Feeds:
Posts
Comments

Posts Tagged ‘Joscelyn Godwin’

blutleuchte

I made an interview with Gerhard Hallstatt earlier this year. Among other things I asked Gerhard about his book Blutleuchte. If you want to have a good introduction to the following brief book review, I recommend you to read the interview.

Blutleuchte is a compilation of Gerhard Hallstatt’s writings from the 90’s. The texts appeared originally in Gerhard’s pre-internet era Aorta and Ahnstern publications, which were ”home-made bi-lingual booklets done with typewriter, copying machine, and stapler”, to quote Ph.D. Joscelyn Godwin who wrote foreword to the book. Twenty nine issues of Aorta and Ahnstern were published altogether.

The 324-page book is a nice, stylish hardcover, not a product of ”kitchen-table industry” like the original publications. The English edition of the book, published by :AJNA:, is printed on soft recycled paper with wine red and chestnut brown text. Binding is in red cloth and on the front cover there is a duo-tone inset photo. The book contains sixteen pages of b/w-photos from Gerhard’s archives.

The book’s description contains the following info on its contents:

– – –

photoplates2Foreword by Joscelyn Godwin

Lucifer Rising: Kenneth Anger

Konnersreuth- Therese Neumann and her bleeding stigmata.

Night of the Stigmata- the pagan drums of Calanda.

Anubis- focusing on one art performance of Joseph Bueys.

Schwarzkogler- of the Aktionists, including an interview with Hermann Nitsch.

Karl Maria Wiligut.

Katharsis- The Search for Otto Rahn.

Castel del Monte.

Corneliu Codreanu.

The Blue Light: Leni Riefenstahl.

Montsegur- the Cathar caste.

Z’ev- rhythmajik; with an interview.

Storm Songs- Gardner, Clutterbuck and the witches who kept Hitler from attacking Great Britian.

Blutleuchte- Alfred Schuler and his cult of the Blutleuchte.

Leonora- Max Ernst’s lover and muse.

Angizia.
Fidus.
Mithras.
photoplates3Blood Axis- with an interview with Michael Moynihan.

Oskorei- the article that originally appeared in Lords of Chaos, including an interview with Varg Vikernes.

Viktor Schauberger- “green visionary”, “technosophical revolutionary”, flying disc pioneer.

Lucifer Rising- an interview with Kenneth Anger.

Baptism of Fire- Ernst Jünger.

Hidden World.

Heidnat : Heathan Homeland.

Brown Magic- a scatological piece.

Field of Force- crop circles.

Feathered Dreams- a psychdelic journey brough on my “narrische Schwammerln”.

Andreas Epp- flying discs, UFO’s, BMW and strange alliances after WWII.

Blutleuchte should be viewed as a meta-historical compendium. The book becomes a romantic vision of Gerhard’s own personal take on many topics that have inspired many and grown into popular themes within the industrial, neo-folk, heathen and black metal underworlds.

Gerhard’s research, along with magical-mystery tours to various cultic sites and interviews with prime players in the world of art, music and culture, culminate in a passionate narrative drawn from primary documents, heretical and sacred writings, philosophical treatises, psychotropic experimentations, and experiential learning.

The book works through Gerhard’s enthusiasms for various persons and movements, religious sites, architectural accomplishments, natural mysteries, celebratory festivals and scientific advancements.

– – –

Throughout the book there is a strong and evident current against what Gerhard calls Panzermaterialismus. He explains the word in a footnote: “Panzermaterialismus – A word I invented. There used to be the term Panzerkommunismus – for communists conquering the world not with ideology but with the power of tanks. Panzer means tank. It is a metaphor for a brutal capitalism/materialism”.

Gerhard is an artist who seeks beyond the mere material, evident reality. The articles reflects this in fine descriptions of subjective experience in Gerhard’s search. The articles are a fascinating record of a romantic, esoterically inclined seeker. Those who share this spark with Gerhard will find this book very inspiring. Those who are familiar with Gerthard’s music will get a whole new dimension to it with what this book contains.

This is a unique and beautiful book. I highly recommend it.

photoplates

– – –

Related:

Write with blood: Gerhard Hallstatt speaks!

Aorta mail-order in Facebook.

Blutleuchte in Facebook.

Blutleuchte reviewed by Gangleri.

Advertisements

Read Full Post »

Gerhard Hallstatt with a rock painting discovered in 1911 by Jean Sibelius. Photo (c) Sebastian Devamitra Porceddu 2012

Gerhard Hallstatt with a rock painting discovered in 1911 by Jean Sibelius.
Photo (c) Sebastian Devamitra Porceddu 2012

Like the music which he composes and records under the name of ”Allerseelen”, Gerhard’s writing does not easily fit any ready-made label or category. While the majority of people are content to travel the iron tracks laid down by their religion, politics, peer pressure, or brand-name culture (no matter that they are always crashing into each other), he follows a mercurial path: quick, elusive, and a little mischievous. When I first met him at a conference in Vienna, I was immediately attracted by his friendly persona and lack of posturing. As I got to know him and his writings better, I admired the way he was following his own star wherever it lead, with no possible financial or professional gain.

– Joscelyn Godwin in his foreword to Gerhard Hallstatt’s Blutleuchte.

It was a December evening in Turku the last year. We sat down at restaurant Koulu, talked and enjoyed some beer and salmiakki shots. Like Joscelyn Godwin, I got an impression that Gerhard was very friendly, not posturing, and he was clearly following his own star. His music, writings, photography and travels had formed a multifaceted living piece of art from well over two decades of pursuing his unique path. I had for some time thought about making an interview with Gerhard and meeting him made me think that it was the right time for it. Gerhard liked the idea and I started to write an interview for him.

In the following interview Gerhard tells about his writings, music, travels, inspirations, panteism, Christianity, mountains, and many other things, such as sauna, Koskenkorva, salmiakki, Pippuriset pääkallot, Santa Lucia and Jean Sibelius.

– – –

For those readers who don’t know you yet, would you give an introduction of yourself – who are you, what have you done and what are you doing nowadays?

I started in my youth recording on old cassette recorders strange music that consisted of loops of kettledrums, violins, metals. I wrote surrealistic poems and texts on loud type-writers and also started at an early age taking photographs. I still have today hundreds of diapositives that I should digitalize one day.

I was very much interested in alchemy, and this fascination inspired all my artistic activities. Still today, twenty years later, I am in some way working very similar although nowadays computers are of course involved. But still today I am recording in a very old-fashioned way, without using a computer programme. The cassettes became CDs, the little photocopied booklets that I did in my youth became printed magazines or books, and the camera I am working now with is a digital one.

I was very much interested in alchemy, and this fascination inspired all my artistic activities.

I myself did not change that much, I do not feel that much different from the time when I was 17. Still today I am full of enthusiasm, full of chaos, and hopefully this will remain like this for the next decades. ”You must have chaos within you to give birth to a dancing star”, like wonderful Friedrich Nietzsche wrote. I see myself nowadays like a kind of troubadour in a telectronic age, spending a lot of time on music, poetry, travelling to present these songs to a smaller or larger audience in various countries – and sometimes I am performing these songs in old castles too. But apart from travelling I also enjoy living in Wien which is definitely one of the most beautiful cities of the world. I did not grow up in Wien. I was born on the country-side, the first large city that I got to know was Berlin, I was staying there some weeks when I was 16. Wien I only got to know when I was 17.

You played live in Finland again, at Tampere, on 7th of December 2012. How was it? It was your second time here, right? How did it differ from your previous gig in Turku in 2007?

Allerseelen live in Moscow 2012. Photo (c) Miss Goodwrong

Allerseelen live in Moscow 2012.
Photo (c) Miss Goodwrong

The live performance in Tampere was our second concert in Finland. The first had taken place in Turku in October 2007. Then the line-up was very different, in Turku there were on stage Marcel P. on bass, Dimo Dimov on drums and I. But as both have been very busy with studies and working, since 2012 the current line-up of Allerseelen is consisting of Christien H. on drums and Noreia on bass. Both concerts were thus quite different.

Some new songs we were performing in December in Tampere for the very first time on stage – and two of these new songs were inspired by my Finland preparations: The song Grünes Licht / Green Light was inspired by magnificent aurora borealis photos. Unfortunately I did not see these wonderful lights when I was in Finland. Hopefully another time. Another song, Neunmondmesser / Nine Moon Knife was partly inspired by the Finnish knife puukko and the Kalevala moment where Kullervo finds a stone in his bread that destroys his only knife. Both songs will be on the next Allerseelen CD Terra Incognita.

On our Tampere guestlist was even Kiira Korpi. Unfortunately she did not show up – it would be great to see her dancing to some of our songs.

You traveled after the concerts in Tampere and Rakvere, Estonia, for some time in Southern Finland – what kind of impressions you got from these places? Where did you go, what were your favorite places, experiences? What was your impression of Finland?

Unfortunately I did not have time to see the paintings of Hugo Simberg in the Tampere cathedral. I like very much some of his works. After our Tampere concert we had to leave really early to travel by bus and ferry-boat and another bus to Rakvere in Estonia. We were performing there the next evening.

After some beautiful days in Rakvere and Tallinn, I returned for two weeks to Finland. It was a wonderful experience. When we performed in Turku in October 2007, I really enjoyed the traditional sauna combined with short baths in the cold sea. Already then I had been looking forward to another visit in Finland, hoping that this would happen again in the cold months of the year. And I had good luck. This December I spent again some time at saunas in various places – and it was wonderful to roll naked in the snow after the sauna.

Santa Lucia procession.Photo (c) Gerhard Hallstatt 2012

Santa Lucia procession.
Photo (c) Gerhard Hallstatt 2012

I also saw two beautiful Santa Lucia processions in Turku and Inkoo. I even filmed the Santa Lucia procession in Turku but still have to work on this video. In Turku there were many people watching the procession of Santa Lucia with the burning candles on her head. But in the small church of Inkoo there were not many people.

I was with a friend because I had seen photos of the danse macabre paintings inside this church. We did not know about the Santa Lucia procession there. I was glad to take some beautiful photographs combining lovely young girls with their candles and the kuolemantanssi frescoes.

The fortified island Suomenlinna was very impressive too. This might inspire another Allerseelen song. Some places that I had intended to visit were closed, for example Ainola, the house of Jean Sibelius in Järvenpää, and the wonderful castle Olavinlinna. So there are many reasons to return. Also I really enjoy lakritsi, salmiakki – as sweets as well as alcoholic drinks. Only some days ago I saw a photo of the absinthe spoons that are on display in Jean Sibelius´ house in Järvenpää – I did not know that he was drinking absinthe too. So I have at least a little bit in common with Jean Sibelius.

What have been and are your biggest influences in music, literature, and art in general?

Berlin was maybe the place that changed my life most as there, living for some time in a squat, I got to know the music of Einstürzende Neubauten, Deutsch Amerikanische Freundschaft, Abwärts. I was there when I was 16. I was again in Berlin when I was 18 – and then I saw there SPK live which had been a big influence on me together with the industrial music of Throbbing Gristle.

Gerhard Hallstatt, Schwedenhöhlen, Niederösterreich. Photo (c) Zeke Maziur.

Gerhard Hallstatt, Schwedenhöhlen, Niederösterreich. Photo (c) Zeke Maziur.

One of my favourite writer was and is Arthur Rimbaud – his magical symbolism, his travels, the mysteries in his biography, also his sudden and surprising decision to stop writing. When I was 17, I spent some weeks in France, visiting the village where he lived, visiting his tomb and travelling to many other places in France. When I was 19, I was again in Northern France, I saw there Psychic TV live in Rouen.

I am inspired a lot by writers like Antonin Artaud, Hermann Hesse, Ernst Jünger, Friedrich Nietzsche, Rainer Maria Rilke. The Industrial Culture Handbook published by Re/Search many years ago was a real book of revelation for me: Suddenly I came across a counter-culture that combined controversial musicians, heretic writers, revolutionary artists, cultural outlaws. I liked and still like very much the art of Man Ray, Edvard Munch, the Pre-Raphaelites, I love films by Jean Cocteau, Alejandro Jodorowsky and Pier Paolo Pasolini. In fact, my artistic pantheon contains of dozens of artists that I might consider as inspirations, masters, muses, and a list would be really long.

How you came up with the names Aorta, Ahnstern and Allerseelen? How they manifest the substance of their vessel and aim – and what are their aims?

I am inspired a lot by the writings of Friedrich Nietzsche, and I also like very much his words “Of all that is written, I love only what a person hath written with his blood. Write with blood, and thou wilt find that blood is spirit.“ So there were many reasons to chose the name Aorta for my record label and also the magazine. Whereas the word heart had been used too often in too kitschy contexts and the concept of blood was too often too strongly connected with destruction and war, the word Aorta still contained some innocence beyond kitschy or romantic visions of love and war.

Drums of Calanda, Spain.Photo (c) Gerhard Hallstatt

Drums of Calanda, Spain.
Photo (c) Gerhard Hallstatt

The name of my book Blutleuchte – which is also the name of a Finnish music project – means Blood Lantern. This title was inspired by the cult of the Blutleuchte that had been founded by Alfred Schuler and some other poets and philosophers around Stefan George in Munich around 1900. They believed in the pagan blood of prechristian antiquity and wanted a pagan renaissance. Alfred Schuler was also a big inspiration for Rainer Maria Rilke.

Ahnstern was an old German word for the planet Saturn, I had discovered this word in a book on runes. I used this name for magazine after I had published twenty issues of Aorta. The record label Steinklang also uses this name as sub-label.

There are many reasons why I chose the name Allerseelen. This name was partly inspired by Georges Bataille, by Pier Paolo Pasolini and especially by the concept of the Dia de los Muertos in Mexico the rites uniting life and death in early November. Only some years ago I found out that very similar traditions also existed in Austria and still exist in Bulgaria.

What it means to be an artist in your case?

Without art, life would really be boring, a waste of time. I have been accustomed for all these years to either working on something in music or poetry or photography. I am lucky that I may combine all these arts in the Allerseelen releases.

Without art, life would really be boring, a waste of time.

Human bones and leaves in a small lake. Photo (c) Gerhard Hallstatt 2007.

Human bones and leaves in a small lake.
Photo (c) Gerhard Hallstatt 2007.

I could not even imagine a life without art, without being surrounded by books, paintings, records. If I had to choose between a life without art, without aesthetic addictions, artistic obsessions and a death with art, I definitely would choose this adventurous terra incognita named death. It seems that I have the romantic impression that the realm of death is filled with art, beauty, poetry. In my youth I was also obsessed with death, I was collecting human bones and skulls, and I was fascinated by the stigmata of Catholic visionaries. I wrote about this in my magazine Aorta, these texts were then also published in the book Blutleuchte. This was definitely inspired by blood-stained Catholicism in my childhood, the theatre of cruelty that I got to know in churches and at school.

You have been doing your projects for quite long time already. How your approaches and interests have changed during the years? What subjects you don’t find anymore so important or interesting, what subjects have lately emerged? What subjects have continued to interest you?

If I am in love with something, I may be really stubborn. I still have the same interests that I had in my teenage years: art, occultism, surrealism, symbolism, travelling. In the past some people saw Allerseelen in a political context – but I was never really interested in politics. Politics were only of interest for me when they were connected to art or occultism. Thus I was and am still very interested in the biographies of magical monarchs like Ludwig II from Bavaria or Rudolf II in Prague or Frederick II in Italy.

Les Agudes, Catalunya.Photo (c)Sabinita 2002.

Les Agudes, Catalunya.
Photo (c) Sabinita 2002.

There is a still a lot of fever inside my head and heart, an ardent enthusiasm for utopies and visions. I do not feel adult at all. I am still living in a quite archaic way, surrounded by books, heating with wood. I do not download music, I am not accustomed to read electronic books. I always knew that time is more important than money. An archaic life without many responsibilities, in some way similar maybe to the way of life of E.M. Cioran in Paris, had been my dream when I was 17 – and it became reality. Hopefully this dream still will be reality when I am 71.

I still have the same interests that I had in my teenage years: art, occultism, surrealism, symbolism, travelling. In the past some people saw Allerseelen in a political context – but I was never really interested in politics.

Basically I am interested in things that combine culture and nature, paganism and christianity. I visited cromlechs, dolmens, menhirs in many countries. I have always been fascinated by magical and tragical biographies. This is why I wrote in my magazines and in my book Blutleuchte about visionaries and artists like Kenneth Anger, Bobby Beausoleil, Leonora Carrington, Corneliu Codreanu, Otto Rahn, Leni Riefenstahl, Viktor Schauberger, Rudolf Schwarzkogler, Karl Maria Wiligut and many others – all their lifes had magical and tragical qualities. All these fascinating and more or less controversial personalities still today are interesting me very much. If I wrote today about these artists and occult or political or ecological visionaries, my texts would definitely be different. But I am not certain to which extent they would be different.

What is or are your own favorite Allerseelen records and why?

I prefer the last two CDs named Hallstatt and Rauhe Schale. Both contain for me very intense memories. My recordings are always very individual and personal, even today when I am working on stage and in studio with various other musicians.

Allerseelen: Hallstatt. Ahnstern/Aorta (2007).

Allerseelen: Hallstatt.
Ahnstern/Aorta (2007).

Allerseelen sometimes have been compared to a group like Laibach – but this only makes sense in a superficial way. Maybe because of some musical elements, maybe because of the use of sometimes dangerous symbols. But Allerseelen never has been a collective, and the Allerseelen lyrics and visions are very subjective. In many ways, the Allerseelen CDs are acoustic diaries. For me they represent microcosms that are manifestations of a certain period of my life with specific experiences and impressions, beautiful ones, powerful ones, sad ones. Each song has a special story that quite often is only known to me.

In many ways, the Allerseelen CDs are acoustic diaries.

I also like the very early Allerseelen recordings that I released on cassettes with dozens of loops that I recorded with a bought violin and kettle-drums that I had stolen from a church. Although usually I am not listening to my own recordings. I love my songs when they are slowly coming into existence, when I feel a certain sacred marriage between rhythms and melodies and lyrics. When a song is finished, I usually stop listening to it. Probably because I already know it too much by heart. The process, the path has always been more important for me than the result, the peak, this is for me as valid in music as in travelling, as in the mountains. If life is the path and death is the peak, I am also definitely more interested into the path.

Blutleuchte is a book of yours that came out the last year. What the book contains? How you got Joscelyn Godwin to write the introduction to it? I remember you mentioned to me in Turku (while having beer and salmiakki shots at Koulu) that he is a friend of yours, do I remember this correctly?

Gerhard Hallstatt: Blutleuchte. Photo (c) Gerhard Hallstatt.

Gerhard Hallstatt: Blutleuchte.
Photo (c) Gerhard Hallstatt.

I liked our evening at Koulu in Turku – and I hope to return there soon. Joscelyn Godwin is a real renaissance scholar. He wrote several fascinating books about alchemy, magic, music and various other topics. We know each other for several years. We met various times in Wien, and I also visited him when he lived for some months in Venice. He had been a subscriber of my magazines Aorta and Ahnstern, so he already knew all the texts of the Blutleuchte book before I asked him if he might like to write a foreword. These now completely sold out magazines Aorta and Ahnstern had been bi-lingual magazines in German and English about my experiences, impressions, studies.

Some texts were like travel diaries – I wrote about my travels to little villages in Italy and Spain, about my visits at castles like Montsegur in South France and Castel del Monte in Apulia. Other texts, like small biographies, were the result of patient researches at libraries. I always wrote about artists and visionaries that were fascinating me. And I wrote always also about my own fascination.

So far there are already American and French editions of my book Blutleuchte containing all these texts and I think that in 2014 also German and Spanish editions finally will be available too. I am looking forward to these editions. All of these will be available via my Aorta Mailorder.

You have a strong interest in occult, pagan and folk related subjects. Which one of these describe you the best: an atheist, an agnostic, a pagan? If pagan, what kind of a pagan?

I would call myself a pantheist, and my pantheon is nature, this is why I spend as much time as possible outdoors.

I would call myself a pantheist, and my pantheon is nature, this is why I spend as much time as possible outdoors. I have been interested in a lot of different traditions, alchemy, kabbala, magic, shamanism, tarot. As an artist I always have been considering everything from an aesthetic point of view, and this is valid also for the world of occulture. This is why I may be fascinated as much by a Tibetan painting as by a Catholic fresco, by a rock painting in Finland as much as by a petroglyph in a temple on Malta. I am fascinated by Mithraism and visited various Mithras temples in Austria, Italy, Slovenia. Some weeks ago I visited a very small Mithras grotto close to Dubrovnik in Croatia. But I do not consider myself as follower of Mithras.

What do you think of Christianity and catholicism?

In my pantheism there is also a lot of place for Christian traditions and myths that very often have their roots in pre-christian, pagan traditions – like for example the beautiful Santa Lucia processions in Scandinavia. All Christian plants seem to have pagan roots.

I am a pantheist who is also fascinated by Christian mysticism, I like the writings of Meister Eckehart, of Saint Hildegard. Christianity is fascinating as a strong syncreticism with so many aspects borrowed or stolen from the mysteries of Isis, Cybele, Mithras. Catholicism is a bloody myth – but I still have to meet a Catholic who really believes in the most important dogma that bread is turned into sacred meat, that wine becomes sacred blood. I never met anyone who believed this. I suppose that all over the world there is thus only existing a hard core of maybe only some hundred or thousand real Catholics.

Cocullo, Abruzzi, Italia. Photo (c) Gerhard Hallstatt.

Cocullo, Abruzzi, Italia.
Photo (c) Gerhard Hallstatt.

I am fascinated by several Catholic phenomena like stigmata. Years ago I did a lot of research on the stigmatized Therese von Konnersreuth in Bavaria and wrote about this in my book Blutleuchte after a visit in the small village Konnersreuth. In Blutleuchte I also wrote about the bloody Semana Santa drums of Calanda in Spain that Luis Bunuel used as soundtrack for some of his movies. I was two times in Calanda. And also in the small village Cocullo in Italy I was impressed by a nowadays Christian procession with living snakes on San Domenico– this tradition definitely has a pagan, pre-christian root. Maybe soon I will travel there again…

Actually especially Catholicism is a real pantheon and pandemonium with all its Saints, with its colourful hell and more or less pale heaven. In the Kansallismuseo in Helsinki I was incredibly fascinated by a very realistic sculpture of the pagan Lalli who had killed bishop Henrik. The dead bishop was standing on the bloody body of Lalli who had very beautiful eyes and held a book in his hands. I identified immediately with this pagan and his book. Only later I was told details about the life of Lalli.

You have traveled a lot. Where you have been, what traveling means to you – pilgrimages? I recall you have described your travels as ”magical mystery tours”. What places have made the deepest impression on you and why? What are the most special experiences you have had during these travels?

Luckily we have been invited with Allerseelen to perform in a lot of countries in Europe. We also performed in North America and Russia – and I always try to combine these concerts with some explorations of culture and nature in these countries. It would make me sad to visit for example Helsinki just for one night.

Basically I am very curious. So very often I am returning from countries with dozens of wonderful experiences and impressions that may inspire new songs. From Finland and Estonia for example I came back with great Kalevala and Kalevipoeg impressions. I am learning a lot in these concert travels. I got to know new artists, musicians, writers – and I came back also with a lot of lakritsi, salmiakki, strange sweets like Pippuriset Pääkallot and delicious drinks like Leijona Pastilli Shot, Koskenkorva Lakritsi.

Cocullo, Abruzzi, Italia.Photo (c) Gerhard Hallstatt

Cocullo, Abruzzi, Italia.
Photo (c) Gerhard Hallstatt

I had very strange experiences when I travelled in my youth alone to the Italian volcanoes Vesuvio, Etna and Stromboli. I have not yet written about these experiences but will do so one day. I still have my diaries, some photographs and even some super-8 filmings that I took on Etna. I had not been well equipped at all, no good shoes, not enough water, not enough realism. A lot of dangerous things might have happened. Nowadays I would go there again much better prepared – with good maps, with more water – and I would not go there in hot August like I did when I was 18. I did not have enough water when I was on Etna and had already some hallucinations before I finally knew that I had to return to survive. I wounded my foot when I wanted to climb inside the crater of Vesuvio. And on Stromboli strange things happened too.

In these days in Southern Italy and Sicily I had with me Also sprach Zarathustra. In some way I was as crazy as the volcanic philosopher Friedrich Nietzsche. While I am talking about this, I feel again a very strong desire to leave again for these volcanoes – there are only paths as volcanoes do not have peaks. “For staying is nowhere.” (Rainer Maria Rilke: Duineser Elegien)

You mentioned the castles Montsegur and Castel del Monte. Can you tell us something about them?

Montsegur, Ariege, France. Photo (c) Gerhard Hallstatt.

Montsegur, Ariege, France.
Photo (c) Gerhard Hallstatt.

Usually the most impressive places are those where I am travelling alone. In this I am very close to the Steppenwolf described by Hermann Hesse in his famous novel. I visited the Cathars´ castle Montsegur in South France two times. The first time it was magical and intense, I had slept outdoors in my sleeping bag for several days, I had walked for hours. It was a real tour de force.

When I arrived in the late afternoon at Montsegur, I was the only visitor. It was raining a bit, and I knew that I would stay there over night. I also spent nights in other castles of the Cathars, these nights at Queribus and Peyrepertuse were intense too. During my second visit on Montsegur I felt like an average tourist as I was not alone. It was the same castle yet it was not the magical Montsegur that I had witnessed in my first visit. I really believe in the well-known saying: The path is more important than the peak.

Usually the most impressive places are those where I am travelling alone.

The next time I will again travel alone to Montsegur to spend there another night. I was visiting the octogonal Castel del Monte in La Puglia, Italy, in a very similar manner, walking for several hours on small roads towards a magical castle that looked from the distance like a white crystal on a hill. When I was going there I did not know where I would stay over night. I did not care as I also had my sleeping bag with me. My travelling then was in some way close to the travels of Arthur Rimbaud. While I am telling this, I feel a strong desire to visit both places again in the same Steppenwolf manner – alone, walking a lot with a backbag filled with a sleeping bag, with maps and books and water and a knife.

Lastly, what about mountains? You often mention mountains in your songs.

Vihren, Pirin, Bulgaria. Photo (c) Gerhard Hallstatt 2007.

Vihren, Pirin, Bulgaria.
Photo (c) Gerhard Hallstatt 2007.

Mountains have been very important for me in the last ten years. And usually I like the paths up to the peaks more than the peaks themselves. On the peaks I usually feel a certain emptiness. I felt this emptiness also in the castle Montsegur. ”Six thousand feet beyond man and time” is a good description of Friedrich Nietzsche who wrote about his years close to the wild mountains of Engadin in Switzerland, high above manhood, high above average life.

Julius Evola wrote several essays about this in his Meditations on the Peaks, inspired by his tours on difficult mountains in Austria, Italy, Switzerland. I hope to visit one day the glacier where his ashes are buried.

Some days ago I was sleeping alone in a mountain hut on the mountain Schneeberg in Lower Austria that has a room for emergencies that is always open. On a height of over 2.000 metres, I was drinking Koskenkorva Lakritsi and thinking of my beautiful days in Finland.

– – –

Vielen Dank für das Interview, Gerhard!

There is going to be a review of Gerhard’s book Blutleuchte and Allerseelen’s CD Rauhe Schale in the blog in a near future.

– – –

Related links:

Allerseelen

Gerhard Hallstatt: Blutleuchte

Aorta Mailorder

Gerhard Hallstatt: Blutleuchte + Allerseelen: Dein Herz schlägt aufwärts

Allerseelen: Das Feuer fragt

Allerseelen: Wo ist das Leben

Allerseelen remixed two songs of Agalloch for the Agalloch DoCD / DoLP Whitedivisiongrey:

Allerseelen / Agalloch: Dunkelgraue Stille

Allerseelen / Agalloch: Nur noch Asche
– – –

Read Full Post »

Reich of the Black Sun

Joseph P. Farrell’s Reich of the Black Sun: Nazi Secret Weapons & the Cold War Allied Legend (Adventures Unlimited Press 2004) is easily the wildest, the weirdest and the most entertaining book I have read for quite some time. It is a bit Black_sunlike Pauwels’ and Bergier’s Morning of the Magicians (1960) combined with Trevor Ravenscroft’s The Spear of Destiny (1973) on steroids. The author puts forth some truly amazing ideas, possibilities, claims and hypothetical conspiracy theories regarding Nazi Germany, it’s history, politics, culture and especially it’s science in the book.

(more…)

Read Full Post »

Das Fest II! 100 postia Pekka Siitoimesta!

Blogin Pekka-posteista sanottua

Mesikämmen-blogi – kirjoittaja on julkaissut parhaan Pekkaa käsittelevän artikkelisarjan, mitä blogistanissa on nähtyNarian

Kertakaikkiaan sellainen folkloristinen pikkujättiläinen, ettei moista voisi kuvitella olevan olemassakaan (…) Ötöpesän jengi on lukenut nämä kaikki, eikä ennen sitä olisi voinut kuunaan kuvitellakaan, että Pekka Siitoimesta olisi missään näin paljon materiaalia. Ja mikä parasta, vapaasti saatavillakin! (…) Ehdottomasti rautaristin, suojaviitan, kumimanttelin ja kaasunaamarin arvoinen teko!Ötöpesän jengi

Vuoden blogistipalkinto ja kiljukanisteripalkinto! Tämä on yleensä vaiettua kulttuurihistoriaa yhdestä Suomen kummallisimmista ja viihdyttävimmistä miehistäJokunen

Blogihan on ollut varsinainen kylttyyriteko. Näiden Pekka-artikkelien taso vaatisi suorastaan niiden sitomista kansien väliin! “Helvetin hyvä”, sanoisi Peksi. Go on!A

Ylivoimaisesti parhain sivusto hengentieteen Mestari Pekka Siitoimesta – B.S. Müller, uudelleen perustetun Turun Hengentieteen Seuran sisäpiirin jäsen

100 Postia

100. Kursiivin isku, osa 4
99. Kursiivin isku, osa 3
98. Kursiivin isku, osa 2
97. Täällä vartioin minä!
96. Kursiivin isku, osa 1
95. Huolestuneisuus ennen Kursiivin iskua, osa 3
94. Alfauros laittoi asioita kuntoon.
93. Huolestuneisuus ennen Kursiivin iskua, osa 2
92. Huolestuneisuus ennen Kursiivin iskua, osa 1
91. IKR:n plörinäksi mennyt Belgian matka 1977
90. “Worshiping the Devil in the name of God”
89. Siitoin-filmi oy, osa 5
88. Siitoin-filmi oy, osa 4
87. Kai M. Aalto puhuu! (osa 2/3)
86. Siitoin-filmi oy, osa 3
85. Turun Hengentieteen Seura, osa 11
84. Turun Hengentieteen Seura, osa 10
83. Turun Hengentieteen Seura, osa 9
82. Pekka ja SMP/SKYP
81. IKR:n plörinäksi mennyt Kotkan marssi 1977
80. Lisähuomioita Pekan mielenosoitustoiminnasta, yms.
79. Pekka ja vappu, osa 4/4
78. Pekka ja vappu, osa 3/4
77. Pekka ja vappu, osa 2/4
76. Pekka ja vappu, osa 1/4
75. Pekan perheonnea
74. Arjalanpaisti ja arjalanpiirakat
73. Kai M. Aalto puhuu! (osa 1/3)
72. Mitä Pekka Siitoin ajattelisi perussuomalaisista?
71. Pekka Siitoin: Jag ska befria Norden!
70. Pekan mietteitä ennen eduskuntavaaleja 1983
69. Pekka Siitoin palauttaa Karjalan Suomelle, osa 3
68. Pekka Siitoin palauttaa Karjalan Suomelle, osa 2
67. Pekka Siitoin palauttaa Karjalan Suomelle, osa 1
66. Pekkagrammi, osa 2
65. Pekka Siitoin ja rock ‘n’ roll
64. Näen ja kuulen… mutta puhe sammaltaa
63. Pekka Siitoin Fingerporissa
62. Tulella leikkimisestä
61. Talo, jossa Pekka Siitoin asui (osa 2)
60. Pekka presidentiksi?
59. Kommunismin ja kokoomuksen uhka
58. Valtakunnanjohtaja ja Italia
57. Valtakunnanjohtaja ja Varkaus
56. Kiljukeisari
55. Valtakunnanjohtajan kiljuepisodi
54. Pekka Siitoin -anagrammit ja postyymi Finlandia-palkinto
53. Hyvää uutta vuotta!
52.Turun Hengentieteen Seura, osa 8
51. Das Fest! 50 postia Pekka Siitoimesta!
50. Arkistojen aarteita ja Pekka Siitoin soundboard.
49. Luvassa hypnoottis-magneettista menoa.
48. Turun Hengentieteen Seura, osa 7.
47. Rivologin rodunjalostusta.
46. Turun Hengentieteen Seura, osa 6.
45. Pekkagrammi.
44. Ääretön rakkaus.
43. Siitoin-filmi oy, osa 2.
42. Pekan lähtö.
41. Pekka Siitoimen transformaatio poliittisesta uhkasta uusnatsismin ja okkultismin von Münchauseniksi.
40. Pekka Siitoimen shortsit.
39. Hyvät naiset, olette kaikki kauniita!
38. Kassisen perintöprinssi.
37. Mikä erottaa fasistin kommunistista?
36. Mesikämmenen jengi.
35. Pekka Siitoin built my Panzerwagen.
34. Turun Hengentieteen Seura, osa 5.
33. Turun Hengentieteen Seura, osa 4.
32. Seurakuntavaalit.
31. Turun Hengentieteen Seura, osa 3.
30. Turun Hengentieteen Seura, osa 2.
29. Turun Hengentieteen Seura, osa 1.
28. Pentagrammon, clavis, cranium, sciurus, circumferentia, logos, gravis admodum, et diaboli.
27. Siitoin-filmi oy.
26. Mitä Leo Meller sanoi Pekka Siitoimen kuolemasta?
25. Toinen todellisuus.
24. Mitä Pekka Siitoin sanoi Anton LaVeystä ja satanismin historiasta?
23. Pekka Siitoimen iltarukous.
22. Isän valtakunta kuvina.
21. Isän valtakunnan jälkipyykkiä.
20. Pekan parhaat, osa 7.
19. Pekan parhaat, osa 6.
18. Pekan parhaat, osa 5.
17. Pekan parhaat, osa 4.
16. Pekan parhaat, osa 3.
15. Pekan parhaat, osa 2.
14. Pekan parhaat, osa 1.
13. Isän valtakunta.
12. Arkistojen kätköistä.
11. Päivän lainaus ja kysymys.
10. Pekka Siitoin on nykyään vampyyri!
9. Hypnoottis-magneettinen katse ja sen alkuperä.
8. Mitä Pekka Siitoin sanoi äidilleni.
7. Luciferin arkkipiispan nauru.
6. Talo, jossa Pekka Siitoin asui.
5. Achtung! Valtakunnanjohtaja puhuu! (osa 4/4).
4. Achtung! Valtakunnanjohtaja puhuu! (osa 3/4).
3. Achtung! Valtakunnanjohtaja puhuu! (osa 2/4).
2. Achtung! Valtakunnanjohtaja puhuu! (osa 1/4).
1. Should I laugh or cry?

Ja jatkoa seuraa…

Mesikämmenen postit valtakunnanjohtajasta eivät tähän lopu. Postit jatkuvat Kursiivin tapauksen tonkimisella, minkä jälkeen pääsemme Pekan saaman vankeustuomion käsittelyyn, ja sen jälkeen Pekan vankilanjälkeiseen elämään. Materiaalia löytyy vielä hyväksi toviksi eteenpäin. Näiden sadan ensimmäisen postin jälkeiset Pekka-postit löytyvät helposti blogin oikeasta alapalkista “tags”-osiosta sanalla “Pekka Siitoin”. Siitä klikkaamalla löytyy lista kaikista blogin Pekka-aiheisista posteista, mitä tämän 100. postin jälkeen on julkaistu.

Read Full Post »

Turun Hengentieteen Seuran käsittelyssä olemme päässeet jo yhdeksänteen osaan. Tällä kertaa käymme läpi aiheen tiimoilta tapahtunutta lehtikirjoittelua, sekä Siitoimen UFO-tulkintoja.

A. Ruohonen kirjoitti Siitoimelle yleisönosastolla: “Pekka Siitoin tässä joku aika sitten kirjoitti avaruus- eli Ufo-olennoista: Ajatus on todellakin mielenkiintoinen ja kysymyksiä herättävä. Onko todella näin, että uusi maailmanuskonto on tulossa maan päälle, uskonto joka maan magneettikenttiä eli syväkivialueita hyväkseenkäyttäen sitoo verkkoonsa koko maapallon? Ajatus on naurettava, mutta sittenkin mielenkiintoinen ja juuri tämä tekee sen vaaralliseksi (…) Kuitenkin sitä ennen Herramme Jeesus Kristus on luvannut tulla pelastamaan omansa siitä koetuksen hetkestä joka koko maanpiiriä on tuleva koettelemaan (Ilm. k. 3:10). Olkaamme siis valmiit ja antakaamme kunnia yksin kaiken luojalle”.

Siitoin vastasi A.Ruohoselle: “Ihmettelen suuresti miksi Te ja muut papit aina alatte väittää, että ‘saatana’ on jälleen asialla, kun joku puhuu joistakin yliluonnollisista asioista, jotka ovat totta, ja jos joku on eri mieltä Raamatun tulkinnasta. Te leimaatte hänet myös paholaisen asiamieheksi (…) Saksankielellä on ilmestynyt ns. korjattu Raamattu, joka vastaa alkuperäistä. Oman käsitykseni mukaan nykyinen Raamattu ei ole luotettava, sillä eihän maailmasta löydy vanhempaa Raamattua kuin Vatikaanista 400 jälkeen Kristuksen. Alkuperäinen Raamattu on kirjoitettu valmiiksi kuitenkin heti Jeesuksen kuoleman jälkeen. Minulla on itselläni pitkä luettelo Raamatun virheistä ja olen valmis väittelyyn kanssanne kantani puolustamiseksi, vaikka en olekaan saatanan asiamies”.

Ovelana miehenä Siitoin jätti Ruohoselle tarkentamatta, että hän ei ole Saatanan, vaan Luciferin asiamies. Mitä tulee Siitoimen tietoihin Raamatun kirjoittamiseen menneestä ajasta, niin ne tiedot ovat kyllä melkoisen pielessä – lopullinen Raamatun kaanon kun oli valmis vasta neljännellä tai viidennellä vuosisadalla, ei välittömästi Jeesuksen kuoleman jälkeen.

V. Vuoristo otti edellisestä Pekan tekstistä kierroksia ja kirjoitti hänelle yleisönosastolla: “Olette pahassa pulassa, josta vain Kristus voi Teidät pelastaa. Te haluatte väitellä järjellisesti Raamatun “ristiriitaisuuksista”, ettekä näe, että Raamatun totuudet voidaan tutkia vain hengellisesti”.

V. Vuoriston olisi kannattanut lukea pari Siitoimen kirjoittamaa kirjaa, niin hän olisi huomannut, ettei Siitoimella ollut mitään epäloogisia “hengellisiä” argumentteja vastaan. Pelkästään luonnontieteelliset UFO-selitykset Siitoin tyrmäsikin selväsanaisesti mm. teoksissaan Yhteys Ufoihin ja henkimaailmaan (Turun Hengentieteen Seura, 1973) ja Ufot, uskonto ja Paholainen (Turun Hengentieteen Seura, 1974). Siitoimen mukaan UFOja tutkittiin parhaiten nimen omaan hengentieteellisesti. Tästä hän kirjoitti myös yleisönosastoilla:

Vaikka Siitoin lähestyi UFOja ennen kaikkea hengentieteiden näkökulmasta, hän pyrki silti selittämään niitä tarpeen tullen myös enemmän tai vähemmän luonnontieteellisesti. Tämän voi todeta myöhemmin alla olevasta “Ufojen taktiikka”-artikkelista.

Vuonna 1984 Siitoin vieraili Turun UFO ry:n kokouksessa ja esitti siellä oman teoriansa UFOista. Lehtileike asiasta antaa ymmärtää, että kuluneiden vuosien saatossa Siitoin oli kehitellyt ajatuksiaan UFOista sitten 70-l:n eteenpäin. Ainakaan em. Siitoimen teokset eivät maininneet mitään siitä, että “UFOt ovat itsensä Saatanan lähettämiä vakoilijoita” ja että “niiden pesäpaikkana on maapallon sisus ja ne tulevat ulos kanavaa pitkin, jonka kulkuaukko sijaitsee Etelänapamantereen keskustassa”.

Niin villi kuin Siitoimen teoria onkin, se ei ole hänen itsensä keksimä, vaikka se varsin pekkamaiselta kuulostaakin. Vastaavia näkemyksiä ovat esittäneet monet jo paljon ennen häntä. Asian tiimoilta voi perehtyä vaikka Joscelyn Godwinin teokseen Arktos: The Polar Myth in Science, Symbolism, and Nazi Survival (1996).

70-luvulla Pekka puhui UFOista lähinnä siihen sävyyn, kuin alla olevissa yleisönosastokirjoituksissaan. Niissä hän totesi mm., että “Meillä ei ole mitään syytä pelätä ufoja, sillä he ovat paljon korkeammalla tasolla kuin me, ja tietävät näinollen mitä tekevät meidän kaikkien hyväksi, sillä ufo-ihmiset kannattavat kaikkea hyvää ja ovat ehdottomasti kaikkea sortoa ja pahuutta vastaan”.

Korkealentoisuus ei lopu tähän. Pekan mukaan ihmiskunta on UFOille myös sukua. Pekan mukaan UFO-ihmisten “rodun piti laajeta toisille planeetoille. Sikäläiset ihmiset tulivat näinollen tänne maan päälle Ufoissa”. Tätä kautta sai sitten alkunsa Atlantis, mutta hommat menivät siellä pahemman kerran reisille: “Kuitenkin ajan mittaan hyvä ja leveä elämä alkoi kostautua, perustettiin pornoluolia ja viljeltiin huumausaineita, ja muutamat ihmiset alkoivat käyttää väärin yliluonnollisia kykyjä ja näinollen syttyi atomisota hyvien ja pahojen välille, joka aiheutti sen, että päämanner Atlantis upposi valtameren syvyyksiin”.

Ihmisten yliluonnollisista kyvyistä en tiedä, mutta “pornoluolia” lienee nykyään enemmän kuin 70-luvulla ja huumeita kasvatetaan nykyään Suomessakin yhä enemmän. En näe näiden asioiden ja atomisodan uhan välillä yhteyttä, mutta onhan ydinaseiden kanssa ollut muutama läheltä piti-tilanne. Toivotaan, ettei Atlantiksen kohtalo toistu…

Päivän biisi: Martti Servo ja Napander: Ufo tarjosi kaakaon.

Read Full Post »

There is an interesting documentary in the making: My Swastika. The director Dominick Crowley has said  about the documentary that “My Swastika is a documentary dealing with the controversy, history and social impact of the symbol of  swastika. The production itself is an academic production, non-sensationalized, and we are trying to be 100% factual and truthful about the image and we avoid any sensationalism; media, journalism, anything that kind of pop-culture or sensationalist”. I am really looking forward to seeing the final result of that project. Thus far there are out there the documentary’s trailer and behind the scenes clip. The project has also two Facebook pages, this one and especially this one.

The documentary made me think about the symbol again. The controversy about swastika is historically of course a fairly new one, thanks to the Nazis who tainted the general perception of this ancient symbol in the Western culture. Before the Nazis the symbol was used throughout the world for ages and it continues to be widely used in Eastern religions.

But what does the symbol stand for? Where has this universal symbol originated from? There are lots of ideas about these things. Generally, swastika seems to stand for a good luck and it is considered to be a holy symbol. The theories about the origins the symbol vary a lot. One theory about the origin of swastika that I haven’t seen to be pondered about a lot is that of a celestial origin, of Ursa Minor’s and Ursa Major’s rotational positions (equinoxes and solstices) around the pole star. I am somewhat surprised that this theory has not got that much attention.

If you look at the nightsky it seems to rotate around the pole star that stays in a fixed position. One of the most visible if not the most visible constellation that can be seen in the nightsky and that connects nicely with the  Northern pole star is that of Ursa Major. I might get a bit poetical here, but thinking of the importance of a yearly cycle of life for people in pre-industrial, agricultural age, the yearly cycle seems to be very important. It is about a whole cycle of life here on Earth, and thus something holy, since holy refers to something that from a special angle covers all of life. You can find swastika right from the nightsky. This idea can be found nicely from Ph.D. Joscelyn Godwin’s The Polar Myth.

Illustration from Godwin's book, p. 147

Here are some notes about what some present day Taoist practitioners have to say about the Big Dipper (Ursa Major), its origin and function in Taoism, and about its meaning in Taoist astrology. A to Z Japanese Buddhist sanctuary has some interesting notes about Northern Polestar and the Big Dipper as well. There are of course many sites about swastika in Buddhism too, for example here and here.

Read Full Post »