Category: Necroblastoma

Liber XI Larvarum Qlippoth — The Anatomical Deconstruction of YHWH

Today marks the beginning of a document in the old sense of the word: something meant to record a process as it happens, so that when it is finished, there is a trace of how it came to be. I want this concept to be part of an old school “web log”.

Liturgia Necrotica Corticarum is the new demo by my project Necroblastoma. What follows will be an attempt to map its construction from the inside: the conceptual architecture, the musical decisions, the symbolic framework, and the work with gematria and Qlippothic correspondences that form the spine of the whole thing.

What This Is

Liturgia is a full-length concept album structured as a ritual in three phases, each corresponding to a Kabbalistic process:

• Shevirat HaKelim The Breaking of the Vessels (Tracks 1–4)
• P’gam The Permanent Wound (Tracks 5–7)
• Hit’avorut The Emergence (Tracks 8–11)

The conceptual engine is the Qlippoth or the infamous (in our “scene”) shadow side of the Sefirothic Tree of Life in Jewish mystical tradition. Each of the eleven tracks is assigned to one of the eleven Qlippothic shells (the corrupted counterpart of each Sephirah, sometimes intepreted as failed attempt at harmonic climbing to the pinnacle of creation), and each one is also mapped to a specific organ or anatomical system. The body becomes the Tree. Decomposition becomes theology.

The twelfth piece, Chaos Primordialis, is the dissolution back into the Ain or the pre-creational void that precedes even the first divine emanation. In this case, YWHH decomposes and corrupts into pre-creation nothingness. Goregrind pathology applied to anti-creationist Chaos theory.

Woven between the main tracks are eleven interludes based on corrupted Gregorian chant or Kyrie, Agnus Dei, Dies Irae, Libera Me, Sanctus, Requiem; each one more deformed than the last, following the path from relative purity (Interludes I–IV) through evident corruption (V–VII) into total disintegration (VIII–XI).

The Framework: Qlippoth, Anatomy, and the Deconstruction of YHWH

The central conceit of Liturgia is that the divine name YHWH understood here not as an object of devotion but as a structural diagram can be anatomically deconstructed. Each letter of the Tetragrammaton corresponds to a world (olam), each world to a level of being, and each level of being to a part of the body. The Qlippoth are what remain when the vessels shatter: the husks, the larvae, the corrupted residue of a creation that failed.

The eleven Qlippothic entities addressed across the album are:

Da’ath occupies the pivotal position at Track 8 or the hidden non-Sephirah, the Abyss between the lower and upper triads, the point of crossing. Musically this is the moment of total collapse: no structure, four simultaneous vocal tracks, deliberate rhythmic disintegration, and ten seconds of absolute silence at the center. Everything before Da’ath is breaking apart. Everything after is the emergence of something else.

Purification and ascendancy through putrefaction and postmortem fermentation.

The Conceptual Debt: Qlippothic Theosophy and the MLO Framework

One of the less obvious but more structurally important influences on Liturgia is the relatively modern approach of the Misanthropic Luciferian Order or Temple of the Black Light specifically their approach to Qlippothic pathworking as outlined in texts like Liber Azerate and the broader Temple of the Black Light corpus. The MLO framework treats the Qlippoth not as mere “evil shadows” of the Sephiroth but as autonomous anti-cosmic forces as the “black flames” that preexist and will outlast creation. Their eleven-shell system, their insistence on the Qlippoth as primary rather than derivative, and their ritual approach to each shell as a distinct initiatory threshold are all structurally present in Liturgia and reinterpreted as pathological processes.

The crucial divergence and the conceptual move that defines this album is the substitution of demonic entities with pathologies. Where the MLO summons Thaumiel as a force of cosmic division, Liturgia summons craniopagus, bifurcated aneurysm, split cortex. Where Golachab is the burning sphere of martial destruction, here it is cytokine storm, autoimmune cascade, the body incinerating itself from within. The demonic is not rejected but relocated inside the soma. Disease becomes the authentic face of the Qlippha. The body is not a vessel that demons inhabit; the body, decomposing according to its own internal logic, is the demonic process.

This reframing has a precise theological implication: it removes any possibility of externalization. There is no entity to invoke and dismiss. The Qlippha of Samael is prion disease as it is already inside you, it is rewriting your proteins, it is converting your own tissue into a hostile architecture. The horror is endogenous.

I won’t hide here most of these topics are not new to me but toying with these concepts certainly are but I really like the way some corrispndence between the cosmos certainly makes sense. Indulging on medical records is impossibly complex at times so I am perfectly aware there is a HUGE amount of approximation in this work. Please take it as it is just a cool way to combine concepts in a wicked puzzle for the mind.

On Gematria and the Tetragrammaton

Before the numerological structure of the album itself, there is the primary object of study: YHWH, the Tetragrammaton.

The gematric value of the four letters is well-established: Yod = 10, Heh = 5, Vav = 6, Heh = 5. Total: 26. 26 = 2×13, and 13 is the value of both Ahavah or love) and Echad (or unity) the name encodes the unity of love as its arithmetic foundation. This is the orthodox reading.

The Qlippothic reading inverts the operation. Rather than summing the letters toward unity, Liturgia is interested in expanding the name through full spelling (Milui) and then decomposing each expansion:

• Yod spelled out: 20
• Heh spelled out: 10
• Vav spelled out: 13
• Heh spelled out: 10

Total Milui: 53 — the value of Gan (garden) and also of Aven (iniquity, vanity, sorrow). The name contains its own corruption in the expansion. Disharmony as the source of malady.

Further: the four letters of YHWH correspond to the Four Worlds of Kabbalistic cosmology (Atziluth, Beriah, Yetzirah, Assiah), each world to a body of the divine, and each body to an anatomical register of the human form. Yod/Atziluth = the head and brain; Heh/Beriah = the chest and heart; Vav/Yetzirah = the torso and viscera; Heh/Assiah = the lower body and extremities. The album’s anatomical mapping follows this vertical axis beginning with skin and genitals (Malkuth/Assiah, the lowest world) and ascending toward the skull and cortex (Kether/Atziluth) but in reverse and in a state of progressive putrefaction. The divine name is read from bottom to top, decomposing as it rises.

The Temurah (letter permutation) of YHWH through the Atbash cipher where Aleph substitutes for Tav, Bet for Shin, and so on yields MTZPTZ, a name used in certain traditions as a demonic counterpart to the Tetragrammaton. This substituted name, its phonetic texture, and its gematric value (300) equal to the letter Shin, fire, the Holy Spirit, and simultaneously the Qlippha of primal combustion will appear in the textual layer of the album at specific structural moments. More on this in the dedicated post on the textual system.

Structural Numerology

The number 11 is not accidental, and the structural choices of the album are not arbitrary. In Kabbalistic tradition, 11 is the number of the Qlippoth the eleven shells that lie beneath the ten Sephiroth plus Da’ath. It is also the number of excess: one beyond the complete ten, the digit of transgression and rupture.

The album contains 11 main tracks + 1 dissolution piece + 11 interludes = 23 total pieces. 2+3 = 5, the number of the pentagram, the human body with arms extended.

The interludes are assigned to the 22 Paths of the Tree (specifically Paths 32 down to 12, moving upward from Malkuth toward Kether, but in their Qlippothic inversions). This structural mapping will be explored in depth in a future post dedicated entirely to the Path correspondences and their musical implications.

The working title Corticarum (genitive plural of cortex or bark, rind, shell, crust) was chosen because it contains within it three layers of meaning that are all relevant: biological (the cortex of organs, especially the cerebral cortex), botanical (the bark that surrounds living wood the husk), and architectural (the outer shell that must be shed for what is inside to emerge). In gematria terms, the word also points toward concepts of concealment the outer layer that hides.

Musical Architecture: A First Overview

The sound of Liturgia is not static. It undergoes a deliberate degradation across its runtime. Of course, this is just a first draft as I am trying to explore the concept coding it into sound, how these concept translate from theory to practice, is yet to be seen. Internet offers a lot of tools but being myself completely incompetent as a musician all the heavy stuff relies on my friend Setfano’s shoulders. Here anyway is a preliminary analysis.

Phase I (Tracks 1–4) is goregrind at its most legible blast-heavy, raw, structured. Production is intentionally old-school: HM-2 style guitar tone a la Dead Infection, triggered but organic drums, layered vocals (simultaneously throughout, think Inhume). Tuning sits at A standard / Drop G#.

Phase II (Tracks 5–7) introduces doomy Disembowelment-like influences, slows progressively from ~140 BPM down toward 80, and thickens the low end. The tuning descends further (reaching Drop F# by Track 7). The bass becomes a physical presence rather than a rhythmic anchor.

Phase III (Tracks 8–11) operates in territory that is deliberately broken. Da’ath is produced “in the red” intentional clipping, sub-frequencies (20–40Hz) designed for physical discomfort, no standard tuning. After the crossing, Tracks 9–11 each inhabit their own sonic universe: glacial reverb and “stone” textures (9), thin and deliberately castrated production (10), extreme stereo split with two guitars in tritone opposition (11) or abusive use of Diabolus in Musica.

The Gregorian interludes follow a parallel corruption arc beginning as relatively pure a cappella chant with cathedral reverb, ending as four simultaneous vocal layers in different time signatures, meters, languages, and pitch relationships, some of them reversed.

What Comes Next

Across subsequent posts in this series, I’ll be going deeper into:

• The gematria study behind individual track titles and Qlippothic names
• The Path correspondences of each interludio and their astrological/elemental attributions
• The musical decisions for each track in detail (tuning rationale, structural choices, sampling sources)
• The recording process as it unfolds session notes, problems, solutions
• The textual layer the Latin/Enochian/Hebrew/glossolalia system and how the linguistic corruption progresses (see below)

SHEVIRAT HAKELIM INCIPIT.

LARVAE EMERGUNT.

The Language Layer: Archaeolinguistic Regression

There is a third axis of dissolution running through Liturgia, parallel to the anatomical and the Qlippothic: the regression of language itself.

In Kabbalistic cosmogony, language is not a human tool applied to a pre-existing world it is the medium of creation. The Sefer Yetzirah opens with the premise that God created the universe through the 22 letters of the Hebrew alphabet, through number, and through sound. The divine name YHWH is not a label for God; it is a structural formula, an operative sequence of phonemes that sustains existence by being. To dismantle language, then, is not a poetic gesture it is a cosmological one. It is the reversal of creation at the level of its operative medium. Liturgia proposes that the Qlippothic dissolution of the body and the archaeolinguistic dissolution of speech are the same process, approached from two directions simultaneously.

The regression follows the Semitic linguistic family backward through its own history from living liturgical language toward the pre-verbal substrate that precedes meaning entirely.

Stage I — Biblical Hebrew and Ecclesiastical Latin represent the outer shell: languages still in use, still structured, still capable of carrying theological content. But both are already, in a precise sense, dead as native tongues. Ecclesiastical Latin is a preserved corpse grammatically intact, phonologically fixed, severed from any living community of speakers. Biblical Hebrew, as used in liturgy, is similarly frozen in a classical stratum that no native speaker has inhabited for millennia. The album begins here because this is the skin of language: recognizable, intact, already dying. The liturgical texts of the interludes and the Latin invocations of the early tracks operate at this level.

Stage II — Classical Hebrew to Proto-Semitic marks the point where morphology begins to strip away. Biblical Hebrew already tends toward its root system — the three-consonant shoresh that underlies most words, carrying a semantic field rather than a fixed meaning, inflected into specific words by patterns of vowels and affixes layered on top. Moving back toward Proto-Semitic (the reconstructed common ancestor of Hebrew, Arabic, Aramaic, Akkadian, and the other Semitic languages, spoken roughly 5000–6000 years ago) means moving toward a language we know only as consonantal architecture. Proto-Semitic is not attested in writing. It is inferred from comparison across its daughter languages, and what emerges is a system of roots and phonological rules without the vowel pointing, without the morphological elaborations, without the syntactic flesh. What remains is skeleton: the bare consonantal infrastructure of meaning. This is the stratum of Tracks 3 and 4, where sibilants multiply and morphology collapses, where words start sounding like the roots they came from rather than the words they became.

Stage III — Proto-Semitic to pre-writing: the consonantal abjad and its dissolution takes the regression further. The earliest Semitic writing systems or Proto-Sinaitic (c. 1850 BCE), the ancestor of the Phoenician alphabet and therefore of Hebrew, Arabic, and Greek scripts were pure consonantal abjads: no vowels, no matres lectionis, no diacritics. A written word was a sequence of consonants that a reader had to animate with breath from memory and context. The word existed as potential, requiring a living speaker to complete it. This structural feature meaning as latency, requiring biological intervention to actualize is directly relevant to the concept of Ghagiel (Track 10), the Qlippha of potential that never manifests. The abjad is a language that cannot speak itself.

Stage IV — Glossolalia as the threshold is where the Semitic regression meets the abyss of Da’ath. Glossolalia is not just blasphemic random noise linguists who have studied it (notably William Samarin, in Tongues of Men and Angels, 1972) note that it faithfully reproduces the prosodic and syllabic structure of the speaker’s native language while replacing all semantic content with invented phoneme sequences. It sounds like language as it has rhythm, intonation, syllable structure but it refers to nothing. It is the formal shell of language without its content: exactly what the Qlippoth are to the Sephiroth, exactly what a husk is to the seed it once enclosed. At Da’ath, the album reaches this threshold. Below it, there is no language-shaped sound at all only the ten seconds of absolute silence at the center of Track 8, the void where even the form of speech dissolves.

Stage V — Pre-linguistic vocalization and infra-sound is the territory of Tracks 9–12: isolated phonemes detached from any system, the drone descending below 20Hz where sound becomes vibration indistinguishable from geological noise, and finally the Ain: not silence but infra-sound, the hum of matter before any mouth opened to name it.

The three axes of body, Qlippha, language converge at the same terminus: undifferentiated matter below the threshold of any organizing principle. Chaos Primordialis is what remains when the structures that produce drama have all dissolved.

Bibliography and Reference Texts

What follows is not a complete list but a working library of the texts that have been consulted, are being consulted, or will be consulted throughout the compositional process. Future posts will reference specific passages and arguments. Maybe.

Kabbalah and Jewish Mysticism — Primary Sources

• Sefer ha-Zohar The foundational text of Jewish mysticism, 13th century, attributed to Shimon bar Yochai, compiled by Moses de León. The primary source for the doctrine of the Sephiroth, the structure of the divine name, and early Qlippothic theory.
• Sefer Yetzirah The Book of Formation. The oldest Kabbalistic text, foundational for the correspondence between the 22 letters of the Hebrew alphabet and the 22 Paths of the Tree. Essential for the interludio path-mapping.
• Sefer ha-Bahir The Book of Brilliance, 12th century. First systematic treatment of the Sephiroth and their correspondences.
• Pardes Rimonim Moses Cordovero, 16th century. Systematic Kabbalistic encyclopedia, crucial for understanding the structure of the Sephiroth and their shadows.
• Etz Chaim Isaac Luria (the Ari), compiled by Chaim Vital, 16th century. The Lurianic doctrine of Shevirat HaKelim (the Breaking of the Vessels) and Tikkun (restoration) is the direct theological source for Phase I of the album. The concept of divine sparks (Nitzotzot) trapped in the husks (Qlippoth) comes from here.

Kabbalah — Secondary and Academic Sources

• Gershom Scholem Kabbalah (1974, Keter Publishing). The essential scholarly overview. Scholem’s treatment of the Qlippoth as a theological problem within Jewish thought is indispensable.
• Gershom Scholem Major Trends in Jewish Mysticism (1941). Particularly the chapters on Lurianic Kabbalah.
• Gershom Scholem On the Mystical Shape of the Godhead (1991). Contains the most rigorous treatment of the demonic in Kabbalistic thought.
• Moshe Idel Kabbalah: New Perspectives (1988, Yale University Press). Useful corrective to Scholem, particularly on ecstatic and prophetic Kabbalah and its relationship to language and letter mysticism — relevant to the glossolalia system.
• Elliot Wolfson Through a Speculum That Shines (1994, Princeton University Press). On visionary experience and the body in Jewish mysticism.
• Daniel Abrams The Female Body of God in Kabbalistic Literature (2004). Relevant to the Binah/Sathariel section and the Lurianic feminine.

Qlippothic and Left-Hand Path Sources

• Liber Azerate Frater Nemidial / Temple of the Black Light (MLO), 2002. The primary MLO text. Systematic anti-cosmic Qlippothic theology. The eleven-shell framework, the naming conventions (Thaumiel, Ghagiel, Sathariel, etc.), and the initiatory path through the Qlippoth are all drawn in part from here.
• Qabalah, Qliphoth and Goetic Magic Thomas Karlsson, 2004 (Edda Publishing). A more structured and accessible treatment of the Qlippothic tree, with detailed attributions. Useful for cross-referencing the MLO system with broader Western occult tradition.
• The Shadow Tarot Linda Falorio, 1998. Useful for the visual and symbolic language of the Tunnels of Set the qlippothic paths as described by Kenneth Grant.
• Nightside of Eden Kenneth Grant, 1977 (Muller). Grant’s system of the Tunnels of Set and their Qlippothic correspondences. Not always rigorous but generative for symbolic thinking.
• The Book of Smokeless Fire S. Ben Qayin, 2012. Jinn tradition as Qlippothic parallel relevant to the Arabic/Semitic demonic layer in the textual system.

Pathology and Medical Reference

• Robbins & Cotran: Pathologic Basis of Disease Kumar, Abbas, Aster (various editions, Elsevier). The standard academic pathology textbook. Used as the primary reference for the anatomical and pathological accuracy of each track’s disease concept from autolysis and cadaveric spasm (Track 1) to prion disease (Track 3), cytokine storm (Track 6), and cirrhosis/ascites (Track 7).
• Harrison’s Principles of Internal Medicine For clinical descriptions and symptom phenomenology used in the textual layer.

Linguistics and Language

• Ferdinand de Saussure Cours de linguistique générale (1916). The foundational text of structural linguistics. The concept of the phoneme as relational — existing only through difference from other phonemes — underpins the Stage IV analysis of consonantal abjads and isolated sound.
• William Samarin Tongues of Men and Angels (1972, Macmillan). The definitive linguistic study of glossolalia. Samarin’s observation that glossolalia faithfully reproduces the prosodic structure of the speaker’s native language while evacuating all semantic content is the precise definition operative at Da’ath.
• Alice Faber Work on the reconstruction of Proto-Semitic phonology (various articles, 1980s–1990s). On the consonantal root system and the vowel-less infrastructure of proto-language relevant to Stage II and III of the regression.
• John Huehnergard A Grammar of Akkadian (2005, Eisenbrauns) and comparative Semitic work. For the branching of the Semitic family from a common ancestor and the phonological changes that mark each divergence.
• Peter T. Daniels & William Bright (eds.) The World’s Writing Systems (1996, Oxford University Press). On the development of abjad writing systems from Proto-Sinaitic onward the consonantal skeleton of language before vowels were systematically written.
• Jacques Derrida De la grammatologie (1967) and La voix et le phénomène (1967). The deconstruction of the speaking voice as self-present meaning. Directly relevant to the glossolalia of Da’ath: Derrida’s argument that speech is always already inhabited by the absence it tries to overcome.

Liturgy and Plainchant

• Liber Usualis (1961 edition, Desclée). The complete collection of Gregorian chant. The primary source for all liturgical texts used in the interludes Kyrie, Agnus Dei, Dies Irae, Libera Me, Lux Aeterna, Sanctus, Requiem, De Profundis, Ave Maria, Benedictus, Credo.
• The Oxford History of Western Music, Vol. 1 — Richard Taruskin. For the historical and structural context of plainchant as a musical system before its corruption in the interludes.

This list will be updated as the project develops. Specific citations will appear in subsequent posts as particular arguments are developed.