Ultima Chiaroscuro started out as an experiment to suss how well a DAW and a passable knowledge in music theory can go on to produce something that has a modicum of musical, artistical quality.

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Soon, it metamorphosed into a haphazard mission that relied on self-study and trial-error. The need to craft quality music with the bare minimum resources to compete with the flagbearers, teachers, idols, and trend-setters became real. It was no longer about homage. It was all about catharsis, epiphany, and self-realization now. 

 

It has long been pre-ordained that Ultima Chiaroscuro will not graze around the same thematic concepts that drove its predecessors and drives its contemporaries. To outshine the programming, we must delve deeper. While commentary over the cliched tropes of human drama and redundant dystopian imaginariums is alluring and all too familiar, Ultima Chiaroscuro uses music to comment on perfunctory subjects.

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The Human Experience consists of more complex, substantial subjects; the likes of Creation-Destruction, Order-Chaos, Subservience-Independence, Conformity-Idiosyncracy, Superstition-Rationale, Traditionalism-Free Thinking, Apathy-Empathy, and more.

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Ultima Chiaroscuro is here to set fire to the frozen entrails of a Zeitgeist so it can either burn forever or burn out in a great spectacle. In the bigger picture and in the long run, Ultima Chiaroscuro's platform shall be used to study the intricacies of our macrosocropic existence on this cosmic-sized petri dish, rather than focus on self-centered episodes of singular human entitlement.