Mandalas have been employed by a variety of spiritual traditions to awaken the kernel of sacredness that lies dormant within all of the manifested universe, including within that apparatus which human kind calls \"self\". These Sonic Mandalas continue that tradition and may be used by aspirants and adepts to focus the attention and exercise pure consciousness in the trance state. They are also beautiful and enjoyable as pure music. Mandalas paint a picture of the distinct forces at work in nature, of the primordial actors within the play of existence. Through examining our reactions to these archetypal elements we may discover something crucial about our relationship with inner and outer worlds and ultimately develop the true self. This music can be used for meditation through deep listening or movement and dance. It’s also great ambient music to make any space more alive and conducive to the flow of creative energies. REVIEWS: From the dark striplings of sound and amorphic drum sentiments of \'Ouroboroso,\' \'Annulus\' or even \'Crateraae\' to the Photek or D\'iberville-like D\'n\'B works of \'Clypei,\' \'Globulus,\' \'Tympani\' or \'Aequatoris\' to the airy and quasi-melodic \'Circulus,\' \'Lamnae\' or \'Aureola\' and whatever lies beyond, JC has created a constant flow of amoebic rhythms, stirring rushes, low frequency baths and industrial ambience over the course of 16 short but stunning tracks. What first appears to lay the foundation of a typical Cold Meat style recording suddenly surprises with electronically infused drum patterns: simple and somewhat atypical at times, yet miraculously fitting; oppressing bass cruches and unexpected melodic sequences (think Urmur Bile Trax, yet unfettered and relaxed), giving the whole disc a rather refreshing direction as opposed to sputtering about on the same old same-old of most dark ambient/electronic works. JC has beautifully crafted a journey of sound that doesn\'t disappoint, working to drag you through deep space or the dark recesses of the mind and never faltering on prolonged obsessions with persistent drones or half-assed rhythms. Overall, this is one of those rare instances where I feel the work is neither over- nor underdone and delivers exactly what it set out to do, from beginning to end. From Introspect http://www.arma.lt/introspect/texts/index.htm “JC is back with a new Kyron CD. There are 16 pieces in just under an hour of some quite haunting stuff. Dense, dark, ominous, present and moving. Each one is a small journey, some with slow electronic beats or rhythms and others more electronic drone excursions to a new or old world. Beware if you have a subwoofer in your system as there are some very deep bass sounds at times that shake the surroundings. Fans of dark, moody, ambient electronica, should check this label and Kyron out. In another world... ” -From Aural Innovations #40 (September 2008) XXXX Kyron comes from a country with a long tradition of human warmth and a painful, bloody history: El Salvador. He arrived in the United States in the early \'80s, at the start of the civil war there, and has lived in San Francisco since then. He has made the journey back to El Salvador many times in the last 20 years, and considers himself a synthesis of both cultures. Like the music he creates, his mind is balanced in measures of magic and science, logic and madness. Kyron graduated from SFSU in 1993 with a specialty in Music Composition and Electronic Music. During his time at SFSU he enjoyed playing protest folk music and latin rock with various bands in San Francisco. He also composed pieces in a \"classical\" style that were performed by the Symphonic Orchestra of El Salvador and by other smaller chamber groups. In 1994 the University of Santa Clara commissioned him to create the music for a multimedia piece (involving music, video, dance, and theatre) based on the massacre of El Mozote. The culmination of these experiences birthed in him the realization that the careful application of attention to every detail of a musical composition could be applied to any style of music. Early on, Kyron started experimenting with various shamanic and magical traditions. Central to his work is the idea that music can be used as a practical method of travelling to other dimensions or planes to create spaces of invocation. His musical canvass encompasses electronic, improv, noise, industrial, experimental, ambient, minimalist, and classical music. His musical explorations include the electronica Solar Shop series with Inxpotter, ambient hip hop “Triborg” with Brett Stidham, the psychedelic fusion Ion Evo series with renowned shaman drummer Dru Kristel, and the dark ambient experimental Trip Tech series with Kreed Du Chat and David Collin. He has also released a sequence of full length solo Kyron CDs which document his eclectic interest in the worlds of electronica, improv, and noise. Under the pseudonym Prospero he has begun a new series of electronic CDs utilizing fundamental mathematical patterns and interactive artificial intelligence programs. For Kyron the genres that classify music have no importance. What truly matters is the vibration that is awakened in those that listen. Kyron is also interested in the intersection of sound and moving images. He has composed music for several short films including: “La Americanita” and “The Good Egg” by Erin Ploss-Campoamor, Bob Bryan’s “Graffiti Verite 3”, and “Soledad is Gone Forever” and “Music Boxes” by Mabel Valdiviezo (Haiku Films). In 2005 he performed an improvised electronic score for the legendary film “The Inauguration of the Pleasure Dome” by Kenneth Anger at Craig Baldwin’s Other Cinema. He has also created original abstract video collages that are visual counterparts to his unpredictable music. In 2003 he founded a performance art, video and music collective known as Via Sinistrae. Kyron is dedicated to creating music that will affect listeners in subtle but profound ways. To explore at least some of the infinite panorama of possibilities that he could see before him, Kyron created Black Note Music, an independent underground label. Through Black Note Music, ancient shamanic practices and invocations meet the age of synthesizers and electronica to open otherwise hidden doorways. For Kyron it is a means for sharing his explorations, and for propelling him into ever more daring and creative sonic experiments.