---
title: "Exploring the Depths of Esoteric Wisdom: An Interview with Edgar Kerval"
url: https://staging13.perseusarcaneacademy.com/post/exploring-the-depths-of-esoteric-wisdom-an-interview-with-edgar-kerval/
date: 2024-12-13
modified: 2026-07-03
lang: en
author: "Perseus Arcane Academy"
description: "Introduction I really want to thank Edgar for agreeing to do this interview and Andre Consciencia for facilitating it. I think readers will agree that this is a really interesting..."
categories:
  - "Interviews"
  - "Western Traditions"
tags:
  - "Edgar Kerval"
  - "Left Hand Path"
  - "Necromancy"
  - "Qliphothic Magick"
  - "Ritual Magick"
  - "Saturnian Gnosis"
image: https://staging13.perseusarcaneacademy.com/wp-content/uploads/2024/12/7913af3d-a23a-45bd-8310-dda436d4d2b2.jpg
word_count: 5353
---

# Exploring the Depths of Esoteric Wisdom: An Interview with Edgar Kerval

## Introduction

I really want to thank Edgar for agreeing to do this interview and Andre Consciencia for facilitating it. I think readers will agree that this is a really interesting set of answers that Edgar has provided us with, on many subjects that I am not deeply familiar with.

This interview brings us into the world of Edgar Kerval, a Colombian author, musician, and seasoned practitioner of esoteric arts. With decades of experience in necromancy, shamanism, and Saturnian Gnosis, Edgar offers thoughtful answers on his practices and philosophies. His reflections provide a glimpse into the transformative role of magick and its connection to both the natural and unseen worlds.

Before we start let's introduce Edgar with the bio from his site:

*EDGAR KERVAL was born in 1972, author and musician coming from Colombia South America. He has been working more than 20 years in diverse paths of sorcery. He focuses on elements regarding saturnian gnosis and Necromancy from diverse pantheons.  Also, he works in diverse ritual ambient musical projects such as EMME YA, THE RED PATH, :ARCHAIC: among others. He is the owner and founder [SIRIUS LIMITED ESOTERICA](https://www.siriuslimitedesoterica.com/), A small Publishing house in which he publishes some of his work and the books of other well-known authors. He has participated on 2nd and 3rd International Left-Hand Path Consortium in Atlanta and St Louis respectively. He has released more than 10 books and participated in several anthologies.*

![**Title:** Exploring Esoteric Wisdom: An Interview with Edgar Kerval

**SEO Description:** Edgar Kerval shares his journey in necromancy, shamanism, and Qliphothic magick, offering insights into his practices and the transformative power of the occult arts.

**Introduction Paragraph:**
This interview brings us into the world of Edgar Kerval, a Colombian author, musician, and seasoned practitioner of esoteric arts. With decades of experience in necromancy, shamanism, and Saturnian Gnosis, Edgar offers thoughtful answers on his practices and philosophies. His reflections provide a glimpse into the transformative role of magick and its connection to both the natural and unseen worlds.](https://staging13.perseusarcaneacademy.com/wp-content/uploads/2024/12/f0b686ce-d890-443a-b821-1b05de130fd0.jpg)Edgar Kerval

---

**PAA: Can you describe your daily practices and rituals in your personal magickal work? How do they influence your overall spiritual development?**

My daily practices are deeply rooted in aligning with both the tangible and the unseen. I start every day in a meditative state that connects the deeper astral realms with my waking consciousness. The most profound visualizations and remote viewing exercises are included to complement each other. keeping a journal of dream manifestations and performing hooddo spirit rituals under Michael Bertiaux's inspiration guidance, also lighting a candle imbued with specific intent. My evenings focus on divination twice a week or daily evocation practices, depending on the energy I feel drawn to engage. These practices are more than just spiritual exercises; they are essentially a conversation with the forces influencing both my inner and outer worlds. They ground me, challenge me, and continuously reveal layers of my being, driving my spiritual evolution.

**PAA: What specific techniques or systems do you find most effective in your practice of necromancy, and why?**

The use of sigils created to invoke particular death energies or spirits, as well as dream pathworking, are unquestionably the most successful methods in my necromantic work. In order to create a focal point for communion, I also use bone divination and spirit vessel crafting. These techniques are effective because they combine physical instruments with astral processes, resulting in a synergy that strengthens my bond with the Death Essence. Rituals that involve channeling ancestral spirits or performing sacred burial rites have been transformative and have provided insights into the cyclical nature of life.

**PAA: How do you integrate indigenous shamanism into your magickal practices, and what unique insights does it provide?**

By integrating drumming, journeying methods, and a close relationship with nature into my practice, I draw inspiration from shamanic traditions. However, my current interests lie primarily in techno-shamanism and its eclectic application of various techniques, including digital animism and the use of machine-generated sounds to induce appropriate trance states. These techniques ground my work in the fundamental forces of kosmic gnosis by serving as a bridge between my present reality, technology, and the spiritual plane. Through shamanic practices, I have learned to see death as a potent transition and liminal state rather than as an end. They also emphasize the interconnectedness of all things, helping me approach necromancy with reverence and balance.

**PAA: In your experience, what are the most common misconceptions about necromantic magick that you'd like to clarify?**

A prevalent misunderstanding is that necromancy is only associated with death worship or evil intentions. In truth, necromancy is a profound exploration of the cycles of life, death, and rebirth. Another is the belief that it’s inherently dangerous or corrupting, when it is no more perilous than any other magickal practice if approached with knowledge and respect. Necromancy is not about controlling spirits but about forging meaningful, respectful connections with the unseen.

**PAA: Your book Gha'Agsheblah Ash'Nagorath Death as Initiation, Emptiness as Becoming has garnered attention. Can you elaborate on its central themes and the transformative experiences it aims to facilitate for readers?**

The relationship between transformation, emptiness, and death as spiritual and magical processes is examined in this book. Its main themes revolve around embracing the void, dissolving the ego, and emerging from this dissolution as a redefined and empowered being. It bridges the esoteric currents of death magick, the Nightside philosophy of Qliphothic exploration, and shamanic death-rebirth cycles, offering readers a structured yet experiential approach to these profound concepts. 

The book redefines death, not merely as a physical cessation but as a process of transcendence and initiation. It guides readers to confront the "little deaths" of ego, fear, and limitation that occur throughout life and use them as opportunities for profound growth. These initiatory deaths are framed as necessary rites of passage for spiritual evolution. Drawing from philosophies of the void found in Eastern mysticism, Qliphothic magick, and quantum perspectives, the book emphasizes emptiness not as nihilism but as fertile ground for becoming. When one lets go of all attachments and identities, what remains is pure potential, the primordial state from which all creation arises. Also The book introduces entities and archetypes linked to Death Essence, including Gha'Agsheblah and Ash'Nagorath, who serve as psychopomps and initiators. Through these deific masks, practitioners can engage with death as an active, guiding force and receive insights into the mysteries of the void.

**PAA: In Gateways of Necromancy, you discuss various techniques for communing with Death Essence. What inspired you to explore this topic, and what do you hope readers will gain from it?**

The idea for Gateways of Necromancy was inspired by my own deep encounters with the Death Essence in ritual work. I felt called to share the transformative potential of this energy, which can strip away illusions and open one to the raw, unfiltered truth of existence. The book is designed to demystify the practice of necromancy and offer readers practical tools to build their own connections with Death Essence. 

By learning that death is a path to freedom and wholeness rather than something to be feared, I hope that readers will feel more empowered and have more clarity.

The synergy between Hoodoo spirits, Death energies and the Tunnels of Set was instrumental in shaping Gateways of Necromancy. These systems, though distinct in their origins, share a common thread: they demand direct engagement with the unseen and transformative forces of existence. This convergence provided the thematic backbone of the book, as I sought to explore necromancy as both an art of death-working and a path to profound spiritual transformation.

By blending Hoodoo's practical spirit work and the Tunnels of Set's transformative frameworks, Gateways of Necromancy invites readers to experience necromancy not only as a means of communing with the dead but also as a path to self-discovery and empowerment. The Hoodoo spirits provided grounded, hands-on techniques, while the Tunnels of Set expanded these into cosmic and esoteric dimensions, creating a multidimensional system of necromantic practice.

**PAA: You have authored over ten grimoires. How has your writing evolved over time, and what key messages do you strive to convey in your works?**

As I have developed as a writer, my work has become more focused and in-depth. In the beginning, my grimoires were theoretical and foundational explorations, designed to share the tools that had been transformative for me. I gradually started incorporating interpretations, experimental techniques, and personal experiences into my works. The key messages I strive to convey are the importance of personal gnosis, the transformative power of working with the energies I call, and the necessity of exploring magick as a living, evolving art rather than a rigid tradition. I aim to inspire practitioners to embrace their unique paths with courage and creativity.

**PAA: Can you share the inspiration behind your series The Nine Demonic Gatekeepers? What role do these entities play in your magickal framework?**

The series was inspired by a deep calling to explore the archetypal and transformative energies represented by the nine demonic gatekeepers. These entities act as initiators, guiding the practitioner through different aspects of self-discovery, power, and transcendence. According to my magickal framework, they function as both internal and external manifestations of the subconscious, assisting in the dismantling of limiting beliefs and creating avenues for a more profound understanding. Each gatekeeper represents a unique key to unlocking hidden potential and aligning with the primal forces of existence.

**PAA: I understand you're working on a project related to the 22 Tunnels of Set. Can you provide an overview of this project and its significance within your magickal practice?**

The 22 Tunnels of Set project is an intensive exploration of the Tunnels as pathways to self-transformation and kosmic understanding. These tunnels act as liminal spaces between the spheres of the Nightside Tree, challenging the practitioner to confront and integrate aspects of their shadow. The project’s significance lies in its capacity to reveal the fluid, dynamic interplay between light and dark, order and chaos, and the potential for liberation through embracing the unknown.

The Liber Amprodias, Liber Baratchial, and the forthcoming Liber Gargophias represent a highly experimental and esoteric exploration of diverse explorations in the fields of astral and connection with energies from other planes of existence, deeply inspired by the pioneering work of Kenneth Grant and Linda Falorio, as well as the Tunnels of Set. These works are radical in their scope, weaving elements of magick, mythology, and psycho-spiritual exploration into texts that serve as gateways to the darker and more obscure corners of the occult experimental current.

At Liber Amprodias I made emphasis on the chaotic and transgressive energies associated with the entity Amprodias, as an agent of discord and creative deconstruction. This serves as a magickal grimoire for practitioners seeking to destabilize old paradigms and access liminal states of being. I Incorporated non-linear structures, cryptic sigils, and techniques for scrying into the void. Designed as a textual labyrinth, encouraging readers to lose themselves and encounter insights through disorientation. Heavily inspired by Kenneth Grant's Typhonian Trilogies, which emphasize the outer limits of the human mind and contact with otherworldly intelligences.

Under Liber Baratchial, I Explored the mysterious figure of Baratchial, linked to concepts of hidden knowledge, forbidden wisdom, and the manipulation of reality. Having as principal point the unveiling the layers of occult messages through interaction with the subtle energies found in the astral and sub-astral planes. It Combines traditional grimoire methods with contemporary techniques like cut-up texts and meditative pathworking. Also, Features channeled content interspersed with invocations that create a dreamlike and visionary experience for the reader. Draws on Kenneth Grant's emphasis on contact with non-human entities and the Lovecraftian mythos as metaphors for inner cosmic dimensions. The text mirrors the tunnels' structure, with each chapter functioning as a gate or key to a different tunnel or aspect of the practitioner's psyche. This book encourages practitioners to engage with shadow entities to unlock deeper self-knowledge.

**PAA: What methodologies are you employing in your exploration of the Tunnels of Set, and how do they differ from traditional approaches?**

I employ a blend of meditative pathworking, sigil magick, dream sorcery, Sonic mandalas, and ritual invocations designed to activate the specific energies of each tunnel. Unlike traditional approaches that often focus on symbolic interpretation, my methods emphasize direct experiential engagement. I incorporate creative techniques such as automatic writing and artistic representations of the tunnels' energies, allowing for a more personalized and visceral connection.

> Unlike traditional RHP systems, which often emphasize submission to external divine authority or pre-set paths, the Tunnels of Set invite us to forge our own path through the dark labyrinth of existence.
>
> Edgar Kerval

**PAA: How do you envision the relationship between the Tunnels of Set and the broader context of Left Hand Path practices?**

The Tunnels of Set serve as a microcosm of the Left Hand Path’s overarching philosophy, embracing individuality, exploring the shadow, and attaining self-deification through direct confrontation with the unknown. These tunnels challenge me to transcend duality and recognize the interconnectedness of opposites, aligning perfectly with the Left Hand Path's focus on personal empowerment and the pursuit of hidden wisdom, the search of self-deification, and mastery over one’s reality. Also the rejection or transcendence of societal, spiritual, and cosmic norms to carve a unique path. Embracing aspects of the self and universe that are deemed taboo, dark, or chaotic. The Tunnels of Set embody these principles by challenging the practitioner to confront the unknown, interact with shadowy forces, and transcend conventional dualities. The Tunnels act as a mirror to the psyche, where practitioners encounter their hidden fears, desires, and potentials.

Unlike traditional RHP systems, which often emphasize submission to external divine authority or pre-set paths, the Tunnels of Set invite us to forge our own path through the dark labyrinth of existence. The Tunnels of Set are a quintessential expression of the Left-Hand Path, providing a framework for deep introspection, personal evolution, and the exploration of shadowed and forbidden realms. By emphasizing antinomianism, shadow integration, and the path of self-deification, these tunnels are not just pathways in the metaphysical sense but transformative processes that resonate deeply with the core tenets of the Left-Hand Path. They challenge us to step beyond the boundaries of conventional spirituality, to embrace chaos and liminality, and ultimately to emerge as sovereign beings masters of our own existence.

**PAA: Are there any specific rituals or meditative practices associated with each Tunnel that you would recommend for practitioners interested in this path?**

I suggest combining sigil activation, sonic mandalas, and focused visualization for every tunnel. Chant the name or vibration of the tunnel's associated sound to start creating or meditating on its sigil. Combine this with a ceremony intended to awaken the special energy of the tunnel, like burning a particular kind of incense or creating symbolic objects. Dream incubation is particularly effective set an intent before sleep to encounter the tunnel’s spirit or energy in the astral plane. Journaling your experiences is crucial to understanding how the tunnel interacts with your subconscious.

**PAA: How do your cultural background and experiences in Colombia shape your approach to magick and spirituality?**

Growing up in Colombia, was very hard back 90s, most of the books and information we got was through air mail, because no internet at that time. In a way, it helps me a lot to interact with diverse personalities of the occult community. Actually not many people here are into experimental magick, but things are going fine since the very beginning in our magickal processes for me and Rick. I was surrounded by a lot of cultural influences, from indigenous shamanic practices to Catholic mysticism. This duality fostered an appreciation for syncretism and the blending of traditions. But my main influence here are the natural landscapes, mountains, jungles, and rivers taught me to perceive the sacred in the natural world and instilled a deep respect for the elements. 

**PAA: What philosophical underpinnings guide your understanding of death and rebirth within your magickal framework?**

Death and rebirth are cyclical forces inherent to all forms of existence, and this understanding forms the basis of my philosophy. They are transitions, thresholds that break down the old to create the new, not endpoints. Magickal death symbolizes the surrender of limiting paradigms, while rebirth represents the integration of new insights and empowerment. This philosophy aligns with alchemical processes, where calcination destroys impurities, and coagulation forges new essence, guiding the practitioner toward continual self-evolution.

**PAA: In what ways do you see the intersection of art, music, and magick in your life? How do these elements inform each other?**

Art and music are extensions of magick—they evoke emotion, channel energy, and communicate beyond language. When I create, whether through painting sigils, composing ritual chants, or crafting spoken invocations, I am engaging in magickal acts. Each form feeds into the other: music inspires the rhythm of rituals, art serves as a gateway to visualizing unseen realms, and magick infuses both with intent. This intersection is where the mundane transforms into the sacred, blurring the line between creation and ritual. Art, particularly in the form of ritual dark ambient music, plays a pivotal role in the expression and manifestation of projects like Emme Ya, especially when rooted in esoteric and occult traditions. For a project like Emme Ya, which operates at the intersection of mysticism, sound, and ritual, the importance of art and music extends beyond mere aesthetics. It becomes a tool of transformation, exploration, and communication with the ineffable.

The compositions in ritual dark ambient music serve as auditory sigils. Each piece is carefully crafted to evoke specific archetypes, energies, or entities, aligning the listener with esoteric currents. The music acts as an immersive environment where you or listener can transcend mundane reality, creating a space conducive to meditation, ritual, or altered states of consciousness. The sound, especially in dark ambient, functions as a vehicle for gnosis, direct experiential knowledge of spiritual explorations. The textures and layers of sound mirror the complexity of mystical experiences, inviting introspection and engagement with the unknown.

> For new adepts into sorcery and Magick, my advice is to start small and trust your own instincts.
>
> Edgar Kerval

**PAA: What advice would you give to those new to esoteric practices who may feel overwhelmed by the complexity of magickal systems? If you were talking to your younger self, what would the advice be?**

For new adepts into sorcery and Magick, my advice is to start small and trust your own instincts. Choose one practice or system that resonates with you and build a strong foundation before expanding. Avoid the temptation to master everything at once, depth is more valuable than breadth. To my younger self, I would say: “Don’t fear mistakes; they are the greatest teachers. Take your time, and let your path unfold organically. The journey matters more than the destination.” Magick and sorcery are lifelong practices. Always remain open to learning, evolving, and questioning your assumptions. Over time, your intuition will grow, and your connection to the unseen will deepen.

**PAA: Can you explain how connecting with Qliphothic forces manifests in your work, and what significance they hold for practitioners?**

The process of connecting with Qliphothic forces involves confronting the darkest facets of the universe and the psyche. These forces manifest as adversarial energies that challenge preconceived notions, dismantle egoic structures, and push practitioners to confront their deepest fears and desires. In my work, they serve as catalysts for profound transformation and self-mastery. For me, Qliphothic energies offer opportunities to transcend duality and unlock hidden potential, though they require a strong will and respect to navigate effectively. 

Qliphothic sorcery involves not only exploring the spheres but also the Tunnels of Set, the interconnecting pathways between the qliphoth. These tunnels represent specific challenges, entities, and energies. The Qliphothic path is not just about confronting darkness but about transformation through adversity. Each sphere or tunnel offers a challenge, and mastery over it brings empowerment and greater self-awareness.

For me, it has been a source of profound insight, creativity, and spiritual growth. Whether expressed through music, art, or ritual, this work continues to challenge and inspire, offering a gateway into the mysteries of the dark and the ineffable depths of the self.

**PAA: You have discussed concepts such as "Red Gods" as sources of psychic knowledge. Can you elaborate on their importance in your practice and how they influence your rituals?**

The "Red Gods" are archetypal forces associated with raw power, passion, and primal wisdom. They embody chaos and creation, representing the untamed aspects of the psyche and the universe. In my practice, they act as allies and initiators, guiding rituals that tap into unfiltered energy and deep reservoirs of intuition. They challenge me to move beyond rational structures and embrace the ecstatic, transformative potential of the unknown. Their presence informs rituals involving blood, fire, or other elements.

The Red Gods represent a profound and fiery presence in the realm of magick, embodying raw, primal energies of transformation, chaos, and empowerment. They are not merely mythic archetypes but living forces that resonate with those who walk the path of deep esotericism, particularly in traditions like Qliphothic sorcery, Left-Hand Path currents, and antinomian mysticism. Their influence is not limited to abstract symbolism but is deeply experiential, impacting one's personal and magickal evolution.

The Red Gods are deeply intertwined with Qliphothic sorcery, a current that explores the dark, hidden aspects of the self and the universe. They act as initiatory guides within this shadowed Tree, pushing me to embrace destruction as a precursor to rebirth. They are linked to rituals involving sexual energy and blood, symbolizing the vital forces of creation and destruction. Working with the Red Gods involves tapping into these forces, using them to dissolve ego barriers and achieve higher states of consciousness. The Red Gods embody the flame of desire, not just physical lust but the divine yearning for power, wisdom, and spiritual evolution. My connection to the Red Gods began with an inherent pull toward rebellion and the rejection of imposed structures, whether societal, spiritual, or cosmic. They embody the antinomian spirit, encouraging me to break free from limitations and embrace the path of sovereignty and self-deification.

Through rituals, the Red Gods manifest as overwhelming, fiery presences that ignite transformative change. They demand not blind devotion but fearless confrontation with one’s deepest fears and desires. Blood offerings and sigil work have been particularly potent methods of invoking their energy, facilitating intense gnosis and moments of clarity. This has led to a deeper understanding of my psyche and the realization that these primal forces are not to be suppressed but transformed into tools of empowerment.

They burn away illusion and complacency, exposing the truth beneath. In magick, this is essential for progress, as self-deception is the greatest barrier to mastery. Their influence in rituals feels like an internal fire, breaking down old paradigms to make way for new understanding. The Red Gods have been a constant presence in my work, shaping my approach to sorcery and life. They remind me that true power comes from embracing the totality of existence, including its darkest and most primal aspects. Through their influence, I’ve learned to channel rage and passion into creative and magickal force, to find strength in destruction, recognizing it as a necessary phase of growth, and to see magick not as a path of submission but as one of becoming. For those willing to face their trials, the Red Gods offer unparalleled insight and empowerment, guiding the practitioner through the fires of transformation into the realization of their divine potential.

**PAA: How have influential figures like Kenneth Grant and Aleister Crowley shaped your own system of magick?**

I was inspired to work with the Tunnels of Set and the shadow elements of magick by Kenneth Grant's investigation of the Nightside and his synthesis of Thelemic and Qliphothic ideas. Crowley’s focus on self-deification and will-based practices provided the structural backbone of my approach. Both figures emphasized personal gnosis and the importance of forging one’s path, principles I’ve carried into my system. But by adding aspects of shamanism, contemporary psychology, and cultural influences, I have gone beyond their frameworks. If we discuss the primary influence, however, it would be Kenneth Grant's and the Tunnels of Set's work, which has greatly influenced my artistic expression and magical path, especially in the fields of music and sound design. My practice has been influenced by Grant's esoteric framework, which has its roots in the Typhonian Tradition, and the eerie, transformational energies of the Tunnels of Set. These elements have also inspired the development of immersive, ritualistic soundscapes.

Engaging with non-human intelligences and the outer edges of consciousness. Also, navigating the realms of dreams, the subconscious, and the Nightside of the Tree of Life utilizing symbols as gateways to hidden dimensions embracing chaos as a source of creativity and transformation. Grant’s emphasis on the subconscious as a magickal tool has deepened my meditative and ritual practices. I’ve learned to work with dreams, hypnagogic states, and the liminal spaces between waking and sleeping to access insights and inspiration. His connection of Lovecraftian mythos with esotericism has influenced my understanding of magickal entities as both internal archetypes and external transdimensional intelligences. This perspective has opened my rituals to new possibilities for exploration.

My soundscapes aim to reflect the surreal, fluid, and often alien environments Grant describes. Through droning textures, dissonant melodies, and layered rhythms, I try to create auditory equivalents of the tunnels. Chaos becomes an essential component in my creative process, mirroring Grant’s magickal emphasis. Improvised sound design, unexpected textures, and distortion mirror the unpredictability of Typhonian energies.

**PAA: In exploring shamanism within your work, how do you incorporate elements from African and Brazilian traditions into your practice?**

African and Brazilian shamanic traditions emphasize the interplay between the physical and spiritual worlds through trance, drumming, and sacred dances. I incorporate some influences of African diaspora by using rhythmic elements to induce altered states, invoking spirits through offerings, and connecting with nature’s elemental forces. These traditions bring a communal, ecstatic quality to my work, contrasting the solitary nature of some Western practices. They remind me of the importance of embodiment and ancestral connection in magick. 

The work of Michael Bertiaux and his system of Voudon Gnosis has had a profound influence on my magickal practice and artistic expression. Bertiaux’s approach, which blends elements of Haitian Vodou, provides me a dynamic and innovative framework for exploring spiritual dimensions, the subconscious, and the creative process. His teachings have shaped my understanding of magick as an experiential, multi-layered, and highly personal journey. The focus on personal gnosis aligns with my belief that magick is an experiential practice. Through Bertiaux’s teachings, I’ve developed techniques to enter altered states and access hidden layers of reality. Voudon Gnosis heavily emphasizes imagination and creativity, which resonate deeply with my artistic endeavors. The use of surreal imagery, abstract symbols, and fluid narratives in my music mirrors the dreamlike quality of Bertiaux’s esotericism.

Working with the Loa and other spirits has become a cornerstone of my practice, providing a deeper connection to ancestral wisdom and cosmic energies. Bertiaux’s techniques for building astral temples and engaging with astral energies have profoundly influenced my rituals, particularly those involving visualization and pathworking. The idea of a personal astral sanctuary resonates with my practice of creating sacred spaces in both the physical and non-physical realms. I’ve integrated elements of Bertiaux’s Vodou inspired practices with other magickal systems, creating a hybrid approach that feels authentic and personal. Through Bertiaux’s teachings, I’ve come to view magick and art as interwoven practices, each amplifying the other to create transformative experiences. His work reminds me that magick is a journey of exploration, imagination, and continual evolution.

**PAA: Looking ahead, what projects or themes are you excited to explore in future writings or practices?**

I’m particularly excited about exploring the intersection of magick and technology, diving into transhumanist rituals, and the digitization of occult practices. I also plan to delve deeper into necromancy as a tool for personal and collective healing, expanding on its role in modern spirituality. Another theme is the exploration of interdimensional entities and their impact on human consciousness, continuing my work with the Tunnels of Set and other Nightside pathways. Partnering with magickal practitioners and esoteric groups to create immersive ritual performances or recordings. Hosting private or online rituals where soundscapes from EMME YA are used as part of the ceremonial experience. Transitioning into live performances that blend sound, visual projections, and ceremonial elements to create a fully immersive ritual experience. Integrating real-time invocation, audience participation, and symbolic visuals to bridge the gap between sound and magickal experience. Expanding EMME YA’s audience through performances, exhibitions, and releases that resonate with both magickal practitioners and dark ambient enthusiasts worldwide.

**PAA: How do you perceive the evolving landscape of esoteric practices in contemporary society? Are there particular trends that intrigue you?**

The accessibility of magick through digital platforms is transforming the esoteric landscape, fostering a global exchange of ideas and practices. Trends like chaos magick, urban shamanism, and the resurgence of ancestral practices are particularly intriguing. I also see a growing emphasis on integrating psychological tools, such as shadow work, into magickal systems. Although it is encouraging that magick has become more accessible, adepts must also be able to identify genuine routes among the deluge of information. Magick and sorcery's future is both a step into the unknown and a return to traditional knowledge. In order to adapt these ancient practices to the practical and spiritual demands of a world that is becoming more interconnected and changing at a rapid pace, modern adepts are embracing innovation and diversity. Transforming intention into reality is the essence of magick, and it will continue to flourish whether through scientific research or technological rituals.

**PAA: Can we expect any collaborations with other authors or practitioners in the near future? If so, what might those entail?**

Yes, I’m in discussions with other practitioners about collaborative projects focusing on Qliphothic magick, necromancy. These might take the form of co-authored books, joint workshops, or online ritual experiences. The aim is to blend diverse perspectives and create multidimensional explorations of these practices. The collaboration with Asenath Mason on the new book about Baphomet is an inspiring and deeply transformative process. Baphomet, as a symbol of duality, integration, and occult wisdom, is a profound subject, and working with a figure like Asenath Mason, who has a vast understanding of the Left-Hand Path and esoteric systems, elevates the depth and scope of the project coming in January 2025.  The next few years for Sirius Limited Esoterica and my music projects will be about deepening the connection between magick, art, and the audience. By creating immersive, multidimensional works, I hope to inspire adept and artists to explore their own paths, fueled by the transformative energies of sound, symbol, and spirit.

**PAA: How can individuals engage with your work beyond reading your books? Are there workshops, online courses, or other resources available?**

I offer online courses, workshops, and guided pathworking sessions for those seeking a more interactive experience mostly to my private mates. These include live rituals, meditative journeys, and sessions to deepen understanding. I also plan to release exclusive content on digital platforms, such as ritual recordings and practical guides. Engaging through these channels allows practitioners to connect directly with my methods and expand their personal practices. Thank you so much for the great interview André, and to those walking the magickal path don’t forget to dare to dream, dare to act, and dare to become. The journey is not without its shadows, but within the darkness lies infinite potential. Magick is the power to shape your world, imagination is the vision to see it, and will is the courage to make it so. Walk boldly, for the universe responds to those who dare to step into their own power.

**PAA: Thank you, Edgar, for your time and generous sharing, also huge thanks to Andre Consciencia for facilitating this interview.**

![Edgar Kerval with his dogs](https://staging13.perseusarcaneacademy.com/wp-content/uploads/2024/12/bb779ed4-633d-412b-9420-d3342f38267b-576x1024.jpg)Edgar and his dogs in beautiful surroundings

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## Further Information

##### Edgars Website - Sirius Limited Esoterica

##### Sirius Limited Esoterica on Facebook

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## A Magical Study Series - Volume 1

The realm of elementals, known as the enchanted realm, reflects the natural world shaped by the creative power of light. This book centers on Edinnu, the Garden of God, a heavenly region tied to the senses and guarded by symbols of ecstatic trance, such as the flaming sword and scorpion sphinx. It emphasizes creating a magical garden of inner balance, drawing on traditions like Jamshid and Bardon's work. Exploring the mind, soul, elements, and their kingdoms, it offers new beings, meditations, and insights, serving as a grimoire for hermetic and goetic practitioners.

[Learn More](https://courses.perseusarcaneacademy.com/a-guide-to-the-elementals-a-magical-study-series)

![A Guide to the Elementals](https://staging13.perseusarcaneacademy.com/wp-content/uploads/2024/01/A-Guide-to-the-Elementals-1.webp)