New Key 64 with articles by Paul Laffoley, Jack Malebranche, and more

Find it all here.

Nick Pell says:

From the people who brought you occulture comes the latest, greatest issue of Key64. Since it’s relaunch this year, Key64 has brought you some of the most thought-provoking and controversial names in contemporary occultism, counterculture and fringe thought. Names like Padre Engo, Steven Grasso, and Thirty Seven. Key64 ends its first year with a bang, bringing you something old, something new, something borrowed and something blue.

Fresh from headlining esoZone: Designer Reality Expo, Boston’s most famous visionary artist Paul Laffoley explores some spooky synchronicities engulfing everything from Antonio Gaudi, the Rockefeller family, and the World Trade Centers. With his trademark homespun style, Paul puts his analytical precision and dry wit on the biggest psychic detective case of the 20th century- who killed heroic modernism?

No stranger to stirring up controversy, the Church of Satan’s Reverend Jack Malebranche is back at it again. This time he turns in a Nietzschean exploration of power, laying bare the egoic pretensions of the contemporary American middle class. With all the fury of a Spartan warrior, Rev. Malebranche evokes the best qualities of Anton LaVey’s hilarious honesty and a bare knuckle street brawl. Sure to be an instant classic.

The man behind the epic Laffoley Archive, Michael Coleman sounds off on the weirder memes from quantum theory and their consequences for contemporary esotericism. Ditch your Cartesian-Newtonian presuppositions and move into the 20th Century as Michael takes you on an odyssey through the multiverse. Fans of weird hard science take note.

BUT WAIT, THERE’S MORE!

Nick Pell magnanimously shares the wisdom he’s gleaned on cult leaders. Don’t leave home without reading this!

Klint Finley eulogizes the risen master Lady Jaye and asks some pressing questions about the Broken Sex project.

Lillian Grace interviews Oliviero Toscani, magus of the world of advertising who has turned commercial enterprise into transgresive art.

Lupa brings magic out of the old and musty and into the vibrant and contemporary with her culinary adventures.

Edward Wilson explains retro-active magic for those of us still scratching our heads. Then he joins forces with world famous time traveler Wes Unruh to introduce you to the talismatic text.

Kelly Kennedy gives careful, detailed attention to a subject of much interest to contemporary occultists- building a literary pantheon.

Ikpir introduces Key64’s readers to the dark arts of black radionics and sonic manipulation.

Doctor Invisible reports from his Tesseract at the farthest reaches of the chronoverse.

3 Comments

  1. looks like a great round up

  2. I thought Jack’s article said “Art! Art! Art!” How bemusing.
    Though I agree absolutely with his point I’ll reference Emperor Joshua Norton as a counter-example and although I doubt this is what was meant by “vulnerability” I quote from Nietzsche’s Birth of Tragedy is appropriate –

    One might say that the unshakable confidence in that principle has received its most magnificent expression in Apollo, and that Apollo himself may be regarded as the marvelous divine image of the principium individuationis, whose looks and gestures radiate the full delight, wisdom, and beauty of “illusion.”
    ?
    If we add to this awe the glorious transport which arises in man, even from the very depths of nature, at the shattering of the principium individuationis, then we are in a position to apprehend the essence of Dionysian rapture, whose closest analogy is furnished by physical intoxication. Dionysian stirrings arise either through the influence of those narcotic potions of which all primitive races speak in their hymns, or through the powerful approach of spring, which penetrates with joy the whole frame of nature. So stirred, the individual forgets himself completely. It is the same Dionysian power which in medieval Germany drove ever increasing crowds of people singing and dancing from place to place; we recognize in these St. John’s and St. Vitus’ dancers the Bacchic choruses of the Greeks, who had their precursors in Asia Minor and as far back as Babylon and the orgiastic Sacaea. There are people who, either from lack of experience or out of sheer stupidity, turn away from such phenomena, and, strong in the sense of their own sanity, label them either mockingly or pityingly “endemic diseases.” These benighted souls have no idea how cadaverous and ghostly their “sanity” appears as the intense throng of Dionysian revelers sweeps past them.

    Not only does the bond between man and man come to be forged once more by the magic of the Dionysian rite, but nature itself, long alienated or subjugated, rises again to celebrate the reconciliation with her prodigal son, man. The earth offers its gifts voluntarily, and the savage beasts of mountain and desert approach in peace. The chariot of Dionysus is bedecked with flowers and garlands; panthers and tigers stride beneath his yoke. If one were to convert Beethoven’s “Paean to Joy” into a painting, and refuse to curb the imagination when that multitude prostrates itself reverently in the dust, one might form some apprehension of Dionysian ritual. Now the slave emerges as a freeman; all the rigid, hostile walls which either necessity or despotism has erected between men are shattered. Now that the gospel of universal harmony is sounded, each individual becomes not only reconciled to his fellow but actually at one with him–as though the veil of Maya had been torn apart and there remained only shreds floating before the vision of mystical Oneness. Man now expresses himself through song and dance as the member of a higher community; he has forgotten how to walk, how to speak, and is on the brink of taking wing as he dances. Each of his gestures betokens enchantment; through him sounds a supernatural power, the same power which makes the animals speak and the earth render up milk and honey.

  3. I have been looking forward to this.

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