Evola on Meditation: Four Techniques for Controlling the Thoughts by Astariel Ananda

Julius Evola’s guide to Theravāda Buddhism, The Doctrine of Awakening, is divided into two sections. The first part covers the theories and doctrines of primitive Buddhism, and the second half delves into practical techniques for the disciple.

These practical techniques give the modern-day disciple a detailed guide from a trusted source, for Evola relies solely on the teachings of the Buddha and his disciples (unlike modern-day Buddhist guides for the layman, which tend to ignore certain ideas).

This post highlights Evola’s instructions for the “four instruments” that can help control the thought. Mental control must be the first urgent concern of a disciple, for “in its fluid, changeable, and inconsistent character, normal thought reflects, moreover, the general law of samsāric consciousness” (pg. 109).

According to Buddhist doctrine, thought is located in the “cavern of the heart,” meaning that it isn’t merely a mental or psychological process. Thus, the entire body must be engaged in its control. Rather than “forcing” oneself into a false mental control, Evola says one must:

simultaneously, proceed to an act of conversion of the will and of the spirit; interior calm must be created, and one must be pervaded by intimate, sincere earnestness. (pg. 109)

Based on this description, it can be suggested that the disciple contact a metaphysical energy to help manifest the will and spirit in order to better control the thoughts and other aspects of samsāric existence.

The result of mental control is a state called appamada, which means “conscientious” or “concern.” This is the state of consciousness in which one is master of oneself, by virtue of being centered in oneself. Rather than letting your thoughts control you or run wild, it is the “first form of entry into oneself, of an earnestness and of a fervid, austere concentration” (pg. 110). According the Max Muller, appamada forms the base of every virtue. The being who possesses appamada is said to not die, while those who let their thoughts run wild are as if already dead:

From his heights of wisdom he will look down on vain and agitated beings, as one who lives on a mountaintop looks down on those who live in the plains. (pg. 110)

All of this requires an incredible strength of will. Control of the thoughts should be the first step in developing the will and control required for the path of awakening. Here are the four techniques (“instruments”) that can be used to control the thoughts:

The First Instrument: Substitution
This technique should be used when harmful and unworthy thoughts arise–those that are manifestations of the asava, that is, thought-images of craving, aversion, or blindness. When these thoughts arise, one should replace them with a beneficial idea. This beneficial thought will dissolve the harmful one and in the process, “the intimate spirit will be fortified, will become calm, unified, and strong.”

There are several characteristics of an unworthy thought. Basically, any thought that encourages desires, cravings, errors in thinking (i.e., thoughts not in keeping with the Four Noble Truths and Noble Eightfold Path), and thoughts that serve to bind the thinker to the world could all be said to be unworthy. Here is a description:

That, whereby fresh mania of desire sprouts and the old mania is reinforced; fresh mania of existence sprouts and the old mania is reinforced; fresh mania of error sprouts and the old mania is reinforced.

Part of this first technique involves creating a “chain of beneficial thoughts.” When a thought of “ill will or cruelty” arises, here is what one should think:

It leads to my own harm, it leads to others’ harm, it leads to the harm of both, it uproots wisdom, it brings vexation, it does not lead to extinction, it leads to self-limitation.

If this process of thought-replacement is performed with sufficient sincerity and intensity, then the harmful thought will dissolve.

The Second Instrument: ‘Expulsion Through Horror or Contempt’
This practice involves getting rid of harmful thoughts by associating them with things that fill you with disgust and loathing. Evola cites a simile for the technique from a Buddhist text:

‘Just as a woman or a man, young, flourishing and charming, round whose neck were tied the carcass of a snake, or the carcass of a dog, or a human carcass, would be filled with fear, horror, and loathing,’ so, the perception of the unworthy character of those images or thoughts should produce an immediate and instinctive act of expulsion, from which their dispersion or neutralizing would follow. Whenever an affective chord is touched, then by making an effort one must be able to feel contempt, shame, and disgust for the enjoyment or dislike that has arisen. (pg. 111)

Evola is adament that this repulsion should not be an act of struggling, but should arise naturally from a sense of superiority over states of mind that are unworthy. One should be filled with an “earnestly lived sense of the ‘indignity’ and irrationality of the images and inclinations that appear” (113).

The Third Instrument: Dissociation
The third technique for controlling thoughts is to not become attached to them–simply ignore them. Evola recounts a simile for this technique as well:

As a man with good sight, who does not wish to observe what comes into his field of view at a particular moment can close his eyes or look elsewhere. When attention is resolutely withheld, the images or the tendencies are again restrained. (pg. 112-113)

Evola cautions that the practitioner should be careful to not merely “chase away” a thought–doing so could have the opposite effect of causing the thought to come back even stronger. One must instead have the strength of will to not even see or acknowledge the thought.

This practice is especially useful for a normal but active state of mind (rather than when obsessed with a particular thought). This is the “monkey mind” referred to by Buddhists, in which a man is merely a passive participant of the images, emotional states, and thoughts that overtake him. Evola says these “psychoaffective aggregates of fear, desire, hope, despair, and so on, fascinate or hypnotize [the] mind, subtly tying it, they ‘manipulate’ it by their influence and feed on its energies like vampires” (pg. 113).

The Fourth Instrument: Gradual Dismemberment
The fourth technique is the practice of making the thoughts vanish, one after the next. It is a means of stopping desire by analyzing it down to its roots, so that it disappears. By examining the reasons behind every thought, behavior, and desire, a person can effectively halt any obsession.The simile is:

Just as a man walking in haste might think: ‘Why am I walking in haste? Let me go more slowly’ and, walking more slowly, might think: ‘But why am I walking at all? I wish to stand still’ and, standing still, might think: ‘For what reason am I standing up? I will sit down’ and, sitting down, might think: ‘Why must I only sit? I wish to lie down’ and might lie down; just so if harmful and unworthy thoughts, images of craving, of aversion and of blindness, again arise in an ascetic in spite of his contempt and rejection of them, he must make these thoughts successively vanish one after another.’ . . . [this way considers] them with a calm and objective eye one after another. (pg. 113)

This practice is based on what Buddhists texts call “the conditioned nature of desire.” This refers how a chain of thoughts is created, such as an obsession that feeds itself, but that can be broken if the conditions it depends and feeds upon are broken.

Direct Action (The ‘Fifth’ Instrument)
This technique is advised if none of the four instruments will work. The method is to clench the teeth and press the tongue hardly against the roof of the mouth (the palate) and, with your will, “crush, compel, beat down the mind.” The simile is:

As a strong man, seizing another weaker man by the head or by the shoulders, compels him, crushes him, throws him down. (pg. 114)

The same precaution applies for this technique as the others: It must not be performed from a place of weakness, but from a place of superiority. Evola says the practitioner must be able to call on the illumination and energy that exists outside of the samsāric current. Only then, he writes, “is there no danger that the victory will be merely exterior and apparent, and that the enemy, instead of being destroyed, has disengaged and entrenched himself in the subconscious” (pg. 114).

Various Artists ::: Deep Space Vol. III

1 DisFatum - Here You Are Alone 05:54
2 Ran Kirlian - Submerging 07:44
3 Joywcs - My Dreams 03:19
4 Umbra Nequam - Supernova 05:42
5 Untitled Project Of Maks_SF - Everything Will Fade Away 04:20
6 _Algol_ - Gliese 581g 09:33
7 Paul Minesweeper - Sweet Moon 05:57
8 bc_ranger - Echoes Of The Past 05:38
9 Kreazot-Maks - First Roar (Melancholic Memories Remix) 05:51
10 Isfjell & Cloower Wooma - Black Sun 05:21
11 Darage Bang - Phosphenes 03:09
12 Nightspirit - Interstellar Medium II 10:53
13 lwpss - Mx-Global 06:24
14 Chante Ista - Lamento (A Fading Stars Of Baudelaire) 09:37
15 My Emptiness - Distant Horizons 03:17
16 Creation VI - I Don't Know How To Waltz 14:26
17 Roman Kharkovsky - When The Sun Was Singing To Kremenchuk 04:48
18. ForstWölfin - Deep In Space 07:26
19 My Dark Lake - Kosmos (The Matrixx Сover) 03:58
20 Kaalaatita & spoRA fm - Nanoworld Is Our Terminus 13:15
21 Шесть Мёртвых Болгар - Покрывало света 06:50
22 Wind in Willows - In the Sky 11:45
23 Tres Speculum - Ex Profundum 10:05
24 Lost Radiance - Look Around 07:43
25 Emerald Rustling - Spatial Disorientation 07:53
26 A Bleeding Star - The Last Transmission from the Celestial Star Maiden - Astraeas Call to the End Of All 05:26

Original photo by NASA / Hubble
Artwork by Bela Lugosi
Compiled by Vladislav Sikach

released 13 November 2014

GV-331
http://archive.org/details/gv331

MP3:
http://goo.gl/yEB6dh
http://yadi.sk/d/mvwSv-K7cgUrP

FLAC:
http://goo.gl/IuTCyq
http://yadi.sk/d/7-muZqcXcgUqp

Various Artists ::: Secret Lords: A Heidenvolk Collaboration

As a conspired collaboration, this release gathers only a few sound artists and their projects. Secret Lords is in the hidden life of buildings, on fate petrified in stone, and on history conserved in architecture. The songs describe the monumental elevation of buildings, seize their sound and play with light, and nevertheless reflect the fate of people.

Tracklist:
1. In Gowan Ring: Dome Of The Unwoven Spheres
2. In Gowan Ring: Orb Weavers
3. Darkwood: Valley of Dark Memories
4. Darkwood: Room of the Innermost Wishes
5. A Challenge of Honour/Sturmpercht: Der Kalte Baum
6. A Challenge of Honour/Sturmpercht: Des Kreuzheers Schwerer Stahl
7. Agnivolok: Town With Yellow Eyes
8. Chaos As Shelter: Stoned Spirits
9. Ve Europa: Tausend Sterne Sind Ein Dom
10. Voxus Imp.: Epilog

Download:
http://www64.zippyshare.com/v/35114055/file.html

On the Secret of Degeneration by Julius Evola

Anyone who has come to reject the rationalist myth of "progress" and the interpretation of history as an unbroken positive development of mankind will find himself gradually drawn towards the world-view that was common to all the great traditional cultures, and which had at its centre the memory of a process of degeneration, slow obscuration, or collapse of a higher preceding world. As we penetrate deeper into this new (and old) interpretation, we encounter various problems, foremost among which is the question of the secret of degeneration.

In its literal sense, this question is by no means a novel one. While contemplating the magnificent remains of cultures whose very name has not even come down to us, but which seem to have conveyed, even in their physical material, a greatness and power that is more than earthly, scarcely anyone has failed to ask themselves questions about the death of cultures, and sensed the inadequacy of the reasons that are usually given to explain it.

We can thank the Comte de Gobineau for the best and best-known summary of this problem, and also for a masterly criticism of the main hypotheses about it. His solution on the basis of racial thought and racial purity also has a lot of truth in it, but it needs to be expanded by a few observations concerning a higher order of things. For there have been many cases in which a culture has collapsed even when its race has remained pure, as is especially clear in certain groups that have suffered slow, inexorable extinction despite remaining as racially isolated as if they were islands. An example quite close at hand is the case of the Swedes and the Dutch. These people are in the same racial condition today as they were two centuries ago, but there is little to be found now of the heroic disposition and the racial awareness that they once possessed. Other great cultures seem merely to have remained standing in the condition of mummies: they have long been inwardly dead, so that it takes only the slightest push to knock them down. This was the case, for example, with ancient Peru, that giant solar empire which was annihilated by a few adventurers drawn from the worst rabble of Europe.

If we look at the secret of degeneration from the exclusively traditional point of view, it becomes even harder to solve it completely. It is then a matter of the division of all cultures into two main types. On the one hand there are the traditional cultures, whose principle is identical and unchangeable, despite all the differences evident on the surface. The axis of these cultures and the summit of their hierarchical order consist of metaphysical, supra-individual powers and actions, which serve to inform and justify everything that is merely human, temporal, subject to becoming and to "history." On the other hand there is "modern culture," which is actually anti-tradition and which exhausts itself in a construction of purely human and earthly conditions and in the total development of these, in pursuit of a life entirely detached from the "higher world."

From the standpoint of the latter, the whole of history is degeneration, because it shows the universal decline of earlier cultures of the traditional type, and the decisive and violent rise of a new universal civilization of the "modern" type.

A double question arises from this.

First, how was it ever possible for this to come to pass? There is a logical error underlying the whole doctrine of evolution: it is impossible that the higher can emerge from the lower, and the greater from the less. But doesn't a similar difficulty face us in the solution of the doctrine of involution? How is it ever possible for the higher to fall? If we could make do with simple analogies, it would be easy to deal with this question. A healthy man can become sick; a virtuous one can turn to vice. There is a natural law that everyone takes from granted: that every living being starts with birth, growth, and strength, then come old age, weakening, and disintegration. And so forth. But this is just making statements, not explaining, even if we allow that such analogies actually relate to the question posed here.

Secondly, it is not only a matter of explaining the possibility of the degeneration of a particular cultural world, but also the possibility that the degeneration of one cultural cycle may pass to other peoples and take them down with it. For example, we have not only to explain how the ancient Western reality collapsed, but also have to show the reason why it was possible for "modern" culture to conquer practically the whole world, and why it possessed the power to divert so many peoples from any other type of culture, and to hold sway even where states of a traditional kind seemed to be alive (one need only recall the Aryan East).

In this respect, it is not enough to say that we are dealing with a purely material and economic conquest. That view seems very superficial, for two reasons. In the first place, a land that is conquered on the material level also experiences, in the long run, influences of a higher kind corresponding to the cultural type of its conqueror. We can state, in fact, that European conquest almost everywhere sows the seeds of "Europeanization," i.e., the "modern" rationalist, tradition-hostile, individualistic way of thinking. Secondly, the traditional conception of culture and the state is hierarchical, not dualistic. Its bearers could never subscribe, without severe reservations, to the principles of "Render unto Caesar the things that are Caesar's" and "My kingdom is not of this world." For us, "Tradition" is the victorious and creative presence in the world of that which is "not of this world," i.e., of the Spirit, understood as a power that is mightier than any merely human or material one.

This is a basic idea of the authentically traditional view of life, which does not permit us to speak with contempt of merely material conquests. On the contrary, the material conquest is the sign, if not of a spiritual victory, at least of a spiritual weakness or a kind of spiritual "retreat" in the cultures that are conquered and lose their independence. Everywhere that the Spirit, regarded as the stronger power, was truly present, it never lacked for means - visible or otherwise - to enable the entire opponent's technical and material superiority to be resisted. But this has not happened. It must be concluded, then, that degeneracy was lurking behind the traditional facade of every people that the "modern" world has been able to conquer. The West must then have been the culture in which a crisis that was already universal assumed its acutest form. There the degeneration amounted, so to speak, to a knockout blow, and as it took effect, it brought down with more or less ease other peoples in whom the involution had certainly not "progressed" as far, but whose tradition had already lost its original power, so that these peoples were no longer able to protect themselves from an outside assault.

With these considerations, the second aspect of our problem is traced back to the first one. It is mainly a question of explicating the meaning and the possibility of degeneracy, without reference to other circumstances.

For this we must be clear about one thing: it is an error to assume that the hierarchy of the traditional world is based on a tyranny of the upper classes. That is merely a "modern" conception, completely alien to the traditional way of thinking. The traditional doctrine in fact conceived of spiritual action as an "action without acting"; it spoke of the "unmoved mover"; everywhere it used the symbolism of the "pole", the unalterable axis around which every ordered movement takes place (and elsewhere we have shown that this is the meaning of the swastika, the "arctic cross"); it always stressed the "Olympian" spirituality, and genuine authority, as well as its way of acting directly on its subordinates, not through violence but through "presence"; finally, it used the simile of the magnet, wherein lies the key to our question, as we shall now see.

Only today could anyone imagine that the authentic bearers of the Spirit, or of Tradition, pursue people so as to seize them and put them in their places - in short, that they "manage" people, or have any personal interest in setting up and maintaining those hierarchical relationships by virtue of which they can appear visibly as the rulers. This would be ridiculous and senseless. It is much more the recognition on the part of the lower ones that is the true basis of any traditional ranking. It is not the higher that needs the lower, but the other way round. The essence of hierarchy is that there is something living as a reality in certain people, which in the rest is only present in the condition of an ideal, a premonition, an unfocused effort. Thus the latter are fatefully attracted to the former, and their lower condition is one of subordination less to something foreign, than to their own true "self." Herein lays the secret, in the traditional world, of all readiness for sacrifice, all heroism, all loyalty; and, on the other side, of a prestige, an authority, and a calm power which the most heavily-armed tyrant can never count upon.

With these considerations, we have come very close to solving not only the problem of degeneration, but also the possibility of a particular fall. Are we perhaps not tired of hearing that the success of every revolution indicates the weakness and degeneracy of the previous rulers? An understanding of this kind is very one-sided. This would indeed be the case if wild dogs were tied up, and suddenly broke loose: that would be proof that the hands holding their leashes had become impotent or weak. But things are arranged very differently in the framework of spiritual ranking, whose real basis we have explained above. This hierarchy degenerates and is able to be overthrown in one case only: when the individual degenerates, when he uses his fundamental freedom to deny the Spirit, to cut his life loose from any higher reference-point, and to exist "only for himself." Then the contacts are fatefully broken, the metaphysical tension, to which the traditional organism owes its unity, gives way, every force wavers in its path and finally breaks free. The peaks, of course, remain pure and inviolable in their heights, but the rest, which depended on them, now becomes an avalanche, a mass that has lost its equilibrium and falls, at first imperceptibly but with ever accelerating movement down to the depths and lowest levels of the valley. This is the secret of every degeneration and revolution. The European had first slain the hierarchy in himself by extirpating his own inner possibilities, to which corresponded the basis of the order that he would then destroy externally.

If Christian mythology attributes the Fall of Man and the Rebellion of the Angels to the freedom of the will, then it comes to much the same significance. It concerns the frightening potential that dwells in man of using freedom to destroy spiritually and to banish everything that could ensure him a supra-natural value. This is a metaphysical decision: the stream that traverses history in the most varied forms of the traditional-hating, revolutionary, individualistic, and humanistic spirit, or in short, the "modern" spirit. This decision is the only positive and decisive cause in the secret of degeneration, the destruction of Tradition.

If we understand this, we can perhaps also grasp the sense of those legends that speak of mysterious rulers who "always" exist and have never died (shades of the Emperor sleeping beneath the Kyffhäuser Mountain!). Such rulers can be rediscovered only when one achieves spiritual completeness and awakens a quality in oneself like that of a metal that suddenly feels "the magnet", finds the magnet and irresistibly orients itself and moves towards it. For now, we must restrict ourselves to this hint. A comprehensive explanation of legends of that sort, which come to us from the most ancient Aryan source, would take us too far. At another opportunity we will perhaps return to the secret of reconstruction, to the "magic" that is capable of restoring the fallen mass to the unalterable, lonely, and invisible peaks that are still there in the heights.

The Joy Of Nature / Novemthree ::: Auguries Of Innocence / Meandering In Streams Of Reflection

Great split between Joy of Nature and Novemthree.

Tracklist:

Auguries Of Innocence

1.1 Joy Of Nature, The - Die Liebe Ist Ein Traum 1:36
1.2 Joy Of Nature, The - Nobody's Fault But Mine 3:05
1.3 Joy Of Nature, The - Song Of Innocence 4:36
1.4 Joy Of Nature, The - Am I A Butterfly? 1:48
1.5 Joy Of Nature, The - Für Das Kleine Mädchen Von Meinen Träumen 2:29
1.6 Joy Of Nature, The - Auguries Of Innocence 4:35
1.7 Joy Of Nature, The - The Show Is Over 2:50

Meandering In Streams Of Reflection

2.1 Novemthree - Reaching The Summit At Nightfall 3:11
2.2 Novemthree - The First Flowers - Lyrics By – Hermann Hesse 4:18
2.3 Novemthree - We All Must Die 2:57
2.4 Novemthree - Gathering Wildflowers 1:45
2.5 Novemthree - How Heavy The Days - Lyrics By – Hermann Hesse 4:15
2.6 Novemthree - Meadow Song - Lyrics By – Chelsea Robb 3:09
2.7 Novemthree - We Choose To Lie Calm 1:19

Download:
http://www21.zippyshare.com/v/95550091/file.html

 

"Ecstasy - exaltation in immanence, illumination, a vision of this world's madness - such is the basis of any metaphysics, valid even in the final moments of life. Any true ecstasy is dangerous. It resembles the last stage of initiation in the Egyptian mysteries when, instead of the ultimate knowledge, one is told, 'Osiris is a black divinity.' The absolute remains unknowable." - Emil Cioran

Mushroom's Patience ::: Solo Tracks

Can't help it, just one more from these guys.  Featuring one solo track by each member of the band Limited edition 100 copies. 

Tracklist:A1 Raffaele Cerroni - Oh, Brisevoli Gosbite!
A2 Jürgen Weber - Psychofag
A3 Frl. Tost - Gabriel's Luli Uzhuri
B1 Der Bekannte Post Industrielle Trompeter - The Waterlily Has Drowned
B2 Clau D.E.D.I. - Essere 

Download:
 http://www35.zippyshare.com/v/42495480/file.html

Mushroom's Patience ::: L'Ultimo Bagno Del Primate

Reissue of the original 1998 CD-R on Misty Circles/Atropina Manufacture, minus the song "Felix The Frog". Limited edition of 400 copies. A masterpiece!

Tracklist:A1 Intro
A2 Argonauti E Gallette
A3 Il Viaggio 
A4 Taxi Party 
A5 L'Ultimo Bagno Del Primate 
A6 Cozmo Suite 
A7 Alice (Il Suono Di Una Nascita) 
B1 La Giostra
B2 Deltalavabo 
B3 Mosten 
B4 Capsule Bambini (Forever And Ever#1)
B5 Ai Cancelli Del Delirio 
B6 Vullo (Un Effetto A Tre)
B7 Radiocozmomatic 

Download:
http://www35.zippyshare.com/v/85724621/file.html

Угасание ‎::: Врастая В Вечность

Fantastic experimental ambient straight out of Russia.  This one was released in 2012 on the GV Sound label

Tracklist:
1 Мерцание    
2 Вереск    
3 Погребальная    
4 озвращение Мертвых Героев    
5 Сумерки Сознания    
6 Врастая В Вечность    
7 Внутри    
8 Корень Мандрагоры
9 На Той Стороне    
10 Северное Одиночество    
11 Иш Таб    
12 Исчезая Во Тьме    

Preview:


Download:
http://www.adrive.com/public/YMZKSN/UgasanieGIE12.zip

Outofsight And Hotel De Prusse ::: Forgotten Taste Of The Province

A release that discusses Polish province and a bit of decadence. It is a short essay about the past and declining relationships between what is now and what has gone in the past. It is about broken relationships between friends who unexpectedly appear in our lives once more. We are connected by one thing – where we come from.

Tracklist:
1 Outofsight - Old Crew (Svaboda) 3:10
2 Outofsight - Gorillo Heroin 3:47
3 Hotel De Prusse - Początek 3:01
4 Hotel De Prusse - Soyuz 5:54
5 Hotel De Prusse - Silent 3:06
6 Outofsight - Old Typewriter 1:02
7 Outofsight - Polish Splin 4:32
8 Outofsight - Black February 3:45
9 Outofsight - Swindle Gesture 3:57
10 Hotel De Prusse - Lekcja 3:47
11 Hotel De Prusse - Memoria 4:23
12 Hotel De Prusse - Greatz 5:49

Download:
http://www.adrive.com/public/qq3fth/Outofsight%20And%20Hotel%20De%20Prusse%20%20Forgotten%20Taste%20Of%20The%20Province.zip

English Heretic ::: Tales Of The New Isis Lodge

Probably the first Musical inspired by the creative occultism of Kenneth Grant, Tales Of The New Isis Lodge presents 65 minutes of lush and occult exotica issuing from a transplutonic transmitter. Drawing its structure from the ultra decadent and ornate rituals described in Grant's book Hecate's Fountain English Heretic guide you through Egyptian pre-history to the fungi of yuggoth, re-imagine flower power in an indian tantric idiom, describe the workings of Chinese sorcerers, realise the neither-neither hidden within the jump rhythms of Count Basie and invoke Choronzon in the Crimson Desert. Aeons in its reification and packaged in delicious artwork, stylised as a homage to Grant's Typhonian tomes.

Tracklist:
1- Typhonian Museum Piece
2- She Comes In Kalas
3- Tales Of The New Isis Lodge
4- Earth's Lament To The Stars
5- Cult Of The Ku
6- Vevers Of The Void
7- Les Voltigeurs
8- Secret Organization Of The Zotzil
9- Rite Of Kepra
10- Demon Feast / The Dagger Of Bou Said

Preview:


Download:
http://sh.st/XA6J5

Nový Svět ::: Rumorarmonio

Born in late 1.997 the Vienna-based Novy Svet set out to bring some confusion into the so-called industrial uniformity. The group is neither tied to any musical style nor to any language. Each of the five albums released (Rumorarmonio, Faccia a faccia, Cuori di petrolio, Venezia, Chappaqua) introduced the always growing audience to a new aspect of the group. Novy Svet was one of the very first projects to be released on Albin Julius' Hau Ruck! label where it found a home for its own recordings but also for many collaborations with other groups from the label's roster (Mushroom's Patience, Dernière Volonté, Foresta Di Ferro). Until today, Novy Svet has been pushing the limits of musical categories aside to establish a unique mixture of folk, experimental and haunting neo-surrealism.

Tracklist
A1 Každý Počátek, Jeden Konec 1:38
A2 Slavin 3:35
A3 Sojuz Molodëži 5:45
A4 Mutzika 1:28
A5 Dobrolet '23 4:37
A6 E Moscú! 2:18
B1 Chával 5:42
B2 (No Sé Tu Nombre Pero Creo Es) Alin 2:26
B3 Gileja 3:32
B4 La Aroma Lola 2:18
B5 Roma 3:07
B6 La Lena 5:18

Download:
http://www.adrive.com/public/2RbMPp/Nov%C3%BD%20Sv%C4%9Bt%20%E2%80%93%20Rumorarmonio.zip

Division S / Hotel de Prusse ::: Siloah

Great split.  Division S was always a favorite for me so I can only but recommend you download this straight away.

Tracklist
1 Division S - I
2 Division S - II
3 Division S - III
4 Division S - IV
5 Division S - V
6 Hotel de Prusse - VI
7 Hotel de Prusse - VII
8 Hotel de Prusse - VIII
9 Hotel de Prusse - IX
10 Hotel de Prusse - X

Download:
https://mega.nz/#!ZFZjABTD!Fz6YLw_QJ6uhXBcMl9K3FQLp3KH20KDq05xqApFzhzU

Papa Legba open the gate for me, ago e!
Atibon Legba open the gate for me!
Open the gate for me, Papa, for me to pass,
When I return, I will thank the lwa.

Om ::: Variations On a Theme

This three song album feature only bass, vocals, and drums, there are no guitars. However, the massive amount of distortion on the bass makes this unnoticeable and the riffing is just as it would be if there were guitars on the album. The use of only one stringed instrument works to give the songs a more stripped down feel than Sleep had. The riffing can be compared to a mixture of the second and third Sleep albums, Sleep’s Holy Mountain and Dopesmoker, in the way that it is slow but not quite as oppressively heavy or epic as Dopesmoker. Despite this fact there is plenty of heaviness to be found in the fuzzed out 70s styled trance-inducing riffs that the bass churns out; these riffs are as slow and heavy as you’d expect from ex-members of Sleep.

Drum-wise this leans more towards Dopesmoker in the way the drums methodically plod forward and utilize the heavier cymbals to bring out the heaviness of selected parts. Drum production is also reminiscent of Dopesmoker in the natural and live feel that the drums breathe into the music. The vocals are reminiscent of the subdued parts of Sleep’s Holy Mountain; the hoarse stoned yells that appear on Dopesmoker are not present here. This subdued quality of the vocals makes them sound like sacred chants, thus adding to the overall ritualistic atmosphere the music invokes.

Overall this three song album that runs about 45 minutes long creates a ritualistic atmosphere full of stoner doom heaviness and fuzzed out riffing. Variations on a Theme establishes Om as a well-experienced band that that fans of stoner doom should not pass up. This is probably the closest you’ll come to hearing something new from Sleep and it does not disappoint.

Tracklist:
01 On The Mountain At Dawn (21:16)
02 Kapila's Theme (11:56)
03 Annapurna (11:52)

Download:
http://www5.zippyshare.com/v/33761506/file.html

Eric Zann ::: Ouroborindra

At its core, especially when compared to most of the Ghost Box output, “Ouroborindra” shares the bulk of its similarities with dark ambient artists such as “Lustmord” or “Raison D’etre”. But where most dark ambient tends to root itself in deep, almost gothic, atmospheres and arguable beauty, Eric Zann forgoes those trends in favour of something very different. There are no passages of deep Gregorian chanting, no clattering of broken church bells or atmospheres of isolation and sadness. This is oppressive in a way that can be very difficult to quantify. Unlike most Lustmord or some Nurse with Wound, the aggression is not thrown in your face (-- not a dig, I am a big fan of aggression and all the aforementioned ambient greats), the fear and malevolence is very subtle causing you to question what you are hearing as the album plays through.

It ends up working so well specifically because of what it is lacking! While the atmospheres are dense and layered and the samples fabulously executed and numerous, there is never anything comforting to latch onto. The voices, although seemingly clear as day, remain frustratingly elusive such that their contents cannot be deciphered adding an element of unease that is simply not present in even the most extreme varieties of music. There are never simple melodies to ride along or moments of sullen beauty to get lost in. As a result, “Ouroborindra” ends up feeling like a real sonic representation of the nightmare state: familiar, sure, and full of possibility, but alternately populated with distressing entities and an unshakeable feeling that all is not well and very much outside of your control.

Tracklist:
1- It is Narrow Here
2- Threshold
3- Ouroborindra
4- Dols
5- The Obsidian Pyramid
6- Voolas
7- The Human Chord

Download:
http://www11.zippyshare.com/v/51013084/file.html

Can I be Anti-Left Without Being a Nazi?

Posting found on the Occupy Wall St. Facebook page (tell me again where National Socialism came from?)

"This dream of absolute and total equality is amazing, terrifying and inhuman; and the moment it captures peoples minds the result is mountains of corpses and rivers of blood." - Vladimir Bukovsky

It is indeed interesting that in today's climate if anyone expresses any mistrust or disdain for the political Left they are automatically branded Right-wing, or conservative, or (dare I say it) even fascist.  We are slowly turning into on/off switches; you either support the Palestinians (which apparently makes you very progressive) or you support Israel (which apparently makes you a supporter of apartheid), you either believe Capitalism is the greatest evil or you are a Capitalist pig.  Everything is a switch, are you on or are you off?

All causes are now encapsulated in a slogan, devoid of any historical context and just led along by the group meme.  The individual is perishing under the collectivist group cult.  Obey or be labelled.  Is your switch on or off?

It amuses (and saddens) me to look through the Magick subculture online and see the same trend.  The Left, with it's overt loathing of anything Western, has passed itself off as rational and balanced and the propaganda it has spewed for at least the last five decades has seeped into the collective mindset.  One site I found online which considers itself a representative of  Magick culture is also happy to plaster its audience with endless conspiracy theories.  Another respected site even quoted some Thelemic lines alongside the Ferguson meme #blacklivesmatter.  Frankly it's all turning into a joke.

The Left now so dominates popular culture that its proponents forget that its roots also included Fascism and National Socialism.  Jonah Goldberg in his brilliant book Liberal Fascism: The Secret History of the American Left From Mussolini to the Politics of Meaning well reminds us that:

"Mussolini remained a socialist until his last breath, just as he predicted. His reign ended in 1943, when he became little more than a figurehead for the Nazi regime headquartered at Salo, where he pathetically plotted his comeback. He spent his days issuing proclamations, denouncing the bourgeoisie, promising to nationalize all businesses with more than a hundred employees, and implementing a constitution written by Nicola Bombacci, a communist and longtime friend of Lenin's. He selected a socialist journalist to record his final chapter as Il Duce, according to whom Mussolini declared, 'I bequeath the republic to the republicans not to the monarchists, and the work of social reform to the socialists and not to the middle classes.' In April 1945 Mussolini fled for his life--back to Switzerland, ironically--with a column of German soldiers (he was disguised as one of them) as well as his aides, his mistress, and his acolyte Bombacci in tow. They were captured by a band of communist partisans, who the next morning were ordered to execute him. Mussolini's mistress allegedly dove in front of her lover. Bombacci merely shouted, 'Long live Mussolini! Long live Socialism!'" (pages 57 & 58)

The Communists and Fascists merely clashed on the basis of domination, in other words it was a race to see which ideological form of Socialism would reign supreme.  The winner labeled the other right-wing and the hoax is perpetuated by the Left even to this day.

But of course those on the Left always have a 'get out of jail free' card when anyone invokes the bloody excesses of Socialism, Communism and Fascism.  They proclaim (almost cult-like in absolute belief) that true Socialism has never been really tried and the excesses of these previous bloody regimes were not the fault of the ideology.  In other words, these same proponents, invent an abstract excuse where no responsibility is ever assumed and none ever taken.  The Left remains eternally blameless in everything and the mystical Socialism "that has never really been tried" is the magical formula that propels the entire absurdity, never mind the itchy discomfort that if indeed it has never been tried then how can you be so sure it works?

But the Left does not have to answer any such uncomfortable questions, it does not even have to look at the mountains of corpses it contributed to because nothing is ever the Left's fault.  The Left is always about 'social justice', 'equality' and 'fairness', forgetting of course that Lenin and Stalin also rode to power on exactly the same vapid slogans.

Today the Left is happy to play apologist to Palestinian terrorism while bemoaning the evils of the only democracy in the Middle East (Israel).  It is indeed ironic that an ideology that so prides itself on slogans of 'freedom' and 'equality' should so embrace extremist fascism as displayed by Hamas and the rest of the horrific regimes that dominate the Middle East (but then again, to those of us who know the roots of fascism are entwined in Leftist ideology this is not the least surprising). 

In his article Russian Footprints (National Review Online, August 24, 2006) former Romanian intelligence agent T. Pacepa reiterates the roots of the contradiction:

"For nearly four decades, the PLO has been the largest, wealthiest, and most politically connected terrorist organization in the world. For most of that time, it was held in the firm grip of Yasser Arafat's iron fist. But Arafat was not the fierce, independent actor he posed as; he was completely dependent on the Soviet KGB and its surrogate Warsaw Pact intelligence services for arms, training, logistical support, funds, and direction."

Indeed today we know that Arafat's closest friend and head of PLO intelligence, Hani Hassan, was actually an agent of the DIE, the Romanian subsidiary of the KGB.

David Meir-Levi, in his brilliantly sourced work History Upside Down, places the jigsaw pieces together:

"Arafat was particularly struck by Ho Chi Minh's success in mobilizing left-wing sympathizers in Europe and the United States, where activists on American campuses, enthusiastically following the [propaganda] line of North Vietnamese operatives, had succeeded in reframing the Vietnam war from a Communist assault on the south to a struggle for national liberation. Ho's chief strategist, General Giap, made it clear to Arafat and his lieutenants that in order to succeed, they too needed to redefine the terms of their struggle. Giap's counsel was simple but profound: the PLO needed to work in a way that concealed its real goals, permitted strategic deception, and gave the appearance of moderation:

'Stop talking about annihilating Israel and instead turn your terror war into a struggle for human rights. Then you will have the American people eating out of your hand.'

At the same time that he was getting advice from General Giap, Arafat was also being tutored by Muhammad Yazid, who had been minister of information in two Algerian wartime governments (1958-1962): wipe out the argument that Israel is a small state whose existence is threatened by the Arab states, or the reduction of the Palestinian problem to a question of refugees; instead, present the Palestinian struggle as a struggle for liberation like the others. Wipe out the impression that in the struggle between the Palestinians and the Zionists, the Zionist is the underdog. Now it is the Arab who is oppressed and victimized in his existence because he is not only facing the Zionists but also world imperialism.

To make sure that they followed this advice, the KGB put Arafat and his adjutants into the hands of a master of propaganda: Nicolai Ceausescu, president-for-life of Romania.

For the next few years, Ceausescu hosted Arafat frequently and gave him lessons on how to apply the advice of Giap, Yazid, and others in the Soviet orbit. Arafat's personal "handler," Ion Mihai Pacepa, the head of the Romanian military intelligence, had to work hard on his sometimes unruly protege. Pacepa later recorded a number of sessions during which Arafat railed against Ceausescu's injunctions that the PLO should present itself as a people's revolutionary army striving to right wrongs and free the oppressed: he wanted only to obliterate Israel. Gradually, though, Ceausescu's lessons in Machiavellian statecraft sank in. During his early Lebanon years, Arafat developed propaganda tactics that would allow him to create the image of a homeless people oppressed by a colonial power. This makeover would serve him well in the west for decades to come."

For me personally the Left does not offer any solutions nor does it in any way represent Thelema.  It is merely propaganda that has seeped into the Western mind and there works its poison.

So, in writing against Socialism and Leftist ideology above does that mean that I am right-wing?  A conservative perhaps?  Or maybe even a Nazi?  Well I certainly cannot be a Nazi because after all Nazism was also a fruit of Socialism:

"We are socialists, we are enemies of today’s capitalistic economic system for the exploitation of the economically weak, with its unfair salaries, with its unseemly evaluation of a human being according to wealth and property instead of responsibility and performance, and we are all determined to destroy this system under all conditions."  — Adolf Hitler, from speech delivered on May 1, 1927

Indeed Nazism was Leftist and to those not blinded by all of the slogans Gene Edward Veith, Jr. well pointed out many of the elements that communism and fascism still hold in common:

"The influence of Marxist scholarship has severely distorted our understanding of fascism. Communism and fascism were rival brands of socialism. Whereas Marxist socialism is predicated on an international class struggle, fascist national socialism promoted a socialism centered in national unity. [And in fact, Both movements were “revolutionary socialist ideologies.” Going on,] Both communists and fascists opposed the bourgeoisie. Both attacked the conservatives. Both were mass movements, which had special appeal for the intelligentsia, students, and artists, as well as workers. Both favored strong centralized governments and rejected the free economy and the ideals of individual liberty. [And finally,] Fascists saw themselves as being neither of the right nor the left. They believed that they constituted a third force synthesizing the best of both extremes” [Gene Edward Veith, Jr., Modern Fascism: Liquidating the Judeo-Christian Worldview, p. 26].

So if I am not right-wing, nor a conservative and certainly not a Nazi, what exactly am I espousing here?  Is it possible instead to be beyond left-wing and right-wing nonsense?  Can we offer Thelema both as a religious and political solution that praises the individual and mocks this murderous attempt at state worship?  Enough with the bullshit!  Do what thou wilt shall be the whole of the law.

Want to read more? Click below:

Hitler was a Socialist

The Communist Roots of Palestinian Terror

Leftist Hypocrisy and Israel

What is freedom today? Slavoj Žižek

Russell Brand: The Left's Latest Idiot

When it comes to verbal diarrhea disguised as 'deep political conscience' few 'comedians' come close to the utter annoying stupidity that is the Russel Brand Show (and yes it is nothing but a brand).

• Kristine Marsh, 4 Sept 2014, wades through the filthy swamp of Russell Brand's opinions on every subject.
• The cause of jihad
  • Russell Brand talks rubbish on the Woolwich jihad attack, 25 May 2013.
  • He has no idea why the Woolwich beheading happened, and doesn't want to know. He says the killer is mentally ill and compares him to loner Mark Chapman. If only he was a loner, we could relax! But of course he is no loner. Calling him a loner makes as much sense as calling IRA terrorists loners.
  • Brand claims the Quran's main message is: "be nice to each other because we're all the same." He knows nothing about it.
  • He says Islamic anger is partly justified! "all over our country, all over our planet there are huge numbers of people who feel alienated and sometimes victimised by the privileged and the powerful, whether that's rich people, powerful corporations or occupying nations. They feel that their interests are not being represented and, in many cases, know that their friends and families are being murdered by foreign soldiers. I suppose people like that may look to their indigenous theology for validation and to sanctify their, to some degree understandable, feelings of rage."
  • A disgusting slander on Britain and an apologist for the Islamic jihadists. Shame on him.
• More drivel on the cause of jihad:
  • Russell Brand on the cause of ISIS, Aug 2014. Apparently the US and UK are the cause of ISIS. Muslims and Arabs have no moral agency, it seems.
  • Britain's Greatest Idiot says: "It's always the people at the end of the line that get blamed. I'm not saying that ISIS aren't terrible. That conversation - We're not idiots. We don't need to have a conversation 'is beheading bad? Yes or no. We've had that conversation. Beheading is bad. But it's always people that are at the end of the line - the people that smash a window, the people that pick up a brick, the people that take drugs, the people that are the consequence of this cultural imperialism and corporate corruption. If you want that stuff to end, get the head of the serpent, stop going down these hopeless, pathetic tendrils. Of course, you need to stop those kind of executions and brutality but don't put them people in charge - the people that benefit from it financially."
  • He does not identify what "the head of the serpent" is. Maybe because we would laugh at him.
  • Few people in the West know less about ISIS than Russell Brand.
• The cause of poverty
  • Brand knows nothing about global poverty. He blames third world poverty on the West.
  • He visits Kenya and he sees terrible poverty. He does not blame Kenya's lack of economic freedom. He does not blame Kenya's lack of political freedom. He does not blame Africa's poor embrace of the western scientific way of thinking that has made us rich. No, somehow (it is never explained) it is our fault. "The price of privilege is poverty."
    
    In Oct 2013, millionaire Russell Brand (net worth $15 m) made an embarrassing call for "revolution".
  • Russell Brand on revolution, New Statesman, 24 Oct 2013.
    • Like all historical illiterates, he admires revolution and direct action, and has contempt for voting and parliamentary democracy. "I'd attended a few protests and I loved them. At a Liverpool dockers march, the chanting, the bristling, the ripped up paving stones and galloping police horses in Bono glasses flipped a switch in me. I felt connected, on a personal level. I was excited by the chaos, a necessary component of transition."
    • He excuses the 2011 England rioters, and we know that riot, theft and destruction would be excused in his revolutionary "utopia": "The London riots in 2011, which were condemned as nihilistic and materialistic by Boris and Cameron (when they eventually returned from their holidays), were by that very definition political. These young people have been accidentally marketed to their whole lives without the economic means to participate in the carnival."
    • He calls for revolution, not voting. "I have never voted. ... I will never vote and I don't think you should, either. ... Revolt in whatever way we want, with the spontaneity of the London rioters ... Take to the streets, together".
    • Because policy should not be decided by the votes of the busy and elderly and housebound. Policy should be decided by the violence of the idle and young.
    • Another dumb leftist with recycled leftist ideas. He clearly has never read a book about communism.
  • He actually goes out on the street, leading incoherent mobs, rioting and vandalising:
    • Russell Brand leads an incoherent rioting mob, London, Nov 2013. The mob throws fireworks and bottles and assaults the police.
    • Russell Brand leads an incoherent rioting mob, London, Nov 2014. The mob vandalises property and assaults the police.
      
      Of course, like every uneducated dumbass, Russell Brand is anti-Israel. Uneducated man bangs on about Israel, July 2014, a topic he knows nothing about.
      Israellycool, 20 July 2014, gives the highlights, if you can't stand listening to incoherent ramble.
      
      One sample of his ignorance: "Palestinian sovereignty was agreed and their borders have been continually impeached upon since the establishment of Israel."
      What's the bets this guy has never even heard of the Ottoman Empire?
      
      Russell Brand reminds me of the people Derek Hopper talks about.
      
      Russell Brand appears to be a racist as well as an industrial-grade idiot.
      
      • Jason Riley is a conservative black American, author of Please Stop Helping Us: How Liberals Make It Harder for Blacks to Succeed (2014).
      • Now for a leftie, it's important to attack Riley's ideas and not attack him as a black person. But Brand can't manage it.
      • Russell Brand went on a racist rant about Jason Riley in August 2014. He told him that as a black person he has to think in a certain way, something he would never say to white people. To view people as a collective rather than individuals is the core of racism.
      • Brand attacks Riley: "I am a convenient African-American who will betray my racial roots for Fox News." If he accused a white person of betraying his "racial roots" for something, the racism would be obvious.
      • He even mocks Riley for "doing a white person type voice".
      • In a second racist video, Brand calls Riley "a rent a black man" for Fox News. He has no idea how racist this way of thinking is.
        
        "liberal democracy, for all its discontents and frustrations, is still better than any of the plausible or previously established alternatives. It is certainly superior to what one imagines Russell Brand's utopia would look like." - Alex Massie on the ignorant Russell Brand.
      
      Former Sex Pistol John Lydon, aka Johnny Rotten, tells Polly Toynbee that comedian Russell Brand's call for people not to vote is ignorant, flippant and liable to 'make you all homeless'. Lydon also explains why he'd never vote Conservative, labels Ukip 'morons' and calls anarchy a 'mind game for the middle classes'
      
      http://www.theguardian.com/commentisfree/video/2014/oct/15/john-lydon-russell-brand-revolution-video

Minóy ::: Landscape With Serpent

Sure is a shame that Minoy passed away because the talent just streamed through every single one of his releases.  This tape is no different and these two simple tunes demonstrate an ambience that places the listener in another world.  What that world is you will have to listen to find out.

Tracklist:
1- Stalker
2- Landscape With Serpents

Download:
http://www71.zippyshare.com/v/14693217/file.html

Symboter ‎::: Synchrotron

Wonderful analogue creativity from 1982.  If you like your sound heavy on the 80's synthesizer style, you are going nuts here.

Tracklist:
A1 Running
A2 Up And Down V.
A3 Blässerimpression
A4 Classic
A5 Walking Duck
A6 Open Spheres
A7 Silbersee
A8 Kraftkern-Stop
B1 Silent Storm
B2 System
B3 Tangerines Nightmare
B4 Electronic City
B5 Blauer Planet,Blauer
B6 Split

Download:
http://www71.zippyshare.com/v/27161898/file.html

Opium Dream Estate ::: Unveiled

Opium Dream Estate (O.D.E.) is a musical project based in Paris, France, founded in november 2006 by singer/multi-instrumentalist Sébastyén D. (also involved in The Funeral Warehouse, Saison De Rouille, Vostok Station, Grind My Bones and running Seventh Crow Records). Though Opium Dream Estate’s sound is rather difficult to describe as it is filled with many influences (folk, ambient, goth, indie, darkwave, etc.), it can be identifiable as (mainly) neofolk. Its recent works also touches on element on blues and psychedelic.

Tracklist:
1 Danse Macabre            
2 Entwined            
3 Only Dreams Survive            
4 An English Garden            
5 Nachtwandler            
6 My Evening Tea            
7 Crimson Riot            
8 Wherever The Wind May Blow            
9 December (album version)            
10 Solace (album version)            
11 In Power We Entrust The Love Advocated            
12 The Secular Masque


Preview:


Download:
http://www71.zippyshare.com/v/34145430/file.html

Bête Noire ::: Art Brut

Straight out of Poland comes what has to be one of my favorite albums at the moment.  Part coldwave, part post-punk this just simply blew my mind the first time I heard it and continues to blow my mind to this day.  Highly recommended!!

Tracklist:
1. Goralenvolk
2. Don
3. Psy anioly
4. Anima
5. Biale przestrzenie
6. La Poeme Convulsif
7. ...Of Lonely Hours
8. Lalki na sznurkach
9. Nothing At All

Download:
https://mega.nz/#!sA4xXSCI!BnKiryjhjDSa3Z6hNSkc91U5uLIjZ1HbU3Gt4iEUqso

Sieben ::: Ogham Inside the Night

 
Ever so often you encounter music that you know is a masterpiece the first time you hear it. Ogham Inside the Night is Matt Howden's masterpiece. Easily one of the finest works of the neofolk genre, it takes a superficially simple aesthetic (violin), rethinks it, distorts it, and folds upon itself in layer after layer. Howden takes the violin places it was never meant to go, yet manages to conjure just the right emotion at the right time.

Complement the music with Matt's soft crooning voice and selected guest musicians, and you're in for a real musical treat.

The lyrics, and the music for that matter, are very earthy. It's all about beautiful things you see everyday and perhaps don't think about in any great detail. A sort of loose, meandering poetry that gets unraveled over the course set for each track. The course is likely to pass through folksy, tribal, and even classical territory.

I can't guarantee you'll feel the same way that I do, but I can guarantee you won't be expecting anything like this when you first hear it..

Tracklist:
1 Ogham the Sun 5:07
2 Ogham the Spirit 5:01
3 Ogham in the Soul 3:32
4 Ogham the Moon 4:13
5 Ogham the Melody 4:14
6 Ogham the Knowledge 3:29
7 Ogham on the Hill 4:03
8 Ogham Inside the Night 5:25
9 Ogham the Blood 5:05
10 Ogham in the Ground 5:31
11 Ogham the Blade 5:59
12 Ogham Carved the Tree 6:18

Bonus disc: Sex and Wildflowers

1 Spring Snowdrop 4:48
2 Forget Me Not 4:46
3 Virgin in the Green 5:11
4 John in the Pulpit 4:42
5 Knudlustysummer 2:51
6 Deadly Nightshade 4:49
7 Bleeding Heart 3:56
8 Winter Snowdrop 4:05
9 Love's Promise 6:23
10 Loki 4:18
11 Deathlust 4:15
12 Bluebell 4:48
13 Handfasting 4:33
14 Crimson Clover 4:45
15 Loki Rides Again 6:23

Preview:


Download:
http://www38.zippyshare.com/v/41325668/file.html

Jonathan Briley ::: Throwaways

Recorded live at the Rat Club in 1985, this would be Briley's last tape. Side B is an interesting collection of unreleased tracks and remixes.

Tracklist:
SIDE A (live)
1-street god, street violence
2-whimpering wails of woe
3-feral
4-vivisection
5-site of pain, site of pleasure

SIDE B
1-the final calling
2-1 minute-critical
3-one minute-lust
4-when fate meets detention
5-feral (version 2)
6-blackfields
7-untitled & unlisted

Download:
http://www.adrive.com/public/MAtXAH/JB-T88.zip

Arithmancy by Christopher Bradford

This article originally appeared here

Arithmancy is a method of divination rooted in number and numerology; it was known to the Chaldeans and Greeks, and of course to the Renaissance Magicians. As with many of our modern divinatory and magical methods, Henry Cornelius Agrippa is our primary source of wisdom in its use and method.

            In his Three Books of Occult Philosophy, Agrippa gives us the occult meaning of Number, and understanding as to its use and application in divination and magic. The text itself is sometimes difficult to understand for those who aren’t familiar with the style of English written at the time. This text aims to present the art of Arithmancy in a way that straight forward to understand.

            The method presented here will be rooted primarily in the Agrippa method, with changes and alterations made by myself in the course of creating a practical and working Arithmantic practice. For the pure method of Agrippa, or reference the Chaldean method, I recommend study of those primary texts.

            There is a special power in number, in that it allows us to discover hidden connections to things that we may otherwise not have been able to work upon.

The Power of Numbers and their Use

            In Chapter III, Book II of his “Three Books of Occult Philosophy” Agrippa expounds upon the virtue inherent in number, and it’s efficacy in both the natural and the supernatural. He states:

“…simple numbers signify divine things: numbers of ten; celestial: numbers of an hundred; terrestrial: numbers of a thousand; those things that shall be in a future age. Besides, seeing the parts of the mind are according to an arithmetical mediocrity, by reason of the identity, or equality of excess, coupled together: but the body, whose parts differ in their greatness, is according to a geometrical mediocrity, compounded: but an animal consists of both, viz. soul and body, according to that mediocrity, which is suitable to harmony: hence it is that numbers do work very much upon the soul, figures upon the body, and harmony upon the whole animal.” Pg.240, Book II Chapter III, Three Books of Occult Philosophy Henry Cornelius Agrippa

It’s important to note that “mediocrity” in the above quote referenced an average measure, something commonplace and regular; quite different from the modern use that alludes to something below average or of little worth.

In the above we have the whole of existence being signified by number, and as we can create effect through the power of sympathy, we can make connection with all things through the symbols and meanings inherent to number. Agrippa also says:

“…that all things which were first made by the nature of things in its first age, seem to be formed by the proportion of numbers, for this was the principal pattern in the mind of the Creator. Hence is borrowed the number of the elements, hence the courses of times, hence the motion of the stars, and the revolution of the heaven, and the state of all things subsist by the uniting together of numbers. Numbers therefore are endowed with great and sublime virtues.”pg.237, Book II Chapter II, Three Books of Occult Philosophy, Henry Cornelius Agrippa

          From Pythagoras, who has said “Number is that by which all things consist”, to Agrippa who has gone at length to give understanding of the value of number, we find that our wisest minds appreciate the efficacy of number in thought and in practical use. My intention is to communicate a simple system of Arithmancy for Divination and Arithmatic Magic for thaumaturgy and theurgy, so that the magic of number is put to use in our age as it was in ages past. 

Divination by Number—Arithmancy

Method

Arithmancy is easy. In order to use Number to connect with something/someone, we need to link Word with number; we don’t think in number, and we Name in Word, so it is necessary to translate word into pure number, so that Named things may be grasped and understood according to our lore. In order to transform name into number, we begin with the Alphabet—in this Art, we use the modern Latin alphabet as our base. The assignation of number to letter couldn’t be simpler. They are as follows:

Number	1	2	3	4	5	6	7	8	9
Letters	A,J,S	B,K,T	C,L,U	D,M,V	E,N,W	F,O,X	G,P,Y	H,Q,Z	I,R

            We determine the numerical value of a thing by addition, and then joining. For example, the Name “AGRIPPA” consists of the numbers 1,7,9,9,7,7,1. Added together, we have 41. We would then join the two letters together to give us a single number. In this case 41 is made up of 4 and 1, which create 5 when joined together. The number for the name Agrippa is 5. Having the number gives us a starting point for both divination and magical work using number.  

      Divination in Arithmancy is conducted in a fashion similar to Horary Astrology, but very much simplified and more general in result. In order to determine the general answer for a particular question, we first determine if the number of the Question and that of the Querent are harmonious; if the nature of both numbers when added together is the Odd (which numbers Agrippa tells us are beloved by God in Chapter VI of Three Books) then the answer is affirmative, positive. If the nature of the numbers is Even (as is the number 2, given over to the Malefic planets of Saturn and Mars by Agrippa), then the answer is negative.

These are snapshots of a moment in time, and it must be remembered that the link in Arithmancy is a link based on the power of number, mental and fundamental. 

If the question is about how someone feels, use the heart numbers of the Querent and the person asking the Question. If it is about money, use the Social number. the Character number is useful for most other questions.

To delve deeper into questions, compare the character number of the Querent with the heart and social numbers of the Quesited, if a person is referenced. If it is not a person, then the emotional and social ramifications of the situation may be delved into this way.

Arithmantic Trance

True divination requires us to bring the intuition into play; the number associations are only the starting point. For deeper understanding the light trance must be entered into, and from there revelations of the truth of a situation can be revealed by Nature through the link and agency of the Number that is at the essence of the situation. Entering the Arithmantic Trance is straight forward; the Arithmancer need first make the Mudra that connects to the principal of the number (given in this manuscript). Then, with eyes shut, he meditates upon the shape that coincides with the combined Number of the querent and quesited (this shape is determined by it's number of sides; One is the point, Two is the line, Three is the Triangle, etc. etc.)  When the mind is quiet and the shape has been held (the amount of time varies per person, but a slightly altered state of mind is invariably the result of this) the question is asked into the stillness within that the Arithmancer has created. Now the mind is allowed to become blank. 

After a moment, subtle impressions will arise that are connected to the Question. These should be written down and examined, and will provide further insight in the way of evocative imagery (similar to the way the Tarot can stimulate understanding using the artwork upon the cards).

The Character, Heart, and Social Numbers

         

These numbers are calculated from a person’s name, and give us insight into their nature and circumstance. They are also giving us a number to use as a link to work upon those things in the person. We don’t stop with Arithmancy to divine general circumstance; we continue with Arithmatic magic in order to alter that circumstance in a positive or negative fashion according to our wishes. This is where Arithmatic Magic excels; it allows for a strong link to be created with a magical subject with nothing other than the name.

In order to calculate the Character number, we use the method given above, adding up the numbers for each letter of the complete Name of the subject, and then joining the numbers left if there is more than one number. The Character number is representative of the personality/waking mind of the subject.  It can give us insight into the person’s strengths and weaknesses, their natural tendencies.

In order to calculate the Heart number, we combine the numbers of the vowels only, joining the final number together if it is more than one numeral as necessary. This gives insight into the desires that motivate the person.

In order to calculate the Social number, we combine the numbers of the consonants only, joining the final number together if it’s more than one numeral as necessary. This gives us insight into the public persona of the person, and their standing among their peers and community.

We use our charts delineating the Virtue and character inherent in each number to pull meaning from the numbers we calculate from names.

Calculating Lucky Days

Arithmancy can be used to calculate lucky days for a person or action; the method for this is simple. To find a person’s lucky days, simply calculate their Number and then match the days of a given month that are equal to or multiples of that number; for example, if your number were 8, the lucky days for action would be the 8^th, 16^th, and 24^th.

Arithmantic "Astrology"

Arithmantic Astrology is an extremely simple Astrological method that still has much efficacy, as it requires neither software nor ephemeris. It is the only astrological method I know of that can be conducted in the moment. It doesn’t make astrological connection through the positions of the Planets or Houses, but through the fundamental numeric connection that these things have. So, it is connection through number and the Intellectual plane upon which these values reside that this art does its work. It is especially effective for understanding mental motivations, determining which Planet’s virtue operates like a hidden (or sometimes not-so-hidden) hand in a person’s mind or in a situation, and choosing lucky days for doing important things. By no means is it anywhere near as accurate or powerful a method as classical astrology (seriously); it is useful in a pinch, though, and is definitely worth the small effort required to learn.

Were I picking a day to apply for jobs, I would first calculate my number using my name. Then I would calculate the number of the Company, and I would join those numbers together to pick a day that was harmonious for all three numbers.

The method doesn’t give the depth of understanding available in classical Astrology, but serves perfectly fine for electing “lucky days” and the simple analysis possible through understanding of the significance of the Rising Sign; much of worth can be gained by calculating the Signs through the Houses for a person, with the Rising House being the Number for the querent's name (in this case we alter the method to allow for the numbers 10, 11, and 12 without further reduction) which is possible with only the Rising sign being known. 

It cannot stand against classical Astrological method, as it allows for no means to calculate the places of the Planets or their aspects…it also requires much less in the way of information to work and provide some analysis, needing neither birthdate nor time. Not using this information is, however, exactly why it barely has any business calling itself Astrology. It is useful, and is worth learning, if only for those times when no other information beyond the name is available.

The perspective granted is not equal to that of traditional Astrology; it connects primarily through the Mental Plane, the intellectual Plane and through Number.  Its insights are into idea and fundamental motivation, into the shape of things and the words at the heart of their creation. This is a simple astrological method that pairs well with practical and intuitive magics like Hoodoo or Geomancy, as it is useful for creating magical links and for altering the subtle enivornment.

Testing Spirits

Arithmancy can also be used to determine the veracity of a given Spirit that has been summoned or has addressed the arithmancer; determine the number of the Spirit's name, and hold the mudra for that number. Ask it what number is it's name, and it should be identical to the one you pre-determined. If it lies at all during speech, and you hold the mudra, those lies will be transparent to your perceptions. Numbers are beautiful little truths. 

Practical Method of Arithmatic Magic—the Mudra

          Agrippa teaches in his Three Books of Occult Philosophy about the power of certain movements of the fingers and hands, which the Magicians of old used to silently signify “words unknown by sound, various with numbers, yet of great virtue, by their fingers joined together, and sometimes changed, and did the sacred silence worship the Gods that rule over the world”. This is an allusion to the use of Mudra, bending and twisting the fingers into shapes that signify numbers, that themselves are used to invoke the power of the Planets and the fundamental virtues of the primary numbers.  Using Number we invite into our spheres and into objects the power of the Seven themselves, containing their virtue through sympathy and echo.

The Magical Gestures (Mudras) of Number

           To make the number 1, bend the little finger of the left hand and touch the middle of the palm.

            To make the number 2, bend the ring finger of the left hand  so that it joins the little finger in the middle of the palm.

            To make the number 3, bend the middle finger to join the other little and the ring finger in the center of the palm.

            To make the number 4, the previous fingers stay upon the palm as aforementioned but for the little finger which is lifted up.

            To make the number 5, lift up the ring finger as well, so that only the middle finger is touching the center of the left palm.

            To make the number 6, lift up the middle finger as well, and then place the ring finger alone in the center of the palm.

            To make the number 7, place only the pinky finger so that it its tip hovers over the root of the palm, with the rest being lifted up.

            To make the number 8, place only the ring finger so that its tip hovers over the root of the palm, with the rest being lifted up.

            To make the number 9, place only the middle finger so that its tip hovers over the root of the palm, with the rest being lifted up.

            To make the number 10, bend the index finger so that the nail touches the inside middle joint of the thumb, with the rest of the fingers being raised.

            To make the number 20, bend the middle finger and place it against the index finger, with the tip touching the thumb’s middle joint.

            To make the number 30, touch the nail of the thumb to the forefinger while keeping the other fingers raised.

            To make the number 40, touch the inside of the thumb to the outside of the index finger.

            To make the number 50, bend the thumb so that the tip points as close as possible toward the center of the palm, forming what looks similar to the letter “G”.

            To make the number 60, keep the thumb bent as before, and bend the index finger so that it wraps over it.

            To make the number 70, keep the index finger bent as before, and place the thumb over it.

            To make the number 80, keep the index finger bent as before, and toucth the middle joint of the index finger with the nail of the thumb.

            To make the number 90, straighten out the thumb and place the nail of the bent index finger at its root.

            To make the number 100, make the figure of ten upon the right hand.

            To make the number 200, make the figure of twenty upon the right hand.

            To make the number 2000, make the figure for 2 upon the right hand.

To create 1000-9000, simply create the numbers for 1-9 on the right hand.

            To make the number 10,000, put the lift hand upward on the chest, the fingers all pointing up toward heaven.

            To make the number 50,000, lay the thumb of the right hand pointing sideways, while on the navel.

            To make the number 60,000 hold the left thigh with the right hand in a fashion similar to fifty.

            To make the number 70,000, the thumb points up. The rest of the fingers are closed.

            To make 80,000, the above mentioned thumb is place upon the the same downward on the thigh.

            To make 90,000, hold the loins with the above hand, turning the thumb downward.

            To make 1,000,000, bring the hands together with fingers interlocked, and clasp them together as if in prayer.

Using mudra to build symbols works so well because it links physical action with mental concept and spiritual Virtue; the levels of Being symbolized by the number 3 and representative of our manifest reality. The only thing missing, in my opinion, from this equation is the vibration of sound. My method of Arithmatic magic addresses this using the traditional scales of the numbers to Sing a certain Virtue into an area or environment.

I've found it useful to use the numbers of the Planetary Squares to invoke the Planetary virtues, while using the primary numbers to induce states of mind that are harmonious with Number. For instance, the sum of the Saturnian square is 45; I would use the mudra for 45 to summon the Virtue of Saturn, but would use the mudra for the number 2 to enter into a trance that allows for communion with that number, also assigned to Saturn. Use the primary numbers to alter personal state of mind, and the sum of the Planetary Square to engage the macrocosmic force related to the Planet.

The sums for the Planetary Squares are as follows:

Saturn: 45

Sol: 666

Luna: 3321

Mars: 325

Mercury: 2080

Jupiter: 136

Venus: 1225

To form the mudras for each Planet, build the number one section at a time; for Venus, first you would perform the mudra for 1000, then for 200, then 20, then 5. The final mudra is held for as long as you wish the Virtue to be invoked. For example, if you were to invoke Venus, and use her song to fill an area with her virue in order to distract wild animals from attacking you, you would perform the Mudra and Song, make your petition/statement of intent after completing the song, and would hold the mudra for as long as you wished the effect to last. In this Arithmatic magic, the mudra is the material basis which holds the concentrated virtue in place; when it is released, so is the virtue, to dissipate back into the Azoth.   

The Scales of the Planets

Agrippa in his Three Books of Occult Philosophy gives us yet more insight, sharing with us the scales that are harmonious with the Planets, which we might use to fill an area with their virtue and presence. In Chapter XXVI, Agrippa notes that tone goes a far measure toward matching the nature of the Planets; for instance, he says that "Saturn hath sad, hoarse, heavy and slow words, and sounds, as it were pressed to the center; but Mars rough, sharp, threatening great and wrathful words.." In crafting the Songs of the Planets, the tone and nature of the song is of more import than the notes used, or even the scale. It stands to reason, though, that combining the correct tone with the correct scale would be even more useful, and in my experience it is. 

To Sol is attributed the Dorian mode, ( E F G A B C D E)

To Mars goes the Phrygian mode, (C Db Eb F G Ab Bb C)

To Jupiter the Lydian mode, (C D# E F G A# B C)

To Saturn the Mixolydian mode, (C D E F G A Bb C)

To Mercury the Hypophrygian mode, (G F E D C B A G)

To Venus the Hypolydian mode, (F E D C B A G F)

To Luna the Hypodorian mode, (E D C B A G F E)

To the Stars, the Hypomixolydian mode. (D E F G A B C D)

A better way to understand how this works for those without much musical training is to think of the modes as a series of rising or descending movements in pitch, with each mode being a certain pattern of movements. It gives each mode a mathematical and musical proportion, which is worth studying in it's own right. Where T is a whole tone, and S is a semi-tone, and TS is a whole tone and a half, the modes look like this:

Sol/Dorian: T-S-T-T-T-S-T

Mars/Phrygian: S-T-T-T-S-T-S

 Jupiter/Lydian: TS-S-S-T-TS-S-T

Saturn/Mixolydian: T-T-S-T-T-S-T

Mercury/Hypophrygian (descending): T-T-S-T-T-S-T-T

Venus/Hypolydian (descending): S-T-T-S-T-T-T

Luna/Hypodorian (descending): T-T-S-T-T-T-S

The Fixed Stars/Hypomixolydian: T-S-T-T-T-S-T

In order to use these proportions to create our songs for the Planets, we need only refer to our sources for incantations (Picatrix, Three Books) and take from either the Orphic Hymns, the Songs of Circe (which we have from Giordano Bruno) or the incantations of the Picatrix to sing the virtue of the Planet while making the appropriate Mudra. Another powerful part of using the mudra in this instance is that it makes the entire business a magical act; we may read the incantations of hymns at any point, but we only Sing them while making their sign when we are doing the Work.

I prefer to use the Orphic Hymns, as given below; the Hymns are sung with each sentence being dedicated to a Note; they are between a song and a chant, similar to the way the famed Gregorian monks intoned their hymns. It makes sense that the Hymns would be sung, and this is the most straightforward and efficacious method I know of. The bold letter is the note with which the verse following it is sung. It's the proportions that make the Songs align with a Planet; it matters not which note you end on, so much as that the proportion between notes in the scale has been acknowledged. You may choose yourself whether to sing a repeated tone at the same octave as the one already sung or at a new octave; again, it's the proportion that is important in the pattern sung, and i would recommend not jumping octaves, but keeping with the pattern of steps given in the scales themselves.

The Hymn to the Sun

E With matchless sight illumines all the sky. Native, unwearied in diffusing light, And to all eyes the object of delight:

F Lord of the Seasons, beaming ight from far, Sonorous, dancing in thy four-yok'd car.

G With thy right hand the source of morning light, and with they left the father of the night.

A Agile and vig'rous, venerable Sun, Fiery and bright around the heavn's you run,

B Foe to the wicked, but the good man's guide, O'er all his steps propituous you preside.

C With various sounding golden lyre 'tis thine to fill the world with harmony divine.

D Father of ages, guide of prosp'rous deeds, The worlds commander, borne by lucid steeds.

E Immortal Jove, Flute-playing, bearing light, Source of existence, pure fiery bright;

F Bearer of fruit, almighty lord of years, agile and warm, whome ev'ry power revers.

G Bright eye, that round the world incessant flies, Doom'd with fair fulgid rays to set and rise;

A Dispensing justice, lover of the stream, the worlds great master, and o'er all surpreme.

B Faithful defender, and the eye of the right, of steeds the ruler , and of life the light;

C With sounding whip four fiery steeds you guide, when in the glittering car of day you ride,

D Propitious on these mystic labours shine, and bless thy supplicants with life divine.

The Hymn to the Moon (the notes are descending, as they are for Mercury and Venus)

E Hear, Goddess queen, diffusing silver light, Bull horn'd and wand'ring thro' the gloom of Night.

D With stars surrounded, and with circuit wide, Night's torch extending, through the heav'ns you ride:

C Female and male, with silv'ry rays you shine, and now full orb'd, now tending to decline.

B Mother of ages, fruit-producing Moon, whose amber orb makes Night's reflected noon;

A Lover of horses, splendid queen of night, all-seeing pow'r, bedeck'd with starry light,

G Lover of vigilance, the foe of strife, in peace rejoicing, and a prudent life.

F Fair lamp of Night, its ornament and friend, Who give'st to Nature's works their destin'd end.

E Queen of the stars, all-wise Diana, hail! Deck'd with a graceful robe and ample veil.

D Come, blessed Goddess, prudent, starry, bright, come, moony-lamp, with chaste and splendid light,

C Shine on these sacred rites with prosp'rous rays, and pleas'd accept thy supplicants' mystic praise.

The Hymn to Mars

C Magnanimous, uncounquer'd, boistrous Mars, in darts rejoicing and bloody wars

Db Fierce and untam'd, whose mighty pow'r can make, the strongest walls from their  foundations shake.

Eb Mortal destroying King, defil'd with gore, Pleas'd with war's dreadful, tumultuous roar;

F Thee, human blood, and swords, and spears delight, and the dire ruin of mad savage fight.

G Stay, furious contests, and avenging strife, whose works with woe, embitter human life;

Ab To lovely Venus, and to Bacchus yield, to Ceres give weapons of the field;

Bb Encourage peace, to gentle works inclin'd, and give abundance with benignant mind.

The Hymn to Mercury

G Hermes, draw near, and to my pray'r incline, Angel of Jove, and Maia's son divine;

F Prefect of contest, ruler of mankind, with heart almighty, and a prudent mind.

E Celestial messenger of various skill, whose pow'rful arts could watchful Argus kill.

D With winged feet 'tis thine thro' air to course, O friend of man, and prophet of discourse;

C Great life-supporter, to rejoice is thine, In arts gymnastic, and in fraud divine.

B With pow'r endu'd all language to explain, of care the loos'ner, and the source of gain.

A Whose hand contains of blameless peace the rod, Corucian, blessed, profitable God.

G Of various speech, whose aid in works we find, and in necessities to mortals kind.

F Dire weapon of the tongue, which men revere, Be present, Hermes, and thy supplicant hear;

E Assist my works, conlude my life with peace, Give graceful speech, and memory's increase.

The Hymn to Jupiter

C O Jove, much honoured, Jove supremely great, to thee our holy rites we consecrate,

D# Our pray'rs and expiations, king divine, For all things to produce with ease thro' mind is thine.

E Hence mother Earth, and mountains swelling high, proceed from thee, the deep and all within the sky.

F Saturnian king, descending from above, magnanimous, commanding, sceptered Jove;

G All-parent, principle and end of all, whose pow'r almighty shakes this earthly ball;

A# Ev'n Nature trembles at thy mighty nod, Loud-sounding, arm'd with light'ning, thund'ring God.

B Source of abundance, purifying king, O various form'd, from which all natures spring;

C Propitious hear my pray'r, give blameless health, with peace divine, and necessary wealth.

The Hymn to Venus

F Heav'nly, illustrious, laughter-loving quenn, sea-born, night loving, of an awful mien,

E Crafty, from whom necessity first came, producing, nightly, all-connecting dame;

D Tis thine the world with harmony to join, For all things spring from thee, O pow'r divine.

C The triple Fates are rul'd by thy decree, and all productions yield alike to thee,

B Whate'er the the heav'ns, encircling all contain, Earth fruit producing, and the stormy main,

A Thy sway confesses, and obeys thy nod, awful attendant of the brumal God:

G Goddess of marriage, charming to the sight, Mother of loves, whom banquetings delight;

F Source of persuasion, secret, fav'ring queen, Illustrious born, apparent and unseen:

E Spousal, lupercal, and to men inclined, Prolific, most-desir'd, life-giving, kind;

D Great sceptre-bearer of the Gods, tis thine, Mortals in necessary bands to join;

C And ev'ry tribe of savage monsters dire, in magic-chains to bind, through mad desire.

B Come, Cyprus-born, and to my pray'r incline, Whether exalted in the heav'ns you shine,

A Or pleas'd in Syria's temple to preside, Or o'er th' Egyptian plains thy car to guide,

G Fashion'd of gold, and near its sacred flood, Fertile and fam'd to fix thy blest abode,

F Or if rejoicing in the azure shores, near where the sea with foaming billows roars,

E The circling choirs of mortals, thy delight, or beauteous nymphs, with eyes cerulean bright,

D Pleas'd by the dusty banks renown'd of old, to drive thy rapid, two-yok'd car of gold;

C Or if in Cyprus with thy mother fair, where married females praise thee ev'ry year,

B And beateous virgins in the chorus join, Adonis pure to sing and thee divine;

A Come, all attractive to my pray'r inclin'd, for thee I call with holy, reverent mind.

The Hymn to Saturn

C Etherial Father, mighty Titan, hear, great fire of Gods and men, whom all revere;

D Endu'd with various council, pure and strong, to whom perfection and decrease belong.

E Consum'd by thee all forms that hourly die, by thee restor'd, their former place supply;

F The world immense in everlasting chains, strong and ineffable thy pow'r contains;

G Father of vast eternity, divine, O mighty Saturn, various speech is thine;

A Blossom of Earth and of the starry skies, Husband of Rhea, and Prometheus wife.

Bb Obstetric Nature, venerable root, from which the various forms of being shoot;

C No parts peculiar can they pow'r enclose, diffus'd thro' all, from which the world arose,

D O, best of beings, of a subtle mind, propitious hear to holy pray'rs inclin'd;

E The sacred rites benevolent attend, and grant a blameless life, a blessed end.

This method is very, very simple, but it preserves the proportions in the numeric patterns and works well. Using either an instrument, or an app for a smartphone, the arithmancer can play the tone for the line and then incant it, doing so for each line until the incantation is complete. Eventually it will be memorized, of course, and then more lovely. The way the notes are sung should be tuned by the nature of the planet; intone Saturn as a melancholy dirge, Venus in a sensuous manner, etc.

If desired, the arithmancer could certainly sing multiple lines of the hymn at one tone in order to end on the Tonic; I personally enjoy the small bit of variety changing tones each line allows us. I think it is important to avoid making over-complicated songs here; these are holy hymns, magical devices that create audible proportion, and not melodic pop fair. 

We are also given modes to work the elements and humors with--the Phrygian to Choler and Fire, the Lydian to blood and Air, the Dorian to Water and Plegm, the Mixolydian to melancholy and Earth. I use Eliphas Levi's hymns to the Elements to build songs for working with them. They can be used to alter mood, to adjust the humours of the body. There are many applications.

With just this much, we can create powerful incantatory song, in combination with mudra and arithmatic technique to divine connection through number and invoke the Virtues of the heavens into our spheres and environments.

Use the above patterns to create tonal chants for the Elements on your own.