The Garment of Galvah: Exploring the Erotic Wisdom Body of Babalon in Practice
This post introduces material presented as a lecture at the inaugural Magical Women Conference on 1st June 2019 in London, UK. (I have substituted some of the slides that illustrated the ‘garments’ in the original presentation)
‘Here is Wisdom. Let him that hath Understanding count the Number of Our Lady; For it is a number of a Woman and Her Number is An Hundred and Fifty and Six’ 
During the infamous 16th Century scrying sessions undertaken by John Dee and Edward Kelley which produced the so-called ‘Enochian’ or angelic magical system, a cast of female spirits make a series of key communications which indicate the existence of a powerful, erotic, feminine current within the Enochian universe. The material provides some of the most pivotal insights into the provenance and magical ground of the Babalon/156 Current that was later crystalized by Aleister Crowley in The Vision and the Voice. If one builds a working, magical model based on the hypothesis that a revolutionary, embodied form of sexual gnosis can be sourced within the corpus of Enochian material produced by Dee, Kelley, Crowley and Jack Parsons which arguably challenges and moves beyond most extant interpretations of erotic, magical femininity—the articulation of radical, innovative configurations of esoteric sexuality would seem to be essential. In this talk, I will share some of the theories and practices I have developed to ground the sexual magic of the 156 Current from these positions. My findings suggest that esoteric keys found in the Angelic/Enochian corpus open a practical pathway into unorthodox forms of feminine, sex-magical wisdom. The practical aspects of this work have revealed some specific properties of gynocentric, occult anatomy found in the Babalon/156 Current.
Some of the most relevant textual sources which support the hypothesis in this lecture are found in the transcript of Dee’s records. In particular, on June 18th, 1583, the angelic spirit known as Galvah delivers the final, 49th leaf of Liber Loageth which is described as containing knowledge of the end times of humanity and alludes to the emergence of sacred knowledge that will transform humanity in its darkest phase. She also states on another occasion that “true wisdom is always painted with a woman’s garment”. Madimi, another feminine spirit (who describes herself as Galvah’s daughter) makes numerous contributions to the Angelic conversations and is a key player in encouraging Dee and Kelley to swap wives and engage in sexual intercourse in order to forge a new covenant with God. Finally, the dramatic finale of the project culminates with the appearance of the ‘Daughter of Fortitude’ (identified with the Biblical Whore of Revelation and the Thelemic ‘Babalon’ by many present-day academics/practitioners), who forcefully affirms the initiatic imperative and primordial nature of her distinctively sexual wisdom. She identifies herself as ‘a Harlot’ and that ‘science dwelleth in me’. So, what is the science that the daughter of fortitude alludes to and how may one learn the wisdom of Galvah’s ‘garment’? Centuries later, some answers to these questions emerge in the vivid descriptions of Babalon found in Aleister Crowley’s accounts of his explorations of the Enochian Aethyrs in 1909. Although the word ‘Babalon’ was first recorded in Dee’s records and is translated as meaning ‘wicked’ in the angelic, Enochian language—Crowley differentiates Babalon (from the Biblical Babylon) through the magical significance he placed upon the gematria of the former which generates the number 156. A series of definitive magical formulas described in the 2nd Aethyr Arn based on the number 156 are also key to understanding the ontology of the Babalon current. The descriptions of Babalon in Crowley’s Liber 418 and Jack Parsons’ Liber 49 establish her provenance as an Enochian intelligence and an avatar of embodied sexual gnosis. But, despite continued focus on Babalon within modern occult movements, it has not been clear how women could participate fully in the 156 Current as adept practitioners of sexual magic.
It can be inferred from the Enochian corpus that the ‘Garment’ of Galvah as representing an emanation of the divine feminine with intriguing correlations to the Gnostic Sophia (Gr, wisdom) has a complex occult anatomy and a multiplicitous set of esoteric correspondences. This has been borne out in practice, and the occult anatomy of Babalon or the Body 156 has been found to possess a series of layers and emanations reminiscent of the mysterious ‘Veils of Isis. But, beyond any correlations with the symbolic, Hermetic mysteries of creation—the grounding of these emanations in the formulas of Babalon has been experienced as being wholly generated by the erotic substance of the female body—a largely unexplored territory within modern science and the Western magical tradition. It is difficult to contextualize a practice based on this subject within extant sources —as the complex phenomenology and magical cultivation of women’s sexual response, secretions, and analogous altered states of consciousness within magical settings and practices is sparsely researched and recorded. Nevertheless, I have found in practice, that the science alluded to by the Daughter of Fortitude encompasses an intricate, biognostic, erotic knowledge system.
In this talk, I’ll present some findings from my research and personal interpretation of the ‘Garment of Galvah’ and how it relates to the female body and subtle anatomy as developed over thirty years of practice as a Priestess of Babalon. The theories and practices I‘ve developed to explore Babalon and the erotic, energies of the body through the lens of the 156 Current, are based primarily on an experiential, heuristic and reflexive methodology using direct invocation and trance/possession techniques. These findings suggest that the sexual magic of Babalon offers ingress into a primarily gynocentric, alchemical process which possesses a specific arrangement of subtle architecture and energetic/kinetic dynamics — powered by magical forms of Status Orgasmus. By which the mysteries of the Holy Grail as central the mysteries of the 156 Current as defined by Crowley’s Liber CLVI can be reinterpreted and developed as a form of sexual gnosis actively formulated and initiated by women. As a result, Babalon is transformed into a post-Thelemic figure possessing active, erotic, magical, feminine agency.
RAISING THE GRAIL
Due to the heuristic nature of my practice, it seems relevant to give some further background on how I arrived at these findings. My practice began during the 1980s and following a series of life changing experiences I devoted my life to becoming a Priestess of Babalon. It was not entirely clear how this could be done but I was convinced from the start that Babalon offered a progressive pathway into the sexual mysteries. After years of intense ritual work, a gynocentric, body-centred epistemology started to emerge in the form of a technically nuanced system based on the exploration of the extensive range of women’s sexual secretions, erotic responses and altered states of consciousness. I also found that my experiences contradicted many of the established models of esoteric sexuality. Thus, exploring Babalon within an embodied practice became inextricably bound with redefining the meaning of femininity and sexuality within esotericism and creating new languages and sacred technologies in order to articulate types of embodied divinity I could not find in extant sources.
My magical work evolved in three distinctive phases. Firstly, during the 1980’s I began to experience a series of hugely disorientating possession states and erotically supercharged altered states of consciousness as a result of invoking Babalon into my body. Over time, this corporeal communion with Babalon generated a rich experiential language with recognizable, phenomenological patterns. I developed techniques to induce and prolong the trance states by amplifying sensations of physical arousal using a variety of self-developed, kinaesthetic techniques. I gradually began to crystalize the somatic and subtle architecture of what I termed the Body 156 or Body of Babalon and began to build a cohesive, magical process. There was little of reference to be found that supported my aspirations to a practice that was focused solely upon Babalon as a magical intelligence in her own right and so a very long, solitary journey unfolded.
By 1990 I was ready to test my findings and experiment with communicating the magical properties of the Body of Babalon as I understood it at that point and began a ritual performance project called Mother Destruction with my then partner Patrick Leagas. As the process of manifestation is intrinsic to the 156 Current, I focused on developing dedicated magical spaces in which the biognostic essence of Babalon could be communicated. During the performances I experimented with invoking Babalon, entering sexual trance states and amplifying the resultant highly volatile and disorientating altered states of consciousness with extended vocal techniques and movement.  This was a hugely challenging learning curve in terms of handling the magical dynamics and phenomenology of the Body 156 in ritualized settings. As my understanding grew during this period, a further set of challenges demanded attention with the realization that a further set of practices and advanced ‘elixir work’ was needed to consolidate the completion phase of the project.
In 2000 I retreated from public performances in order to consolidate and develop my findings and in 2009 I established Incarnadine Temple, a magical order dedicated to the research, practice and transmission of the alchemical, sexual mysteries of the 156 Current. ‘Liber Incarnadine’, the first and interactive public liturgy of Incarnadine temple was put online in 2010. The mandate of Incarnadine Temple is concerned with developing sex-magical practices that are fully inclusive of all devotees of Babalon—regardless of sex or gender. But before the wider potential of the 156 current can be realized I feel that women’s role as magicians of sexual magic should be reformed in three key areas and have produced three definitive predicates that shape the magical system of Incarnadine Temple:
- Gynocentric, initiatic formulas
- Autonomous, ontological, and physical subjectivity
- Embodied, alchemical, sexual magic.
Thus far, I have not encountered any system which use these elements in combination in a way that provides the scope for development of new progressive sex-magical formulas. However, I don’t feel it’s possible to overcome the ontological and structural difficulties encountered by female devotees of Babalon without incorporating all three of these elements into a reformed system and arguably this is a distinction of the revolutionary ‘New Aeon’ formulations that both Grant and Parsons allude to. The three foundational predicates are profoundly interrelated and expand into largely uncharted territory which require a great deal of clarification in order to produce a workable system. Due to a lack of textual sources on women’s active participation within sex-magical systems, a great deal of innovation and experimentation has been necessary, none more so than in defining the alchemical processes at the heart of the 156 Current.
The Alchemy of Babalon’s Grail
The perspective of female alchemists who actively use sexual practices in magical operations within the parameters of an independent, alchemical Great Work is largely absent from Western, esoteric traditions. Yet, arguably, without a thorough investigation of the potential contributions that women can make to alchemical processes by identifying the gamut of sexual secretions, elixirs and myriad psycho-physical transformations that can be produced during lengthy sex-magical operations within the lived body of women, the alchemical corpus cannot be considered complete. The sacraments produced by the Great Work central to the mysteries of Babalon are symbolized by the Grail or Cup, as vividly portrayed in Frieda Harris’s iconic rendering of ATU XI or ‘Lust’ Tarot Card—and in Liber 156, Crowley claimed to hold its secret. However, as I’ve argued elsewhere, some aspects of the higher magical formulation of the grail seems to be missing or distorted from the female practitioner’s position. According to the alchemist Fulcanelli, a sign upon a fountain once stood at the front of Notre Dame Cathedral which stated. “You, who are thirsty, come hither: if, by chance the fountain fails. The goddess has, by degrees, prepared the everlasting waters.” Here we are drawn into the labyrinthine symbolism of Hermetic Alchemy in which Isis and other feminine principles hold the secrets of nature. Yet, the potential contribution of the female alchemist who actively explores the properties of these ‘everlasting waters’ as embodied, sexual mysteries of the divine creatrix has not been articulated fully within the Western magical tradition.
I’ve found that contrary to Crowley’s belief that the priestess is merely a passive receptacle for ‘solar-phallic will’ within sexual, alchemical procedures—the magical role of ‘cup-bearer’ requires lengthy training and active engagement by the female magician. The processes of self-cultivation and the wider application of these sacred technologies deconstruct heteronormative models of sexual alchemy and point to the queer applications of Babalon’s magic used during magical training. Although the numinous, psycho-physical sacraments of the 156 Current can be experienced by all, regardless of sex or gender—women play a central and highly active role in their generation and transmission. Thus, the Cup, or womb of the priestess is the synthesizing retort that produces the sacraments of Incarnadine temple which catalyze the process of initiation. Such concepts and processes challenge the orthodoxy on initiatory transmission, which in the Western magical tradition is seen as primarily textual or passed by mouth to ear and often placed within formulas and lineages of consecration that elevate androcentric, solar-phallic principles. In this way, the ‘Cup of Babalon’ is recognized in the practices and principles of Incarnadine Temple as a glyph that unites the symbolism of the Rosicrucian mythos of the Grail, the alchemical crucible, and the womb of the Babalon priestess and recognizes them as one and the same. Within the initiatic system of Incarnadine Temple, the cup is filled with a quintessence or pneuma which is cultivated in clearly delineated stages and experienced as a fluid, changeable and transformative substance which pervades the entire gnostic-erotic spectrum of the 156 Current.
THE BODY 156
Central to grounding the occult anatomy the 156 Current in the body within my practice is a formulation of the word BABALON, configured in seven combinations, shown in the table below. Each row and column enumerate to 156, representing seven distinctive levels of sexual gnosis which produce a spectrum of erotic energies called ‘The Marks of Teth’ (denoting the ophidian characteristics of this force). The marks are generated by physically demanding trance states which also produce physical secretions and subtle emanations associated with Babalon’s magic. In this way, the essence or pneuma of BABALON flows through one’s body as a dedicated vehicle which is in a constant process of transformation and erotic engagement; yet one also grounds and fixes this complex sequence of magical copulations within the physical elixirs and emanations that originate within oneself as part of an accumulative process.
The ‘Magical Square’ of BABALON and the corresponding Marks of Teth
I’ve found that the emanations or marks created in ritual practice resonate with an erotic, energetic substrate within the Enochian universe, as a wordless, green, alchemical language that describes the mysteries of eros and nature.  Although Babalon’s erotic language is non-textual and transmitted through the body this does not mean that ritual practices are simply intuitive or random. There is an inner integrity to the process which produces measurable psychic and physical transformation.
The septenary Marks of Teth, generate the erotic, energetic substrates that are transmuted through a fourfold series of alchemical operations which culminates in the production of ‘Garment of Galvah’. As already introduced, I use the analogy of garments to describe the dynamic, progressive unfolding of subtle anatomy within the Body 156. Whilst this suggests some similarities to the process of ‘enclothement or hitlabshut of kabbalistic tradition, or the Kosha (Skt, Sheath) bodies of the Vedanta tradition—the garments of the Body 156 have some distinctive qualities. I’ve found in practice that the Wisdom Body of Babalon is experienced as an unfolding series of recognizable energetic fields which expand outwards exponentially and warp the surrounding space as vast undulating oceans of orgasmic, pulsating force. Although the characteristics of these garments or bodies have emerged from an experimental, magical process, they also have some correspondences with classical alchemical symbolism as well as similarities to the appearance of Babalon and the female spirits as described in the primary channelled texts of the Enochian corpus. Most specifically in the final stage of the process that produces Audcal, the red/gold solar garment, or ‘The woman clothed with the Sun’, which I associate both with Galvah and Babalon. Galvah tells Dee and Kelley that her name means ‘finis’ or end, thus I associate Galvah with the radical, alchemical transformation that accompanies the completion of the Body 156.
The relationship between the fourfold garment of Galvah and the septenary spectrum of sexual gnosis of Babalon has interesting magical intersections with the formula described in Liber 418 by the angel of the seventh Enochian Aethyr as ‘the balance of the seven and the four’. A series of interpolating operations implicit in the magical square shed light on this formula as key to Venusian mysteries of the supernal plane. The gradual changes in the garments correspond to various aspects of the divine feminine I have found within the 156 Current and the stages of an alchemical sex-magical opus. In practice, the garments provide the mechanisms for grounding, ‘fixing’ or perfecting of the erotic wisdom of Babalon in the body. Thus, the hypothesis put forward here is that the process of developing the Body 156 can be considered as an experimental series of operations that uses the bodies of women as an alchemical laboratory, with the goal of uncovering missing, alchemical ‘secrets of nature’ and the completion and manifestation of the sexual gnosis of BABALON. The layers of Galvah’s garment and some aspects of their magical phenomenology are briefly introduced below.
Talho –The Black-Saturnian Garment
“The dark red, churning void between my legs contains nothing, a vacuum? Yet I have concentrated all of my life, all of my attention, within this seething vortex. To do otherwise just seemed a waste of time, and in any case there was no choice— with its ravenous, burning emptiness constantly sucking every drop of my consciousness into its unstoppable gravity…But, in the end, this hole, this nothing, will swallow me up, it will implode and devour me, spew me out and spread me upon a carpet of stars unto the unfolding of Nuit.”
The inauguration of the sevenfold mysteries of Babalon begins with erotic, fiery conflagration of the physical or Black/Saturnian garment. The initiation is triggered by an explosive activation of the physical, uterine interior termed the ‘Bite of Teth’. This eruption of extreme, hypersexual, gnostic states and prolonged bouts of disorientating entrancement generates an orgasmic pyre in which every aspect of ones being not in harmony with the Great Work is incinerated. Crowley defined the formula of 156 as ‘The state of constant copulation or Samadhi on everything’— but in practice, one experiences this state merely as the mode of ingress into the unfolding, magical ground of the 156 Current and a process that is consciously developed over time. This is a highly dangerous, unstable state which has qualities of the alchemical Nigredo process of death and dissolution and requires extended vigil in the blackness of the uterine void. When the base level trance state and elixir work associated with the Bite of Teth has been mastered, a breakthrough and a transition into the white or lunar garment occurs.
Graa– The White-Lunar Garment
‘Half-twist, dazzling, gossamer wires hook into my womb, pulling my insides out. Icy needles puncture my belly, piercing threads of celestial twine pull me closer into her orbit, sewing me into the cosmic fabric of her body. Red, raging rivers of hot incandescent desire flood to earth, carrying the flesh-star to its earthly cradle…’
The substance of the white garment is no less dynamic than the Saturnian garment. But, by this stage one’s vehicle has been tempered to a degree that the manifestations of sexual energy are far less destructive, and one becomes able to perceive subtle gradations within the force of Teth, creating channels for complex emanations from the womb to manifest. These psycho-physical energy fields are a complex magical territory in themselves and provide portals for travel in the spirit vision and produce a bio-etheric menstruum from which to perform many aspects of one’s magic. The elixir work is extended by a process of distillation, shown above by the twenty-eight serpents emanating from the uterus in the image above. Equal attention is given to cultivating all of the secretions and emanations associated with the lunar cycle and the use of menstrual blood in magical operations is just one element of this work. The more focused energies of the lunar garment enable one to activate the entire network of erogenous response and analogous subtle network of bio-gnostic zones around the body. This creates a distinctive energetic field, which flashes with diamond like sparks over the surface of the body and glows with a mysterious, shifting, numinous force.
Oado-The Silver-Mercurial Garment
“The body unfurls and folds upon the rhythmic fucking of the macrocosmic eros. Its infinite penetrations, planetary inseminations, nailing one into the fabric of the universe. A relentless euphoria stretching one out upon the cosmic tides of space. How far can one stretch? How does one measure the thickness and elasticity of skin pulled across light years by the icy fingers of stars? Let passion unravel one’s body unto the abyss, melting and twisted by solar heat and magnetic undulations, hurtling over the event horizon of orgasmic propulsion, crushing one’s soul into the eye of creation …” 
The silver garment has a mercurial quality and is perhaps the most complex in terms of structure. This ethereal raiment is woven by the cultivation of fluidic, erotic force through a subtle and lengthy process of ‘multiplication’ which weaves the emanations and secretions produced within the erogenous zones of the Body 156 together in myriad combinations, as shown above. This process generates a set of forty-nine emanations which constitute the spectrum of magical erotic energy experienced in the practice, based on the formulas of the magical square. The transition begins when the ‘sparks’ of the lunar garment reach an optimal stage of luminescence and begin to cluster and condense together until they fuse into streams within the silvery lunar body and begin to ‘separate’. The tethian force then becomes differentiated into oscillating streams of erotic energy that have a dazzling variety of patterns and different speeds and momentum which flow outwards as directed by the magical will of the priestess.
Audcal–The Red-Golden Garment
‘Flickers of raiment gold, a gateway to the sun. 156 petals fall out one by one’
When the vibrational array within the silver garment reaches a limit of complexity, its serpentine emanations begin to coagulate and melt together at its outer edges. The confluence of a highly refined essence produced by the circulation of multiplicitous emanations reverses the expansive mercurial flow into a highly concentrated force, which generates a supernatural, galvanizing, heat. When the elixir reaches an optimum level of concentration, a blazing, golden luminescence is released. Galvah appears garbed in this manner, as does the female spirit encountered by Crowley in the seventh Aethyr DEO— both Kelley and Crowley were unable to look at these spirits directly as their forms were so dazzling. The red-gold garment is glimpsed in the description of the dancer in the fifteenth Aethyr OXO who appears as a whirling column of fire in Liber 418. The collage above shows a critical stage in the operation, during which certain elixirs generated in the breasts flow into the heart, represented by the four phallic serpents penetrating its channels and marking a final sublimation of the formula of 4×7. The intense pumping motion creates a monumental kinetic force, a centripetal, spinning motion. When the elixirs are concentrated into a quintessence of sufficient purity, the explosion of the solar aureole is detonated and the Garment of Galvah is complete. The Body 156 is activated, the initial path of self-cultivation and magical training is complete.
In the final image above we see the outcome of the operations and transmutations produced by magical training when performed upon the body. Whereby, the spectrum of elixirs are concentrated into a pyramid shaped arrow containing one drop of extraordinarily potent force. Here I believe one gets close to understanding the constituents of the elixir which Babalon holds aloft in her cup in Atu XI. Her cup is not a passive vessel, it is a crucible containing a dynamic space in which all the elements of creation may be actively harnessed, co-mingled and transmuted——producing a cornucopia of magical emanations and substances. The developmental process and philosophical, theological implications of an active, feminine magical palingenesis takes Babalon’s magic most defiantly outside of a heretofore perceived passivity. In this way, the magnum opus of the adept priestess of Babalon becomes not only a path of return to a primal unity—but is also a progressive formulation of a priestesshood that upholds embodied, feminine divinity in radical new permutations, woven within the folds of Galvah’s garment.
 Aleister Crowley, The Book of Thoth, Samuel Weiser Inc, York Beach, Maine, 1984, p 95.
 There is not the space to explore the work of Jack Parsons in this piece but readers are encouraged to explore the transcripts found in the reference below to source further information on how Parsons used Enochian magic to summon Babalon in his magical work.
J. Parsons, ‘The Book of Babalon’, Starfire Magazine, Vol.1, no.3, Starfire Publishing, 1989.
.J. Dee, and M. Casaubon, A True and Faithful Relation, Golem Media, Berkeley, 2008, p*25.
 See, Amodali, The Harlot that Shaketh Death: Death:Aleister Crowley’s “Babalon” as a Source of Innovative, Erotic and Phenomenological models in Contemporary Esoteric Practice’. Wyrd Journal–Vol4. Three Hands Press, 2019. For further material on the nature of the magical orgasm as it relates to Babalon.
 A.Crowley, Liber Cheth, in Gems from the Equinox, edited by Israel Regardie, Falcon Press,1982,p 603.
 Amodali in collaboration with R.Cook, 1999, Raising the Graal, a photographic image sourced from personal archive. This image was captured during a photo session documenting spontaneous movement whilst experiencing altered states of consciousness and deep erotic entrancement during a Babalon invocation.
 See, Amodali, ‘The Magical and Erotic Phenomenology of Ritual Performance within the Babalon Current’, https://www.amodali.com/babalon-ritual-phenomenolgy/, posted on Dec 30th 2014
 Currently offline and under re-design.
 Amodali, ‘Introductory Theoria on Progressive Formulas of the Babalon Priestesshood ‘, A ROSE VEILED IN BLACK’, Anthology. Three Hands Press, USA, 2016.
 See, Amodali, Introductory Theoria on Progressive Formulas of the Babalon Priestesshood, in A Rose Veiled in Black –Arcana and Art of Our Lady Babalon, edited by D.Schulke and R.Fitzgerald, USA, Three Hands Press 2016, pp. 54-58.
 “As the emanations of Teth unfold, a gamut of incendiary, orgasmic tremulations and vibrations are activated in the body of the priestess. The magical frenzy of the Babalon current is distinguished by a turbulent current of sexual kinesis. This complex kinetic spectrum creates signifiers within the practice that distinguish it from other forms of ‘kundalini’ phenomena; and is the source of what becomes a complex sexual technology brought under the magical will of the priestess….thus one learns how to wrestle a vibrational, magical language out of Dionysian frenzy, without being consumed”. Amodali speaking at the October Gallery. 2013.
 J. Dee, and M. Casaubon, A True and Faithful Relation, Golem Media, Berkeley, 2008, p 12.
 Crowley sees an angel attempting to unlock a keyhole in the shape of the Venus symbol. A voice declares that the ‘the key unto this gate is the balance of the seven and the four’ and goes on to describe how a four and seven lettered word (identified as Chaos and Babalon) conceal in sequence— a final word, the key to the abyss. A.Crowley, The Vision and the Voice, in Gems from the Equinox, edited by Israel Regardie, Phoenix, Arizona, U.S.A, Falcon Press, 1982, p 538.
 Meaning ‘Cup’—From the Angelic-English translation in The Complete Enochian Dictionary by D. C.Laycock, Red Wheel/Weiser LLC, San Franscisco, 2001, p 172.
Amodali, extract from magical diary. The Marks of Teth, Three Hands Press, USA, 2020.
 Meaning ‘moon’—From the Angelic-English translation in The Complete Enochian Dictionary by D. C.Laycock, Red Wheel/Weiser LLC, San Franscisco, 2001, p 116.
 Amodali, extract from magical diary, The Marks of Teth, Three Hands Press, USA, 2020
 Meaning ‘weave’—From the Angelic-English translation in The Complete Enochian Dictionary by D. C.Laycock, Red Wheel/Weiser LLC, San Franscisco, 2001, p 143.
 Amodali- Extract from Magical Diary (2004)
 Meaning ‘gold, philosophical mercury’—From the Angelic-English translation in The Complete Enochian Dictionary by D. C.Laycock, Red Wheel/Weiser LLC, San Franscisco, 2001, p 81.
 Amodali, extract of the lyrics from ‘Babalon Sun Mantra’ from the Album Pagan Dance by Mother Destruction, 1994.