Perdurabo is an ambient electronic journey driven by experimental touches of noise and glitch. In some cases the glitch jumps out and grabs you by the ears, demanding center stage; while in other tracks it takes a supporting role and lets the finely crafted melodies direct the journey through moods of mystery, melancholy, eminent peril, and even elation. Inspired by the magickal strength of Aleister Crowley, the twelve unique tracks in Perdurabo challenge the listener to abandon their preconceived ideas about music and adopt a new expanded perspective. ____ 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 San Francisco State University (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 in El Salvador. 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. Central to his work is the idea that music can be used as a practical method 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 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. Since 2009, Kyron has released two full length albums under the pseudonym Projective Module. These albums are pure electronic compositions that incorporate elements of classical harmony with glitch, dub, ambient and noise. 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. Together with his collaborators, Kyron has created over seventy short videos, all with original scores. In 1995, Kyron formed Radio Free Clear Light (RFCL). The group began as a weekly improvisational session and then began to transform and expand, fusing music, words, images, video and performance art. Since 1995, Black Note Music has released over a dozen CDs of RFCL performances and improv sessions. In 2008, RFCL and Kyron created an interactive installation at the Mission Cultural Center for Latino Arts in San Francisco. From 2008-2009, RFCL performed as part of the on-going Mission Arts and Performance Project in San Francisco. Though the pseudonyms and collaborators may shift, one focus remains constant and unbending…the creation of uncompromising music without regards to genre or fashion.