Manifesto for Mammoth Hunters

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Culture War

Manifesto for Mammoth Hunters

We are known for many things. Blending in is not one of them. We do not stick to the path established by the music industry: fit into the mainstream and mimic the big names to reach the spotlights.

In other words, we are not limited by the event horizon of modern society. We do not conform to its rules that specify any instinct, emotion, sense of self or perception of reality allowed within its filter bubble.

Instead, we have chosen to get rid of our event horizons. In this post we will tell you what it means and show you a way out of the misery of bad faith.

The Mammoth Hunter

The Mammoth Hunter of the Neolithic era put trust in his family and close friends. He was a linguistic and ingenious animal, who like all higher mammals knew the difference between a gain and a loss.

Art therefore was related to instinct, emotion, curiosity, excitement, life, survival, death and sex. It was a combination of all those that together formed the depth of Neolithic art that we sought to resurrect, at least to some extent, when we started Lilou & John in 2016. Not through the use of Neolithic instruments, but through looking at the world with eyes that were not tainted by bad faith and herd behavior.

This is why Lilou has a voice that chills the marrow bone. This is why we never shy away from any topic. This is why we are the black sheep of rock.


The Agricultural revolution 12,000 years ago and the rise of the first city states gave man his first imagined community, where he no longer knew all the members of his urban home, due to its size. He learned to ignore his instinctive mistrust of people he did not know or who saw him as their property. Man became a loner pretending to be social in a sea of strangers.

Man knew that the moral foundation of his expanded community was corrupt but did not allow himself to question it openly. His event horizon ended where his innate mistrust rose to the surface, and to control his anxiety he deceived himself that the members of his urban community were good and the members of competing city states were evil. Man stopped listen to his instincts. His only comfort was the promise of an afterlife if he blended in well enough.

Art deteriorated into adverts for power structure and tradition. But the mammoth hunters knew of a different world beyond the urban event horizon where man was still an animal.


The Reformation, the Great Wars of Religion and the Enlightenment distorted man’s perception of the cycle of life and death when the promise of a positive afterlife came under questioning. The event horizon became a dark veil of anxiety when he learned to instinctively fear the end of life, for theology turned god into a punisher and death into a transition to eternal torment.

Fear of Hell disciplined man into group-think, obedience and bad faith to reduce his anxiety, and when natural science terminated his existence upon death and rejected the entire idea of an afterlife, he welcomed the new theories, believing they would ease his nightmares. But decisions based on fear will always carry that fear with them, and since damnation and death were absolute, the fear of death also became absolute, which in turn made the psychological defense mechanisms absolute.

The emotional stress of eternal damnation and absolute mortality convinced man to choose a life of psychotic disease, to mute his fear of death and suppress his anxiety. Man had not only turned a blind eye to his instincts but stopped listen to his deep emotions too.

Art became an arena for political debate where the psychotic citizen could project all his fear onto a scapegoat, chosen by a mob to which man gave his time, vote and money to distance himself from his own emotions. But the mammoth hunters still dreamed of a different world where life and death, just like the seasons, were parts of a perpetual cycle.

Mass production

The Industrial revolution distorted man’s day and night rhythm, with the tyranny of the clock. The event horizon became an artificial landscape of squares where the body was forced into a pattern of flesh carved and used for labor.

The skilled artisan was no longer required, because machines needed mass-educated operators of the same size and shape. The psychotic citizen dissolved into the mass-psychotic mob. Man, who ignored his instincts and his emotions, stopped listen to his entire sense of self.

Art became a fine-calibrated tool for group-think, where the individual artist no longer mattered as more than a figurehead for any given mob that competed for political and financial influence. Only the mammoth hunters knew of a different world far away from the steel mills and charcoal mines.

Fiction vs Reality

The Russian Revolution, the Anglo-American Empire and the rise of multinational corporations, finally, completed the transformation of the psychotic citizen into mob and created its first imaginary identity, where reality itself was replaced by the fictive cornucopia of the progressive state and the commercial ad.

The event horizon shrunk to a bubble around the mob when it learned that life (that was deleted upon death) at best was a social construct, and only the dream of having its name on the top ten charts could provide it with a few short seconds of imaginary existence as a hypothetic individual.

The mob became a string of code in a silicon machine, an integrated atom in a system it was totally alienated from. The mob, who had lost all connection with its instincts, emotions and sense of self, stopped listen to all logic and simply rationalized its blind obedience to escape the infinite depths of anxiety and fear in its dying soul.

Art was reduced to a political weapon designed to manipulate the mob’s suppressed instincts, emotions and sense of self to attack those who questioned the official definition of reality. The mammoth hunters were chased to the brink of extinction as “public enemies”.

In a society of blind obedience, nothing is more dangerous than a true instinct, a real emotion, an actual sense of self or even the slightest hint that an objective reality may exist outside of the propaganda.


The music and art industry have adapted well to each event horizon through history, and each major art movement is a child of its time. In the eyes of the music and art industry of today we are therefore all interactive objects of the same same but different value in a 2D universe: essentially producers/influencers or consumers/voters. Anything that reminds the audience of their instincts, emotions, sense of selves or reality is therefore bad for business/power and must be banned or in any other way neutralized.

This is also why the music industry doesn’t like Lilou & John and why other rock bands most often keep on making muzak for the mobs. Our music is strange, potentially dangerous and difficult to understand, like ancient symbols carved by man into the wall of a Neolithic cave.

With love and great music,
Lilou & John