Daemon Unbound: The Lost Conjurations of Ozman Droom. As many of my faithful readers know, the existence of this album/soundtrack/musical oddity, along with its merits and purported perils, has been a hotly debated topic among musicologists and occultists alike since the mid-to-late 1970s. Those who swear to its existence, however, have never been able (or seen fit) to produce any evidence to support their fervid and often bizarre claims. So it was with great interest, and more than a little bemusement, that I received the following materials on Imbolg of this year, sent via e-mail from a certain “Simon Magus” and attributed to the legendary Villa 9 Studios.
At first I thought it best to keep these materials to myself, but after a fortnight of intense contemplation and half a dozen rituals of half a dozen sorts, I have decided to post them here for the edification of any interested parties, and for closer examination by any esotericists willing to undertake the task.
For further information of an intensely interesting variety, see the liner notes included on the gatefold image below, and do let me know if they jibe with (or contradict) any personal recollections or experiences that you yourself have had with Daemon Unbound: The Lost Conjurations of Ozman Droom.
From the liner notes on the above gatefold:
Over the past several decades, a growing number of individuals, with nothing to offer as proof save their own vague recollections, have attested to the existence (or rather past existence) of an obscure and enigmatic album called Daemon Unbound: The Lost Conjurations of Ozman Droom.
Some attestants describe said album as having been an aural companion piece to a book of dubious authorship and sinister reputation entitled The Untold Tales of Ozman Droom. Others insist that the album was a soundtrack to a film or TV series pilot they recalled being traumatized by as children but have since been unable to track down or to verify to the satisfaction of objective skeptics. Still others aver, though always off the record, that the album served as an elaborate incantation or psychosonic hypersigil whose power and scope grew greater and more beguiling with each new listener but whose ultimate purpose is yet to be revealed.
All such suggestions, though admittedly intriguing and excellent fodder for midwinter ghost stories, could be dismissed as little more than urban myth and far-flung fancy—until recently, that is, when a reel-to-reel master recording of the album in question turned up in West Lothian, Scotland, among the archives of the infamous and ill-fated Villa 9 Studios.
Dated 1973 and performed by The Holy See with Robin Spriggs (the latter a name that some allege is a pseudonym for Ozman Droom himself), the recording consists of twenty-one tracks of haunting melodies, trippy leitmotifs, weird soundscapes, and spoken-word diablerie that, taken as a whole, form an arabesque ritual of decidedly potent effect.
The significance of this unsettling discovery we leave to you, the listener, to whom we now proudly, though with considerable trepidation, present this newly mastered edition of Daemon Unbound: The Lost Conjurations of Ozman Droom. Partake of it if and as you wish, but with the full knowledge that, in so doing, you have willingly aligned yourself with whatever mysterious energies, transcendental intentions, and unaccounted-for entities have brought it into being.
True? False? Probably? Unlikely? The Proof is in the haunting.
Robin Spriggs as The Ghost on Season 2 of Powers
SBNR: Robin Spriggs as The Ghost on Season 2 of Powers.
The Ghost (Robin Spriggs) in Hitler’s bunker. Berlin, Germany, Walpurgisnacht, 1945.
Powers, Season 2, Episode 7.
Robin Spriggs on Powers (Season 2, Episode 7): SuperShock meets The Ghost. Argonne Forest, France, 1918.
Robin Spriggs as Morrison, aka The Ghost, on Powers (Season 2, Episode 7). Follow this link for a sneak peek at the action.
“His alleged fetish for eyes, it is important to note, is said to have been more intellectual and spiritual than sexual in nature. Be that as it may, according to several anonymous correspondents, it did indeed manifest in the practice of oculolinctus, though in a context so reverent and ritualized as to pass for an act of sacrament. Various texts contained within The Untold Tales of Ozman Droom (“Eye Candy,” “I of the Beholder,” “Eyes and Gnosis,” “If Thine Eye Be Single,” “Liber I,” etc.)—although not offered as confirmation of these assertions—should nevertheless prove of considerable interest to readers of a speculative bent.”—The Untold Tales of Ozman Droom