Scithain: Vampyric Witchcraft of the Drakon Covenant

by A.A. Morain

Written both with the solitary practitioner in mind yet also suitable for group work, Scithain: Vampyric Witchcraft of the Drakon Covenant details, as the name would indicate, the black, chthonic witchcraft based both on historic record and astral communion with the Ascended Masters originating in the ancient Hebridean Isles - these so referenced now sending their Undead clarion call to a new generation of potential Adepts, those seeking that which is inherently transhuman and beyond. Positing their approach to the Sinister Tradition as explicitly vampiric in nature and ontology, the core West Yorkshire-based coven of the organization of authorship and its controversial head, A.A. Morain, delves deep into not only the historic underpinnings of their unique current, instead including, as well, its ordeals, initiatory degrees, entheogenic practices, bestiaries, rites, predatory astral praxis and hitherto secretive, occult and potentially applicable knowledge of a dangerous degree encompassing multiple levels of experience, thus allowing the perspicacious readership with the maximum of will and determination to avail themselves of a transfiguration both horrific - yet godlike - albeit still horrific and fell in nature.

348 pages, Paperback

Published September 30, 2017

Reviews

[Anne-Maaret · Rating 2 out of 5]

Promotes indulgence in hallucinogens to which i'm not definitely into... Also encourages into animal sacrifice and direct murder. Which is not satanic in nature, but pathetic. Most of the rituals included here were okay otherwise. Also tells a lot of history about the magickal practices long gone. But i think that the writer is partly delusional. Not any sane person would commit crimes as hideous as described in the book. If you want a real magickal book with power i recommend anything by Michael W. Ford. But leave this stuff alone.

[Iskalla · Rating 3 out of 5]

A uniquely anglo contribution to the ONA ‘thoughtform’, focusing particularly on pre Christian vampire mythology in Scotland. If nothing else, this folklore was new to me and Morain goes to some lengths to establish the historic legitimacy of his works through this less well known pagan tradition. It features some disturbing ‘wampyric’ pathworking and ritual, and is worth anybody interested in ONA as as a subject. Morain is described as ‘infamous’ by Chloe Ortega, she makes no comment on any legal accusations made against him.

Whether you despise ONA or not, this stands out as an important entry into the vast, expanding literary body which constitutes the most controversial, and perhaps justifiably disdained occult entity to ever exist.