UKofA Announces New Album ‘Time Will Take This All Away From Us’

Danielle Holian
May 1
4 min read

After more than two decades of restless experimentation across genres, UKofA returns with Time Will Take This All Away From Us, a bold and immersive new album that distills years of sonic exploration into a cohesive, forward-looking statement. Known for moving fluidly between hardcore metal, experimental composition, and alternative rock, UKofA channels a lifetime of influences into a record that feels both deeply personal and strikingly expansive.

Rooted in a process shaped by years of work as a video editor, surrounded by library music, sound effects, and the strange blur of functional audio, Time Will Take This All Away From Us transforms the mundane into something vivid and emotionally resonant. Drawing inspiration from sample-driven experimentation and artists who recontextualize everyday sound, the album pulls from an eclectic palette: fragments of found audio, unfinished demos, YouTube rips, and live instrumentation all collide and recombine. The result is a genre-blurring work that moves between electronic, rock, and alternative spaces with ease, while maintaining a distinct, unified voice.

Originally conceived as a hip-hop-leaning project, the album evolved organically, with some tracks remaining close to their sample-based origins and others expanding into more traditional arrangements. Dialogue samples that once dominated early versions have been pared back, leaving space for the music to breathe. Recorded and mixed primarily in a home studio, with live drums captured in a rehearsal space and mastering by Big Sea Productions, the album also arrives alongside a custom-built 3D gallery environment, an immersive digital space where listeners can explore videos from this and previous releases.

Track by Track

NICE THINGS

Opening with a sample from The Shout (1978), “NICE THINGS” is dense with layered samples and nods to early ‘90s West Coast hip-hop. It functions as a sonic reset, an abrupt clearing of the palette. Beneath its sunlit surface lies something more uneasy: a dark reflection on summer that hints at hidden dangers beneath calm waters.

GATE OF FLESH

A fusion of hip-hop structure and folk-inspired melody, “GATE OF FLESH” combines disparate ideas into a cohesive whole. Droney guitar textures and interval harmonies underpin lyrics that explore birth and the tension of entering existence. The track carries a raw, elemental quality, enhanced by its handmade visual counterpart.

PUT YOUR FAITH IN ME

The final piece written for the album, this track emerged quickly but decisively. Built with contributions from Paul Astick, it blends industrial weight with melodic ambition. Lyrically, it examines the pull of unhealthy cycles, driven by the seductive promise of success.

LIKE WE WERE NEVER HERE

The origin point of the entire project, this track is constructed largely from library music samples. It reflects on time, past, present, and future, grappling with the scale of human experience against an almost indifferent universe.

COMMIT

What began as a guitar idea transformed into a synth-driven track with a distinct rhythmic identity. Though live drums were recorded by Ben Koller, the final version leans into sampled textures. The track captures a sense of evolution and reinterpretation, with another version still to come.

CHANGE MY MIND

Featuring a sample from The Fly (1986), this track channels frustration with contemporary political discourse. It’s sharp, direct, and unflinching, reflecting the difficulty of disengaging from a noisy and often reductive public sphere.

MISTER OBLIVION

An instrumental bridge, “MISTER OBLIVION” shifts the album’s tone. Built around processed ebow guitar, it feels fluid and almost organic, like a living, breathing entity guiding the listener into darker territory.

WATCHTOWER

Driven by piano written during lockdown, this track explores the uneasy aftermath of achieving power. With live drums and a carefully constructed percussive feel, it builds a sense of tension between ambition and uncertainty.

THE JOKE IS THE SAME

Cinematic in scope, this track reflects on shared human experience, love, loss, and the strange simultaneity of the digital age. It captures both intimacy and distance, suggesting that no matter where we are, we’re all navigating similar struggles.

WHAT I’VE DONE

A clear nod to ‘80s influences, this track embraces big pop sensibilities: bold basslines, soaring melodies, and an unapologetic guitar solo. It’s expansive and emotionally direct.

TIME WILL TAKE THIS ALL AWAY

The title track evolves from a central drum loop into a multi-part composition with progressive elements. Its shifting structure and layered vocal harmonies create a sense of movement and transition, tying together themes introduced earlier in the album.

COVER ME IN LOVE

Closing the album on a concise note, this track carries a post-apocalyptic atmosphere. With a heavy bassline and sampled voice, it gestures toward cycles of destruction and renewal: old structures collapsing to make way for new ones.

“Time Will Take This All Away From Us, is a striking reinvention. UKofA turns fragments of everyday sound into something deeply human, balancing raw experimentation with songs that genuinely stay with you. It’s the sound of an artist distilling decades of experience into their most focused and compelling work yet,” shares music publicist Danielle Holian, Decent Music PR

Artist Bio

UKofA has spent the past 25 years navigating a wide and often unconventional musical path, from the intensity of hardcore metal to experimental choral work and beyond. As a founding force behind projects such as Godzilla Black and Hawk Eyes, UKofA developed a reputation for pushing boundaries while maintaining a strong melodic and conceptual core. With Hawk Eyes, this trajectory led to a PRS Momentum Grant in 2015 and years of intensive touring.

During that period, UKofA performed alongside major acts, appeared at prominent European festivals, and collaborated with a diverse range of artists across disciplines. These experiences broadened both musical vocabulary and creative perspective, laying the groundwork for later solo work.

Following a step back from live performance, partly shaped by the global pandemic, UKofA continued to write and record independently, releasing a series of albums that explored increasingly personal and experimental territory. These releases, often presented in handcrafted formats, emphasised a direct connection between artist and listener.

A return to the stage came unexpectedly, prompting a shift toward solo performance using samplers and loop-based setups. This new approach directly informed the creation of Time Will Take This All Away From Us, marking both a continuation and a reinvention of UKofA’s artistic identity.

With additional material already completed and further live performances planned, UKofA continues to evolve, restless, exploratory, and committed to finding new ways of shaping sound and meaning.

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