THE LAST SIGNAL is now shipping! The Last Signal is an international compilation of sonic explorations centered around creative interpretations of what the end of the world might sound like. The CD features more than 35 tracks from creative musicians and sound designers in Australia, Canada, France, Germany, Greece, Italy, the United Kingdom, and the United States. This unique experiment blurs the boundaries of music and noise with a variety of conceptual and stylistic approaches.
Caution: high volume playback may induce panic in mammals. Total playing time: 55 minutes, 58 seconds.

Click on the speaker icon next to each track listing to hear the sample mp3 clip.
	1. Nectarphonic “Will I (Last Signal Abrupt End edit)” (original from “Swoon” under the band's former name of Nectar) (2:49 edit**) nectarband(at)aol.com website: www.elevenshadows.com/nectar USA
	2. Combination No. 10 “Gutbrain Sound (Condensed edit)” (condensed from original version on “Blue Punctilious”) (1:48 edit*) contact: Rob Price website: www.gutbrainsound.com USA
	3. Panayiotis Kokoras “Red Tail” (:26) email: email(at)panayiotiskokoras.com website: www.panayiotiskokoras.com Greece
	4. Ole Peterson “Opastion Klagavurn Phen Prosno” (:42 edit*) email: lizole(at)comcast.net USA
	5. Tat-Gun “2 Minutes Of Faith” (1:59 edit*) email: smpqh(at)yahoo.com USA
	6. Horrendous “End Us” (1:11) website: www.benjaminhorrendous.co.uk United Kingdom
	7. Cousin Silas “Untitled Assemblage Of Nine Ambient Soundscapes” (1:41 edit***) Cousin Silas appears courtesy of Fflint Central Recordings email: moderndance(at)btinternet.com United Kingdom
	8. Tin R.P. “Untitled” (1:32) website: www.tindotrp.fr.st email: burning.emptiness(at)laposte.net France
	9. Giuseppe Rapisarda “Countdown. Three, Two, One, Zero.” (:44 edit***) website: www.rapisarda.org Italy
	10. Satyr Oz “Shattered Cradle Playground/The Last Swirlings” (1:35***) email: satyroz(at)hotmail.com USA
	11. Brian Schorn “Down Arming” (1:39 edit**) email: brian(at)circulus.us USA
	12. Cameron Sears “Apocalypse Bells” (1:00) website: home.primus.com.au/csears email: suspect23(at)hushmail.com Australia
	13. Mystified (Thomas Park) “End Of The World” (1:26 edit*) credit: Thomas Jackson Park email: autocad13(at)hotmail.com USA
	14. Aaron Butler “Original Soundtrack To The End Of The World” (Dark Audio Dub Mix) (2:40 edit*) credits: Aaron Butler (acoustic and electronic drums, congas, voice, tapes, beats, edits, toy horn, effects) Bill Monson (drums) Hal Dean (MIDI guitar) Steve Zieverink (keyboard) Donn Vidmar (bass) Michelle Sierra Moran (voice) Eonju Kim (voice) website: www.darkaudioproject.com email: aaronb(at)darkaudioproject.com USA
	15. brekekekexkoaxkoax “ma’vet o’lam (Asiyah)” (1:03 edit***) Edited with material from Gates Ensemble 12/03 and Carmen Resendez and Michael Northan 2001 Brentwood, Austin, TX 78757 email: joshronsen(at)yahoo.com
	16. Moon “Untitled” (2:21) website: www.burningemptiness.fr.st email: burning.emptiness(at)laposte.net France
	17. Matt Frantz “Oversaturated” (1:00) website: www.independentopposition.com USA
	18. Bollwerk 81 “All Means Come To An End” (1:00) credits: Bollwerk 81 (music) Patrick Maiwald (lyrics) website: www.bollwerk81.de Germany
	19. Signalbleed “Without Form” (1:29 edit*) credits: Jason Hevener website: www.geocities.com/signalbleed email: signalbleed(at)yahoo.com USA
	20. Maggi Payne “Restart” (1:18 edit*) website: www.maggipayne.com USA
	21. TCHANT “But Inside This World” (1:26 edit*) email: mcquaz(at)hotmail.com Canada
	22. Dave Cupp “Untitled” (1:10 edit**) email: debris49(at)hotmail.com location: 2374 Banning Rd. Cincinnati, OH 45239 USA
	23. Die Bene Tleilax “Cognitive Dissonance” (:28 edit*) website: tleilaxu-culture.org USA
	24. Mike Pursley “Golohab” (1:16 edit*) email: mike_pursley(at)hotmail.com USA
	25. Fridur “dun dot (d.)/eff dot (f.)/end dot (-.)” (2:03 edit***) email: ig_enigma(at)hotmail.com USA
	26. Brian Schorn “Last Breath/Last Life/Last Happening/Insectoidal/Psycho Skull” (1:00 edit***) email: brian(at)circulus.us USA
	27. James Bohn “Ice 9” (:58) website: www.bohnmedia.com email: jbohn(at)jbohnmedia.com USA
	28. Planes Overhead “Overload/Nijmegen” (1:00) Leaftone Recordings www.leaftone.com USA
	29. John Salcido “Expired” (2:06 edit*) email: juandabaptis(at)hotmail.com USA
	30. Mike Hallenbeck “Untitled” (2:00 edit***) website: http://juniorbirdman.com/archive USA
	31. Andrew Duke “Wastewind/Overstretch” (:58 edit***) website: www.cognitionaudioworks.com location: Cognition Audioworks 1096 Queen St. #23 Halifax, NS Canada B3H2R9
	32. RP Collier “Untitled Combination of Multiple Tracks” (1:38 edit**) website: trundlebox.iuma.com email: aptrev(at)aol.com USA
	33. David Nix “Falling Of The World” (3:35) website: www.davidnix.co.uk email: nix_music(at)yahoo.com United Kingdom
	34. Mobile (Michael Kidd) “Pralaya” (:38 edit**) credits: Michael Kidd email: mobile012(at)hotmail.com Australia
	35. Various Artists “Untitled Combination” (3:11 edit***) This track combines credits from several artists, listed roughly in order of appearance. Ashley Allen’s Lost Bohemia featuring: Ashley Allen (guitars, screaming, production) Dave Duncan (bass) Mike Gregory (bass) Mark Miller (piano) Charlotte Schmitz (vocals, poetry) Mike Schmitz (A.K.A. will) (violin) Corbett Stepp (drums, guitar, mixing) email: jerry_a_45205(at)yahoo.com location: c/o Porkopolis P.O. Box 3529 Cincinnati, OH 45201 USA Dan Susnara location: 7806 S. Kilpatrick Chicago, IL 60652 USA Whitehall A.K.A. Jeffrey Patrick Rollason and Fernando Omar Coipel “Cop March” website: www.nartworld.com email: nartmail(at)juno.com USA Greta Nintzel taken from “An End” website: www.gretagurl.com USA Matt Frantz USA Bob Arieas USA Don Campau taken from “Fire And Rain” email: campaudj(at)jps.net USA
	36. Andrew Greene “Salvation” (:59 edit*) email: agreene1(at)si.rr.com USA
	37. John Salcido “Renewal” (1:39 edit*) email: juandabaptis(at)hotmail.com USA

All tracks with edits are altered by Matt Frantz with authorization from the artists specifically for this compilation. The number of asterisks in the listing of each edited track indicates the edit type.
*Edited for length, otherwise unaltered.
**Moderate editing, using submission source material, layered upon itself or with sections repeated, or altered relative volume levels, or tempo/pitch adjustments.
***Edit incorporates multiple tracks or variations from the same artist. May also include editing with effects applied or rearranging of composition sequence.Published in 2004 by Independent Opposition. All tracks are used with permission and © by the artists. This compilation © M. Frantz. CD cover art by Matt Frantz. Duplication of this CD is prohibited. Made in USA. Many thanks to all the artists who participated in this project and everyone who helped to publicize it!

BELOW IS AN EXCERPT FROM THE CALL FOR ENTRIES THAT WENT OUT TO A GLOBAL AUDIENCE. NOTE: NO LONGER ACCEPTING MATERIAL.

ATTN: MUSICIANS, VOCALISTS, SOUND DESIGNERS, BOTH PROFESSIONAL AND AMATEUR
Independent Opposition Music Publishing is seeking short entries for an upcoming sound collage compilation based upon what the ending of this world might sound like. Use your imagination, use the following ideas as starting points:

1. What would the end of the world sound like? Think of different ways the world could end; through violent war everyone knew was coming, the unexpected push of a button, environmental forces, or from an extraterrestrial or spiritual being's action. Would the world end at the same time for everyone around the globe, or would there be a rippling or delay effect?

2. What is the most emotionally intense, chaotic, scary, mean, or enlightening 60 seconds of sound possible?

3. What is your message to the world; the one last thing you could say before the end of all life on this planet?

In general, this project is not intended to be a political statement. Particulars of current events aren't encouraged, as this is compilation is to be more of a showcase of imagination and artistic representations of the end of the world, rather than a story about events leading up to the end. But, follow your passion, and submit what feels right to you. There are no limits or suggestions regarding musical style with project. All imaginable sounds, from melodic vocals to the smashing of rocks against glass are encouraged. No intentions regarding this recording should be assumed. Some may view the ending of the world as a disaster, while others may view it as simply another step in an unknown course of existence. Your personal interpretation is encouraged. Intensity of some kind is desired, but not required.

GUIDELINES
The sounds you submit must be your own creation or you must have legal clearance for any sampled material. This means that you cannot submit entries with recognizable lines of dialogue from movies, television, or any other copyright protected material. If you want to use generic sounds such as explosions, or machine sounds from pre-recorded sources, this may be acceptable, but only if there is no chance that anyone would be able to identify where the sounds were originally used. For entries using language other than English, a brief description of the lyrics/dialogue and the name of the language used must be included.

LENGTH OF ENTRIES AND EDITING OF ENTRIES
Three minute maximum, but 60 seconds or less is ideal. Any submission may be edited by the producer for length or content, or combined/layered with other entries (in the case of combined entries, authoring credits will be shared). If you would prefer to not have your submission included if it is edited or combined, please state that on the entry form; your submission will then be considered for submission on an "as is" basis. Final mastering of the disc may require all pieces to be adjusted in terms of volume level, compression, and equalization, which will not be considered editing of an entry.

COPYRIGHT INFORMATION
By submitting the entry with signed entry form, you agree to allow Matt Frantz/Independent Opposition and all associates, both present and future, to use the submission in any way. You will retain the rights to your original lyrics and music. However, the final complete sound recording with be a copyright protected work and no entrants will be authorized to make duplications. For example, you will be able to post your particular entry on a website, or use it for future recordings, or allow others to use it, but you will not be allowed to duplicate the final project, or post portions of it other than your own submission on any website, or grants rights to others to do so.