Queen of the Underworld
- The work is based firmly in Industrial Culture
- The work is based firmly in the use of shamanic and occult principles
- Body modification and the use of SM, while not as overt on the surface, are still present in the context of the shamanic
- The idea of "Astral Sculpture" and the use of subtle-energy life-flows is critical to the work. The surface aspect of the work is only complementary to the occult realities behind the surface.
- The work is designed as a classic Golden-Dawn style Pathworking, using the energies of the ancient Lemurian-Sumerian-Babylonian axis.
The work has four pieces: The first is an introductory overview of the genesis of the Universe, the Demiurgos, Azathoth and his family of Great Ancient Ones. The Creation of the Black Iron Prison is also detailed. The second piece is the coming of the 11 Tennocians from a Universe outside of ours in an attempt to break open the Black Iron Prison. They select the woman Loquai, whose name in the ancient Mantong tongue means "Let us explore what it means to inhabit the animal body" as their vessel for the creation of a device to crack open the Black Iron Prison. The third section is Anton Szandon LaVey's famous "Invocation of Cthulhu" performed in the Elder tongue with English translation. The fourth is the dramatization of the meeting of Loquai and Nyarlathotep in his form of the "Bloated Woman" down in the cave networks underneath Nan Madol on the Island of Ponape.
The music is based precisely on four of the songs already posted to Reverbnation under "Sons of the Widow" however these songs are going to be stripped back to MIDI files, the sounds will all be replaced with sound effects and they will become an ambient background to the recorded story, which is, after all, the real medium and core of the performance. Additional, more musical elements will be provided by Arvid Peterson and Richard Rowlands with IOTN.
cheerful
contemplative
creative
determined