Friday, December 27, 2013


United Front is a pretty abrupt name even for a PE project would you agree? The only thought that came to mind when I first heard of this unit was left wing anti politically involved giving me expectations of your sound long before you sent me samples of your first full length album justly titled ‘By All Means’. Do you consider yourself a left winged anarchist or an anti-culturist? Can in fact United Front fall under the same PE favoring’s as your over sea brethren Survival Unit,Genocide Organ,etc?Do you have any personal connections to these other units? 

The whole terrorist mention is something we do not wish to be slotted under being a redundant banner that has nothing to do with our music or motivations, what we are in fact doing is taking basic examples of ‘Societies’ failures and bringing our own depictions and concerns forward, the whole terrorist term/theme is quite appalling as these are such topics that we do relate to but employ only as a basis of understanding and concern rather than using these type of actions as a just cause from these potential groups and organizations. United Front has very little connection if at all to any left or right wing concepts or ideals, we are however against certain things the United States and all countries consider the foundation of society and it’s so called structure of work, sleep, worship, procreate and eventual death ideologies we as a people have become comfortable with excepting as normal, this is something we will not hide from and realize the importance of addressing. Politics through democratic viewpoints or left wing pandering’s changes from person to person so no one group of people can really connect to or agree with these sort of topics making it easy for us to simply ignore, further more disagree with without argument or opinion involved. Regarding your question with mentioning these other units such as SU,GO and TGA,I would hope that our own message can be found in United Front as each of these projects have their own individual reason for doing what they do as we have our own agenda even if most may wish to either ignore or disregard our reasoning’s, it will never change or possibly make very little since to anyone but ourselves. Personally I have very little contact with any of the respected parties addressed minus Trev Ward of The Grey Wolves and though I have spoken to certain members of Genocide Organ via email we are not focused on anything or anyone minus United Front and those in silence who may have some small connection to what we are doing. Like I mentioned the only path we will follow is our own and the only thing that connects us all to one another is found in the way we conduct our activities to common influences, other than that I do not see a connection that needs to be addressed further. 

Originally United Front begin as U-731, if I am correct is the new more descriptive United Front is taken from the Chinese derivative under the same name? 

We have chosen to use this name as U-731 begin to bare little if any meaning to what I was trying to accomplish in terms of the basics found within the musical medium, as well the project has greatly matured from focusing solei on creating Power Electronics and Death Industrial to bringing other influences into the concepts of our sound, from often shunned upon sound sources within genres such as Hip Hop/Break Beat to the simplistic use of sound design and minimal ritualistic themes within the Dark Ambient genres. As a unit involving primarily two other members, our own personal influences have begun to work their way into the Front making each individual creation carry a standard structure but vary depending on what a certain piece may entail creating a since of balance needed when working with others to reach a common goal. United Front has its own purpose without the need of finding outside resources within the name, again separating ourselves from any conflict or proposed thoughts such as what you mentioned in regards to the use of the name, I could easily explain what’s behind it but what would that accomplish? It wouldn’t be fair for any one of us to create an underlined look at the reason we work under this umbrella as each involved has their own understanding behind it, same should be said for anyone who listens to what we are doing, creating their own interpretations of its meaning without the need or limitations of explanation. 

How many members are currently involved in the project? And what roll does each member play? 

Currently there are three official members, Aaron Myrick, Dwayne Roberts and myself apart from which there are a great deal of affiliates involved who we consider not only close comrades but members in their own right. Everyone involved brings a bit of themselves and beliefs to the table, whether it be an outlet found in sound design to creating a concept anyone of us can work off of at any given time, we all play an equal roll and nothing would work without one another’s influence and support. 

I noticed you have a few free downloads posted up on your Oppressive Resistance Records band camp page with some of the material dating as far back as 2007 yet you are only now releasing a proper full length CD album titled ‘By All Means.. due out before years end. What decisions were made to wait until this year to release a full length album? Who aside from United Front may have been involved in the recording process? And what differences can be found in your current work that differs now then what you are offering as free digital releases? 

By All Means is the only album thus far I consider to be somewhat 'official' opposed to the digital downloads which were created as blue prints for establishing a basic foundation regarding our sound that can in fact be carried over with what we are creating currently. To be honest when I first begin considering ending Defiler all together and focus on a new direction under a new project I wanted to be able to release an album that ties the last Defiler album (V.III) to the direction I wanted to take then U-731 into. By All means should tie everything together and can possibly be seen as not only the first release under United Front but maybe the final release from Defiler as the sound tends to hint towards older workings yet the overall focus has greatly shifted from simplicity and explanation to diversity, making this album our most important offering to date. With this album carrying such a personal attachment I wanted to involve a couple close friends who may be able to take a handful of sounds and ideas and add their own input without being given much information aside from maybe lyrics and a canvas to work from, both John Stillings (Steel Hook Prostheses) and Andy Grant (The Vomit Arsonist/Bereft) were the only artists I felt could make this particular release come together as envisioned. Art work also played a huge part as the album visually needed to be as close of a representation of the audio as possible without being over the top or coming off as pretentious, to make this work I contacted a good friend of the Front Maurice De Jong who took a few quite simple ideas and created something I couldn’t be any more happy with. 

You are also getting ready to release a couple split’s with Whorid and RU-486 as well as a collab album with Nyodene D.How are those releases coming Along? Any ideas when we can expect those to be released? 

The material with Nyodene D was completed back in 2011 early 2012 and should finally see a limited C-20 release through a yet undetermined label or Oppressive Resistance Recordings late spring. Both splits with Whorid and RU-486 are quite close to being completed and are scheduled for release also during the spring months through Annihilvs and Oppressive Resistance. 

When it comes to influences in your music who would you say are some of the biggest if any? 

Good question, United Front speaking for all of us is greatly influenced by artists such as Skinny Puppy (1984-1992), SPK, Throbbing Gristle, Psyche, Slogun, Genocide Organ, Prurient, In Slaughter Natives, Public Enemy, N.W.A, EPMD, etc. 

Other than music what areas of your environment would you say to be influential to the project? 

Events occurring today in the media are always used as a prime target for drawing ideas as well as huge conflicts found in histories often unpleasant past. Other more direct elements within the Front are found in daily life with living in a city I have a long standing hatred for and financially for a long time I was un able to gain control over certain situations that left me stuck between trying to find motivations and warranting a rapid departure as soon as possible without harming or leaving myself with nothing left to fall back on. Subject matter as with everything that goes into United Front is important with keeping things as honest as possible regardless of how it may affect others around us including ourselves, whether it be positive or negative we understand and embrace certain views and situations in life most would over look or completely deny are actually happening. Things make that much more since with working with a close knit community of friends who relate to these types of viewpoints and situations easily making the entire process coincide with day to day living and United Front being able to carry its own voice. 

United Front/Defiler has done a great deal of tracks with a lot of respected artists but who have you not yet worked with you would like to? 

We are always open for collaborations with anyone who is open enough in working with us for the most part, pin pointing just the few who’s names pop up more than often in discussion: Klaus (Genocide Organ), The Grey Wolves, Theologian, Compactor, Sewer Goddess, Brotha Lynch Hung, Ces Cru, Hopsin, Venetian Snares. 

Going back to a conversation we had a while back through email over equipment and you being pretty ammonite with mentioning ‘some of the largest sounds created have been accomplished by some of the most simplest means’ I recall you didn’t think you needed to have much to get a point across. Has this remained something still important to you and the members of United Front? Or has this changed since we last spoke and with the addition of both Aaron Myrick and Dwayne Roberts? 

Equipment has been gathered over time based on the general output and affordability,a huge reason why Aaron is still using gear he had laying around in storage collecting dust since 1991 and Dwayne hasn’t bought a piece of equipment since 2007.Only recently have I bought a few much needed tools such as a Korg MS2000,an M-Audio Venom keyboard and a few incredibly versatile Korg Monotron delay units. Our methods of recording have also changed, recently I sold my PC and we have begun recording using an old Sony TC-377 making things that much more complicated but much more hands on and controlled then software and editing using digital based effects. 

United Front live seems like a huge possibility for the upcoming year. If so what can your audience expect? And will the same aggression found on tape be something you would love to attack in a live setting? 

This upcoming summer we plan to host a couple first United Front live shows that will allow for us to bring many of the themes tackled on our recordings to a live setting, we have discussed a few ideas and we believe the more visual and cohesive we do things the less restricted and claustrophobic people will feel when met with a bunch of guys wearing all black in ski masks waving hand held power tools around in people’s faces with a reason and purpose in mind. Aaron and Dwayne have also begin working on some pretty interesting back ground video footage exploring themes of Alien Autopsy’s to using footage taken from the unfortunately underrated film ‘Threads’ itself a huge influence within much of what goes into United Front in and away from the musical medium. 

What other areas of creation can we expect from United Front aside from Power Electronics and Death Industrial? Judging by the influences found in the project can you say you have just begun to touch the surface of creativity? 

United Front again will not put or place any kind of limitations on our creations, themes, concepts or topics explored. Just recently we have begun working on the ’16 Degrees till Zero’ e.p that will contain large elements of Punk to Hip Hop with involving some incredible Mc’s, producers and Dj’s projecting possibly a deeper connection to the bare undiscussed concepts of United Front further separating what we are doing from others but still having enough range to appeal to anyone looking to understand or question what it is we are trying to emulate and why. 

If there is one album you can pick out as being the most influential to United Front what might it be? 

Well we all have quite a few albums that have sort of dug its way into the front but there is always that one we tend to fall back on.
Survival Unit – Thought-Trigger-Target
Aaron: – Skinny Puppy – Last Rights
Dwayne: Brotha Lynch Hung – Season Of The Sickness 

This interview was originally conducted by third party Colin Moore, who is not associated with The Formless Kingdom. Published with permission from the United Front project.

Saturday, January 14, 2012


ARTIST: Melankolia
Title: Solitude under a Forlorn Sky
Artist Country: USA
Genre: NeoClassical/Ambient

"Created with the intent to capture the fragility of hope in the midst of the clouds of life's realities"

Ive never done this before with a standard length track, but this morning, the nimble-fingered Mike O'Brien released this, his very first official single release. This track features a very palpable sense of nostalgia that I am beginning to realize is this young mans top strength.

A very touching song, this stretch of solitude is a very endearing mixture of some very fine ambient textures with the majority of the track being a rich, but sublime canvasing of NeoClassical elements. The use of the word "cinematic" might feel a bit heavy-handed at first, but one simply can not help but reveling on a mental-shore of tender memories and slow-motion fantasy as each slow-lapping of synth, every little trickle that is a piano note, and all the lovingly composed phrases stretched over each other.

Not much else can be said other than this song has made my cloudy, winter morning. And I will gladly let it make the rest of my day. Available for free download right now:

Wednesday, November 16, 2011


ARTIST: Alchemist
TITLE: Water
CATALOG: SomSon005
LABEL: Sombre Soninks
GENRE: Dark Ambient

01_ Essence kaiken elämän (Essence of All Life)
02_ Kallioilta merinäköala (From the Cliffs Overlooking the Sea)
03_ Essence kaiken elämän (Essence of All Life) (P23 Remix)
04_ Essence kaiken elämän (Essence of All Life) (Demo)
05_ Kallioilta merinäköala (From the Cliffs Overlooking the Sea) (Demo)

I am blown away and at peace at the same time. Now, this sort of compound feeling only comes to me from two things: a good smack of THC, and/or a blissfully transcendent album. Joining these specific two can make you believe, or at least remind you of how sweet life can be at times. Here, we have another fine release that goes beyond the genre that folks wrap around it. "Water" by our friendly and talent-enhanced Al Kemisti is simply my favorite Dark Ambient EP of the year. Or at least, here in the Kingdom.

In essence [pun intended] this work is only two tracks, but because the songs are so simple, yet also spacious enough and well composed enough to lend themselves to the hand of a friend or two to give them additional character, they become a 5 track cosmic floatation device. The original pair becomes a dreamy, calming, enthralling voyage into yourself, and chances are the spaces you will float into will have the scent of pure nostalgia, a taste of love in an expansive sense, and hopefully, visions of a much better existence.

A tittle such as "Essence of All Life" is not one to be used or taken lightly. Within "Water", you get not one, but three plains manifested in the spirit of this phrase. There is a very grand but intensely personal feel to every single version of these tracks, the mesh of organ and everyone's very selective and wise choice of synth textures is what gives this piece the fluidity that marks its name. This is crucial for an Ambient work if it is to be considered a triumph. Each version laps at you so serenely, so magically in its wave-state...

I think poetic is a great way to describe "Water". It is sorrowful without being depressing, it is bright without glare, and it just might take your heart out from beneath you, only to put it back inside, having grown just a little bit more in its grasp.

Very much a treasure. One I will hold close from now on.


"Alchemist lies deep within the mind of Al Kemisti, the sole member of Alchemist. The project endeavors to explore the darkness that lies just below the surface. This project, in it's completion, will cover the 4 elements here on Earth. Air, Water, Earth, and Fire...each a separate element, each a separate EP."

Friday, November 4, 2011


ARTIST: Schattenspiel
TITLE: Lichtgestalten
CATALOG: dmb012
LABEL: Dead Man's Beat
GENRE: NeuClassical/Ambient/Industrial

1_ Der Flug des Schmetterlings
2_ Thirst
3_ Totenwache [Over Concrete] feat. Rex The Ninth
4_ Eschatological Scenario
5_ Echo
6_ Morgendämmerung
7_ Falling Down 2010
8_ Many Are Called, Few Are Choosen
9_ Shadows
10_ Sun & Steel feat. Barbarossa Umtrunk
11_ Phenomenon
12_ Zerstörung feat. Arvorar
13_ Mi Nombre es La Muerte feat. Igniis
14_ Falling Down feat. Hermann Kopp

I would like to start this review with a back-handed compliment. I honestly did not foresee exactly how it was possible for Sven Phalanx to surpass the grandiosity of his last work. He did it, though. He achieved an even stronger album by going in the exact opposite direction that "Schattenkrieger" went. Now, this album has been in the works for a couple of years, and when I was approached by Sven back in 2oo9 to remix any song of his that I wished, I was unaware of the direction he wanted to go. I was under the impression that what turned out to be this sophisticated, mature effort, was just going to be Sven 'n Friends, a collection of possibilities stemming from the root of a Schattenspiel song. How wrong I was. Today, this error of assumption has turned into an unexpected joy. It is a rainy, calm day here in West Hollywood, and I only wish that as the waters wash along these filthy streets, they could help tell everyone how proud I am of everyone who was kind enough to dedicate their time and talent for the creation of "Lichtgestalten".

It has become obvious to you, my friends, that as I am of the darker persuasion, I favor things of a more somber color, and this album fits that niche perfectly, but what I favor more than darkness is progress, innovation, evolution. Sven has allowed Schattenspiel to evolve. This album has a wider range of sound, but it doesn't seek heights as aggressively as the second half of "Schattenkrieger", nor does it have the same tinges of sadness the first half did. There is still sorrow present, but more importantly, there is also perfect harmony in this album, and while the stories the individual tracks are as different as the people that helped forge them, there is a common realm that most of the songs share. There is something of an unwavering focus instilled here, so the place you begin at is finite, only you are then forced to confront the very personal nature of each track. This album feels just that way, personal, and while the expansiveness of his last album was one of its strengths, Sven has managed to astonish me by letting all his collaborators play on their ABSOLUTE strengths.

I can attest to this last statement with my own experience. I am very pleased with the fact that the electronics have seen a significant influx this time, and I can attribute the best of that to Christian Salva. What makes his input to this album especially meaningful for me is not only the utter clarity of his modern style, but his contributions outweigh [collectively] the fractal abstraction and rhythmic noise in my remix for the great little ambient track called "Totenwache". Why fractal? Because that is the perfect way of describing the spaced out overlapping I used to manipulate the nice little violin track Sven originated and turned it into something of a disjointed but harmonized orchestra among a swell of static. I feel that this track would sound out of place if Sven had not taken the liberty of blending his classical convictions with the noisier bout of electronic elements given to the majority of the songs. There are more different beat-sequences in this album. There is more sampling. There is a very healthy portion of some very sweet and heartfelt vocals done by the very sexy and sultry sirens known as Seetha and Shaita.

These girls give one of the most important things this album needed to be as strong as it is, which is the human element. Not only do these two have great voices, but they made sure to use them in the best way possible to fit each song. They took great care in the melodic delivery of each verse, each line, each word. I believe Seetha shines best in the outstanding re-working of "Falling Down". I was floored by this new version. So much so that I think it is very close to what would be considered a climax for this album, but as powerful of a rendition as it is, it still fits into the focused vision that is the entirety of the album. As for Shaita, her absolute moment of glory for me has to be "Echo". Everything that can be said about "Falling Down 2010" can be repeated for "Echo", and I particularly enjoy how both ladies impart a tenderness to all their work alongside their yearning, passion, emotion... They too have evolved. Their personalities come through and make "Lichtgestalten" as much theirs as it is Sven's.

I could not include the word balance here without mentioning the work put in that gives a more sinister tone to some of the tracks. This was taken care of by the pieces done with both Barbarossa Umtrunk and Igniis. These are part of the much needed male counterparts in the face of feminine sweetness and a serene flow of feeling to help make this piece more universally appealing, and indeed, more universal. I loved the clarity of Mr. Mateo's vocals on this one, the brightness of the guitar, the fact that while he stands in the same light as everyone else here, he confronts the outside world, giving social commentary, but linking it to the hurt most of the rest of the album sees.

I am stunned. I don't even want to pick apart the album further by naming favorites because this is a work that should be considered as a whole. Sven Phalanx has transcended a former version of himself. Those who have already felt very endeared to him will find themselves loving him now. This album is that exceptional.

This album is a triumph.

Tuesday, June 14, 2011



TITLE: Felo De Se

LABEL: Muchausen Sound

GENRE: Noise/Dark Ambient


1_ Felo De Se
2_ Anxiety-Guilt Cycle
3_ Hidden Need
4_ Soul Murder
5_ Tension Breaking

I am very excited to bring word of this new work by the great young man who goes by Eric Crowe, AKA, Marax. Mr. Crowe had been responsible for giving us one of the most compelling Noise releases of the past couple of years to hit the PostIndustrial underground, a little EP called "Black Veil of the Sanguinarian", which I had the privilege of reviewing for Heathen Harvest back in o8. I had felt a significant admiration for the work upon first listen, as it showed a sort of darkness that ran into some varied, yet also inspiring depths of expression. I had tried to make Eric a regular contact because of the effect "Black Veil" had on yours truly, but almost two years or so before myspace got all desperate and transformed into a highly unwelcome, very stifling jock/mix of facebook/ formats, Eric was unfortunately NOT a regular. But with this release, which I can attest to have anticipated HIGHLY, we now see the young Crowe as a regular presence on facebook, and while facebook isn’t yet really set up to be the haven conducive to creativity and communication for musicians the way the fallen and corrupted myspace once was, I am happy that he's there.

"Felo De Se" is only in a couple of ways similar to "Black Veil of The Sanguinarian", Eric's style withstanding, but what sets this one aside is that this was originally intended to be a split/collaboration with Never Presence Forever. While his previous work showed desperation, tension, eeriness, and yes, even a sort of cynical sense of wonder [the beautiful and passionate epic "Nod"], this new tape brings only a seething, borderline maddening set of some of the dirtiest noise-drones I've heard to date. This is a different noise palette than before, and while I cannot say for sure just who threw in what into the fray, the best way I can describe this Felo is an extension of the track "Inside the Inner Voice" off of "Black Veil". Only this time, that scary ass voice has PLENTY more to say...

The frequencies on the work are decidedly deep, and while the noise element is not as pervasive or intense as was on tracks from "... the Sanguinarian", what will get under your skin here is the almost unbearable tension and atonal void this piece has to offer. The title track is the longest in question, and this one will make you want to pull your hair out because it’s seemingly a perpetual and disturbing presence inside your head. There is a good amount of vocal dirt in this track, nothing I can make out, but like "Inside the Inner Voice", this side has a down-pitched tinge, with a subtle distortion, possibly sped-up to make it sound even more uncomfortable. The whole of "Felo De Se" rumbles unceasingly, like a half-hour trembling of the Earth. "Anxiety-Guilt Cycle" only further pushes the theme of the album with its name, this one having some awesome, death-rattle-like phrases that come in and out. The same rattle is in the transitional "Hidden Need", giving ground then to the static-ridden "Soul Murder”, and finally, "Tension Breaking" by way of a slowly flanging end.

The Devil is really in the details in "Felo De Se". While not as elaborate, it has the same vibe as Tzii's "Vuole Morire", a very challenging one, comparable to some psychopath staring vacantly over a long, engulfing stretch of the American Southwest desert, so I suppose it is very appropriate that the tracks were laid down in a place called Southern Discomfort Studio. Conceptually, it has no bullshit and is flawless. Black and abysmal enough to induce anger, but also simple and ambient enough to actually channel anger.

The Crowe flies LOW for this one.

Monday, January 10, 2011


ARTISTS: Dangerous Trap/The End Of Science
TITLE: self-titled split
GENRE: Post-Rock

Dangerous Trap-
1_ I Do A Pretty Good Muppet Walk
2_ Oh, I've Been To Prague
The End Of Science-
3_ The Avid Hornet Has To Dive Before It Enters The Transparent Lair Of Leaning Flowers
4_ LIVE! Orange Sunshine

There were two things that happened to me a few days ago during all the New Year's hubbub that had never happened to me before. These two occurrences made me feel that there is still hope during my life in a Post-George Dubya piss stain that is the modern world. The first was getting my first ever hug from my best buddy after about 5 years of knowing each other. It might have had something to do with him jamming to Europe four days later, but nevertheless, it really meant a lot to me. The second thing came not too long afterward, and I bullshit you not when I say that it meant just as much to me.
For the first time, someone had reached out to me, a perfect stranger, about submitting material to be reviewed here. That stranger turns out to be Jarod Weldin. It wasn't just the thrill of being told by someone I didn't know that he enjoyed my writing. The material, a split tape of what has NEVER been covered here in TFK, a sort of very honest and pure Rock 'N Roll, happened to be one of the best So-Carolina and So-Cal-born pieces to ever hit my ears.
There are four tracks in this tape, which is to be released on January 18. The sound immediately took me back to my nineteenth birthday at the Home Depot Center here in Cali. It was on August 27, 2004 that I had the privilege to attend the Curiosa festival. The line-up for the main stage: The Rapture, Mogwai, Interpol, and The Cure, in that order. Like many others, for me, the later two were what I had come to see to celebrate with my pals. Little did my homeboys or I expect to have our minds blown away by what I now affectionately call The Mogsters. They were something of a revelation to me, my first real dose of a style of Rock that built huge, elaborate and very beautiful soundscapes. No vocals, just a bunch of guys with a bunch of Line6 amps making fucking magic.
Jarod fronts Dangerous Trap, the one-man band that provoked these tender memories for me. It was also very surprising and heart-warming to find out that the band who composed the other two driving and melodic entries on this new cassette was formed by a father 'n son duo, Greg & Alex of the Mauro clan. Not having a living dad meself, this presented to me a very endearing concept, being a witness to the high splendor that can be achieved when a man and his offspring join artistic forces.
Like few other split releases I've heard, this pairing is almost seamless. Both bands in question are just as great as each other, the styles just as harmonic, soul-touching and thought-provoking. Jarod W. is the mastermind behind the longer songs on this split, averaging at about 9 1/2 minutes. These emotionally-indulgent tracks are very close to the Mogwai sound, but they are actually more grounded, less spacey than the reverb and effect-laden Mogsters. These tracks are something very luminous and without pretensions. "I Do A Pretty Good Muppet Walk" is my favorite track from the Dangerous Trap. The names of his tracks are explained below...
My favorite from the loins + the fruit-of is "The Avid Hornet Has To Dive Before It Enters The Transparent Lair Of Leaning Flowers". This track leads a heavier way through, and like "LIVE! Orange Sunshine", the sound put forth from these two gentlemen really do exude, as well as INDUCE, very sunshiny feelings. Or rather, sunSETy feelings. Though The End Of Science grants us a more aggressive approach, they still keep it together by letting us have more determined compositions, like someone who is facing a life in front of him knowing damn well he's a bout to do some great things.
I am quite happy to have had a chance to consider this before its release! You guys ROCK. Literally. And that is something this blog has needed without me knowing. I'm happy that someone had the grace to feel that what he and his buddies have to offer is good enough to stand out among a set of reviews on some heavy, dark, electronic stuff. It IS. It really is. If this were the Nineties, these guys would have record contracts and a special place in my Walkman. Well, it is a tape... and the Nineties are still here... in my heart.
Superb work, very emotional, and worthy of more praise than merely mine.

Dangerous Trap at this point is essentially my solo project. As much as I do enjoy collaborating with musicians and playing in bands, I started this project as a way of creating music without necessarily having to depend on working around other people's schedules, agendas, levels of enthusiasm/ambition, etc.
A big influence in convincing myself to follow through with the recordings came from punk rock; Dischord Records, The Minutemen, that do it yourself attitude. If you want to do something, do it. I recorded the songs using an old 8 track recorder and mixed them on my laptop. The drums were recorded using only three mics, one of which I bought from Radio Shack for around ten dollars. All of the guitar parts were recorded using a small, inexpensive Roland 1 x 10" amp. The recordings are certainly not without their share of flaws, but I think they are still a testament to the fact that with a little improvisation and creativity, you can still "jam econo" and create something that you're happy with. The song titles are lines from the Noah Baumbach films Kicking and Screaming (Oh, I've Been To Prague) and Mr. Jealousy (I Do A Pretty Good Muppet Walk).

The End Of Science (post-rock, experimental, visual, instrumental narrative) was formed by Greg and Alex Mauro (father and son) and began writing and recording in 2008, releasing "OMGWTFBBQ" later that year; "Hence the Title" in mid 2009; and "Yrthak" via Futurerecordings Label in mid 2010. The band is based in San Diego.

Process etc...:
All songs are written and recorded in our humble home studio. The creative process (and recording process) varies for each piece - we try and steer clear of a "factory like" production or formulaic composition. We want each piece of music to exist in it's own sound-world, so the harmonic language, structure, gesture and feel of the music completely dictate how it will be written, arranged and recorded - no two songs are done in the same way.

Songs on the split release:
Both songs are previously unreleased...
"The Avid Hornet..." was inspired by some chord voicings Alex was messing with on piano. The title and emotional inspiration for the arrangement comes from the poem "Graves" by Rilke.

"LIVE! Orange Sunshine" was basically are very organized jam session recorded to sound a little dirty with "live" ambience. Of course the title is actually a brand of LSD "Orange Sunshine" created by The Brotherhood of Eternal Love (smugglers :) which I suppose had something to do with our approach to the sonic textures.

Tuesday, November 16, 2010


ARTIST: Radio Salva
TITLE: Kath'Ara
LABEL: Self-released
GENRE: Dark Ambient

1_ Falling Backwards
2_ Insight
3_ The Subsiding of the Flood
4_ Outside

Christian Salva is one of the newest and absolutely brightest to hit the PostIndustrial Dark Ambient world. This young man hit our scene only last year, but I feel he is well on his way to being one of the leaders of the Ambient sound. There is a great amount of depth in his work, and I'm not gonna use the word "potential" here because this guy has already proven himself to me. I'm hoping that others will pick up on his talent soon. Hurry before he starts charging!
Mr. Salva is already showing us that he is very capable of integrating abundant emotion into his music. Take a listen to any of the three releases he has let us have so far, and not only will you find that there is a new, modern accent to his offerings, but that he accents his tracks with variety. This is one quality that can assure name recognition with Dark Ambient fans. I was pleasantly surprised at the diversity of sounds found in this, the Kath'Ara ep.
There is more than layers of drones put through different reverb parameters here [which is all a lot Ambient artists seem to think they can get away with]. There is so much more. Out of the four tracks that comprise this ep, there are two that are side by side that will stay with me for the rest of my life. These two are "Insight" and "The Subsiding of the Flood". I can not remember the last time I let two tracks just repeat in a hypnotic loop, not only for hours, but as was the case for this past weekend, DAYS. This pair is hopelessly beautiful, putting you in the very center of your Universe, letting you experience just how vast your own psyche can be because the ethereal nature of the pieces are just that, vast...
"Insight" is the dreamiest of the four, and much like "The Subsiding of the Flood", everything comes at you in waves. Both works are progressively melodic, but sparse. Samples included in "Insight" are taken form "The Passion of the Christ", these being screaming samples that only make the track sound more intensely emotional, giving the feel of a man desperately calling for someone that is being torn from him in some intensely romantic haze.
But even more intense is "The Subsiding of the Flood". While still being as sedate as "Insight", this track is much more powerful. As cold as is sounds, it is still very condusive to the most comforting and self-indulgent fantasy/meditative/intoxicating states of mind. Not only do we get a fair amount of expansive ambiance, but there is a sample of a choral passage from a gnostic mass, deep in tone and register, adding a very human contrast to the very Navicon Torture Technologies-style bass-noise that is included. Lee M. Bartow would be proud, or at least he should be, as this seems to do much to proliferate the "Power Romance" genre he practically pioneered.
Also worth noting is the last track because of its closer resemblance to a move away from the Dark Ambient sound. This track, while not my favorite, is the one that surprised me the most. "Outside" is a very great track because it is much more indicative of a Depeche Mode-like style, like something that would have made the final cut for "Ultra", one of Depeche Mode's most brilliant, but terribly underrated albums. There is a one-note bass sequence that actually sounds like an electric bass, the most melody to be found in the whole ep, shifting its sound here and there, but not to excess displaying awesome synth textures, and the thought provoking sample of the phrase "Jeder ist allein" [everyone is alone].
There is such an incredible amount of beauty in this ep. And its free! I know I don't write about anything I don't recommend myself, but I REALLY mean it when I say that your life will be enriched so much more if this work is in your collection. This is proverbial opium of and for the mind. I am deeply grateful this exists.


The "Kath ´Ara" ep is about wandering the small space between thoughts and emotions. It´s about taking a look through the outer shape of the things we call "reality". It´s about the human being inside us. It´s not about religion. It´s about a deeper kind of belief.