Amdusias oil: music that sounds of itself, trees that bend, and familiars

Starting with the work, not with the tool

An oil is not the working. It is a tool that belongs inside a working, and it is worth being clear about that before anything is bought, opened, or used. In Goetia work, oil marks, prepares, and focuses what is already being done. It does not stand in for preparation, for a clear request, or for the closing of a working. When those parts are missing, no oil fills the gap. When they are present, an oil made for a particular spirit can help the practitioner keep the work in one place, in mind and in body, rather than letting it scatter across half-finished preparations.

That distinction matters with Amdusias, because his work, as the Grimoire Companion presents it, is not a single everyday office. It is creative, wild, and musical: commanding music to sound of itself, bending the trees of the wild, and granting familiars. A practitioner who approaches that work with a vague wish to be "more creative" will find it hard to know what was asked, what was observed, and what changed. A practitioner who approaches it with a specific creative practice, a specific place in nature, or a specific question about a familiar, will have a working that can actually be recorded and judged afterwards.

This article is about Amdusias oil, for anointing and spirit work with Amdusias. It is not a manual for Goetia practice, and it is not a substitute for teaching in the system a practitioner already works in. It sets out who Amdusias is, in the Companion's terms, how anointing fits into such work, and how to use an oil made for Amdusias thoughtfully, in a way that can be adapted to a practitioner's own practice.

Amdusias, Duke, and his wild music

In the Grimoire Companion's Goetia data, Amdusias is a Duke, commanding twenty-nine legions, whose work is summarised as commanding music to sound of itself and bending the trees of the wild, and granting familiars. Each phrase in that summary points to a different facet of the same spirit, and it is worth pausing on each, because together they give Amdusias a character unlike any other Goetia spirit in this batch.

Music that sounds of itself is music that is not forced, practised into existence note by note, or performed for approval. It is music that arrives, that plays as if from elsewhere, that surprises the musician as much as the listener. For a practitioner who is a musician, a composer, a singer, or a maker of sound in any form, that image speaks directly to the experience of inspiration: the melody that comes whole, the rhythm that finds itself, the performance that feels given rather than manufactured. A working with Amdusias for music should therefore be approached with a real musical practice behind it: an instrument, a voice, a composition in progress, a place where music is actually made, rather than a vague wish to be musical in general.

Bending the trees of the wild points to nature, and to a wilder nature than a garden or a park. The trees of the wild are not ornamental. They are tall, rooted, weather-shaped, and indifferent to human plans. To bend them, in the Companion's phrase, is to have influence in that wild place, to be heard there, and to move within it with a kind of authority that is not granted by ownership or by fences. For a practitioner who works outdoors, who walks wild places, who gathers herbs or wood with permission and care, or who seeks a working relationship with a wild place, that image gives Amdusias a home outside the working room, in the woods themselves.

Granting familiars is the third facet, and it is the most practical, in the sense that a familiar, in traditional practice, is a spirit companion given to help the practitioner in their work. A familiar is not a pet, and it is not a servant to be ordered casually. It is a working relationship, with its own attention, care, and record-keeping. A practitioner who seeks a familiar from Amdusias should be clear about what work the familiar is for, what care will be given in return, and how the relationship will be recorded and tended over time, rather than seeking a familiar as a novelty or a status symbol.

Creativity, nature, and familiars together

Those three facets belong together, and seeing them together helps the practitioner understand Amdusias better than any one of them alone. Music, wild trees, and familiars all share a quality: they are living, sounding, growing things, that cannot be fully controlled, and that respond to attention, respect, and regular practice. A musician who practises daily hears more music than one who practises rarely. A walker who returns to the same wild place, season after season, learns its trees in a way a single visit cannot teach. A practitioner who tends a familiar relationship, with offerings, attention, and record, has a different relationship from one who calls once and forgets.

That shared quality is a useful guide for Amdusias work. Approach it as a practice, not as a single event. If the work is musical, practise regularly, and let the working sit alongside the practice, rather than replacing it. If the work is with wild nature, go to wild places regularly, with care and permission, and let the working grow out of that going, rather than out of a single dramatic visit. If the work is for a familiar, prepare for a relationship that will need tending, and ask whether that tending is something the practitioner is willing and able to give, over time, before asking at all.

It is also worth being specific about what is wanted, in each facet. Reflection about being specific about what you want applies here as it does elsewhere: a specific piece of music, a specific creative block, a specific wild place, a specific kind of help from a familiar, stated in one clear sentence, will serve a working far better than a general wish for creativity, nature, or companionship. Write the sentence down, leave it overnight, and come back to see if it still reads true, before the oil is opened.

How the Amdusias oil is made here

The oils are in a half-ounce bottle, about twice as large as the small essential oil bottles found in health food stores, unless otherwise stated. That account is worth reading as a claim about method: an oil compounded for a spirit, from natural materials, made when ordered, rather than blended generically and labelled afterwards.

Made when ordered also means the oil is fresh to the working, and its arrival can be treated as part of the preparation: a moment to clarify the petition, to prepare the space or the instrument or the walking route, and to decide which facet of Amdusias the working is actually for, before the bottle is opened. A practitioner who orders an oil for a musical working, and then uses it for a familiar working without a second thought, has blurred the very specificity the oil was made for. Keep the oil for its purpose, and keep the record for that purpose, and both will stay clear.

What matters for the practitioner is the principle: the oil is specific to Amdusias, it is handmade from pure essential oils, roots, and herbs, and it should be used specifically, for Amdusias work, rather than borrowed as a general anointing oil for unrelated workings.

Why anointing, and why oil at all

Anointing is a way of marking something, or someone, for a purpose. Oil stays where it is put. It has scent, it has touch, and it lasts through the first part of a working in a way that a spoken word alone does not. When a practitioner anoints a candle, a seal, an instrument, a petition paper, or their own forehead, wrist, or hands, the act itself slows the working down. It forces a pause, a deliberate gesture, and a moment in which the purpose can be named in plain words before anything further is said or done.

That pause is the real value of anointing, and it is especially valuable in creative work, where the temptation is to rush into making, or to force a result, rather than to prepare and then listen. Anointing an instrument, a seal of Amdusias, or the hands before playing, gives the working a threshold: before this gesture, preparation; after it, the working proper, for one purpose, named once, clearly. It also gives the practitioner something to return to in memory. Days later, the scent of the oil can bring back the purpose, the wording, and the state of mind of the working, more sharply than a written note alone.

Oil also has a practical advantage for some parts of a working. It can be applied to a seal or a candle without scattering, it can be carried in a small bottle, and it can be used quietly, without smoke or a large setup. For a musician who works in a small room, or a walker who prepares tools before going out to a wild place, that practicality matters. It does not make oil better than incense in any absolute sense. It makes it the right tool for the parts of a working where a quiet, lasting, tactile mark is what is wanted.

Preparation is most of the work

Preparation for Amdusias work begins before the oil is opened. Choose one facet for the working: music, wild nature, or a familiar. State it in one clear sentence, with the specific practice, place, or help named. Write the sentence down, leave it overnight, and come back to see if it still reads true. A sentence that changes shape every time it is written down is not ready to be taken into a working, and a working that tries to cover all three facets at once should be divided into separate workings, each with its own sentence, its own anointing, and its own record.

Prepare the room, the instrument, or the route, and yourself, as for any serious Goetia working: clear the space, set it aside for this purpose, bathe or wash, change into clothes not worn for ordinary errands, and know what is going to be said, in your own words, before beginning. Gather what will be used, including the oil, any candle, any seal of Amdusias, and any instrument or petition, before the working starts, so that nothing has to be hunted for halfway through. A clear head is a working tool, just as much as oil, incense, or an instrument is.

It is also worth asking, plainly, what the practitioner's own part in the work will be, after the working. A musical working followed by no practice will show little. A wild-place working followed by no return to that place will show little. A familiar working followed by no tending will show little, and will leave a relationship neglected. The oil cannot supply practice, return, or tending. Only the practitioner can, and the decision to give them should be made before the working, not discovered afterwards.

A simple working order, to adapt to your own practice

The following is a general order, not a fixed script. Adapt it to the system already worked in. First, prepare the room, instrument, or route, and yourself, as above, with one clear sentence for the working. Second, set out the oil and anything else that will be used, including a seal of Amdusias if one is worked with. Third, anoint deliberately, naming the purpose in your own words: a candle dressed for the working, a seal, an instrument, a petition, or the practitioner's own hands or forehead, according to the practice followed. Fourth, speak the petition clearly and once, rather than repeating it until it loses its shape. Fifth, sit quietly for a time, or play, walk, or listen, according to the facet of the work, rather than filling every moment with more words. Sixth, close the working properly, in whatever way the practice requires, and put the oil and tools away in their proper place.

Afterwards, write down what was done, when it was done, and what was noticed. Not what was hoped would happen, but what actually happened, in plain language, over days and weeks, not just on the night itself. For music, note what was played, composed, or heard, and whether it came more freely than usual. For wild nature, note the place, the trees, the weather, and what was noticed there. For a familiar, note the relationship as tended, day by day, with care and honesty. That record is what lets a practitioner tell, weeks later, whether anything changed, and whether that change had anything to do with the work.

Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, observe, practise, return, or tend, as the facet requires, 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.

Care, storage, and the companion incense

Care for a handmade oil is practical. Keep the bottle upright, capped, and away from heat and direct light, and keep it in a clean place used for working tools, rather than in a bathroom cabinet or a pocket with keys and loose change. Keep it for Amdusias work alone, labelled, and separate from other spirit oils, so that the record stays clear and the working stays specific. If the oil changes in smell or appearance in a way that suggests it has turned, stop using it for working and replace it, rather than working with a tool that distracts attention every time it is opened.

Oil and incense go together in Goetia work in a complementary way: oil for the quiet, lasting mark, incense for fumigating the space, the tools, and the seal, and for opening a working with smoke and scent. Amdusias also has a matching incense in the catalogue, made for the same work, and a practitioner who works with both will find the two practices support each other: anointing the candle, seal, or instrument, fumigating the tools and the space, and then proceeding with the petition, with both senses engaged and the purpose named once, clearly, at the threshold of the working.

Finally, remember that an oil is consumed by use, and that is as it should be. A working tool that is never used, kept pristine on a shelf, is not being worked with. Use the oil deliberately, in workings that have been prepared for, with one clear purpose at a time, and let the bottle empty in the course of real work, in practice, in wild places, and in tending, rather than hoarding it for a perfect occasion that never arrives, or spending it on workings that were never properly prepared.

Amdusias Goetia grimoire demon evocation oil, and Amdusias incense to go with it

An oil for Amdusias should be used for Amdusias work, one facet at a time: music, wild nature, or a familiar, named clearly before the working begins.

I hand make all of my own perfumes, colognes, and oils from only pure essential oils, roots, and herbs. I do not use any extraneous ingredients or fillers, and I do not use any synthetics. This oil is made in a half-ounce bottle, in small batches when you order, for anointing and spirit work with Amdusias. I make no promise about what it will do for you, only that it is made by hand, for this work.

If you want the oil for that work, this is the one I offer: Amdusias Goetia grimoire demon evocation oil, $44 CAD. View the product

I also make the incense to go with it, for the same work: Amdusias Goetia incense, $44 CAD. View the product

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