Working with Amdusias: A Two-Inch Seal Pendant, Music, and the Wild

Amdusias, and a domain of sound and trees

Amdusias is a Duke in the Goetia material, with twenty-nine legions, and his domain, as given in the Grimoire Companion, is commanding music to sound of itself, bending the trees of the wild, and granting familiars. That is a domain of sound and of living, growing things, and it is quite different from the domains of study, or of war, or of love that other spirits govern. It is a wilder domain, and it calls for a different kind of attention.

Music sounding of itself is a striking image. It suggests sound that is not forced, not performed for effect, but present in a place because the place itself is in tune. A practitioner working with Amdusias is therefore not, first of all, learning a technique. He is learning to listen: to the sound of a room, of a wood, of a piece of music played well, and to the silence underneath sound that makes music possible at all.

Bending the trees of the wild is a companion image. Trees bend in wind, in growth, and under weight, and they do so without breaking, because they are rooted and flexible at once. A working life that is only rigid will snap. A working life that is only yielding will be blown anywhere. Amdusias work, as described here, sits at that meeting point: rooted, and able to bend.

Starting with the work, not with the tool

Spirit work is not shopping, and a pendant does not do the work for you. Before you wear a seal pendant for Amdusias work, be clear about what you are seeking. A vague purpose produces a vague working, and a vague working is hard to read afterwards. If you cannot state the matter in one clear sentence, write it down, leave it overnight, and come back to see if it still reads true. That pause is part of the work, not a delay in it.

Ask yourself, concretely: are you a musician, or a listener? Are you seeking company in your work, in the sense of familiars granted for that work? Are you drawn to wild places, and to working outdoors rather than only in a room? Or are you seeking a quality of flexibility in yourself, a way of bending without breaking under pressure? Those are different petitions, and they should not be blurred together. Be specific about which one you mean.

If you are working in the Goetia system, work from the instructions and teaching you already follow in that system. A general article like this one is not a substitute for proper teaching, and it should not be used to invent a purpose for a spirit you have not studied.

How the pendant is made here

These are lost wax cast seals of the Daemons of the various grimoires. These are pure metal which is actually cast, starting with a wax version, which is much higher quality than the 3D printed versions, using metal powder and plastic, that you find around the internet.

This pendant is two inches across. That is a substantial size for a worn seal: large enough to hold in the hand, to see clearly, and to feel its weight against the chest, but still a pendant, made to be worn rather than only displayed.

The ones which are not listed but are under the other option take eight weeks, because the waxes for those have not yet been carved. The listed versions take approximately two to three weeks. That waiting time is part of the making. A hand-cast seal cannot be hurried without losing what makes it worth having, and a pendant that will be worn for years is worth waiting a few weeks for.

Working with a seal pendant, in practice

A pendant is worked with by wearing it, and by handling it, and the handling is itself a practice. Hold the seal in the hand before a working, and let its weight and its surface remind you of the purpose you have set. Put it under a candle during a working, so that the light falls on it for the duration of the rite. Put oil on it, if your practice calls for anointing, and let the oil mark it for the purpose. Carry it with you when you go out, especially into wild places, wear it as a pendant day by day, and show it to the desired person when your practice calls for the seal to be presented rather than merely worn.

For Amdusias work, the carrying matters in a particular way. A pendant that never leaves the house will gather only house associations. A pendant carried into a wood, worn while listening to music played live, or held during a walk where you are actually listening to wind and birds, gathers associations of a different kind. Take it, respectfully, into the places the work belongs to, and let the work be shaped by those places.

That does not mean wearing it carelessly. A two-inch cast pendant is a solid piece. Keep it on a cord or chain that can bear its weight, keep it in a proper place when it is not being worn, and do not wear it into situations where it will be damaged without need. A tool that is cared for lasts, and a tool that is neglected tells you, every time you pick it up, that the work itself has been neglected too.

Listening, as a discipline

Listening is the chief discipline of Amdusias work, and it is harder than it sounds. Most of us listen only until we have enough to reply, or until we have confirmed what we already thought. Listening properly means listening all the way through: to a piece of music, to a person speaking, to a wood in wind, without deciding in advance what it means.

Try this as a practice, with or without any rite. Sit with a piece of music you know well, and listen to it as if you had never heard it, noting what you actually hear, in order, without naming the feeling it gives you until the piece is done. Then write down what you heard. Do the same, on another day, outdoors: sit in a wild place, or as wild a place as you can reach, and listen for ten minutes without speaking, noting the sounds in order. That noting, done honestly, is closer to Amdusias work than any dramatic gesture.

Familiars, in this context, are company for that listening. The Grimoire Companion lists familiars for Amdusias, and faithful company, in any practice, is built by consistency: by showing up at the agreed time, by speaking plainly, by keeping promises, and by not asking for more than the relationship can bear. A practitioner who listens well is better company, and is more likely to be given good company in return. That is not a rule imposed from outside. It is how relationships work, in spirit work as in ordinary life.

Music, and the wild, in the same working life

Music and the wild belong together in Amdusias work, because both are places where sound happens without a human forcing it. A wood is full of sound that no one arranged. A piece of music, played well, has a life that is larger than any single player. A practitioner who spends time in both learns something that a room alone cannot teach: that sound, and growth, have their own timing, and that timing cannot be hurried.

If you are a musician, bring that discipline into the working. Practise daily, not only before a rite. Let the pendant be present during practice, not as a lucky charm, but as a reminder of the listening you are practising. If you are not a musician, listen daily instead: to music played by others, to the outdoors, to silence itself. Listening is a practice, and it improves with practice, like any other.

And if you work outdoors, do so with respect for the place. A wild place is not a backdrop for a rite. It is a living place, with its own order, and a practitioner who treats it as scenery will not be welcomed by it, in any sense. Leave the place as you found it, or better. Take nothing you do not need. That care is part of the work, not an addition to it.

Keeping a record, and knowing when to stop

Keep a short record for each working: date, purpose in one sentence, what you did, and what you noticed afterwards, over days and weeks, not just on the night itself. For Amdusias work, that record might include what you listened to, where you walked, and what you heard that you had not heard before. If nothing changes, that is also information. It may mean the petition was unclear, the timing was wrong, the work was not appropriate, or simply that the matter needs more time.

Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, observe, and then decide, calmly, whether a second working, a different approach, or no further working is the right next step. Repetition without reflection is not persistence. It is noise.

Sometimes the right answer is not a spirit working at all. If the matter is a legal matter, a safety matter, or a medical matter, deal with that matter in the ordinary world first, or at the same time. Ritual work is not a substitute for a lawyer, a doctor, or for leaving a dangerous situation.

And as with all work of this kind, the pendant is made for the work, blessed before sending, and sent to you to use in your own practice. What follows from that practice, in terms of magical result, is yours to observe, not mine to guarantee. That is about the work itself, not about delivery dates for physical items.

Amdusias seal pendant, two inches

If you are doing traditional Goetia work with Amdusias, and you want a seal pendant you can wear, hold, and carry into the places the work belongs to, this is the pendant I offer.

It is a lost wax cast seal, in pure metal cast from a wax version, not a 3D printed piece, two inches across, with a bail cast or soldered on so you can wear it as a pendant. Listed versions take approximately two to three weeks to make. I make no promise about what it will do for you, only that it is made by hand, for this work, and not mass produced.

If you want the pendant for that work, this is the one I offer: Amdusias cast Daemon Demon seal pendant 2 inches, $216 CAD. View the product

For the same work, I also make Amdusias Goetia incense, $44 CAD, and Amdusias Goetia grimoire demon evocation oil, $44 CAD. View the product

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