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matt frantz the last signal postcard

The Last Signal (2004)

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. Total playing time: 55 minutes, 58 seconds.Caution: high volume playback may induce panic in mammals.


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 are discouraged, 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. 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.

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. 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).

after the end, what else is there?


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) website: USA

2. Combination No. 10 “Gutbrain Sound (Condensed edit)” (condensed from original version on “Blue Punctilious”) (1:48 edit*) contact: Rob Price website: USA

3. Panayiotis Kokoras “Red Tail” (:26) email: email(at) website: Greece

4. Ole Peterson “Opastion Klagavurn Phen Prosno” (:42 edit*) email: lizole(at) US

5. Tat-Gun “2 Minutes Of Faith” (1:59 edit*) email: smpqh(at) USA

6. Horrendous “End Us” (1:11) website: 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) United Kingdom

8. Tin R.P. “Untitled” (1:32) website: email: burning.emptiness(at) France

9. Giuseppe Rapisarda “Countdown. Three, Two, One, Zero.” (:44 edit***) website: Italy

10. Satyr Oz “Shattered Cradle Playground/The Last Swirlings” (1:35***) email: satyroz(at) USA

11. Brian Schorn “Down Arming” (1:39 edit**) email: brian(at) USA

12. Cameron Sears “Apocalypse Bells” (1:00) website: email: suspect23(at) Australia

13. Mystified (Thomas Park) “End Of The World” (1:26 edit*) credit: Thomas Jackson Park email: autocad13(at) 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: email: aaronb(at) 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)

16. Moon “Untitled” (2:21) website: email: burning.emptiness(at) France

17. Matt Frantz “Oversaturated” (1:00) website: USA

18. Bollwerk 81 “All Means Come To An End” (1:00) credits: Bollwerk 81 (music) Patrick Maiwald (lyrics) website: Germany

19. Signalbleed “Without Form” (1:29 edit*) credits: Jason Hevener website: email: signalbleed(at) USA

20. Maggi Payne “Restart” (1:18 edit*) website: USA

21. TCHANT “But Inside This World” (1:26 edit*) email: mcquaz(at) Canada

22. Dave Cupp “Untitled” (1:10 edit**) email: debris49(at) location: 2374 Banning Rd. Cincinnati, OH 45239 USA

23. Die Bene Tleilax “Cognitive Dissonance” (:28 edit*) website: USA

24. Mike Pursley “Golohab” (1:16 edit*) email: mike_pursley(at) USA

25. Fridur “dun dot (d.)/eff dot (f.)/end dot (-.)” (2:03 edit***) email: ig_enigma(at) USA

26. Brian Schorn “Last Breath/Last Life/Last Happening/Insectoidal/Psycho Skull” (1:00 edit***) email: brian(at) USA

27. James Bohn “Ice 9” (:58) website: email: jbohn(at) USA

28. Planes Overhead “Overload/Nijmegen” (1:00) Leaftone Recordings USA

29. John Salcido “Expired” (2:06 edit*) email: juandabaptis(at) USA

30. Mike Hallenbeck “Untitled” (2:00 edit***) website: USA

31. Andrew Duke “Wastewind/Overstretch” (:58 edit***) website: location: Cognition Audioworks 1096 Queen St. #23 Halifax, NS Canada B3H2R9

32. RP Collier “Untitled Combination of Multiple Tracks” (1:38 edit**) website: email: aptrev(at) USA

33. David Nix “Falling Of The World” (3:35) website: email: nix_music(at) United Kingdom

34. Mobile (Michael Kidd) “Pralaya” (:38 edit**) credits: Michael Kidd email: mobile012(at) 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) 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: email: nartmail(at) USA Greta Nintzel taken from “An End” website: USA Matt Frantz USA Bob Arieas USA Don Campau taken from “Fire And Rain” email: campaudj(at) USA

36. Andrew Greene “Salvation” (:59 edit*) email: agreene1(at) USA

37. John Salcido “Renewal” (1:39 edit*) email: juandabaptis(at) 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!

the last signal waveform


"...The Last Signal collects [these] disparate visions of apocalypse and the styles range from tape-burning torch songs to aborted squirts and blasts of white noise to the fading hums of technology and civilization to a thirty second analog tone that rises up to heaven..." Mark Teppo, Contributing Editor

More than 35 artists answered when asked the question: What would the end of the world sound like? The Last Signal collects these disparate visions of apocalypse and the styles range from tape-burning torch songs to aborted squirts and blasts of white noise to the fading hums of technology and civilization to a thirty second analog tone that rises up to heaven. Most of the tracks aren't much more than a minute in length and, taken as a whole, The Last Signal, seems like an hour long snapshot of finality as if we were witnessing the world's reaction to armageddon through a radio signal and, each minute or so, the dial is snapped to a new station.
Matt Frantz, the curator of the project, asked contributors to keep their submissions short or, in the case of a number of the contributions, allow their work to be condensed as necessary to fit the project scope. As a result, some of the tracks are layered canvases as a longer work is folded back on itself several times. Nectarphonic's "Will I (Last Signal Abrupt End Edit)" opens The Last Signal and is the torch song playing at the final bar at the end of the world and, like the title suggests, it is cut short as if the power simply faded into nothigness. Combination no. 10 offers "Gutbrain sound (condensed edit)," a blast of dischordia that cleaves straight through the preceding silence. Some of the tracks are just hints of melody, the barest suggestion of sound that burps or gasps or hiccups before fading into silence. Others are bursts of heavy sound -- lumbering beats that stagger like escaped loops from Techno Animals records out to wreck the town.

Horrendous' "End Us" is a filled with warped chords like the fusion of dying birds and collapsing buildings as interpreted by an experimental guitarist while Satyr Oz's "Shattered Cradle Playground/The Last Swirlings" is a wall of child voices trapped behind barbed wire fences. While Aaron Butler's "Original Soundtrack To The End Of The World (Dark Audio Dub Mix)" begins with hand drums and ambient tones, the calm interplay is interrupted by the chaotic burst of jump cut editing, a John Zorn style of slash and burn that captures the horrific panic of the unplannned dissolution of reality. Brekekekexkoaxkoax finds some order in the chaos with "ma'vet o'lam (Asiyah)" which sounds like an industrial compactor smashing the world into a nice neat square of compressed metal, and Mike Hallenbeck's "Untitled" begins with the noisy chaos of a jet airplane turbine before draining away into a placid dark ambience. Matt Frantz's "Oversaturated" is just an explosion in mid-town, a whirlwind blast that sucks up all the panic and fear of the city into a single rising cloud of static and shrieking metal and terrified sirens.
For some, the end of the world is dischordia; for others, it just slows down and stops or it vanishes into a burst of noise and static. The world doesn't end with a bang or a whimper; it simply ends. And for everyone, the end will be indelibly stamped with their own vision and their own sonic interpretation. The Last Signal argues that, when the heat death of the universe arives, there will still be music. Ahem to that.

broken compact disc