Nightgenga - The Wælmist Tape

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Nightgenga - The Wælmist Tape

Deluxe tape edition on pro cassette with jet black shell, full body printing & j-card limited to 50 copies.

The “Wælmist” (Waelmist, Anglo-Saxon meaning ‘death-mist’) is the boundary-marker which encircles a medieval world so created and isolated within the Abyss, the Outer-Chaos in which I so fashioned it in my minds’ eye. The death-mist is always existent and is encircled by an Ouroboros, a serpent-dragon so created to maintain the sphere which is this semi-living world so perversely fashioned in the imagination of a Black Magician and Vampyre-Sorcerer called here the Nihtgenga. The inspiration of Anglo-Saxon is highly present in this first work, however, there are also other ancient cultural influences including of course the Celtic, Gaulish, Germanic and Norse among others. As this world expands or increases, these nightmarish dreamscapes will take some semblance of form. Herein, the Anglo-Saxon balance between ancient Pagan practices, witchcraft, sorcery along with the demonology of the new Nazarene Sickness plays a part of colorful description and use in this sphere so encircled by the Anti-Cosmic Chaos of the Abyss. The Nihtgenga in this kingdom is the mostly unseen Tyrant, a Vampyric Sorcerer who rules a world so shaped by my own Black Flame and minds’ eye as but one abode for my Spirit and Daemon intertwined can exist and feed and bring in the enchanted, entranced living souls and (in this sphere of imagination) bodies to be as prey for the Nihtgenga. The Dryhtenweard (King) is the Nihtgenga whose symbols includes the Black Dragon, Asmodeus the Demon King whose patronage of the minds’ eye provided inspiration, the Wolf, Two Anglo-Saxon Swords and the symbol of the castle and its’ towers. The realm of Nihtgenga (Anglo-Saxon/Old English translating ‘nocturnal wanderer’, a type of ghost, vampire, goblin and demon) is not existent in conventional time, nor bound by the laws of nature as we recognize it. Nihtgenga is a sphere-formed realm shaped and created in the acasual and abyssic outer darkness. The Black Magickial art of uniting soundscape compositions with words, imagery bearing deep symbolism and meaning all support the timeless domain surrounded by the waves of anti-cosmic darkness which is neither bound by time nor conventional life and death. Nihtgenga will explore themes and concepts which encompass varying otherworldly designs according to Akhtya Nachttoter. This kingdom exists in the imagination and by way of the acasual chaos of the abyss, centered within the land a stone castle. This castle is built upon the bones of those slayed when this kingdom was created, filled with confused serfs and villages who have no memory of how they came to be there; my Dryht (warriors, retainers) put them to the sword so that the blood would consecrate the building of the castle to the powers of darkness. Nihtgenga is founded upon the dungeon ambient and synthesizer tones and atmospheres so inspired by Anglo-Saxon sorcery, black witchcraft, middle ages demonology and the syncretism of Norse deities and Medieval Satanism from the profane view of ignorant Christianity after the height of the Antichrist traditions of biblical scribes. The Seidhr, Celtic, Gaulish including the assimilated Demonology of medieval Christianity are united with the magical practices of the Deofol (Devil) cult. The abyss of darkness and fog encircle as the Ouroboros Dragon from which this realm is elevated from. Deep forests, demonic spirits and ancestral deities of malignant and beneficial natures are bound in this land of phantoms. Nightmares and sorceries of the Patronage of Asmodeus and the being so named here as Nihtgenga. Vampyric and Necromantic practices engulf and inspire the very concept of Nihtgenga. The metaphysical foundations and sinister theology of Black Magick and the Predatory Spiritualism of Vampyrism are deeply symbolized within the pieces and accompanying text. As an abstract ‘immarama’ (Irish “voyage tales”), Nihtgenga weaves ancient visions and atmospheres of a shadowy mirror of a medieval landscape. The horror and terrors in the tales of Nihtgenga are balanced by the hours of day and night, much like the living world. A vast and nearly ruined castle dominates the landscape much as a part of the mountain it is built upon. Time does not govern this acasual or realm so shaped and containing elements of Chaos here, the inhabitants are of human origin and life, so lured into the fog and mist by ancient paths now forgotten, guided in the state of dreaming and waking within a spell-laden forgetful mist which removes concepts of time and escape. The ancestral spirits of the mighty dead, the Aelfe (elves) such as the Tuatha De Danann and other obscure deities so inspire the traditions of life, death and renewal even in this anti-cosmic world shaped from the abyssic Chaos of the outer void. Samhain is one mere seasonal time in which this world has been touched and pierced into the Otherworld and Underworld in which some unwary or determined might find pathway through the fog and mist at the times of dawn, dusk and midnight. In the living world nature itself has many doors to the realm of Faerie (Aelfe) and the maleficent and beneficent deities, demons, spirits and supernatural beings born of Chaos. Those who are born of Witch-Blood, the Elphame Fires passed down from Azazel, Samael to Cain, flourishing among the Vanir and Aesir, can find these gateways of the ancient world. Night draws in quickly in this world, for it is darksome and primal in its’ formation and mindscape. Clouds of darksome shadowy shapes swirl and terrify the inhabitants not aligned with the Dryhtenweard and his Black Arts. The Thurs-giants exist in some form by the powers of chaos which so invigorate this world, a still sense of calm ‘order’ which drives the inhabitants to strive and grow is the common method of increasing and healing the life-force and blood from which the Nihtgenga feeds upon. This renewal is against the spiritual laws of the so-called natural world; the anti-cosmic and chaos-shaped world is a mindscape of the undead tyranny of the Dryhtenweard. This is in contrast with the creative act of liberation towards escaping the casual (cosmic) terrestrial world in which as humans we ascend from. The Daemonic is slowly united and assimilated with the Psyche to become a New God (or Goddess) whose Apotheosis is a struggle against the trappings and chains of this earth. There is no duality here, all laws are trespassed against the sacred and profane. The luminous fire in which Nihtgenga created this mindscape from is merely one of many realms of terror and abyssic darkness to enthrone the being behind the name of Nihtgenga. This abode of Niflhel (fog-hel) is under the dominion of the Dryhtenweard (ruler) and encompasses the hellish terror of medieval Christian demons and the existence of the ancient witchcraft of the Vanir and Aesnir. The Nihtgenga long ago discovered the keys to the art and blackened light of the deities of Odin, Loki and the other powers within the Nine Worlds which touched and partially inspired this anti-cosmic realm and world created in the void. The rites and lore of Odin who is the guide of the Black Magickian utilizes the Runes to heal and curse, towards the dominion of lordship and control of the Nine Worlds with the mythical gold rings of Draupnir. The rites of day are equally reversed, and Loki whispers the art of turning the Runes towards the deathlike and darksome sigils of terrible power. Being woven with Hellcraeft (hellish power), the living human inhabitants of this realm are bound within the Ouroboros circle crafted by the will and mind of the Dryhtenweard (lord, king) Nihtgenga. In this Dwolma (chaos) land there is a misty dread of Feorhbealu (deadly evil, violent death) beneath the surface of this world. Here is Hellebroga (terror of hell), for Nihtgenga and the ancient powers may slay, devour and drain the living inhabitants of this dreamscape, to then resurrect them in a timeless cycle of serving as the prey of the Hellecinn (hellish race) and Nihtgenga. In the shadow realm of Nihtgenga, there is a bridge between worlds, including that of Strigoii and its Vampyric otherness. The Varcolaci Sigil of the Black Magickian is a clue as to how these dreamscapes both linked by blood-stained astral threads from journeys and drinking our prey sleeping in the Waelmist (Death Mist). Like the Otherworld and Underworlds of the pantheons of deities so ancient, there are battles and violent struggles unknowingly crafted and guided by the Dryhtenweard Nihtgenga from his darksome tower which reflects a necromantic greenish light. There is also solace and some measure of kindness as well, by the day the Vanir and Aesir who may pass into this world may balance with encouragement and increase of some dwellers who are bound to this realm. Nihtgenga is dark dungeon synth concept which will take other forms and shapes with the deep interests in European myths, religions, magical practices and the medieval history of violence, plague, pestilence and death.

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