UKofA Builds a 12-Track Album From Film Samples and 25 Years of Sound

UKofA's new album 'Time Will Take This All Away From Us' runs 12 tracks and draws on samples from films released 47 years apart — Jerzy Skolimowski's 'The Shout' (1978) and David Cronenberg's 'The Fly' (1986). The record distills 25 years of work across hardcore metal, experimental choral music, progressive rock and electronica into one sample-driven project.

The artist behind it built a reputation as a founding force behind Godzilla Black and Hawk Eyes. Those bands earned notice for ambitious songwriting and a willingness to push into unfamiliar territory. This album applies that instinct to material most listeners would discard.

How does a film editor's archive become an album?

The project grew out of UKofA's day job as a film editor, surrounded by thousands of fragments — footsteps, dialogue snippets, incidental music, stray noises lasting a second. An interest in sample-based hip-hop turned those fragments into foundations. Library music, unfinished demos and live instruments gradually formed an expansive collage.

Some tracks kept their sample-driven skeletons. Others grew into full arrangements with guitars, drums and layered vocals.

What does the tracklist reveal?

• 'NICE THINGS' opens with a sample from the 1978 film 'The Shout', pairing dense textures with early 90s West Coast hip-hop.
• 'GATE OF FLESH' sets folk-inspired melodies inside a hip-hop frame with droning guitars.
• 'PUT YOUR FAITH IN ME' features Paul Astick and blends industrial weight with melodic ambition.
• 'LIKE WE WERE NEVER HERE', built largely from library music samples, was the starting point for the entire project and reflects on time, memory and humanity's place in the universe.
• 'COMMIT' began as a guitar idea, became synthesizer-driven, and includes live percussion from drummer Ben Koller.
• 'CHANGE MY MIND' samples Cronenberg's 1986 film 'The Fly'.
• 'MISTER OBLIVION' uses processed ebow guitar for an instrumental passage with an almost organic atmosphere.
• 'WATCHTOWER' grew from a piano composition into a study of ambition and responsibility.
• 'THE JOKE IS THE SAME' takes a cinematic approach to love, connection and passing time.
• 'WHAT I'VE DONE' channels 80s-inspired pop-rock, complete with powerful basslines and a guitar solo.
• The title track moves through several sections around a central drum loop, layering progressive influences and vocal harmonies.
• 'COVER ME IN LOVE' closes with a heavy bassline, sampled vocals and an atmosphere of renewal.

Where was it recorded, and what comes with it?

UKofA recorded and mixed much of the album in a home studio. Live drums were captured separately in a rehearsal space. Big Sea Productions mastered the final project.

The release also carries a visual dimension: a custom 3D gallery environment where listeners can explore music videos tied to this album and earlier releases. The format turns a traditional album into something audiences actively explore rather than simply play.

The takeaway is simple: an artist who spent decades collecting fragments — a forgotten sample, an unfinished guitar idea, seconds of film dialogue — has given them a world of their own, and the 3D gallery suggests the project will keep expanding beyond the record itself.