Spiral Signs: A Sensory Ritual Interview with AMÆMI

With the release of her first ambient EP, Spiral Signs, Martina Grassani, in art AMÆMI, takes us on a sonic journey that intertwines the mysticism of Tantric rituals with contemporary ambient experimental textures. Known for her interdisciplinary approach, she crafts immersive soundscapes that blur the boundaries between the sacred and the avant-garde. In this interview, she shares insights into the creative process behind Spiral Signs, the spiritual and musical influences that shaped it, and the deeper meaning behind the concept of the spiral as a symbol of transformation and feminine power.

AMÆMI, congratulations on the release of Spiral Signs! Your work beautifully merges Tantric tradition with contemporary ambient-electronic soundscapes. What was the inspiration behind this EP?

AMÆMI: Thank you! Spiral Signs is an auditory exploration of the tension and harmony between ancient spirituality and modern sonic landscapes. I wanted to create a bridge between the ritualistic depth of Tantra and the industrial pulse of the Western world. The inspiration came from my studies in philosophy, sexology, and my practice as a Tantric practitioner, combined with my background in sound and performance. I was particularly drawn to the idea of sound as a ceremonial experience— something that can transport listeners into altered states of awareness, just as traditional rituals do.

The title Spiral Signs evokes a powerful visual and symbolic image. Where does it come from?

A: The concept of the spiral is deeply rooted in spiritual traditions, feminist esotericism, and the idea of cyclical transformation. I was particularly inspired by the work of Starhawk, whose writings explore the spiral as a symbol of both personal and collective evolution. The spiral is not a closed loop but an ongoing journey—a movement that embraces change and fluidity, much like the Tantric path itself. It represents the rhythms of nature, the cycles of birth, death, and rebirth, as well as the unfolding of consciousness. In feminist esoteric traditions, the spiral is often associated with the divine feminine, a force that is both creative and destructive, chaotic yet profoundly ordered.

This vision resonates deeply with Spiral Signs, which, like my previous work, is inspired by the Ten Tantric Goddesses—ten archetypal energies that embody different human principles, yet ultimately stem from a singular, living, creative, and generative source that each of us carries within. Spiral Signs is a sonic manifestation of these ideas, an invitation to step into this ever-expanding motion.

You’ve mentioned feminist esoteric traditions. Do you see music as a tool for reclaiming and transforming sacred femininity?

A: Absolutely. Music has always been a vessel for transmitting knowledge, myth, and sacred energy, but historically, many of these narratives have been shaped by patriarchal structures. Feminist esoteric traditions, like those explored by Starhawk or in Tantric goddess worship, reclaim the divine feminine in ways that transcend simplistic representations of femininity as only passive or nurturing. In my work, I explore the full spectrum of feminine power—the ecstatic and the wrathful, the playful and the commanding.

Sound itself is a profoundly feminine force: it’s fluid, it shapes space, it creates and dissolves boundaries. Through music, I aim to channel and amplify voices—both literal and symbolic—that have been historically silenced or misrepresented. The process of weaving mantra chanting, field recordings, and experimental sound textures is itself an act of re-enchantment, a way to restore the sacred feminine as a dynamic, evolving presence.

So the EP revolves around the invocation of the Ten Tantric Goddesses. How did this concept shape the sound and composition?

A: Each track embodies a different goddess, channeling her energy through sound. I worked with specific sonic elements that align with their essence—Kali, for example, is raw and ferocious, and her presence is reflected in the tolling of a bell that evokes a funeral mass or death ceremony, alongside the reverberations of a steel tongue drum, whose strikes summon an imagery of time dissolving and sharp ruptures breaking through. Lalita, on the other hand, is invoked through sizzling bells, angelic voices, and playful distortions of the steel tongue, creating a lighthearted and carefree soundscape. The entire EP is structured as a journey through these divine archetypes, allowing the listener to experience a spectrum of emotions and energies.

Actually, one of the most intriguing aspects of Spiral Signs is your use of organic instruments, such as tuning forks, Indian manjeera, steel tongue, and Spanish Catholic bells. How did these elements contribute to the overall atmosphere?

A: These instruments are essential to grounding the ambient textures in something deeply physical and ancestral. Their organic vibrations add a tactile, ritualistic quality to the sound. For instance, the bell I found in Granada carries the weight of centuries of spiritual devotion, while the manjeera and tuning forks resonate with Tantric meditative practices. This fusion allows the EP to exist in a liminal space—between the past and the present, between the sacred and the experimental.

Your work often bridges Eastern and Western ritual traditions. In S.A.O., for example, the Catholic bell of Granada is repurposed within a Tantric sonic structure. How do you balance these diverse spiritual influences in your compositions without losing their essence?

A: For me, the key to balance is respect and deep listening—both to the traditions themselves and to the way they interact within the sonic field, nourishing each other. Most of them share a fundamental purpose: the possibility of human evolution, transcendence, and access to higher states of consciousness. If there is something positive that globalization has brought on a higher, spiritual level, it is the opportunity for different sacred and expressive sources to come into contact and dialogue, creating new, even more powerful hybrids for transmitting their messages.

My work is not about layering different traditions just for contrast; it’s about letting them resonate with each other organically, revealing their natural interconnections. The Catholic bell found in Granada, for example, carries centuries of ritualistic devotion, and when placed within a Tantric framework, it doesn’t lose its essence—it gains a new voice within a broader sacred landscape. Similarly, Flamenco’s rhythmic structures and the cyclical patterns of Tantric mantras share a trance-inducing quality that invites deep immersion. I see my role as a channel, weaving these elements together to form a cohesive, evolving experience.

Do you have a favorite track from the EP? If so, what makes it stand out for you?

A: It’s always difficult to choose a favorite because each track represents a unique energy and moment in the creative process. However, one track that resonates deeply with me is Carmín Lullaby. Perhaps because it was the most challenging yet also the most heartfelt to create. A dear friend, Gaya—who performs as ETT—helped me shape the sonic imagery I envisioned. It’s my favorite track because it connects deeply to Granada, the city I’ve called home for the past three years. Granada is a place where Arab, Flamenco, and Gypsy cultures intertwine, creating an atmosphere rich in esotericism. In the track’s vaporous finale, you can even hear a field recording from a mirador in the city. The piece blends Indian rituality—through my constant chanting and repetition of the bija mantra TAHA of Chinnamasta, the goddess embodying Kundalini energy, the pure force of creation and creativity—with Western ceremonial elements, as the bell rhythm echoes Flamenco structures and ETT’s vocals carry a Flamenco essence. It closes the ritual with a sense of both melancholy and celebration, embodying the idea of a bittersweet enjoyment of the moment.

That’s a beautiful vision. Finally, what’s next for you?

A: Live performances are a big part of what I do, as the aim is, as I previously said, creating live immersive rituals of self exploration and transformation. So, I’m planning immersive shows where audiences can fully experience the multidimensional nature of these soundscapes. I’m excited to continue this journey and see where the spiral leads next.

We can’t wait to see what you create next! Thank you, AMÆMI, for sharing your insights and for crafting such an evocative auditory experience.

LISTEN TO SPIRAL SIGNS

Interview by @danieleverse featuring @amaemi00101

Photography: @aria.ruffini

Stylist: @golden_virginia

Makeup: @ariannamiante

Brands: @tasteofmoon_ @eskysafrash

Tattoo Artist: @iza.blk

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