LIMITED EDITION BLENDS
No imp’s ears are available for Limited Edition scents.
Presented in an amber apothecary glass vial.
Note: only 5ml bottles are offered in our limited edition scents. Please check the BPAL forum for stock updates. No samples can be requested for any limited edition scents, as they are not taken into consideration or assimilated into stock when the limited edition oils are made. Simply put: there are none to give. If you request a sample of a limited edition scent, we will swap for a random “permanent” scent.
Turbulent, disordered beauty: sensitive to initial conditions, topologically mixed, and approached by periodic orbits with abandon. A dynamical system expressed through scent.
Each bottle of Chaos Theory is truly unique, a fragrant fractal, and an exercise in the joy of chance and uncertainty! Each is a one-of-a-kind, utterly random combination of scents, the composition of which is based on whim, mood and gut instinct. Each bottle is numbered, and each bottle is unique.
Hail Eris! After a long hiatus, Chaos Theory is back!
This year, the aforementioned chaos is expressing itself through decidedly seasonal metaphors associated with gathering the harvest and welcoming the “dark half” of the year. Is it comfort you seek, or incantations whispered through a tear in the Veil? Thanks to the options below, you don’t have to choose — you can have it both ways!
This is an exercise in the joy of chance and uncertainty! Each bottle is a one-of-a-kind, utterly random combination of scents, the composition of which is based on whim, mood and gut instinct.
Most common allergens have been omitted from the experiment. No pennyroyal, no nuts, no cinnamon, no cassia. Regardless, if you have any sensitivities, please do not participate in Chaos Theory. The contents of the oils are not recorded [that’s the whole point!] and we will not be able to answer questions about specific bottles of CT:VIII or guarantee that an allergen is not present in your order.
By purchasing CT:VIII, you agree to absolve Black Phoenix of any responsibility related to an allergic reaction to one of the oils in this series. Please make a responsible choice, and use caution and discretion when ordering. This is intended to be a fun, exciting project.
Each CT:VIII scent has a base inspired by one of our favorite ‘Weenies, in wildly varying proportions:
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven –an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue –and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange — the fifth with white — the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet –a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
FOR IMMEDIATE RELEASE:
ARKHAM’S PICKMAN GALLERY ACQUIRES CURIOUS COLLECTION OF GOAT ART, DEEMED ‘GREATEST OF ALL TIME’
Greatest Of All Time: Portraits of Genus Capra on view at the Pickman Gallery from September 22 to December 28, 2018, Arkham, MA
— On view from September 18 through December 28, 2018 at Pickman Gallery, Arkham, MA, Greatest Of All Time: Portraits of Genus Capra. Greatest Of All Time is guest curated by the Santa Fe Art Institute’s Antonia Vasquez-Thackeray, who also holds a degree in Livestock Science. In this first-of-its-kind exhibition, Mx. Vasquez-Thackeray explores the social co-evolution of humankind and goatkind, a history which stretches back at least 10,000 years. Researchers note that goat remains have been found at archaeological sites in Western Asia including Jericho, Choga Mami, Djeitun, and Çayönü.
Via their innate curiosity and horizontally-pupilled eyes, goats have enjoyed a unique view of human civilization, and our ancestors’ myths and legends have proven us nothing if not fearful of their scrutiny. “Our projections in terms of goat consciousness and goat archetypes have eclipsed anything a goat might tell us about us, or itself,“ Vasquez-Thackeray writes in the introduction to her upcoming MY GOAT, MY INQUISITOR, a salvo against the bias and anthropomorphism that has infected the relations between these two closely interrelated worlds — but which carefully does not disavow the propensity for deceit, diabolism and witchcraft within Caprian mind.
Greatest of All Time consists of works hand-selected to commune with our species’ most recent common ancestor. About this evolutionary MacGuffin, Max Robinson, Ph.D. Molecular Biology and Biotechnology & Evolutionary Genetics, University of Washington, has written: “Millions of years ago, there was some kind of animal that eventually evolved into both goats and humans. It probably had claws rather than hooves or hands. It had a liver, four legs, eyes, and a brain, just like humans and goats still do.”
Unfathomably, a lineage extends directly from that ancestor to this season’s exhibition, which will serve as a family reunion of sorts: several goats from Vasquez-Thackeray’s personal herd will be in residence as docents throughout the duration of the show. (Their reactions to the art as well as to the guests will be recorded via motion-capture and analyzed by individuals from SFAI, MIT, and, by special request, members of Arkham’s Thousand Young Lodge.
Greatest Of All Time: Portraits of Genus Capra promises to feature works by Francisco Goya, J.J. Grandville, Cornelis Saftleven, Johann Christian Reinhart, and Otto Goetze which have never appeared in the same collection before — and by special clause in our arrangement, never will again.
A private, goats-only reception will be held at Pickman Gallery on opening night, September 22, 2018, from midnight until 3am, featuring a special performance by New York drag troupe The Nobodies. RSVP required. Refreshments provided by our perennial sponsors, Sister Shoggoth’s Microbrewery (Home of the original Protoplasmic Bubble Beer), Innsmouth Harbor Fishery, and the Old Arkham Cheese Shoppe.
Greatest Of All Time: Portraits of Genus Capra was made possible by the generous support of Elizabeth Barrial, director of the Black Phoenix Foundation for the Arts, and TJ Barrial, Visual Arts Professor and Department Chair at the Dunwich Academy of Arts, and was organized for the Celephaïs Athenæum by Brian Constantine, Curator of Sculpture for the Clark Ashton Smith Memorial Gallery. Negtotiatios for the re-aquisition of the Goya piece were handled pro bono by Tom Blunt of the NYC/LA firm Blunt Force Management.
About the Pickman Gallery
The Pickman Gallery is the Miskatonic Valley’s premier privately-owned art gallery. Founded in 1923 by interdimensionally renowned portrait artist Richard Upton Pickman, the Gallery offers the Miskatonic Valley community a dynamic roster of stimulating, dread-provoking exhibitions and enriching public programs. Though the Pickman generally focuses on Aestheticism and Decadence, nearly all artistic movements have been represented throughout the years. Exhibitions organized by the Pickman have featured the works of both local and international artists, and have encompassed all of the visual arts, including printmaking, photography, sculpture, video, film, and performance.
Pickman Gallery, 432 Sentinel Street, Arkham, MA 01914 Tel: 978/271-1300, Fax: 978/271-1313
Tuesday, Thursday, Friday: Dusk – 1am Saturday: Dusk – 3am Sunday, Monday, and major astronomical events: Closed
Lilith, I have always loved you. I loved you before I knew you, I loved you before I saw you, I loved you before time began. I have loved you in every lifetime, and I will love you beyond the end of time. You are the spark in my soul that gives my life radiance; you are the warmth of the sun and the mysteries of the moon within my heart.
The spirits of the land, the spirits of place. They are the protectors of nature and those who operate within their boundaries. In order to connect to these spirits, you have to examine and understand the native wildlife and flora, the weather patterns and topography, this history of the people that inhabited the land and the cosmology of the gods that smiled upon and smote its people. It is the essence of all that has lived and died there, it is the breath of the wind, the warmth of the soil, the bright burst of blood and the cool touch of thousands of years of morning dew, the echoes of a millennia of laughter, howls, screams, and scuttlings. It is the song of the land itself manifested into one energy, one soul; to propitiate it is to bring power and good fortune, but to anger or neglect spells ruin.
This is our multi-faceted series dedicated to the genii of Los Angeles, and we begin with the fluttering wings of LA’s psyche: butterflies.
The first of the four Temporal Rulers of the Major Arcana, who move and act within our world and our reality. Her hands, along with the Hierophant’s, the Empress’s, and the Emperor’s, turn the wheel of time. The Star Maiden, She Who Shines in the Darkness, High Priestess of Veiled Golden Isis, the Eternal Virgin. She is the Unutterable Truth, the Portal to the Mystery, the catalyst of the alchemical process of dissolution. This is Shekhinah, the presence and dwelling place of the feminine aspect of the Divine, the feminine manifestation of the presence of God, residing in the Temple in Jerusalem, the Tabernacle, and wherever [AB1] people are gathered together in prayer. She is the transformational spirit of God and the birthplace of prophecy. She is the Sabbath Bride, she is Sister Manfreda, she is Pope Joan, she is Veiled Isis, she is the Virgin Huntress, she is the female incarnation of Metatron.
Originally, the High Priestess was the Papesse, who was perceived as an allegory for the power of the Church, a heretical scapegoat, an incarnation of the Holy Spirit, or the herald of a new age. Later, she transformed into the virgin priestess, eternally pure, forever guarding the doorway to the mysteries.
Standing beside the Magician, together they represent binary principles of the universe: light and dark, action and stillness, exoteric and esoteric, knowledge and intuition. Where the Magician moves externally, controlling the forces of nature, the High Priestess turns inward, granting understanding of the mysteries of creation and the miracle of existence itself. She is the Moon, and the Hierophant is the Sun. She is the conduit between the archetypical and formative worlds, and she is the only guide capable of traversing the terrible wasteland that is the bleak desert of the soul[AB2] . She is intuition and the inner voice, opening your eyes to the potency and power of your dreams, your subconscious, and your imagination, granting insight into the myriad realities beyond the scope of your current understanding.
Is finding answers more important than finding peace? What price are you willing to pay for a chance to look behind the veil?
“Seduce us in seven!” we demanded, promising the winning story would be enshrined in a Limited Edition fragrance. The response was overwhelming — and downright filthy. Over eight hundred entries later, Lust found its new champion. The winning story, submitted via Twitter by @GeekDame, took flight in our perfumer’s imagination and resulted in the following myth-tinged tryst.
Congrats to the winner, and keep your quills sharp! #BPAL7wordstory is only getting started.
He breathed smoke across her pomegranate-stained lips.
Art thou pale for weariness
Of climbing heaven and gazing on the earth,
Among the stars that have a different birth,
And ever changing, like a Joyless eye
That finds no object worth its constancy?
Every month we offer a unique, limited edition lunacy scent, corresponding to the following month’s moon. It is available on the website for 72 hours, and then available once again at the following month’s Lunacy Event.
O happy posterity, who will not experience such abysmal woe and will look upon our testimony as a fable.
On the 20th of Mach, 1345, it is believed that a triple conjunction of Saturn, Jupiter and Mars in Aquarius harbingered one of the most catastrophic pandemics in all of human history, resulting in the deaths of between 75 and 200 million people in Eurasia, and initiating a death culture that would last well into our time.
Austin Coppock – one of the most talented, eloquent astrologers of our age – shares his insight:
It is a contemporary conceit to believe that plague is no longer with us. The post WWII years saw the humans triumph over a host of age-old afflictions. Polio, whooping cough tuberculosis and more fell one-by-one to the scalpel of modern science. Yet these gains, taken for granted, grow smaller every year. Long slumbering diseases have been roused, and those which were scheduled for elimination have shown dogged resistance to humanity’s best efforts. Plague is thus not a thing of the past, but an everpresent horseman, keeping pace with human progress. Though we may have pulled into a small lead, we have by no means outrun this dark rider.
Those who came before us knew well that this rider was forever at their back, and thus lived in anticipation of his terrible arrival. It should thus be in no way shocking to find that astrologers throughout history have done their very best to predict the times at which the waves of pestilence would crash against our shore. In a report commissioned by King Phillip VI from the University of Paris’ Medical Faculty in 1348, the fault of the great plague was thought to lie in a rare conjunction of Saturn, Jupiter and Mars in Aquarius which had occurred some years earlier, in 1345. The report pointed to the malefic nature of the Great Conjunction which had occurred those few years earlier, and how it augured a disease both swift and terrible. But Medical Faculty of the University of Paris had the benefit of hindsight, and their retrospective spared no one.
Several hundred years later, in 17th century England, lived an astrologer somewhat more prescient. William Lilly, the “English Merlin” wrote in his 1665 Almanac “Here is approaching great fatality unto mankind…there may be feared some dangerous mortality, or plague to be at hand, inflicting destruction.” Furthermore, he wrote of “a sickly summer…during June, July or August..” Accompanied by the macabre illustration seen below, Mr. Lilly’s prediction was more than satisfied, for a plague swept the city of London at the appointed time, claiming one in six of its inhabitants.
Though rarely regarded with much reverence, the configuration of the heavens still proclaims the coming of afflictions terrible and cruel. When in August of 2014, Mars the Lesser Malefic and Saturn the Greater Malefic made their conjunction in the tropical sign of the Scorpio, a plague of sanguine horror spread about the lands of western Africa— Ebola.
Yet the planets did not speak of these terrible genesis, but instead their climax. Perhaps it is not the dire conjunctions which bring about such sicknesses, but instead merely direct our awareness to them. The sinister red light of Mars and the dull grave dirt glow of Saturn may indeed only seem evil to us in that they serve to illuminate the work of the horseman forever at our side.
One must wonder, then, what the heavens of this year are trying to communicate, for Mars and Saturn spend an unusual amount of together in 2016. They flirt for all of April, and then separate, only to be joined bodily over the Summer. They will do so against the red backdrop of Antares- the Heart of the Scorpio. Three eyed, like the oni of Japanese folkore, one can only wonder what this trio of eyes sees in our spring and summer months.
The Plagues will be expanded with a study of the art and cultural impact of the Black Death this spring.