Album: I - 30th Anniversary Edition
Artist: Cordis Cincti Serpente
Catalogue no: IÖR SK.I
Tracklist:
1. The
Sword of the Lord
2. 7
Charkras/10 Sephirot
3. A.*.A.*.
4. Fourteen
Enochian Key
5. Astral
Wandering
6. P.V.N.
Listening to this now,
it’s hard to believe that this recording was committed to tape thirty years ago.
Originally ‘released’ as a limited edition cassette of 31 that was not for sale
generally but instead mailed to close friends of the artist only, it has now
been remastered by Raffaele Pezzella’s Sonologyst Mastering and issued as a cassette
in an edition of 93 signed and numbered copies by Italian label Industrial
Ölocaust Recordings, which is an extension of the Akkademia Esoterica Üsher, an
organisation dedicated to magical and mystical studies. Indeed, given that it
was recorded so long ago (relatively speaking) it remains extremely fresh, its
ritualistic atmospheres and ambience probably predating the term ‘ritual
ambient’ itself, and I am guessing that it was most likely ahead of its time
when those 31 people received their copies.
‘The Sword of the Lord’
opens with a massive breathy drone, which is soon joined by gale force
exhalations, deeper rumbles, and a voice chanting words of power. Fracturing
crackles suggest a release of enormous energies, barely constrained by the will
of the celebrant as he calls forth whatever entity he wishes to manifest. This
is wonderfully subterranean, a grotto deep underground away from the prying
eyes of the profane, a suitable venue for the manifestation of some earthy
demon/angel, a divine presence whose power and strength is beyond human ken.
One can literally feel those conduits opening up and the surging energy they’re
channelling, a veritable spiritual power station, and yet we instinctively feel
that we’re only being shown a fraction of that being’s total power.
‘7 Charkras/10 Sephirot’
starts off quietly and resonantly, its shimmering tones floating about one’s
head, the sensations elicited only interrupted intermittently by blasts of
explosive energy. It feels as if each of those explosions signals the opening
of a new charkra (CCS’ spelling) or the attainment of a Sephirot along an
aspirant’s esoteric journey. As the track progresses the strength imparted by
each new achievement increases, pouring knowledge and energy into the student.
Like the foregoing track, one knows that this journey is an arduous one, and
that the aspirant needs a metaphysical strength beyond the everyday in order to
withstand the barrage of energies manifested. No wonder, then, that many fall
by the wayside along the path, at least judging from what’s being essayed here.
‘A.*.A.*.’ I am assuming
is a reference to Crowley’s successor magical order the Astrum Argentum (Silver
Star) to the Golden Dawn, and indeed that’s confirmed by the presence of
Crowley’s voice on this track. Lovely deep drones open this one, accompanied
and punctuated by more detonations of percussive ejaculations. Interweaving
above, below, and in between are chords reminiscent of choirs, perhaps
descriptive of the order itself. Crowley’s voice itself is mellifluous and
singsong, intoning words and incantations in ritual ecstasy. The spiritual
aspect of the Work is deeply apparent here, and the sonorous quality of
Crowley’s chanting only adds a deeper layer of occult power to the mysteries
behind the ritual.
Beginning what would have
been side two on the original cassette is ‘Fourteen Enochian Key’, a blast of
drone rumble oscillating slowly and glacially, a seismic quake of subterrestrial
energy building and building, and always looking for an outlet. Staccato
breaths occasionally intercede, perhaps bringing with them a promise of
release. Enochian by the way, for those who don’t know, is the angelic language
as dictated by discarnate entities to Dr. John Dee through the agency of Edward
Kelly, the said language since becoming a foundation cornerstone of Hermetic
and Ceremonial Magic in the Western Tradition. This track speaks of immense
power, and if only we could understand and speak the language of the angels
then we could unlock secrets of the universe and the deeper meanings of
life.
‘Astral Wandering’ begins
in the most ‘ambient’ manner, a shimmering, uplifting, soaring, and meandering
dance amongst the stars and nebulae, and its keening tone suggests the song is
a lamentation that we have yet to really gyrate among those celestial bodies in
actuality – perhaps we could learn much of the true nature of both ourselves
and the universe we inhabit if we were able to. This keening eventually morphs
into a mechanical rhythm, suggestive of the mechanisms behind creation, a
prefigurement of the order we’ll inevitably find in our inner and outer
explorations. The track eventually circles back to the beginning but this time
that keening sounds more harmonious, saying perhaps that by understanding all
will we gain the peace many have been seeking since mankind appeared.
Lastly, we have ‘P.V.N’ –
and I have to acknowledge my ignorance as to what those initials stand for. I
am tending to think that it could be a Thelemic term, but then again it could
be something completely mundane or an abbreviation for something in Latin.
Sputtering heartbeat percussion is our entrèe here, interspersed with a loud
reverberant drum, both elements seemingly resounding and into an infinity of
space and time. A breathy drone then makes its appearance, suggestive of
something alive and vital, the lungs of the universe inhaling and exhaling in
time to a secret rhythm. The breathing gradually is given voice, with which perhaps
to intone the Tetragrammaton, and thereby bringing all into being. This is the
ultimate secret of the universe – the living, breathing name of which we should
not speak. To know it is to understand its power.
I’ll be honest here – if
this hadn’t been labelled as a 30th Anniversary Edition I’d have
been none the wiser, truly believing it to be a recent recording and not one
originally put on tape in 1989. If music can be said to be timeless, then this
surely must qualify as possessing that quality. Granted it’s been remastered
using modern technology, but even given that and, like I pointed out in my
opening paragraph, it still comes across as fresh and relevant, as well as
vital, here in 2019. In my humble opinion, this is not just a historical document
but also an essential recording in its own right, and I for one am glad that
Industrial Ölocaust Recordings has issued this because so many would have
missed out. With music of this calibre it would have been an absolute shame to
keep it hidden (and yes, I know it speaks of hidden things, a bit of irony
there…). If justice be served, then this artefact should itself be a sold out
item.
Check out IÖR’s Facebook
page for details of purchase:
Psymon Marshall 2019.
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