Facts are Stubborn Things

Let us claim for this Opuscule the merit of opening your eyes to the tendencies of your nature, and the probable results of those tendencies. Let this brochure be the means by which you may so encourage your finer instincts, and so combat and neutralize your evil ones, that by attention to the aptitudes and weaknesses with which you entered this world, you may learn and labour truly to get your own living in that state of life unto which it shall have pleased God to call you.

—Henry Frith and Ed. Heron Allen, The Language of the Hands

  • Leila Lomax – Physiognomy (1920)
  • Adolphe Desbarolles – Les Mystères de la Main (1862)
  • Francis Bacon – Essays
  • Carl Jung – Psychological Types
  • Christos Beest – Sinister Tarot – Emanations: Major Arcana and Minor Arcana – Court cards, 09A Pathworkings
  • Order of Nine Angles – The Greyling Owl

Addendum (complimentary reading for those so inclined…):

  • Rev. Wentworth Webster, M.A., Oxon – Basque Legends (1877)
  • Edmund Goldsmid, F.R.H.S. – The History of the Devils of Loudun, Vol. I (1887)
  • St. John D. Seymour, B.D. – Irish Witchcraft and Demonology (1913)
  • Carlo Ginzburg – I Benandanti: Stregoneria e culti agrari tra Cinquecento e Seicento (1972)
  • Georg Luck – Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds: A Collection of Ancient Texts (2006)

Ubils: C.R.U.E.L. En Concierto Antifest VII

The music of C.R.U.E.L. started out not as an extension nor a ramification of Abyssum, but as a different avenue of thought connected to a different source of inspiration. C.R.U.E.L. is the word of an infernal prophet, and this is reflected both in the hammer-like idiosyncrasies of the music and the lyrical titles which serve as pointers and guidelines. We find here a hammer lit on fire, bringing violent illumination to the feeble minded, and a swift death to those unable to withstand the sudden onset of a cruel reality.

In this particular live setting, C.R.U.E.L. reduces its presence to an incredibly dynamic duo of overdriven guitar and a drum set which infuse their own strong personalities into the performance of the composition. The power of this recording comes in great part from the way they are performed live and the known imperfection shifts that lend it its natural feel, but old compositions are given brighter life by virtue of different strumming attitudes in the guitar and powerful inflections and fills on the percussion side.

If a simple outline of the music were sketched on a paper, it would seem like a pretty straightforward arrangement, because on a certain, superficial level, it is. However, the present music only attains its full manifestation when played and channeled through particular musicians: a sign of space for evolution, and sorcerous application. It may be argued that this is or should always be the case with any piece of music, but for those paying close attention, it should become apparent that this is not the case with most modern music whose performance is enabled by electricity and whose “life” revolves around studio recordings.

Original compositions with a new outlook are further given context by the inclusion of two short Hellhammer covers done as tribute, absorbed into the style of musicians who were probably themselves greatly influenced by the young legendary Tom G. Warrior and his uniquely deranged music.

§ Walking amongst adverse forces

The first thing that should be said in regards to the ideology that emanates from C.R.U.E.L. is that it fits the mentality of a warrior. It seeks power and upon encountering it utilizes it, knowing how to act as it becomes one with it rather than be destroyed or consumed by this fire. In a way, a symbiosis takes place in which both this infernal power becomes the enabler of the mad poet, yet the poet becomes an instrument for cosmic intentions of these powers flowing and using him as a unique gate.
The maddened defiance that results from this union only enhances a reluctance to bow down to any kind of authority, be it human or from beyond. This does not mean that there is no recognition of frailty or mortality; that is, there is no pedantic hubris leading the individual to a baseless pretension to godhood or any such empty expressions of delusional children. Rather, it is a Promethean, yet intelligent, becoming one with dangerous energies which may be destructive, and which at some level do destroy despite all, and so exert a cleansing influence over the adept so engaging them.
Against what many may and will misunderstand, this does not imply a complete disavowal of tradition [1], because this is metal music, after all, and the instruments are played according to their respective traditional roles and using their traditional techniques. Rather, primacy is placed over compositional experimentation, or wherever the transcendental musician sees fit in order that a grander plan and sorcerous scheme of music may be accomplished, as befits a music that is more than merely human.

§ Beyond Form and Function

Music as a form of a communication can be broken down into certain components which make it intelligible on some particular level(s). A minimalist music is said to be reduced to its necessary components, so that all form is serves some kind of function. That is, there is no element in the music that does not contribute to the physical mechanics and organization of the whole. The music of C.R.U.E.L. in this live album could be said to fit this description in the sense that there are no floating components here, each has its place in advancing the music, rather than serving as appendages or simply redundant embellishments.

Moreover, no form in this recording is simply in place for the sake of bridging or fulfilling a structural need, but rather maintains the contrapunctal ideal [2]; which is not to say that we will find baroque counterpoint in melodies, but that a principle of instrumental cooperation is upheld. What we see is that if we separate the two instruments, they achieve a dark beauty of their own, an entrancing self-sufficiency, and wild abandon; and when they are brought together they are made to match and hold a dialogue with each other. In this, we find an aesthetic concern in every contour of this violent music.

Music of this kind cannot be called strictly ‘minimal’ in the sense of it being reductionist, for there is no loss of potentiality; rather, we could say that this is ‘minimalism well done’. C.R.U.E.L.’s present incarnation has moved away from its previous experimentation and has been compressed through Ebvleb’s method to a place beyond both form and function —neither a ‘well-oiled machine’ nor a simple ‘work of art’, but rather a ‘sword of death’ in its full ideological glory. The flayed entity that has now arisen as C.R.U.E.L. approaches that in-between status that the imposing yet inspiring Gothic cathedral achieves by the design of its master builders. [3]

§ A world beyond expression

Artistic mystic expression as codified communication is characterized by its grasping for objects that cannot be grasped; by trying to describe things that words are not well-equipped to describe. Thus, the exercise of mystic expression becomes one of opening spaces, pushing waves of aesthetic effects and conflicting meanings so that through them, or across them, the human mind can catch a glimpse of their writer’s suggestion. Music in particular is very problematic because it is inherently mystic in that there is not always a direct correlation between structure and meaning, except for certain general implications of basic or wide patterns in frequency and speed.

But music can be the best ally of the mystic poet if he is in tune with that nature, and if he knows how to listen. Here is where Ebvleb excels and finally brings C.R.U.E.L. up to its expressive potential; he achieves this in the same way that he dis-covers the physis [4] of his music projects as they reveal themselves to him, by listening attentively, by waiting and recognizing that unfolding of being beyond description. Observation, listening, following and opening up to forces that then speak through the technical abilities of the singular composer as a linking point to our universe, a nexion, is the art at which Ebvleb excels.

Unique to the music that results from such an unveiling is a rich aftertaste, the emergence of a hidden world that lingers even after the sounds have stopped which was not previously there, uncovered by sorcerous action. The present C.R.U.E.L., as much as Abyssum, approaches the tools and language of metal not by engaging in the making of riffs, which is the illusion at which the majority is confused, but the manipulation of phrases. To borrow another term brought to mystical parlance by the enigmatic David Wulstan Myatt, it would be more appropriate to talk about fluxions [5] and their arrangement, when it comes to the metal works produced by Ebvleb.

In contradistinction with Abyssum, whose aftertaste appears to be one of immensity and of the infinite void dwarfing yet permeating human existence, C.R.U.E.L. would appear to bring fire and destruction, a veritable apocalypse. Its mystic creation, the shadow it leaves after its passage, is one of scorching obliteration and the coming of what mundanes fear, and what they presume to know as evil.


[1] An illuminating passage regarding Tantra’s attitude towards tradition can be found in Agehananda Bharati’s The Tantric Tradition; page 21 of chapter 1, ‘The philosophical content of Tantra’, reads:

[begin quote]
All tantrics flout traditional exoteric orthodoxy, all put experiment above conventional morality denying ultimate importance to moralistic considerations which is not contradicted by the fact that most tantric texts pay initial homage to conventional conceptions of morality; and all agree that their specific method is dangerous, and radical, and all claim that it is a shortcut to liberation.
[end quote]

[2] In his book, Counterpoint, Kent Kennan writes regarding counterpoint:

[begin quote]
As a technique, this might be defined as the art of combining two or more melodic lines in a musically satisfying way. Included in this definition is the assumption that each line is good in itself; and the phrase “a musically satisfying way” implies among other things that the lines will be independent yet coordinated in feeling.
[end quote]

[3] Otto von Simson says about gothic architecture, in his The Gothic Cathedral: Origins of Gothic Architecture and the Medieval Concept of Order, that:

[begin quote]
Architectural form reveals function as much as it reveals the actual physical interplay of weights (or thrusts) and support. Such interplay is very much in evidence in the Greek temple and not at all in a Byzantine church. The picture is somewhat ambivalent in Gothic architecture. Here it is not easy to determine whether form has followed function, or function form. [page 6]
[end quote]

and later, that

[begin quote]
(…) even the shape of the unequivocally structural members in the Gothic system is deliberately modified often at the expense of functional efficiency, for the sake of a certain visual effect. Thus the massive thickness of walls and piers is never allowed to appear; where it might be visible, as through openings of gallery arcades, tympana and colonnettes placed in these openings create the illusion, not of a wall, but of a membrane – thin surface. Again, the true volume of the support is concealed behind, or seemingly dissolved into bundles of frail, soaring shafts. [page 7]
[end quote]

[4] We read, in the first chapter of Gregory Fried and Richard Polt’s translation of Heidegger’s Introduction to Metaphysics:

[begin quote]
Phusis as emergence can be experienced everywhere: for example, in celestial processes (the rising of the sun), in the surging of the sea, in the growth of plants, in the coming forth of animals and human beings from the womb. But phusis, the emerging sway, is not synonymous with these processes, which we still today count as part of “nature.” This emerging and standing-out-in-itself-from itself may not be taken as just one process among others that we observe in beings. Phusis is Being itself, by virtue of which beings first become and remain observable.
[end quote]

It should also be mentioned that David Wulstan Myatt makes prominent use of the term in his own writings, but using the less confusing transliteration physis, from the same Greek word φύσις .

[5] Originally, fluxion was a term used by Sir Isaac Newton to indicate a precise mathematical and physical event. The the online entry by Encyclopedia Britannica on fluxion reads:

[begin quote]
Fluxion, in mathematics, the original term for derivative, introduced by Isaac Newton in 1665. Newton referred to a varying (flowing) quantity as a fluent and to its instantaneous rate of change as a fluxion. Newton stated that the fundamental problems of the infinitesimal calculus were: (1) given a fluent (that would now be called a function), to find its fluxion (now called a derivative); and, (2) given a fluxion (a function), to find a corresponding fluent (an indefinite integral). Thus, if y = x3, the fluxion of the quantity y equals 3×2 times the fluxion of x; in modern notation, dy/dt = 3×2(dx/dt). Newton’s terminology and notations of fluxions were eventually discarded in favour of the derivatives and differentials that were developed by G.W. Leibniz.
[end quote]

David Wulstan Myatt rescues this term in perhaps the full meaning used or meant by the one-time alchemist Sir Isaac Newton, rather than letting it be reduced to a dead-letter term for a merely numerical operation.

Abyssum Cum Foeda Sanie Ex Ore

Witches by Hans Baldung Grien, 1510

§ In the Studio, 2014

A portentous return to the studio, Cum Foeda Sanie Ex Ore represents a new stage in Abyssum’s development rooted in unique mystical seeds that gave rise to inconspicuously rich soundscapes of darkness but now moving beyond both musically and ideologically. In away, the present album is the closing of a chapter, while at the same time signifying the beginning of the new. Rather than hiding away beyond physical veils, Abyssum steps forth with strident power and magnificently embellishments that are not just augmentations but complementing organic outgrowths of an invisible central rod.

The release consists of an intro and outro and three extended tracks that defy definitions of conventional black metal without relying on avant-garde sensibilities or suffering of the mediocre malady of ‘flowing black metal’. Two of these main tracks are taken and enhanced from Poizon of god; these have been subject to constant, wandering evolution since their first intimations more than two decades ago. The third piece, ‘Mvundanvs, Inmvnde, Spiritvz’, is the latest published seed-idea composition to be published by Ebvleb for Abyssum.

Abyssum’s music is liberating, but not in a superfluous way, it is rather terrifying and magnificent and seems to open a rent in the fabric of our perception, leaving us vulnerable and open to the star-filled abyss that threatens to swallow us whole. It is a music of transcendental overcoming, entirely incomprehensible to those trapped in materialist, political, or merely ideological sets of mind. In short, it is music for elite minds —distinguishing the actual superior mind from the ‘Hominid Cleverness’ that many of society’s ‘high performers’ tend to exhibit.

‘Mvundanvs, Inmvnde, Spiritvz’ could be said to showcase a more explicit structural refinement that does not lose the holistic outlook which has made the manifestation of Abyssum’s music elusive for those not ready to let go of underlying mundane mindsets. The other hint of what the future may bring can be seen in 2015’s demo, All in Darkness, which contains a highly evolved version of another old seed idea from the first half of the 90s.  Seeing the latter as a fourth piece in a transition phase towards a new era, the perspicacious listener can witness the subtle outline of a sign pointing from a firm yet somewhat rigid structuring towards a more masterful codification.

One should also note the excellent job the session drummer does at emulating the personality and patterns that the original work of Abyssum displayed, as this preserves and enhances the aura of the music in no small manner. The sensibilities by the current drumming section can be appreciated even more in a live setting, where the individual has the chance of expressing his own personality even more within the spaces of the dynamic, flexible Abyssum style.

§ Raw Bloodied Live, 2015

Foremost amongst all things that could be said about this recording is the complete absence of synths in it, as the performance was a raw recording of drums, guitar and voice. One could expect that such a setting would call for certain adjustments to the sound of the instrument in order that the lack of layers was filled by a thicker sound from the guitar. Surprisingly, however, there is no clear augmentation of the stringed instrument, and instead we receive a rather unprocessed sound that is nonetheless penetrating, giving one the impression of a more rigid and skeletal feeling.

An effect of this is that arpeggiating patterns come through very clearly without the quality of the sound changing, giving it a uniform, more monolithic presentation that contributes to that slab-like impression of crudeness in this particular recording. Despite that outer appearance of unsophisticated uniformity, it is the performance itself, and the flexibility with which structures are treated specifically for this occasion that lets the spiritually sensitive listener access a dark world of painful and mysterious abundance to which they are made privy to by the amazing organicity of guitarist-vocalizer and drummer here.

The songs chosen for the release titled Desclávate de tu Cruz include a song that is not on Cum Foeda Sanie Ex Ore, but is in Poizon of god. This ‘Sacred Abyss’ is probably the most rigid piece in the current set, and represents the older, mid phase of this growing demon. What follows next are, from the writer’s point of view, the elite compositions of Abyssum in the current state of evolution that Ebvleb has taken them to; these are ‘Mvndanvs, Inmvnde Spiritvs’, ‘Todo En Tinieblas / All in Darkness’, and ‘Illusion of Pan’. Conspicuously missing from this selection, though perhaps not from the actual live performances, are the two main pieces from Thy Call, their flagship release, so to speak.

Many descriptors could be attached to this release, but a phrase like ‘diamond in the rough’ does not quite capture the exterior-to-interior relationship that we have here. Rather, the self-described musical obscurantism of Ebvleb fits specially well; that is, the music is organically rich, alive and potent in subtle but very palpable ways to those capable of walking through the purposely obfuscating veils in the presentation. That is not to say that value is abstract, because then this would be no better than the mediocre music of Satanic theist sophists, but that there is a purposeful setting up of crude layers that both enrich the aura of the content and hide the inner treasures from facile minds.

§ Rehearsal for 2014 album, 2017

The 2017 edition of Cum Foeda Sanie Ex Ore are the ultimatum that hails the new era of Abyssum, leaving us wondering what visions of impending transcendental, holistic reality the master necromancer will choose to reveal from his mental and spiritual journeys. Not only has a new, more personalized visual presentation been developed, but the release includes three final rehearsal tracks for the 2014 album which do not include synth work, but only drums and guitar, with a few guttural vocalizations here and there. To be sincere, however, the tracks do not appear to really be crude rehearsal recordings, which would be quite welcome, but rather a mix from the album that does not include the synth layers and allows the guitar sound to come to the forefront.

The result is most probably hard to listen to for most people, since the synth work is the most melodious and purely mystical of all musical sources within the music of Abyssum. Any serious listener, however, should have noticed from the original 2014 release that the guitar work is not a merely functional ‘flowing black metal’ appendix underscoring the synths (and which mistake could be made when first apprehending Thy Call), and can be seen as an independent but complimentary voice in the music. The additional tracks that remove the synth and allow us to hear the guitars bare confirm these observations beyond the shadow of a doubt.

Conversely, being able to expose oneself in full to the power and treasures of the written guitar lines on their own gives a new perspective to the recordings containing the synthwork. A deeper clarity for both enhances appreciation for the value of either, and when returning to Cum Foeda Sanie Ex Ore, the dual synth lines reaffirm their outworldly nature, their stellar origin, even as our awareness of and susceptibility to the black magic of the tremolo-picked guitar is taken to further realms of perception…

Abyssum Todo en Tinieblas

Todo en Tinieblas es el demo de 2015 de Abyssum que nos trae el refinamiento final de una obra cuyas ideas y partes fundamentales habían sido ya construidas para mediados de los años noventa; le vemos entre las piezas en vivo publicadas en el año 2008 bajo el título The Prophecy Is My Name, I’ll Be Here Eternally, en donde la pieza que figura este demo lleva el nombre ‘I am He’; de la transformación de “Yo soy Él” a “Todo en Tinieblas”, mucho se puede meditar y estudiar. La nueva versión de esta pieza se ve envuelta por arreglos de sintetizadores que le suman mucho y le traen más cerca de la cobijante aura cósmica que caracteriza a Abyssum.

No solamente tiene una introducción de tres minutos en una pista separada, lo cual nos permite prepararnos mejor, pero también un outro de otros tres minutos que crece y extiende la nota y sensación en la que queda la música una vez callan guitarras y batería. La estructura del cuerpo principal de la pieza ha cambiado asimismo, con variaciones hechas a partes que anteriormente eran idénticas entre ellas, además de elaboraciones en los teclados antes inexistentes, y una considerable introducción de conexiones y sutilezas en la percusión donde antes figuraban más que todo patrones uniformes rudimentarios del underground metal en contexto black metal.

La nueva producción es bienvenida, así como la claridad de los instrumentos, pues Abyssum mantiene en mente la necesidad de que se preserve un aura de obscuridad y agresión que un sonido demasiado sintético suavizaría, restándole de manera irreparable al todo; confiamos en que ésta sea una muestra de algo todavía mejor para un próximo álbum completo de Abyssum para el cual algunos habrán esperado casi una década.

Lo cual nos trae a la mención de ciertos puntos importantes respecto a la forma en que Abyssum opera, con la visión sobre la Eternidad, con una visión como Arte de Inmortalidad; este es un arte viviente, las piezas nunca se petrifican, y cada uno de las grabaciones es una de sus develamientos o manifestaciones a lo largo de una evolución perpetua. Si bien se han hecho álbumes como Thy CallPoizon of god, las piezas dentro de ellas han seguido tomando formas varias y únicas a lo largo de los años, siendo su maestro un experimentador de las fuerzas ocultas que dentro de ellas se mueven y las animan.

Abyssum nos da un ejemplo de música creada por un ser para él mismo, de primera mano, pero también con una visión de ella como algo que puede seguir mejorando de manera que se afine y aplique de manera más detallada y natural al cosmos mismo, o a nuestra percepción de éste, como intermediarios que somos entre lo natural y lo que conscientemente creamos con propósitos humanos. Todo lo que pudo haber sido la música clásica en su expresión más trascendental, y lo que pudo haber sido el black metal en un refinamiento holístico más enfocado, es adonde apunta la trayectoria del magistral Abyssum; si bien una sola vida puede alcanzar la inmortalidad para sí misma, el trabajo de Arte Inmortal está en manos de quienes lo puedan tomar y seguir a través de una cadena de vidas que la puedan llevar más allá a medida se descubren y desarrollan a ellas mismas.

Nigromante The Euphonies

00-nigromante-the-euphonies-cover-500Para comenzar a entender lo que se nos presenta en una obra como la que Nigromante nos ofrece en The Euphonies, es importante comprender un poco a lo que se refiere con la actitud mística en general y lo que llegó a ser el lenguaje místico en acción más allá de la música. Consideramos este lenguaje místico como artístico por excelencia, sin embargo, éste surgió a partir de una necesidad de expresar lo que no se puede poner en palabras1. Según Michel de Certeau2, la forma básica en la que este lenguaje místico funciona tiene que ver con el desplazamiento de los símbolos de un contexto original en el cual tienen una función lógica a uno donde su contraste con sus alrededores suscite en la mente pensamientos y emociones no lógicamente derivables. Dicho método depende de muchas variables, haciendo la comunicación mística difícil, en términos de energía y tiempo, pero una que logra encerrar y luego develar lo que en tomaría cientos si no miles de palabras explicar.

La implicación musical correspondiente no se debe de tomar como licencia para crear una mezcolanza desvergonzada de formas por razones pseudo artísticas en nombre de una abstracción. Las abstracciones siempre han de venir como herramientas intelectuales después de que la experiencia de creación y de interpretacion y descubrimiento ha dado a luz a una obra que cobra vida propia. En sí, todo es válido en tanto haya un enlace hacia un sentido palpable, una raíz de orden natural. De otra manera lo que se está creando es sencillamente distorción, cáos literal y por ende nulo como arte comunicativo que ha de encerrar significados dentro de sus formas y no como representación metafórica de un concepto.

La inspiración de Nigromante, distinguible por su nombre así como por las breves frases del compositor que a veces acompañan la música en forma escrita, viene de entrar en contacto con energías residuales de seres que alguna vez estuvieron vivos, o que quizás jamás han estado vivos. En varias tradiciones, a estos se les llama de distintas maneras, pero invariablemente llevan una existencia a menudo lastímera y, según algunos, tienden a lo vampírico. Lo último no parece incumbirle ni preocuparle a Nigromante, quien se ofrece como receptor y traductor de lo que han dejado en ciertos lugares hacia la forma musical. Implícito en todo esto hay una clase de elitismo. Las expresiones no se entienden literalmente, mas tampoco son eufemismos reemplazables por explicaciones estrictamente materialistas. Quien no tema, quien tenga el intelecto, quien tenga el deseo, entenderá.

Partiendo de una presentación que hace recordar al género musical llamado dungeon synth, Nigromante extiende las exploraciones lúgubres, deshumanizadoras y terroríficas a proporsiones sinfónicas. No es solamente de longitud de lo que hablamos aquí, ni tampoco nos referimos a referencias a música banal que apiña capas de sonido sin aportar contenido relevante. Es sinfónico en tanto al grado de elaboración narrativa y la distancia que viaja desde el punto de partida hasta puntos climáticos para luego llevarnos a una conclusión lejana. La música es experimental en su construcción, mientras que la interacción de líneas melódicas conserva la vena del canto modal vocal, apoyado a veces por rápidos tecleos de acordes que afirman el tono ancla. Mientras que podemos aludir un poco al canto gregoriano, vemos otra clase de interacciones en un marco personal y sutilmente complejo de formas que son muy básicas por sí mismas. La repetición se combina con una insistencia un tanto incisiva que refuerza los espacios más quietos y de melodías largas y de contornos suaves.

De primeras a primeras, puede parecer que esta música no estaría fuera de lugar si se le usara como una banda sonara para juegos electrónicos de conceptos obscuros y simbología oculta, de esos que en los noventa crearon una era inolvidable a la par de la mejor música metal jamás creada. Mas Nigromante extiende el potencial de lo que en esas instancias es meramente funcional y frecuentemente limitado a una obra de valor artístico desencadenado de manera personal. Cuando nos referimos a la obra como personal, se alude a lo único de ella, y esto describe algo muy preciso que no se refiere al usar nuevos acordes ni a usar ruidos que nadie más usa, sino a la forma particular en que la música articula y desarrolla. Tanto como un escritor o un hablante elocuente demuestra esas elaboraciones en tonos y matices cuyo orden e implicación les pertenece solamente a ellos, asimismo la estructuración horizontal (como secuencias de pensamientos y relaciones de motivos musicales) y vertical (momentanea, de interacción armónica y de contrapunto en sus impresiones de amplitud y grados de disonancia) puede revelar la calidad elaborativa y personalidad del compositor.

El carácter de la música de Nigromante en Las Eufonías es nocturno en tanto a que sus corrientes y variaciones nos hace bajar la vista hacia las piedras ensangrentadas en sus momentos más crudos, sólo para después elevarnos hacia distantes estrellas. La noche es necesaria en tanto a ella nos provee con el entorno necesario para accesar más facilmente las vistas y conceptos desarrollados de manera interna, los cuales se encuentran más allá de las palabras.

…en perpetua Eufonía con la oscuridad, hon los hago Despertar a la realidad interna del Lado oscuro de la música, sucumBo a mis placeres n Liberamos la sinfonia a la Locura…
Esa misma locura en la cual he caido por seguir al Demonio de la musica, he aca su sinfonia, en total Viaje a lo desconocido n buscando simplemente la Inmortalidad n trascendencia seguimos transmitiendo los mensajes que de la siguiente dimension se dejan sentir, esta es nuestra perversa ejecucion.

1Contrario a lo que ciertas teorías populares del siglo XX han querido proponer respecto a la delimitación de la capacidad de pensamiento por la capacidad de verbalización, la mente funciona y percibe a niveles de complejidad más allá de una gramática formal.

2 La Fábula Mística. Siglos XVI – XVII, traducción al español publicada en 2004. Publicado originalmente en francés en 1982 bajo el título La Fable Mystique, vol. 1, XVIe-XVIIe siècles