Tag Archives: Occult

Artist Feature: Orryelle Defenestrate-Bascule

Orryelle Defenestrate-Bascule is an esoterotic artist in many media including painting, writing, sculpture, sound and performance art.

His “Tela Quadrivium” series of alchemical art books are published by Fulgur Limited – the first 3 (“Conjunctio”, “Coagula”, “Solve”) sold out and the final volume “Distillatio” will be out due June 2015. He is also the author of text-based “Time Fate and Spider Magic” (Avalonia Books, 2014) and The Book of Kaos Tarot (iNSPiRALink Multimedia Press).

Orryelle is the writer-director of Australian-based Metamorphic Ritual Theatre Company who have presented many major original productions based in various ancient mythos, and he regularly performs and exhibits internationally.

His work engages with connecting the subconscious and conscious through employment of magical and mythical symbols and archetypes, as a part of the vanguard of current resurgence in esoteric arts balanced between the conceptual and the aesthetic.

Orryelle has originals, prints and books available and can be contacted via: odxob@yahoo.com

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Artist Feature: Néstor Avalos Zárate

Considering his Art, Mexican artist Néstor Avalos Zárate has been influenced by sensational images from Occultism, Magic, studying of Mythological histories, Comic stories and Horror films.

Real development as an Artist came when loneliness arrived at his door, a time of personal isolation to human contact, as the emotional and spiritual inner dissipated, and a series of questions materialized challenging his personal integrity. A painful process of purification.

During this entire time the creative factor was steady and never disappearing, living under the shadow of personal zeal, with various works yet to be presented, screaming out of the darkness. Through a series of works for Editorial Houses, Magicians and Metal bands, he was given the opportunity to work as a Visual Artist.

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Artist Feature: David S. Herrerias

David S. Herrerias is a self-taught artist involved in Occultism and Alchemy, born in Mexico City in 1982. Part of his work approach is to enter consciously in communication with higher spheres through an inner Alchemical process in order to manifest them in some of his works. Yet, he is still working in this process.

David´s work is part of the virtual gallery Graphic Noise and have been exhibited in Murmurs from Beyond the Grave Art Exhibition in L.A. in 2014. Some of his paintings and drawings have also been featured in music releases as album covers and illustrations, and two of his automatic drawings were released together with the Swedish debut poem “Pakt” by the publisher Avgrund.

He moved to Sweden in the winter of 2006 and he is currently living and studying in Gothenburg.

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David S. Herrerias (Facebook)

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Ascension – The Dead Of The World

(World Terror Committee, 2014)

As I wrote in my last review of an Ascension release (their Ep “Deathless Light”, acting as a prelude to this full-length album), the band wishes to appear to the public as anonymous, letting the music speak for itself, and they were among the first ones to do it, regardless of the trend today. So we will not go into that in this review either, as we’ll let the music once again speak for itself.

Ascension first appeared to us in 2009 with their magnificent demo “With Burning Tongues”, soon followed by their first full-length “Consolamentum” (a Gnostic baptism ritual of the Cathars) in 2010, both giving a very professional and mature approach to “Religious”, “Occult” or “Spiritual” Black Metal. We have waited four years for a follow-up, and here we are, ready to receive our Revelations.

The album begins with “The Silence Of Abel”, with slow feelings (and riffs of course familiar in style to the previous material) for a few minutes, before exploding into a fierce blast-beating, also familiar from “Consolamentum”. The second song “Death’s Golden Temple” is a bit longer work, and features more variation in riffs and changes in paces compared to the first song. The third song “Black Ember” is a shorter and more intense spell, capturing the attention of those who might have thought the beginning of the album to be too calm. The fourth song “Unlocking Tiamat” features a bit more technical approaches to the basic style of Ascension, and also clear speech-like vocals unheard of before (in style) with this band make their first appearance. The fifth song “Deathless Light” sounds like a true masterpiece in the middle of the album, despite the fact it was featured on the Ep of the same name. This might be the best song of the album. The sixth song “The Dark Tomb Shines” is again perhaps a bit more intense and fast-paced experience after the epic previous masterpiece. One thing in common to all the songs of the album is that they contain many different parts, switching methods of magick with ease and comfort. The seventh and last song “Mortui Mundi” serves as a great ending to this brilliant display of musicianship and strong elevating atmospheres.

The guitars sound and act quite similarly as before, with even some leads here and there having the same “moogy” synth-like (in lack of a better term) effect found on “Consolamentum” as well (if you know what I’m talking about). There are also a few new more effects used, which suit the music great. Everything is played with great skill and a nice amount of variation.

The vocals follow pretty much the same logic as in the previous material, with a few more tricks up their sleeve. The vocalist preaches mostly in the raspy speech-like shouting reminding of typical Black Metal naturally, but also something more mature and intelligent. The drums are played with the same groove and precision as before, staying not too far back or in front in the mix. In fact all the instruments are in quite the perfect equilibrium. Some cool choir-effects here and there lift the music to even higher planes.

The overall sound is pretty similar with the previous albums, clear but murky enough to keep it atmospheric, sounding almost like recorded during the same sessions, regardless of the four year gap between the releases.

While “Consolamentum” featured perhaps simpler songs quite personal and different from each other, trying out a few different ideas among the more basic traditional Black Metal worship, these songs are a bit more similar in nature (compared to each other), at least with the first listens of the album. Then again, there are no clearly boring parts on this album, as the music keeps our Third Eyes focused on majestic Spiritual landscapes throughout the (almost an hour long) album. This is an album that will grow on you the more you listen to it, I’m sure.

The end conclusion is, that since this album contains more material in form of the amount of riffs and changes in the music than “Consolamentum”, this album is a bit superior to the previous work of the band in every way. These songs will entertain greater fans of the band for years to come. Well worth the four year wait!

This should appeal to anyone with an interest to higher (and lower) aspirations of the human psyche, and with musical taste covering a bit more than what 90% of todays “Spiritual Black Metal” has to offer. A definite masterpiece, once again.

Ascension (Facebook)

Tongues – Thelésis Ignis

(I, Voidhanger Records, 2014)

Tongues is the Great Work of two Danes going by the names Qvortrup and Thorbjörn, and this is pretty much all we know of the band, although their music consists of somewhat familiar components.

The album starts with an Ambient intro reminiscent in feelings of the album-cover artwork, after which we are mentally attacked with ferocious and truly twisted-sounding partly dissonant-sounding Black Metal, bringing to mind all these “Occult” and “Spiritual” bands which draw their inspirations from bands like Deathspell Omega (not a fully fair comparison here though), but also with a hint of Portal (if they were a more clear-sounding Black Metal band). Still, Tongues do have a personal sound, making their debut-EP quite a fresh listening experience.

The guitar-sounds are pretty distorted and clear, bringing both Death and Black Metal to my mind, in sounds as in the nature of the riffs. Nevertheless, there is something really unique to Tongues in these riffs. The vocals sound sometimes high and screaming Black, sometimes more low and growling Deathly, sometimes I’m even hearing straight old Beherit-worship in there. The overall spectrum of the vocals performed on this release is however pretty vast, with all kind of cool parts here and there to spice the experience up.

The drums are played with the demanded feeling and skill, and their sound is good enough, fitting the overall sounds well. There is also a part with ethnic percussions added on top (or beneath) the main drums, which sound cool. At parts the band may theow for example a d-beat Thrashy part in the midst of all the Death Black chaos, and this combined with the more clear shouting vocals, bring to my mind the logics of Teitanblood, without totally sounding like a copy.

The songs have such an amount of riffs and good playing, this release can be enjoyed as a trip into well-performed extreme Metal music, but as the atmosphere surrounding these songs is so great, they can also be taken as conveyors of deep Spiritual states. Magickal stuff for sure. For example the final song could work on it’s own as one of the best Ambient Ritual musick I’v ever heard.

I would recommend the band to take all the elements which make them personal and separate them from the trends of “Spiritual” Black Metal at the moment, and run with them to their studio (temple) next time, only to emerge with a next release of even higher and more original Art. However, this is such a strong start for this band, and as I am enjoying the material the more I listen to it, I have to heartily recommend this to all into the aforementioned bands (whom know what I’m talking about).

8.5/10 – Antti Mikonmäki

Tongues (I, Voidhanger Bandcamp)