I have always enjoyed telling stories both lyrically and musically. Keyboard and synthesizer arrangements may seem repetitive at first, though this layering process of symphonic sounds into melodies provides an influential homage to American industrial-darkwave bands, such as Stabbing Westward, Nine Inch Nails, and London After Midnight. Traditionally hypnotic and ethereal breaks are often accompanied with a distorted guitar-solo for added depth and variance. My tortured voice in specific tracks eerily resembles vocal veteran, Marilyn Manson by design. There is usually a gradual build of anticipation, until percussion and guitars fiercely enter the equation with purpose. I am quite known to create vastly different adaptions of previous recordings, musically simplistic in nature to amplify written words being sung. Less is sometimes more through relatable, melodic-addictive confessions meant to highlight a personal retrospective on my younger dating years. Distinct rhythmic transitions from verse to bridge to chorus allow these recording to build momentum then suddenly change into haunting compositions.

Suppressed Renditions

Written, Produced, Arranged, Performed, and Recorded 
by Edward Valenzuela of Dressed to Kill Productions 
Mastered by Peter Barnhart from Digital Alchemy 
Remastered by Kevin Wishard at Twenty/20 Audio

Dressed to Kill : First Sound

Capitol Couture : Second Sound

Instant Gratification : Third Sound

Contemporary Classic : Fourth Sound

She's Come Undone : Fifth Sound

I'll Fly Away : Sixth Sound

Absinthe In Blood : Seventh Sound

Motion Picture : Eighth Sound

During the early 1980's, a new genre of music was being created. Fusing together the popularity of both post-punk and new wave translated into 'darkwave' building upon those basic principles with added introspective lyrics and definitive melancholy overtones. Throughout the years, darkwave music was seen a constant resurgence with renewed post-punk movements to evolve into a more danceable and often marketable gothic relative through strong synth sounds incorporated into the already established mix. Edward Valenzuela founded Conditions of Existence in the late 1990's after receiving classical training in an orchestral environment playing the saxophone and oboe for over ten years. Keyboards and vocals were self-taught given prior education, and he invested in his own private recording studio to ensure a lack of interruption. As a throwback to earlier bands, Edward chose against software to record a more authentic humanized sound with physical mixing boards, effect processors, analog recorders, and live microphone. Influenced by bands such as Sisters of Mercy, Depeche Mode, The Cure, and Clan of Xymox, the end result was undeniable. In order to add a new layer of innovation, he incorporated elements of industrial to give Conditions of Existence a hidden intensity.