Interview by Aversionline Magazine 

Interrogation: Louis Fleischauer of Aesthetic Meat Front
August 2003 

This may only require a one-word response, but to avoid confusing the readers as both names will be used repeatedly, the Aesthetic Meat Front is simply one branch of the larger Aesthetic Meat Foundation, is that correct?

Yes, the Aesthetic Meat Front is in charge of spreading our ideology in the form of public deprogramming rituals and recorded media, such as CD's and videos. You could say the Front is the syringe of the Aesthetic Meat Foundation that injects the thoughts into the veins of the public. 

I'll openly admit that this is, in part, a silly question… but in this instance I think the answer will be both relevant and interesting. So, with that being said: How old are you, and at what age did you begin to formulate the many philosophical concepts that presently make up the Aesthetic Meat Foundation (including time prior to the group's documented formation more than seven years ago)?

The philosophies that started to shape the Aesthetic Meat Foundation are rooted in my early childhood. I've always been a loner and eventually I had to learn to use this to my advantage. When other kids played with trading cards, I was busy daydreaming or chasing fantasies. It seems that I instinctively knew from the beginning that I'm not a part of this herd. Without this hunger for individuality I would not have discovered the beauty of the Left Hand Path. Some rather extreme experiences helped me to truly awaken, and showed me that you can't evolve without facing some serious struggle. 

I'm assuming since you chose not to elaborate on said "extreme experiences" that you'd rather not do so. However, if you can, or would be willing to, that would be interesting. It's your choice.

Some mysteries need to remain. 

Clearly you're extremely well versed in certain subjects. Early on, and through time, what have been some of the most influential sources from which you've drawn research, and what initially led you to these sources in the early stages of your ideological awakening?

In my early years, my grandma used to tell me stories of how the Aztecs would remove the human hearts of their sacrificial victims while they were still alive. Back then I was still living behind the iron curtain (east Germany), so it was rather hard to find good information. My friend and I spend plenty of time picking each other's brains in high school. Eventually the wall came down, I moved to Berlin, lived on unemployment, and spent a lot of time reading: Crowley, Gregorius, CG Jung (there is still much I like to read of his work), Nietzsche, LaVey's "Law of the Trapezoid", Spiesberger and various other underground zines, etc. Later I stumbled onto the works of Stephen Flowers and Austin Osman Spare, which immediately clicked with me. HP Lovecraft's way of triggering your imagination and his way of creating doorways to the other side also painted the foundation of my ideas. And then there is Wilhelm Reich, who gave that whole blood obsession of mine a more scientific touch. On the other side there are my three favorite mythological creatures: Fenris, Phoenix, and Prometheus. The core of inspiration comes from within, simply listen to your instincts. 

You've stated: "The Aesthetic Meat Foundation was formed to shatter the TV-crippled belief system of our so-called 'modern world' by introducing apocalyptic art/culture to the mainstream…" I know that your definition of the term "apocalyptic" has no connection to "the end of the world", but how, if at all, do you feel that you're assaulting the literal mainstream with such art/culture?

We used to have a theme camp at Burning Man until 2000… we must've sent hundreds of weekend warriors on a very bad acid trip. Also, we got quite some exposure in the mass media: German TV (Pro 7) and various others. Thanks to Burning Man, footage of our rituals ended up on "The 700 Club". Then, there is always the internet. But most importantly, by keeping the "underground" alive, we influence and infect the culture of our society. Especially these days, where a lot of subculture has become mainstream itself, it is rather easy to penetrate the public. 

In your words, "aesthetic meat" has been defined as "reaching a state of complete self-awareness and becoming one with your true self", going further to dictate that this achievement is "probably the closest you can get to your own godhood while walking on this planet". This statement could be read as curiously suggestive that you believe in some form of afterlife, or perhaps multiple planes of "existence", if you will. Shed some light on that statement.

I would first have to die before I can truly say that I believe in life after death, though on the other hand I also do not rule this out. Regardless of whether you move on to some other level, you stay alive in the memories of others and in the reflection of the things you created or destroyed. I definitely do believe in multiple planes of "existence", in realities we shape and dimensions we enter. 

The "infected blood" edition of Aesthetic Meat Front's "Plague of Humanity" CD comes sealed inside of protective bags filled with fetid cow blood, about which you told me, "…it's more of a psychological game that is part of the package, to awaken a form of the 'primal instinct' or fear." Of course my reaction was to the far side of latter of two, as you well know, ha, ha! But seriously, when working on various intimate levels with mass quantities of animal blood and flesh in what you call "primal revival", have you or your comrades no remote fear of somehow becoming infected by the blood yourselves?

It's all FDA approved, and we store our biological agents cool until we go on stage. The meat we use is much safer than your McChemical next door. We pick it up at the slaughterhouse and put it in the cooler, so there is no question about the fact that what we've got in the box is a dead cow. After all these years none of us have ever had any problems. Even if I ever should get sick, what a small price to pay for what I have experienced. But I'm really not concerned about this. On stage I get my head and body pierced, I hang from hooks… why should I be afraid of some fresh raw meat? What I'm afraid of is fast food. 

Also on the subject of fear, you've remarked, "Instead of using our communication systems as a tool to help mankind grow and evolve, we let the mass media abuse them by spreading fear and paranoia towards creativity, individuality, and self-indulgence." How would contrast your use of fear with that of the mass media?

We use the fear factor as a tool to awaken people. We confront people with their own fears. For instance, the media quotes shrubbery saying: "Blood is pure evil!", "Sterility is good!", "Do not look at blood, stay away from people who do so!", "Code brown!", "Bloody terrorists everywhere!" (to use a language that the average American seems to understand best these days). Currently even the reality of war has been reduced to the sterility of a PG-13 video game. The Aesthetic Meat Foundation simply gives the blood to the people. Here it is, deal with it, overcome your fear, discover the beauty and power it has. Talking about the fear factor, we performed in London, the capitol of BSE (Note: Bovine Spongiform Encephalopathy, better known as mad cow disease.), and distributed cow feet among the audience. It was beautiful to watch the audience slowly transform, first clearly worried and in a state of confusion, then slowly unleashing their primal instincts. People confronted their fears, turning a "potentially disease ridden object" into a tool, helping to create sound and release suppressed violence. 

Talk about some of the instruments that you've built, notably those that incorporate blood and meat in a very obscure fashion.

Currently my favorite instrument is a 20-gallon plastic bottle filled with a half-gallon of blood. I play it sort of like a violin, with a metal rod. I also use it for effects with my voice, or move the bottle so that the blood crashes against the inner walls. The blood gives the sound a deep resonance. In 2000 we played on a ship in Rostock and used air conditioning tubing - a long, square, and hollow piece of metal - that was connected via chains to hooks inside the skin of my arm. With every movement of my arm the metal would translate my pain into sound. Now we have a metal coffin, which works in a similar fashion. Sometimes we put contact mics inside cow heads that we smash with a sledgehammer. Dump meat sound meets the ear-bleeding cracking of a contact mic. Then there is Serina: She walks on glass and rolls around in it. The glass is poured onto a piece of sheet metal. I also play a ribbed PVC pipe with a human bone (radius). The pipe is filled with nails at times. It's a very strange fusion of metal, bone, and plastic. This instrument is lightweight and not too big, so I can easily pick it up and walk through the audience with it. At the moment we are working on a machine that connects either cow livers or heads to two pieces of steel that rhythmically smash into each other. Another sound project in progress is a suspension device where I suspend from hooks that are connected to springs, this way the more I swing and move in the air the more the hooks stress my skin and pull the springs which will be amplified. Thus the energy I release becomes sound. 

Now, the special edition of "Plague of Humanity" comes with a video of an Aesthetic Meat Front performance dating back to 2001 in London. Some of the aforementioned instruments and sound manipulations are employed in the video, however the live audio is not present, instead replaced by a constant grating loop of eerie distortion and such. Having seen the actual video of this show online it was far more interesting with the live audio in place. Why did you decide to alter that for the purposes of the release?

Actually, the soundtrack from the video is the same as the online version. The only difference is that once it got compressed into mp4 format, the frame rate of the footage appeared sped up while the audio remained the same. This made the online version only half as long as the VHS. The eerie distortion is mostly towards the end of the VHS video, and the online version ends before these loops kick in. This might give the impression of two different audio tracks. With the exception of the intro, the audio track is the original live sound. Sometimes, however, it falls out of synch due to the extensive editing that was done by R|A|A|N in the studio. This was necessary in order to get the best footage out of the two videos that were shot that night. 

Musically your work is very dark and at times harsh, but it obviously expresses feeling, notably through lots of hypnotic repetition. What drives your approach to the creation of these compositions?

Like any form of art, musik for me is a way to manifest my mind, a mirror to the core of my being. Often I like to paint with sound, invite the listener to the nightmares that I have yet to dream. I'm also somewhat obsessed with the idea of creating sonique gateways into the neither neither world. 

What recording techniques are used for your audio releases? Is the work improvised, do you record similar to the manner in which you perform live? There's definitely a nice lo-fi edge to your music, but tastefully so, with ample clarity.

It depends on the release. For instance, "Cadavres Sonique" and the upcoming "Embalmer Tapes" were almost completely done on my machine. "Cadavres Sonique" accompanied the latest issue of Vial Magazine, and was a sound collage of approximately 300 samples from over 30 bands that myself and Patricia Cram (the editor of Vail) deconstructed and composed into 61 minutes of sonique nightmares. The only sound source for the "Embalmer Tapes" is an audiotape of an embalming session. R|A|A|N and myself took these sounds and then dissected them and resurrected a body of truly ominous soundscapes. "Plague of Humanity", on the other hand, is a mix of manipulated live sounds and random recordings in the studio or on the street. For instance, the screaming pigs were recorded as I went to get some blood and cow heads for an Aesthetic Meat Front ritual. Next to the meat plant was a slaughterhouse. While waiting for salespeople to get my order together I thought I heard some disembodied voices. I decided to investigate further and the "voices" turned into screams coming from next door. I sneaked into the back of the plant to climb up a wall to the slaughterhouse. There were about 300 pigs waiting for the slaughter. One could sense that the animals knew of the destiny that awaited them. Their screams released a truly fascinating energy. I had a portable tape recorder on me and captured as much of this moment as I could. The dead have been given a voice once more, every time "Plague of Humanity" ends up in someone's CD player. The entertaining thing is that the reason I had the tape recorder on me was so that I could collect bad commercials on my car radio. I ended up getting so much shit for recording those screams. People called me sick, but they fail to realize the concept behind this recording. "Plague of Humanity" focuses on the damages of overpopulation. The song with the screams, "Face of Humanity - Family of Pigs" is a mirror of human behavior. Our only focus in life is to consume as much as possible. We don't wake up until we face our own extinction, and then we scream, but no one will listen, for everyone is busy screaming themselves. What differentiates mankind from pigs is that we have it in our hands to choose our own destiny and still we look the other way. Humans get freaked out by death and cruelty because they are too sheltered. We destroy this planet because we don't want to face the consequences of our doing. Is it really sick to expose people to the death that we produce? What sickens me is blissful ignorance, the fact that people grossly indulge in consumerism without spending a single thought about the resources humans drain and destroy every time they buy things they don't need. 

Do you feel that the recorded output of the Aesthetic Meat Front can come anywhere close to the live setting as far as communicating your ideas?

The releases of Aesthetic Meat Front are not only to be seen as an implement for spreading the ideas and philosophies, but are also designed to paint a state of mind within the listener that reflects certain aspects of our rituals. Aesthetic Meat Front can reach far more people with the recorded sounds than we could ever reach with the public rituals. Especially in this day and age, the possibilities are unlimited for exposing your sound to the public. I also hope that some people will get inspired enough to use our sonique material for their own rituals and carnal experiments. The public rituals of Aesthetic Meat Front include so many different elements and are designed to employ all senses; it would be impossible to recreate this experience with such limited media as a CD. 

I've yet to hear the new split CD with Psychonaut 75. Would you say that the direction of your sound remains steadfast?

The soundscape of Aesthetic Meat Front is ever evolving; all of my five releases have a different feel to them. I'm hoping to get back into the studio within the next few weeks; so far I have no idea where that journey will take me. I might start on a project which I've been meaning to do for quite some time, it is some rather experimental work based on the Furthark, but I need to be in the right state of mind for this. 

What does the term "ritual" mean to you when it comes to live displays, and historically speaking, what types of ancient rituals have inspired your own?

I've drawn inspiration and fascination from the Sun Dance ritual, some Hindu piercing practices, various Aztec rituals, and of course Norse rituals such as the blood eagle. On a less traditional note, Crowley's Phoenix rite sparked some very creative thoughts inside of me. Any willed act can be a ritual if performed with the right mindset. The rituals on stage combine the primal wisdom from yesterday with the technology of today. I try not to hang onto tradition. Without a doubt our forefathers indulged in some powerful rituals and mysteries, but living in this modern world‚ there is no way one can relive those experiences our ancestors had. I prefer to take the best out of both worlds. Rituals have to evolve rather then be repeated the same way over and over again. On stage I become the phoenix, finding ever-new ways to die and be reborn. It is a ritual of give and take. The audience acts as a catalyst, a whirlpool to multiply the energy released on stage. In exchange the Aesthetic Meat Foundation opens the gate to primal instinct, a key to awaken yourself, and thus the ultimate deprogramming. The rituals are designed to get the audience involved as much as possible: We walk through the crowd with blood and chunks of dead flesh, to expose the audience to not only sound and visuals but also to the experience of touch and smell. We provide pipes and pieces of metal junk for the audience to make noise. People get baptized‚ and painted with blood, and sometimes the audience can write or paint words and images of despair on pieces of drywall that will be destroyed by us and the audience during the ritual. 

One would assume due to the intentionally intense nature of your performances that "venues" or other subversive locations for live displays might be scarce?

You don't even know how right you are! Just now I found out that we won't be able to play at a club in Los Angeles because of our use of blood. This is a burden I'm willing to take. It is better to just have a few shows and go all the way than to compromise and have plenty without the intensity. 

What are some of the most interesting locations in which you've been able to perform (legally or illegally, indoors or outdoors, etc.)?

One is Burning Man, it's a true challenge to conquer the environment. The heat was so intense at times that blood would crystallize, cow heads would partly mummify, and sometimes sandstorms would attack our set, try to steal our tents, or destroy our equipment. Nothing is meant to live there. Another is The Shipyard, an industrial yard near the harbor of Berkeley in California. Aesthetic Meat Front performed there during an experimental night that focused on noise as an art form. It was a very strange mix of people, sounds, and energies that night. Still another is Stubnitz, an old fishing boat in Rostock, Germany that was converted into a concert ship. And then there was an abandoned airplane engine check facility in southern California where we had a couple of our Noize Fests, and that was by far the creepiest environment we played at. It is a yard with several halls. One building has an eye washroom that reminded me of a scene of a documentary on German death camps. This place had destroyed electrical equipment everywhere, and ferocious looking metal fixtures that used to hold the airplane engine. 

Another potentially trivial query, but where does one purchase all of these supplies (blood, bones, animal parts) for use both within the context of music and live rituals?

Just call your local slaughterhouse. 

Visually the iconic Aesthetic Meat Foundation logo is quite striking, bearing resemblance to certain runes. What does the symbol represent both as a whole, and in parts - if each element can be broken down, that is?

It is a bindrune of Dagaz and Jera, which is fused in the center of Dagaz. Individually Dagaz stands here for twilight, the time of awakening, the gate from one world into another. Jera is the circle of nature, the primal current, a force that is essential for one's own evolution. Joined they invoke a violent change, Jera is fused in the center of Dagaz, the point where one world/dimension meets the other, thus releasing an intense and focused energy. The rune is rotating, breaking down stasis, the enemy of evolution. 

I think that's good note to close on: Where do you see the evolution of both the Aesthetic Meat Front and the Aesthetic Meat Foundation progressing in the future?

This will depend on which direction our world is taking. If the whole planet is on fire, the smell of burning flesh would provide the public service of awakening the masses. We could never compete which that. But for the near future the focus will go more into bodysoniques, exploring and refining the possibilities of turning physical pain and psychological transition into sound in order to create a live symphony of transformation. 

Is there anything else you'd care to add?

Aesthetic Meat Front is currently preparing to invade Old Europe this November. Promoters can contact us through our website. Fulfill your Deep Desire!

Interview with Rule Satannia!:

 >Who else makes up the A-M-F?

A-M-F is a translucent collective of rituals, desires, ideas, philosophies, arts, dreams and nightmares. Who
is involved entirely depends on the focus of the moment.

In 1996 I started performing public rituals. JayJ, the drummer and pyromaniac has been with us since 1997.
Serina, who is in love with broken glass performed with A-M-F consistently since 1998. And there is
R|A|A|N who manipulates drones and tortures sounds, that he captures during our rituals. Everyone else
comes and goes and sometimes sticks around for a while.

It's hard to tour with so many people, so who ever is available and suited for the ritual is A-M-F at that
moment. This includes hook addicts, blood junkies, fire dancers, donors of various voices and languages,
instruments and noize machines, body piercers, make-up artists, props and everyone in the audience who
actively participates in the ritual.

>Can you give our readers a brief description of the philosophy behind the A-M-F?

A-M-F started out as an instrument of propaganda, raising the awareness of apocalyptic culture/art. Now
that the smell of the burning flesh of men proclaims the winds of change knocking at our door, it is our
responsibility to focus on influencing and directing this change. We're at the cross roads of Total Control
and Pure Kaos. Power entices and absolute power, entices absolutely. Yet we have to realize that this
absolute power does nothing towards our own good, for we are not in control of it. Thus me must embrace
Pure Kaos as our only friend. Total Control feeds on the corporate reality invented by mass media. We
create ruptures within this reality, every time we dissociate us from social and cultural boundaries.

A-M-F has become a virus. Don't join us, mutate our strain and multiply, be infected with will towards
self-evolution, open your wounds, inflame your minds, spread the madness and grow with it or crumble.

>How do you deal with the pain of a suspension?

Pain, what pain? The moment my body is above the ground, my spirit goes on vacation. For me suspension
is not about pain it is about losing oneself within oneself in order to be one with oneself.

>How often can you perform a Public Deprogramming Ritual before it takes a toll on your body?

Last time we toured Europe I did 3 suspensions within one week, this was pushing it a bit. But I had 5 month
time until my next public ritual. I try not to perform more than 8 times a year. This way my body can rest
and I don't get too used to being the hang-man. In order to unleash and direct the right energy at the
right moment, the ritual has to stay an intense experience for me.

>How do you want your audience to feel?

Self-aware and in touch with their primal instinkt. Realize your Deep Desire, what ever it may be. The
ritual is a wake up call to your daimonic Self. Some people may find our techniques shocking, but that's
merely a side effect. We don't aim to shock, we don't aim to please, we aim to deprogram.

To me it makes little difference if people get offended or if they love what I do. Of course it is
more rewarding to see people overcome their inhibitions, dive into their primal selves, while
being comfortable with it. However the main focus of our rituals lays on unleashing a raw primal energy and
thus opening many doors within the minds of our audience. It doesn't matter what door you choose or
how you deal with it, as long as you don't remain stagnate.

>Some religious sects use pain and self-mutilation in their rituals (the Hindu festival of Thaipusam comes
>to mind). Do you see any similarity between this and what you do?

There are most definitely similarities between the techniques we use and various shamanistic rites. I see
these techniques rather as a form of body-manipulation then self-mutilation. I wear my scars with much pride.
Every scar on my body represents a ritual against the disintegration of mind, a disintegration which is
promoted by our so-called civilized society. Pain introduced with the right state of mind is not a
punishment, it is a reward. Agony is only the first step towards catharsis. We combine pain with sonique
energies, the smell and sight of animal parts and fresh blood. Also when ever possible fire lights the
road towards a trance like state of mind. Magically nothing can compete with diving into the abyss of
ecstasy without loosing your awareness. The key towards this ecstasy lays within your own body.

>Is there any chance of a performance in the UK?

Due to the nature of our rituals it's hard to find a venue and promoter who is willing to host us. We
performed in London 2001 at the Red Rose during the Hinoeuma-Stigma festival. It was the first time I
suspended in public. Very few things in life are as rewarding than seeing the facial expressions of the
audience when you start distributing raw cow parts in the world capitol of BSE. Yet it did not took long for
the audience to overcome their fears. I truly enjoyed performing in London. All it takes is 2 tickets, a
suitable venue, some deconstructed cows and a promoter who doesn't mind giving us a helping hand with
preparing one of our Public Deprogramming Rituals.

>If you would like to mention your forthcoming PDR and any future projects also, we would include that
>in the article.

Currently I'm working on a couple of new CDs, but there is no release date yet. There is Embalmer Tapes
which only sound-source is based on a recording of an embalming session. I dissected, sliced and
reconstructed the sound from this tape back in 2000. So the material will have a somewhat older A-M-F
flavor to it. And then there is "My Soul on Fire" This material is based on the following invocation that we
translated into languages from every corner of this planet. Please stay updated via our website and
mailing list:

Can you feel your deep desire burning,
Are you afraid of your temple of flesh,
Are you afraid to lose your mind in the abyss of
Look around you, are you fulfilled living in this
Is you PC flesh satisfied,
Does your media brain need an upgrade,
Thank you for being a valuable part of the economic
food chain,
Every human is a potential threat to our security,
Consumer terrorists everywhere,
Sleeper cells that will never awaken, for they've died
long ago,
Feed your innermost flame,
Cut open your flesh, inflame your mind, re-open your
This moment only is true,
Spirit cleansed in pain, burned in pleasure and reborn
in blood,

Temple of Flesh set my Soul on Fire!

Interview with Louis Fleischauer by Patricia of VIAL Magazine
 *Some think of consciousness as a direction ~ a destination. How does blood consciousness move you? 
"Blood consciousness" moves me towards the core of my being, a true moment
of Self-awareness. Blood is the first thing you see after birth. You slip
through your mother's legs, covered in blood and amniotic fluid. You could
say the direction of blood consciousness is towards rebirth and
remanifestation of the Self in a moment of ecstasy. 

 * At any of your performances, there are a number of people who would turn away from what you are doing. How does this affect you? Do you see this as a conditioned paranoia? How would you define this fear? 

I'm glad it is this way. If everyone would liked the A-M-F rituals 
then we would be doing something wrong. It is our goal to create an
intense,overwhelming energy. The ritual is designed to release forces within
us that have been suppressed by society for a very long time. Naturally some
people can't handle this and will turn away. By doing so they help to keep
the ritual pure.  They're afraid  to face a part of themselves that they do
not understand. My favorites are the wannabe vampires. They put fangs in
their mouth, but if you walk towards them with blood on your hands, they

* The elements used in your performances are very raw ~ they resonate with a deep part of the psyche. Do you perceive your intentions as a representation of primal meaning? What level of primitivism is the AMF seeking to expose? What is the Deep Desire ~ impulse? 

I wouldn't say that the intentions are a representation of a primal 
meaning. Even though we seek to release primal forces within man, the
intensions are of a conscious nature. We see the primal instinct as a tool
towards a higher state of evolution. By becoming aware and one with these
suppressed forces within you, you can experience a part of your self that
otherwise you would never have known. The trick is to keep control and be
conscious while you release your primal instinct. Don't become a slave to it
and don't enslave it. Man is a predator. Using these instincts consciously
is a great tool for everyday life as well as for spiritual development. 
Jung said it best: 

"We can not possibly get beyond our present level of culture unless we
receive a powerful impetus from our primitive roots. But we 
shall receive it only if we go back behind our cultural level, thus giving
the suppressed primitive man in ourselves a chance to develop. ....The
Existing edifice is rotten. We need some new foundations. We must dig down
to the primitive in us, for only conflict between civilized man and the
germanic barbarian will there come what we need; A new experience of god..."

You can replace the "germanic" with what ever works for you. 

Deep Desire= The will to grow and consistently evolve as a Self-aware
individual.  It is the Impulse for Self-expression through art, ritual or other means. 

* What untangible influences are present in your performances? 
The written works of Austin Osman Spare; "law of the trapezoid" of Anton La
Vey's; dark rituals of the Teutonic tribes; the creative assembling of
unusual instruments and sounds of Einstuerzende Neubauten, SPK and some
other bands who are not afraid to experiment; B.Lustmord for his sound
manipulations; and finally the orgone theories of  Wilhelm Reich. 

* How is the agenda for the AMF evolving? 
At the beginning A-M-F was a drive to create change on a cultural level. Now
our focus lays on the ritualistic aspect. A-M-F is going to keep this
direction. There will be no more Burning Man or other main stream
performances for us. At the moment we're putting our energy into carefully
selected performances and sonic research for ritual practice. Our recent
release "White Noize for Black Rituals was just the beginning of a series of
ritual musik. Also "Noizefest" is on the priority list again. This is a late
night event centered around participants bringing equipment to create
ambient noize to share in the ritual cacophony or ambiance. Noizefest takes
place at bizarre locations, like hidden beaches, abandoned factories and
untouched deserts. Eventually this is where we like to envision most of the
A-M-F rituals. We are planning some side projects in the future that
concentrate on the music for more public shows. You can stay updated at

Frequently asked questions:

Q: How can I join the A-M-F?

 A-M-F is not an organization to be joined, it is an Idea, an experience, a  philosophy. It is a thought manifesting itself.

 We promote Self-evolution. If you want to evolve and re-manifest your Self, you  have to rise above a mass media invented reality, which is designed to breed submissive consumer slaves. You have to dissociate from cultural and social boundaries. As more individuals and ideas put into action are capable of taking this path, we create a rupture in standards of reality, and in doing so, create gateways towards new spheres of
 evolution. Our ideas are to be seen as an inspiration, not as a guideline. Feed your Deep Desire on A-M-F, mutate the thought, inflame your creative mind! Invent your own line of attack. Proceed with the Left Hand Path.


Any questions or comments ? Feel free to contact us.

To not live intensely is to not live!