Left-hand path and right-hand path

In Western esotericism the terms Left-Hand Path and Right-Hand Path refer to a dichotomy between two opposing approaches to magic. This terminology is used in various groups involved in the occult and ceremonial magic. In some definitions, the Left-Hand Path is equated with malicious black magic and the Right-Hand Path with benevolent white magic. Other occultists have criticised this definition, believing that the Left-Right dichotomy refers merely to different kinds of working, and does not necessarily connote good or bad magical actions.

In more recent definitions, which base themselves on the terms' origins among Indian Tantra, the Right-Hand Path, or RHP, is seen as a definition for those magical groups that follow specific ethical codes and adopt social convention, while the Left-Hand Path adopts the opposite attitude, espousing the breaking of taboo and the abandoning of set morality. Some contemporary occultists have stressed that both paths can be followed by a magical practitioner, as essentially they have the same goals.

Left-Hand Path (disambiguation)

Left-Hand Path, a term used in Western esotericism.

Left-Hand Path may also refer to:

Left Hand Path (album)

Left Hand Path is the debut album from Entombed from 1990 that is known for defining the style of Swedish death metal by being the first recording to use the "buzzsaw" guitar tone. The tone was created by heavily detuned electric guitars (To B) used with a maxed out Boss HM-2 Heavy Metal Pedal and the DS-1 Distortion pedal into a Peavey amp. The originator of this guitar tone was Nihilist guitarist Leif "Leffe" Cuzner. The album's liner notes give thanks to Nirvana, but the band in question is the Swedish death metal group Nirvana 2002, not the famous grunge act. The album was recorded in the legendary Sunlight studio in Stockholm, Sweden during December 1989.

The title of the album refers to a Left-Hand Path belief system. Guitarist Alex Hellid found the term in Anton LaVey's book The Satanic Bible. This is explored in the eponymous opening track of the album, with the first verse:

The more melodic, ambient section that comes in at 3:54 of the title track is a cover of the theme from the 1979 horror film Phantasm.