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MAGAZINE
C C O N T E N T c
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FAITH IS FEAR
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WALTER SPIES
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DAVID TIBET
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BOOKS FOR THE APPLE
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RECORDS FOR THE APPLE
DIRECTOR Malaclypse the transvestite ART DIRECTOR Shanti Iribar EDITORIAL DEPARTMENT Willy Bomber, Lucifer Rose, Bastard Frog, Jesus Christ, Aleister Crowley LAYOUT Shanti Magma PUBLICITY Lord Voldemort PRINTED AND DISTRIBUTED BY Magmarian Press 23 Happy Pig Street Eristown PE23 96D United States of Catland
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FAITH IS FEAR Thee first lesson from which all other grow is thee simplest. We are mortal. We all die. This is not a morbid wallowing in hopelessness. It is thee ability to genuinely coum to terms with our physical transience that liberates us all. Many visionary philosophical systems include ‘The Small Death’ in their ideas under one name or another. Text > T.O.P.Y. 4
assimilated can be turned to
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are all socially and biologically conditioned
ov Zero Regret to channel all future action.
positive use, in that it spurs one
to put away our fear ov death yet in a real
Thee prefect state is to be sure that no time
into action aware at all time is limited and
paradox we becoum too efficiently oblivious
is wasted, no energy repressed and no fear
no life span is certain. Every second counts
to this fear in our conscious life. Thee Temple
hidden. In old language, we must experience
and must count. This realisation can also be
tries to reconcile all our consciousness. To do
thee small death ov literally facing ourselves
used unproductively, crippling an individual
this embraces thee knowledge ov our own
and thee reality ov a temporary metabolism,
man or woman’s search for fulfilment ov all
inevitable death with courage and uses it to
a limit on time. Time can be a tool, a liberator,
their needs and preventing for all their life a
justify action and thee propewr use ov time.
or an oppressor. When we claim time back
e all die. This realisation truly
As things are, so must they change. So we
complete integration ov every aspect ov their
for ourselves we are at last learning to be free
character and thoughts.
and effective. Control needs time like a junkie In actual fact, none ov us know how much time we have, when we do die it ought to be
Thee inevitability ov death can be used by outside forces as a weapon to create fear.
ov thee mortality ov individuals and thee use
needs junk. To escape control we must reembrace our given time.
with Zero Regret. Zero regret is thee magickal state ov inner balance and calm acceptance
Religions use this weapon more blatantly
Initially thee human being has no apparent
than any other suppressive social regulation
alternative but to succumb to a negative
systems. They use fear ov death to justify
appreciation ov death. To feel fear. Thee brain
Faith. Those who escape thee traps ov Religion
is genetically programmed to survival and will
through a first stage cynical knowledge ov
not allow itself to believe that it shall cease
thee hypocrisy ov modern society and thee
to exist. Thus, as we have already seen, thee
emasculation ov their individual power to
subconscious mind will seduce thee intellect
change anything often seek oblivion form
into ignoring logic and fact, a condition
this knowledge, and so they use various drugs
bordering upon hopelessness. It will ignore
(tobacco, alcohol, tranquillisers and opiates
thee lessons ov experience and observation
like heroin) as a substitute for Faith. They want
in favour ov an inherited image ov existence
to kill time. Religion wants to side-step time.
and thee affect ov fear will be repressed. He
Both are actions based on Fear.
will immediately becoum vulnerable to a desire for Hope that bypasses confronting his subconscious knowledge. Religion thrives
Mankind spends a constant amount
upon this. It requires only an act ov blind
ov energy in self-preservation. Thee very
faith in exchange for guaranteed Hope and
phrase ‘self-preservation’ implies a threat ov
salvation. It denies death and avoids thee facts.
annihilation and is triggered by fear ov death. So in a very real sense fear ov death is present behind all normal functioning, it resides
In short, Religion turns away from thee
permanently in thee subconscious, moulding
truth, thee Temple turns towards it. If you face
our image ov ourselves in relation to an
yourself, you face death and in this way only
inevitable, inexorable crisis ov death. But fear
can you re-integrate your entire character
ov death could not be constantly present in
and all ov its levels ov consciousness and
our day to day conscious mental functioning,
perception. This cannot be stressed too much
this would be an intolerable burden, as things
or too often. So in Religions all practical
are, but to behave ‘normally’ thee biological
thought must be swept aside in a flood ov
organism, thee animal man represses its
faith. Answers becoum word, and facts
knowledge ov death to acquire comfort.
becoum sins.
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This thing Faith is thee foundation ov all Religious thought. So powerful, yet fragile that Faith must be protected. Protected from doubt, protected from questions, it is seen as a constant that will not even tolerate thought. It causes, its real essence, death, are so entrenched in everyone’s mind that it has becoum thee basis ov every society, and so every society has developed a system to protect it. Dogma.
Thee equation, simplified, goes something like this: Dogma negates thought. Thought is thee enemy ov Faith (therefor thee enemy ov Society). Individual thought patterns are discouraged in order to preserve Faith inviolate, to thus preserve Society, to preserve thee status quo and thee vested interests ov thee keepers ov Faith and Dogma. It is in this web that Religion meets Politics and they reinforce each other in a web ov deceit. Those in Power have a personal interest in channelling individual thought down safe unthreatening avenues geared to thee production ov materials and services that are to thee ‘benefit’ ov society, ov a ‘Greater Good’.
Thee Temple Ov Psychick Youth is dedicated to thee re-acquisition by individuals ov their allotted time. It encourages, it does not discourage, it stands as an example ov what is possible. To be involved is to becoum very special. With thee passage ov history, Society’s control over Individuals is so subtle it becoums imperceptible, perhaps even genetically inherited. Its very power lies in thee face that even its figureheads and leaders do not realise its processes. Control is invisible. Time is invisible. Control is so able to shroud an individual’s perception ov reality in trivia as to becoum a uniform reality in itself. A reality that cannot ask itself questions. That cannot even formulate a language capable ov setting questions that might reveal thee truth.
We are thee first truly non-aligned and non-mystical philosophy. Fear breeds Faith. Faith uses Fear. Reject Faith, reject Fear, reject Religions and reject Dogma. Learn to cherish yourself, appreciate intuition and instinct, Learn to love your questions. Value your Time. Use mortality to motivate action and a caring, compassionate and concentrated life.
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Walter Spies Orientalist Painter of Magical Bali by Toranu Suke
“I have little contact with Europeans here,as they are only interested in politics and money, whereas I am more interested in woods and the beautiful eyes of the Javanese.� Walter Spies
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E
very now and then, in my readings and
He developed a written notation for the
class lectures, I am introduced to an
gamelan music – whether he was the first to do
artist whose work just catches my eye
so, or the first Westerner to do so, and whether
and grabs my attention.
his notation continues to be used today, I have
Walter Spies (1895-1942) is one such artist.
no idea, but I wonder. In any case, he moved
Born to German parents in Moscow, he made
to Bali in 1927, where he would remain the rest
his way to the Dutch East Indies in 1923 and
of his life.
never returned to Europe. After a brief time living in a rajah’s palace, In Java, after expressing an interest in
he established his own home.Spies engaged
gamelan music (something which I must say I
in a wide variety of artistic activities, including
enjoy very much as well), he was made Master
painting, composing, and photography, and
of the Sultan’s Music and came to live within
gathered around him a large circle of friends
the grounds of the palace and to the gamelan.
and acquaintances, as well as becoming so-
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mething of a local celebrity. He is described as
that homosexuality was traditionally not
being appreciated by both the colonial Dutch
considered a sin, crime, or abhorrence in their
and local Balinese authorities, and was active
society, and the father of a boy with whom
in a number of enterprises, including serving
Spies had had relations likewise argued that he
as curator of a Bali Museum for a time, and
saw no problem with it. Still, in the end, Spies
organizing an artists’ collective with as many
was imprisoned for some months. When the
as 150 members.
Netherlands fell to the Nazis, Dutch authorities in Indonesia rounded up and interned German nationals, including Spies, who was eventually
Sadly, in the 1930s, there came a wave of
placed on a ship to the Netherlands..
crackdowns on homosexual activity, which was illegal in the Dutch colonies as it was in most parts of the (Western?) world at the
Why would the Dutch send free citizens-
time. The Balinese argued on his behalf, as
residents of the free Dutch East Indies back
did renowned anthropologist Margaret Mead,
to Nazi-occupied Holland, I don’t understand.
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Nevertheless, it happened Spies never made
Sadly, many of Spies’ paintings survive
it to Europe, however, as the ship was sunk by
today only as black-and-white photos of the
the Japanese. Spies’ paintings really strike me
original works. On the other hand, perhaps one
for their unique style and forms, not to men-
should say “luckily, black-and-white photos of
tion the exotic subject matter of the Balinese
many of Spies’ works which are otherwise lost,
contexAcademic 19th century “mainstream”
have survived.”
Orientalist paintings of the Arab world, as typified by the work ofJean-Léon Gérôme are stunningly gorgeous in their own way, but I
I’m not sure if this painting would reflect
would argue that they lack a personal touch.
any particular Balinese myth or story, but the fantastic element is obvious, the incredibly tall, thin, form of a man extending up through
They are so carefully detailed and realistica-
the treetops and clouds, providing a sense of
lly depicted, that they lack to some extent evi-
the magical which infuses many of Spies’ pain-
dence of the artist’s personality or creativity.
tings.The dark greens and bright, pale, blues
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of many of Spies’ paintings creates a sense of the lush, verdant, environment, and a powerful sense of mystery and magic. I particularly like his figures, so extremely thin, with their broad hats, represented so similarly from work to work as to seem characters or caricatures.
In light of having seen numerous paintings of other tropes, this distinctly different scene of Balinese fashion, figures, and landscapes is all the more intriguing.
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DAVID TIBET Current 93 By Michael Rosen
David Tibet (born David Michael Bunting, 5 March 1960) is a British poet and artist who founded the music group Current 93, of which he is the only full-time member. He was given the name “Tibet” by Genesis P-Orridge, and in January 2005 he announced that he would revert to the name David Michael, although he continues to use the well-known “Tibet” in his public career to date. Current 93 is an eclectic British experimental music group, working since the early 1980s in folk-based musical forms.
THE FACTS “For what is a man profited, if he shall gain the whole world, and lose his own soul? or what shall a man give in exchange for his soul?” St.Matthew XVI:26 (King James Version) “The greatest hazard of all, losing ones self, can occur very quietly in the world, as if it were nothing at all. No other loss can occur so quietly; any other loss – an arm, a leg, five dollars, a wife, etc. – is sure to be noticed.” Soren Kierkegaard | The Sickness Unto Death Jesus said: “If those who lead you say to you, ‘See, the kingdom is in the sky,’ then the birds of the sky will precede you. If they say to you, ‘It is in the sea,’ then the fish will precede you. Rather, the kingdom is inside of you, and it is outside of you. When you come to know yourselves, then you will become known, and you will realize that it is you who are the sons of the living father. But if you will not know yourselves, you dwell in poverty and it is you who are that poverty.” The Gospel of Thomas: Logion 3
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THE QUESTIONS WHAT IS THE BIGGEST INSPIRATION FOR YOUR MUSIC?
Golgotha, the Second Coming and rushing excitedly to the local beach to have picnics with my Holy Graal. HOW AND WHEN DID YOU GET INTO MAKING MUSIC?
By listening to Uriah Heep, T. Rex, Yes and The Sweet and by reading the New Testament and Aleister Crowley and, after having meditated on their Uttered TRUTHS for 20 years, then making the decision to make an album full of A-sides and Antichrists and B-sides and Beasts “Nature Unveiled” WHAT ARE YOUR 5 FAVOURITE ALBUMS OF ALL TIME?
In no particular order: Bill Fay with Time of the Last Persecution; Shirley and Dolly Collins with Anthems in Eden; Leonard Cohen | Songs of Leonard Cohen; T. Rex | Greatest Hits; Judas Priest with Nostradamus. And I am giving myself one more: The soundtrack to the film of “Jesus Christ Superstar” WHAT DO YOU ASSOCIATE WITH BERLIN?
Lesbians and Liquorice, but mainly a Camel meeting a Lamb in a True Fairy Tale. WHAT’S YOUR FAVOURITE PLACE IN YOUR TOWN?
Natural: the Sea. Man-made: The Dragon Bar. IF THERE WAS NO MUSIC IN THE WORLD, WHAT WOULD YOU DO INSTEAD?
Grow SunFlowers and Tulips in our Garden. WHAT WAS THE LAST RECORD YOU BOUGHT?
Spooky Tooth with Spooky Two.
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THE WORDS PLANET Naked you were bare to the LightBringer Bore all and whilst the dogs dance Backwards and leaf folds and clocked The terror of dawn Near twilight half-lit the new god grows Claws at play And moves on to Rome The last Star on the hip Of the beautiful mother Perfect as Planets Perfect as the small mouse in corn Perfect as the kiss of the Queendom On the hills by the hills at the hills Heavy with dew and kindness And mixed with legends of Stars
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Books for the apple
CONDENSED CHAOS Philip Hine New Falcon Publications
many books of this nature is that of faith. Do I have to believe in a ritual (or at least the desired outcome) if it is to work? Not in my experience, and not in the way that Phil encourages Sigil magic rituals. Is it necessary for a patient to have faith in a doctor to repair his mangled limb? No, he just simply has to allow the doctor to perform, and the action takes care of the problem. Tim G THE OGRE Michael Tournier Pantheon Modern Writers
Having been a solitary pagan for a the last three years, and after changing paths several times over, through whatever process exists (if any), I came across Condense Chaos. It is a pragmatic and easy to understand short manual on what magic is, what it isn’t, how anyone with the desire can learn to apply magic to their everyday lives and most importantly, the lifting of the ‘occultic secret veil’ that seems to permeate nearly every book written on the subject of magic. Phil Hine writes in a concise way that defines the Chaos path, but not in a hand-holding spoon fed method. He points out (thankfully) that achieving gnosis is required for any ritual, rightfully putting the responsibility on the reader. No ‘fluffy-bunny let’s hope that everything kinda goes my way’ pablum here! An issue that he dealt with which seems to be left out of
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Since The Ogre is a book obsessed with taxonomy, heraldry, classification of all kinds, I’ll start by saying that the author MIchel Tournier most reminds me of is Thomas Mann. Mann’s playful, ironic fictions seem to have fallen out of use these days (I for one can’t get over Guy Davenport’s comparison of him to James Joyce: “Mann imposes meaning; Joyce finds it; Mann looks for weakness in strength; Joyce, for strength in weakness.
Mann’s novels illustrate ideas; Joyce’s return ideas to their origins.”); but reading The Ogre, I was reminded again of how incredibly fun it is to move around in a novel whose reserves are charged, rather than sapped, by a sense of ideal forms. At times, for all its storytelling and scenesetting and narrative capability, this book seems to be more of an ecology than even the most experimental nouveaux romans. Indeed, by the end of it, I got the sense that Tournier is not just system-obsessed, but system-haunted, and that the pages upon pages detailing the main character’s private universe were put there as a way to make us see how a modernday Crusoe (that is, a person who feels completely cut off from human connection) might go about surviving. Loneliness. This book is very lonely. It is also, I think, a testament and warning to anyone who ever spent a year and a half trying to learn Elvish (followed by Dark Elvish, Klingon, and - probably because it was the most strange and “made up sounding” of the languages that my high school offered - Russian). What happens when the world you make in your head takes over? Or, to put it more even handedly (I hope), How do we light the mental/emotional candelabra inside us without eclipsing the very real and consequential world outside us? Josh G
THE PSEUDONOMICON Philip Hine New Falcon Publications
A short read that breezes you effectively into Chaos magick. I should warn you however that this book may shake your foundations and give you a different view of magic then what you are used to. Getting to know the deities of the Ctullu mythos is a process that may well lead to madness. But then again why practice magic if you are not ready to have your visions of reality challenged and deconstructed. To fully know the gods is to let their madness was over you. Ctullu is a giant octopus being that dwells in the deeps of the ocean in a city called Ryeleh. When he opens one of his eyes from his sleep it send a psychic ripple across the planet. But if you read HP Lovecraft’s Dunwich Horror or Mountains of Madness you would realize that these deities care not a whit for human kind and you may ask yourself why you would wanna work wit such entities? Phil Hine is a leader in the Chaos
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Magic community he launches into a short pamphlet sized book on some ways you can work with these deities, advantages and who these deities are. The cool thing I like about Chaos magick is that it is a form of freestyle magic that is based on using techniques that work for you and totally throws out the dogma. Who needs dogma and since when does it bring success or liberation. Most successful people have broken away from dogma and done their own thing. Freethinking. Working with Ctullu mythos is uncharted territory no one has written extensive works on how to work with these deities. So there is plenty of room to experiment and find what works for you. While it is not said in so many words workibng with the mythos is really about self transformation and change. By merging with these deities into their world you cast spells to change yourself and evolve. To reach these deities you have to go to lonely desolate places usually out there in nature. This is not like the Golden Dawn Temple where you need to practice indoors for best results. Reaching and working with these deities may well involve using means of achieving ecstasy to reach gnosis. Several techniques to reach gnosis are discussed. Techniques include words of power, shape shifting, dream control, slipping into fear and personality deconstruction. wanna check this out yourself. Steven C
SHOCK VALUES John Waters Dell Publishing Company
philosophy is exactly what he puts into his movies - outsiders are the heroes of the world, and to lead a “normal” live is to lead a boring life (not to mention “normal” people usually tend to be far more dysfunctional than a typical flag-waving freak). His manifesto is tight as a drum in this book, which is damn near thirty years old and still as edgy and clever as ever. Read this now. Own it. Learn it. Live it Christopher G SEX AND ROCKETS: THE OCCULT WORLD OF JACK PARSONS John Carter Feral House
Everyone needs their ultimate flagship book of wisdom and life instruction. For some, it’s the Tao Te Ching. For others, it’s The Prophet. I know people who even take solace in that one Jesus book. On a more asthetic level, I think we all choose one book in our youth that colors how we want to look at the world and how we want to be seen. Think On the Road . The Bell Jar. Catcher in the Rye. For me, well, John Waters’ Shock Value fits the latter requirement, and maybe even a little bit of the former. Waters explains the infamous crudeness of his work with such charming articulation and understated wit that at the end of your first readthrough of his book (believe me, you’ll read it again and again), you’ll be chucking out all your Nora Ephron DVDs to make room on your movie shelf for “Multiple Maniacs” and the collected films of Russ Meyer. Waters’
A fine and easily read biography of Jack Parsons (1914-1952). The author progresses in a workmanlike fashion with little flair or style, merely trotting out fact after fact, usually chronologically but sometimes in a more confusing fashion, with diversions which could have been cleaned up. After the brilliant introduction by the late Robert Anton Wilson (and the lamentation in realizing that there is a finite amount
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of R.A.W.’s writing which I have not yet read, which can never increase), Carter’s tale of Parsons begins and is quite engrossing, despite its above mentioned flaws. I was largely ignorant of both the American OTO, the history of rocket research in CalTech and J.P.L (Jet Propulsion Lab, or Jack Parson’s Laboratory? Or Jack Parson Lives!) and the early history of rocket research in the US (Parsons met Robert Goddard, and possibly even Werner Von Braun after the war), and I had previously though that Parsons was merely interested in Crowley. Actually, they had a large correspondence, Parsons sent THE BEAST money, and Crowley was interested in Parson’s life and work. Crowley was disappointed when Parsons was swindled out of thousands of dollars by none other than L. Ron Hubbard himself, whom THE BEAST 666 calls a ‘confidence man’! Actually, that L. Ron Hubbard, a scheisty sci-fi pulp author and neophyte magickal adept, would steal a high ranking thelemic magician’s money (which Parsons got from cashing out of Aerojet Inc, which still services NASA) and his girlfriend, buy a yacht with it, and run the risk of magickal retribution is pretty crazy in and of itself. I was happy to see the linkages between all these interesting 20th century personages (Crowley, Parsons, L.Ron Hubbard, Lovecraft, Von Braun, Goddard, Phillip K Dick even), which kept me reading straight through, finishing the book in about 10 hours total. Also interesting were the diversions into the 19th century history of the OTO, and mini-biographies of Dr. John
Dee, court magician to Queen Elizabeth I, and Edward Kelley, his partner in what could only be described as spooky medieval Enochian shenanigans Chris G SPECIAL FRIENDSHIPS Roger Peyrefitte The Vanguard Press
Rare masterpiece on a misunderstood subject. This is the deeply moving love story of brilliant 14 year-old aristocrat Georges de Sarre and beautiful 12 year-old Alexandre Motier at St. Claude’s, a French, Catholic boarding-school in the 1920s. Though determinedly chaste, their love is passionately expressed through kisses and poems, and there is no mistaking the sensuality underpinning it. Whether consummated or not, for many centuries such intense love affairs between younger and older boys were a feature of boarding-school life that brought joy and relief to some of the more feeling and less hung-up sort of adolescents, as well as grief and catastrophe
to the minority whose liaisons were discovered and crushed by the Christian authorities. They were essentially pederastic, satisfying different emotional needs in the younger and older participants, though the disparity in age lent them special intensity for both. This ancient tradition more or less died a generation or so ago; the boys who would once have partaken or at least have approved of romantic friendships nowadays either never see their appeal, brought up as they are in a society so antagonistic to them, or shun them through terror of being misunderstood and branded as gay. Indeed, the number of reviews of this book implying gayness is proof they are right to fear it is now practically impossible to escape being judged according to the new dogma insisting on a fixed sexual orientation for even early teens. It is salutary to remember that however responsible the priests at St. Claude’s were for the tragedy of Alexandre and Georges and however misguided the abhorrence of sin that drove them to act as they did, they acted as gentle lambs compared to the savagery with which their post-Christian successors today would crush an affair that any older and younger boy had the temerity to get embroiled in. Our new moral dictators would of course destroy Alexandre to save him from an unequal relationship rather than from the sin of homosexuality, but that would make no difference to either the cruel outcome or the monstrous bigotry behind it. Ironically it would actually increase the perverse injustice
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of such interference: Alexandre is typical of the younger boy in a special friendship in that his emotional need for it is evidently greater and so it is even more vital to his happiness than to George’s that it should not be broken up.. Considering special friendships at boarding-school have finally disappeared from our emotional landscape and are now so badly misunderstood, we must be forever thankful that in the short space of time when they were still fairly widely understood and it had also become possible to write candidly about sexuality, such a talented writer as Peyrefitte preserved their character for us so evocatively in his first and greatest work. It is beautifully written throughout, but the last chapter soars to heights of aching pathos rarely achieved by anyone. Edmund Marlowe
Records for the apple
MASTER MUSICIANS OF BUKKAKE Far West Important Records
When the Totem trilogy came to an end, Master Musicians Of Bukkake had no option but to assess where their musical adventure might take them next. The Totem albums were primarily concerned with exploring the mysticism and musical phrasing of the East, but there were hints that the band might be looking elsewhere as trilogy came to a close when they employed a touch of European chamber music on 6000 Years Of Darkness. So, bags packed and Sherpa booked, MMB hit the trail West. Naturally, there are changes in sound as they seek to explore new pastures, but there are still Eastern flavours to be found on the album. The early tracks in particular are shot through with cadences familiar to those who indulged in the Totem trilogy, suggesting that this is an album that serves as a travelogue as they move from East to West. The other explanation of course is that it’s a round world, and if you go West far enough, you’ll end up where you started. It’s
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a cyclical theme that pervades the album, right down to the cover artwork. it’s clear that MMB are in a different country. It soon develops into a calmer affair; driven by an ominous pulse there’s a threatening heart pumping away as a faint strummed guitar comes to the fore. Its presence echoes Pink Floyd’s Wish You Were Here – a band whose influence on the album is considerable. There are nods to other “western” influences as the album progresses. There’s a guitar refrain that almost twists into The Simpsons theme tune, and the wobbling electro of The Who’s Baba O’Riley is called to mind during GNOMI (a song whose “Turn around” vocal gives the otherwise laid back exposition a distinctly threatening feel). This time around, MMB seem to be in thrall to the history of paganism and shamanic rites. That The Wicker Man has been noted as an influence is not altogether surprising, and there is a distinct pastoral flavour mixed in with notions of elemental ritual throughout the album; MMB do like their rituals, after all. So the hypnotic drum patterns of Arche make perfect sense. Combined with shimmering guitar parts, a shrieking horn that could well be a snake charmer’s pungi, and a keyboard part beamed in from 1970s sci-fi, it’s a confusing, disorienting melting pot of themes and geographic references, not all of it of this Earth. Sam Shepherd