

Von Sanngetall, 128 yf


  • Bataille: The Use-Value of D.A.F. De Sade & Base Materialism and Gnosticism
  • Land: The Thirst for Annihilation 
  • Neuesachlichkeit 



Das Ganz Anderes: Genfärd


(Art by Kristian Olsson)

I have been listening over and over again to Genfärd and I can hear Genfärd playing in the Abbey of Humility. A crushing non-presence, a violence that is so quiet and so fulfilling. The grinding noises, the floating voices are meditative and quietly lead up to the Apocalypse as our technological Nihilism demands its price, its toll. This is the sound of the last industrial machines trying to keep up the last human era before pure Being (a return to the Greeks!) will surface again in its utter splendour and awe. The music demands our devotion to the Sacred, our humilty, and at the same time we enjoy the Sadistic Nature of Being, its cruelty which we can hear through those creeping and screeping sounds. This is an awakening into a state of utter torment and inhumanity.

A non-comforting, a nauseating sense of urgency, radio-frequencies of a past war, a lurking primitivism captivate the listener, take a hold of him and turn him into a Victim-Executioner: the loss of Self.  The music is master! In the distance metallic sounds intersect with suffocating ambient clouds, like the gas clouds described by Jünger in his war novels. The invisible, yet foul smelling Death. Poisonous clouds as messengers of Death that come and go with the wind. The interplay of Death and the Elements. A martial beating of drums that announce the coming of the Svn who gives herself relentlessy and without mercy. Caught within the trenches of Life we must face the inevitable, our Sein-zum-Tode and the Joy before Death that welcomes it. Within Eorthe the putrefaction is at work and this also symbolizes the Alchemical process within us as Adepts of ancient paths, such as the Seven-fold Way of the ONA.


(Art by Kristian Olsson)

This music echoes the Abject core of our inhumanity (and for the chosen ones: a sur-humanity) – the Bataillean abject matter which is alive and pulsing. Genfärd enriches us, flows through our being as its sound is an excremental one:

“Sexual activity, whether perverted or not; the behavior of one sex before the other; defecation; urination; death and the cult of cadavers (above all, insofar as it involves the stinking decomposition of bodies); the different taboos; ritual cannibalism; the sacrifice of the animal-gods; omophagia; the laughter of exclusion; sobbing (which in general has death as its object); religious ecstasy; the identical attitude towards shit, gods and cadavers [….].” (Bataille, the Use-Value of D.A.F. de Sade)

Bataille identifies two polarized human impulses: excretion and appropriation. These are our excremental, orgiastic impulses vis-à-vis our  institutions, traditions, and both come natural to us and are developed through us, and not by us.

The two pillars of the Temple of our Acéphalic Weltanschauung symbolize the extreme “human and all too human” duality of these two impulses and we regard them as an enormous force, as an UR-manifestation of the in-human, the acausal, the black flame within us. Truly religious (re-ligare: the connexion with the Numinous) communities/nexions, dictatorial religious (mysticism of the Blood) states are a prime examples of communities where these impulses are given their freedom and where they both reinforce each other despite their seemingly opposite nature. One must look beyond their appearance and see their cosmic interplay as the cosmic itself is a violent and living organism. We regard das Ganz Anderes, the Bataillean heterogeneous, the radical Other as an important emanation of the Sacred that encompasses everything.

Genfärd is a collection of audible heterogeneous matter, throbbing and active base matter having its own eternal existence. The artist has been able to dive headlong into the Volcano of our impulses and after a careful and alchemical Work has been able to extract the most quintessential Numinous sounds.

Solve et Coagula! Behold the ominous Silence within them. Let the sounds of Genfärd guide you.

Von Sanngetall, 128 yf



 Pharmakon – Contact

I am currently listening to ‘Contact’ by Pharmakon, Margaret Chardiet’s project . As stated on her bandcamp the artist wanted to focus on the question what it means to be human. Through our Acéphalic Mysticism we have asked this question over and over again, and although we may differ from Margarat Chardiet’s point of view, man being a mere animal, we agree on our mutual recognition of our finitude, our mortality. With Bataille and Heidegger we recognize our being-towards-death and the fact that we are thrown into this life. We are nothing special nor do we have special powers, and it is a grand mistake to regard ourselves as the very center of Life, of the Cosmic for we are only vessels of causal and acausal forces. Our mortality binds us to Eorthe and unites us, undiscriminately, with Nature, with the forests, the streams, the plants, the animals, the Cosmic…. Our Vessel of flesh will one day lie rotting in a coffin. Hubris has made us believe that we are the very apex of creation, but as a Acéphalic mystic I find Humility and Silence existential values which define our Dasein. 

But what matters though, and this is what Pharmakon aims at: there are moments when we can actually “come outside and transcend our bodies” (Pharmakon). These are moments of transgression, of going beyond the wall of flesh: “When we pick up on transmissions between the private rooms inside our heads and the flesh of our vessels, when thought escapes its isolation and is seen, heard and understood. When our mind uses the body in order to transcend and escape it!” (Pharmakon)

Bataille emphasized the power of Eroticism as well as: “the human spirit is prey to the most astounding impulses. Man goes constantly in fear of himself. His erotic urges terrify him.” And this is actually what is happening when you listen closely to Pharmakon’s industrial and experimental music, as it is most comforting because of its organic character and at the same times it is terrifying, most destructive, most alienating as if your body is becoming possessed by some acausal force that you cannot control. Your body is being turned in to a helpless object, a transmission instrument so to speak. Pharmakon’s music is  therefore the embodiment of Nietzsche’s relentless Will to Power.

Chardiet’s hysterical screams and her discomforting electronic sounds seem to dissect your body as a razor blade. Hystery has been looked down upon by male-oriented psychology but hysterics are one of the most liberating forces that are capable to disrupt the status quo.  Like the erotic mystics such as Bataille and Mishima Chardiet  senses the special relationship between beauty and terror, between eroticism and death. It is about the Joy before Death, the ultimate Joy of the Senses. In Bataille’s Literature and Evil we find the essay on Blake. As Bataille explains: “[Blake’s words] describe man’s compliance with his own laceration, his compliance with death and the instinct which propels him towards it. They go beyond purely poetic words. They are an exact reflection of a definite return to the totality of human destiny.” As mystical creatures we are ultimately drawn to a wordless universe of pleasure and pain, creation and destruction, over and over again. Nietzsche’s endless return. As Blake expresses this most beautifully:

“Without contraries, there is no progression. Attraction and repulsion, Reason and Energy, Love and Hate, are necessary to human existence. From these contraries spring what the religious call Good and Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy. Good is heaven, Evil is Hell… God will torment Man in Eternity for following his Energies. Energy is the only life, and it is from the Body; and Reason is the bound or Outward circumference of Energy. Energy is the Eternal Delight.”

True Evil goes beyond reason, beyond petty morals as we enter the World into which we are thrown, and which is not ours. Humanism has tried to turn man into a god and therefore has tried to bound and cripple the Will to Power, the Energy of which Blake spoke. The Energy is nothing else but the Acausal forces that cannot be contained or tamed. Pharmakon’s music expresses the Eternal Delight for there is no structure, no reasoning behind it. As Art it is an active springing from Energy. As the artist expresses this herself

 “We are each nothing but a single, short-lived cell in a vast organism which itself will one day die. If we accept that the only true claim sentience gives us is our tiny sliver of time, it opens us to revel in it, to make CONTACT. The moments of connection/communion/CONTACT, when the veil is for a brief but glorious moment lifted, and we are free. Empathy! EMPATHY, NOW! “

As part of the Sinister Tradition our Acepahlic Mysticism emphasizes this lifting of the veil as well. It is all about making CONTACT with those acausal forces that embody our human world. Both Heidegger and Bataille, albeit from different points of view, reacted against reason, positivism, a world dominated by science and technology turning everything into a calculable and profitable project. The poetry, the screams, the industrial sounds escape from our body as Vessel and express our Will to communicate, to destroy the walls that separate us from the Sacred. Through the ages the Sacred has been stripped away from us, and has been turned into something sweet, nice, understandable and ultimately beyond ourselves, for example the Christian god and the tales of Jesus. There is no empathy to be found there, just suffering and shame.

Eroticism, Nature, the Cosmic actually take us back to our Gnostic origins for deep within ourselves we can find this connexion, this glorious moment of lifting the veil. God is there but he is Legion, Dark, most potent, and Headless. Dig deep inside yourself, release that Energy through Sex, Poetry, Ritual, Ecstatic rites & Sacrifice. You have no choice. 333!

Von Sanngetall, 128 yf

Sources of inspiration:

  • Contact by Pharmakon
  • Literature and Evil (Georges Bataille)
  • Deadly Dialectics (Roy Starrs)

The IMMORTAL Essence of the Polar Ice

IMMORTAL  - The Eternal Essence of the Polar IceWhich BM adept does not recognize that greatness of this record? Immortal as an artistic entity embodied the spiritual profundity of the abysmal Ice. Contrary to mankind’s need of security, superiority, control, the Ice does not fit within our rational mind for we cannot grasp it. Just like one is overwhelmed while listening to Immortal’s sonic work of art. The endless Ice reflects our fears, our anguish not being able to control things, not knowing what is lurking beyond the Threshold.

The substance of Ice is completely different from the solidness of the earth in which the alchemist seeks the philosopher’s stone. The warm soothing earth versus the freezing coldness of the Ice which annihilates our certainty, our dependence on this earth. The Ice holds a sublime force which, when awakened, we are not able to comprehend; a multifaced, heterogeneous rupture that sweeps down like an avalanche. Just like a crystal tetrahedon from ONA’s tradition the crystals of Ice break down the light and transforms it.

The substance of Ice is also different from the earth because the Ice has a liquid form when the environment is too warm. “A flow of water can freeze and cohere into a plane of shining Ice” (Wilson, The Spiritual History of Ice). From a formless state of water we witness the formation of several ingenious geometric structures. As Wilson writes: “Entropy jumps into negentropy, flat disorder into cubic textures. Being becomes beings.” This natural phenomenon is actually spiritual as it holds the essence of being and becoming, which we have forgotten for we are being tied to our identities, our egos, our work, our titles and so on. From a heterogeneous state of being we have been plunged into a cosomos of homogeneous, crippling forces of the Demiurg.

The crystal, describes Wilson, “suggests a poetics of self-organization: poetic forms that mimic the processes by which holistic powers metamorphose (turn, trope) into individual organs“. So, an abyss of holistic powers, an organic system in which we can discern seperate beings organizing an indifferent energy of life. All things, textures are in different states of liquidity and they are spawned by an abyss of holistic powers, like Ice being spawned by water. Their structure encapsulates the original energy which is inherent to the water and this energy is used to build the particular structure of the crystal. All things can be seen as “vortices of the void”: they keep the original energy and turn it into something particular which is finite depending on the velocity, but finite in the end and then it returns back to the original Chaos from when it came. Just like when the crystal melts, it becomes water again and then it releases its energy. The abysmal Ice has therefore a spiritual profundity which we can see in the Tetrahedon from the ONA tradition.

I would like to compare the ONA itself to a crystal itself or rather a whole lot of crystal reflecting, breaking the causal Light, distorting it, transforming it the way the Sinister Dialectics work. A crystal is able to hold abysmal energy which explains the centrality of a crystal or a tetrahedon for one’s meditational and occult work. Mine is not a tetrahedon, but a nice crystal which I stumbled upon in an obsure shop in Ghent. It has been with me for about 20 years and has accumulated the energy within my study where I do my writing, meditation, where I listen to BM and so on.

The ONA being formed out of several crystals is exactly the poetics of self-organization. The ONA is a pagan tradition spawned forth from several ancient rural traditions and through the years I have been acquainted with the ONA (about 22 years) the Order has organized and re-organized itself taking different forms every time and in each decade new individuals taking up different roles. The ONA adept is a crystal himself for the sister or brother accumulates chtonic energy from the Abyss and thereby shaping the way one exists, one lives,one’s environment, one’s art and so on. Those who take the ONA seriously do not boast about it and they can withdraw from the surface when they need to. Just like the melting of the crystal to become part of the flow of water again.

I’ve had such a period myself after being active for more than 10 years I disappeared, or rather Von Sanngetall disappeared from the stage. I studied philosophy (Bataille, Lacan, Freud, …), got married and lived a more stable life. Now I have resurfaced so to speak and a crystal started to grow again and it changes form and structure day by day. My form does not matter to me. I regard the Chaos as the Mother who has spawned me and the tradition of the ONA feels most naturally to me. Therefore I exist..for now.

Hold your crystal very close to you and see yourself mirrored. The Crystal is you but be aware for it has labyrinthine powers as well. Its complex structure is like your unconscious mind, being the blueprint of the polymorphous perverse being you are. As a human being you should be humble and you should never assume a godlike status. My mysticism is acephalic for there is no godhead. We are all vortices, powerful yet incalculable. The Chaos commands us! Ordo ab Chao.333!



One of my earliest BM-designs more than 10 years ago now. Perhaps a bit naive but I wanted to capture the unique BM spirit. I believe I succeeded: the rawness, its amoral and inhuman nature. Black Metal remains one of the few artistic exponents of Bataille’s base materialism.

The phrase aestheticising of the self refers to the work of the French philosopher Michel Foucault. In the last two parts of his work L’Histoire de la sexuality (The History of sexuality) Foucault develops the idea of an ethics of the self: “Through the formation of a ‘critical ontology of the self’ it is possible to formulate an alternative ethical standpoint from which individuals can begin to resist the normalizing force of the ‘government of individualization’.” (McNay 1994: 133) The ethics of the self is derived from a Greek – Roman understanding about morals as an excercise in modesty and self-control. Foucault goes against the normalizing process that has been going on since modernity.

This is a process that forces each individual to ‘fit in’, to obey the hegemonic laws. Foucault calls this “new forms of subjectivity through the refusal of this kind of individuality which has been imposed on us for several decades.” (Foucault 1984b: 216). The “refusal of this kind of individuality” started from (and actually still does) the judeo-christean morality which enforces a universal law. This understanding, secularized in today’s disciplinary power and the bio-power, requires total obedience of the human subject. The Greek-Roman notion, on the other hand, regards morality as a practice, an exercise. Foucault argues that man must create himself as ‘an individual’ instead of listening to external norms and rules. Those sets of rules that tell us how to dress, how and what to eat, how to behave and so on. The example of the new modern individual is Charles Baudelaire: Baudelaire, being a dandy, is modern because he craves for an ‘essential inner self’, but he produces or rather creates ‘a new self’ (McNay 1994: 149). This new self is able to control itself, its limits and desires, but plays freely with them and as such is truly able to transgress the limits imposed by society, the Symbolic Order. In this regard Foucault refers to the insights of Georges Bataille.

The Baudelairean individual truly stands out and creates his own self and destroys the one that is imposed on him. As such Foucault does not introduce a new ethics (thou shallt) but a new ethos, a mode de vie. This is an ethos which I see reflected in BM being an ominous, powerful and sovereign artistic movement that has created and recreated itself during the years. From Deathspell Omega onwards to Svartidaudi today the revolutionary black flame is still burning brightly. These artists are sometimes anonymous for they let their Black art speak for itself. They are Satanists, not because they boast about Satan, burn churches, not they have become vehicles, actual nexions that allow the sinister forces of the Acausal to enter. They are truly sovereign because there is no law that dictates their Art and they control them-selves, their limits and desires otherwise they would not be able to create such works of art.

The Sinister Way of the ONA can take various forms. Mine is a philosophical – mystical one, for others this means that practice of Black Magic, and so on, but something adepts of the ONA share, is the fact that they are individuals: self-control, knowing one’s limits and desires and using them to grow as an individual in order to transgress society’s limits each in his own unique way and to presence the Sinister.

Manifesto of the Ministery of the Abyss

1. BE THE CHOSEN OF THE VOID. Service to the Abyss is a privilege, not a duty. It is a sacred responsibility to represent the Void, to explore its truths, and to share its revelations with others. The idea of ‘evil’ appeals to many, but few are actually able to hear the call of the Abyss and respond.
2. BRING THE ABYSS INTO THIS WORLD. Our tradition holds that this universe is cut off from the Abyss. Whether it is outside, beyond, or trapped, we know that it can access this world through cracks in the spiritual fabric, created through pain, suffering, and esoteric practices.
3. LIVE (ONLY) TO FURTHER ITS ALIEN AGENDA FOR THE COSMOS. The Abyss demands all or nothing. To serve the Abyss is to know that you must offer everything and everyone in your life as a potential casualty of its inscrutable plans. Your own hopes and dreams are only relevant insofar as they may be expressions of its own malignant will.
4. SPILL BLOOD. The Abyss demands sacrifice. All blood is fit for sacrifice, from whatever source – yours as well as others. Blood is life, and life must be offered to the Abyss and to its entities. There is no bloodless path to the Void.
5. SAY NO TO LIFE. ABANDON HOPE. There is no hope in false gods and idols. Only through the Abyss can we achieve true peace, by becoming a part of its super(un)consciousness. Only through merging with terror itself can you overcome your fears. Other religious traditions offer hope of salvation or freedom of suffering, but they are lying. Do not place your hope in gods that cannot save themselves.
6. EMBRACE DEATH. The Abyss offers true death of the false-ego. There is no return and no escape from its embrace, because you cease to be you, and become part of something infinite. True death is true peace as part of the eternal darkness beyond life and death.
7. USE THIS LIFETIME TO LEARN HOW TO ESCAPE REINCARNATION, SO WE CAN BE DISSOLVED BACK INTO THE VOID. Only through convergence with the Abyss can we escape the useless cycle of suffering and reincarnation. Otherwise, we are tools of the gods and subject to their whims and dictates. The Abyss is the only possible escape from the cycle.
8. CREATE ART, MUSIC, AND TEXT THAT PERSONIFIES THE IMPERSONAL HORROR OF THE VOID. The revelations of the Void can be shown to others. Media like art, music, and narrative are powerful tools for communicating the strange, contradictory truths of the Abyss which can only be transmitted through oblique paths. The Abyss wants to be experienced, and so we must create those channels through which it can be perceived by others.
9. BUILD SHRINES ALTARS FOR THE ABYSS. SACRIFICE OURSELVES AND OTHERS. The worship of the Abyss constitutes a grave violation of the spiritual laws of the cosmos. Every altar, every offering, every shrine and blot that is consecrated to the Abyss serves as a doorway for it into the cosmos.
10. CONSUME. CONVERGE. Daily, we consume the energies of the people and cultures around us, and turn them into the power of the Void. Through us, the Abyss is able to absorb spiritual and cosmic energies, which it warps into its own complex patterns. We serve as the hands of the Abyss in this world, and each act (each spell, each meditation, each offering) bring us closer to convergence with it.
11. COMMIT ACTS OF ESOTERIC TERRORISM. Like the Diabolus who is our general, we seek to destabilize the cosmic order on a spiritual level. We are not concerned with politics revolutions, because the physical universe is already contaminated. Our violent attacks are artistic, literary, musical, and magickal, because that is the only lasting way to affect the masses.
12. DESTABILIZE THE SPIRITUAL KINGDOMS OF THE COSMIC WORLD. We are at war with the gods and their followers. We are engaged in subverting spiritual powers and causing the erosion of established religion. Through demonic sacrifices and artistic expression, we will shatter and defile the psychic stability of whatever community we inhabit.
#Manifesto #Abyss #SinisterArt #Satanism