Since the late 90’s Carlos E Oni has been casting in the shadows of Miami, Florida crafting a distinctive blend of audio & visual experiences over a variation of different projects, notably as The Siamese Pearl and now with the masterful Angst-Pop project Amorous Sickness. Since the last feature of Amorous Sickness Our Decay “Time Will Eat Its Tail” on Discipline Mag a couple years ago, plans for the debut physical release evolved into a full-length – Modern Antipathies which was released as vinyl by American label Virtues, ran by the mind behind Climax Denial. For the sake of this article, I will briefly re-share some of the history behind the project. In the early 2000’s Pieter Schoolswerth (Bloodyminded) began a series of DJ nights hosted weekly in Brooklyn, which would quickly adapt a performing act featured each week. In 2005, one of the first performers alongside Mark Solotroff, Martial Canterel and Epee Du Bois was the The Siamese Pearl. Developed through these endeavours was one of my personal favorites Opus Finis – to quote myself from the previous article above,“Miami, Florida based synth-genius Ramiro Jeancarlo of Staccato Du Mal. Which drew comparisons’ in Onis’ signature romantic, as poetic in ethos as in lyrical content paired with his nuanced, sometimes dramatic vocal delivery that is reminiscent of neo-folk vocalists’ such as David Tibet of Current 93….. Opus Finis were in fact a large part of the community having been featured on the Wierd Records Compilations, as well as opening for (as did The Siamese Pearl) groups like Death in June, Drew McDowall (of COIL) among others”
“I despise not antiquity, but the modern ways I feel an antipathy”
Presented on limited-edition vinyl, as intended by the artist to be experienced in full analog format, Modern Antipathies was released by the American label Virtues. Founded in 2019 by Alex Kamet (Climax Denial), the label has, in a relatively short time, built a strong and varied catalog of instant classics. Notable releases include The Union of Death LP by Norillag, 2025’s Deep and Desperate Fictions CD from Ineffable Slime, as well as a personal favorite: Confessional (Swollen Organs, Needle Fetish & Climax Denial).
Described as Angstpop Anthems & Electric Nihilism, Modern Antipathies could easily be mistaken for part of the Galakthorrö roster. This comparison in no way diminishes the work of the emerging Wisconsin label, whose careful curation plays a crucial role in translating what was a deeply biological, analog recording process into its truest form on high-grade vinyl. For listeners interested in synthesis and pre-MIDI methods of commanding and communicating with analog synthesizers, the album allows you not only to hear but to feel the warm fragility of these machines in use.
The aesthetic—much like the artist’s original black-and-white artwork and photography—mirrors Carlos’ ethereal, post-industrial approach: minimal electronic hypnosis, textured drones, and ambient tension. The lyricism is as strong as the delivery, often exploring romantic themes framed in a raw, cold context that reinforces an atmosphere of alienation, disquiet, and minimalist ritualism. The album is meticulously constructed around a dark, cold, minimal-industrial sensibility: distorted analog and four-track recordings, murky synthesizers, and stark production, all wrapped in a pervasive sense of existential unease. Each element communicates with the others, blending seamlessly while embracing intentional tension—an approach that gives the record a cohesive and unmistakable artistic identity.
Several tracks are short and direct, pairing playful yet painfully honest lyricism with concise structures. This brevity maintains intensity without overstaying its gloom, a quality that suits coldwave and industrial-leaning material particularly well. Within these niche genres, the album even flirts with “pop,” much in the way Solid Space’s Space Museum (1982) illuminated cold, moody melodies through minimalist means.The percussion on these recordings recall early-1980s minimal synth traditions, paying tribute to classic analog programmable and preset drum machines such as the Korg/Univox Mini Pops. Integral to the sound is the use of white-noise percussion shaped with quick decay and minimal release, producing a sharp, metallic, whip-like snare. Equally distinctive is the album’s vocal approach: the interplay of words, delivery, and voice shifts from track to track, evoking a wide emotional range. The overall soundscape remains minimal yet resolutely raw and unprocessed, allowing the natural oscillator buzz to surface and subtly stimulate the listener’s sense.
Firstly, can you tell us about your origins as a musician, and a bit about the journey that leads us to today?
The origin of creating my sound stems from my love of tape loops or layered drones circled around my poetry. From there it has expanded to Analog Synths and using my artwork (photography, collage) as a process to obtain a conceptual path. I will never forget when a friend of mine moved to a new house. He found some records left behind by the old tenants. It was filled with Classic and Psychedelic Rock but there was one record that stood out from all the known quasi-mundane bands. It was The Inevitable Chrystal Belle Scrodd Record from United Dairies. I was 16 years old and my mind was blown to pieces. It solidified what I’ve been experimenting at home with my sounds. Since that day I have never looked back!
I was in a few bands/ groups growing up. But, I started The Siamese Pearl in ‘98. I didn’t do a release until years later. I would just play live, sometimes with the aid of my good friend Alain of Wound Insignia. We would give it our all in the performances. Later on, I formed Opus Finis with Ramiro JeanCarlo. We have great chemistry and can just weave whatever when we start jamming. Most of our shows are improvised. There’s been only a few times we performed tracks from our releases. Those were the Wierd Years.
Noir Age has been an important label for my projects as well. My friend Richard Vergez, who I have collaborated with, runs the label flawlessly. I also want to mention noteworthy projects like Merging of the Self with Carlo Vajra of Ronin and Tiger Tear with Nina Belief. And of course, Alex Kmet of Climax Denial whom I’ve known for many years.
After years of The Siamese Pearl, I felt it was only right for me to close a chapter and start a new one. I’ve been dabbling with Amorous for a while and the time was right for me to bring it to light. Amorous is an amalgamation of everything I’ve done. The difference is I’m not fighting against the equipment. I’m giving in to whatever comes out of the machines. It’s a total surrender. I might do one more release in the distant future for The Siamese Pearl. But, right now the horizon bleeds for Amorous Sickness.
Speaking of Wierd Records & the weekly event, which is how we met – I believe you were one of the first performers when they moved away from strictly DJ events, back in 2005. For those who don’t know the magic of those Wierd events, can you share your experience?
I had the honor to be a part of and witness the Very Rare Collective of the Wierd world. Pieter Schoolwerth would come down to Miami for art shows and hang out with. us. He always wanted Opus Finis to perform a Wierd event and one day suggested that we be a part of the 5 year Wierd anniversary plus do a regular Wierd Night, which was the night before. Needless to say the anniversary event was monumental. The night before was more intimate, surrounded by fellow colleagues that got us a bit tipsy before our set. That was really fun!
There is something immediate & intimate about the analog process of your recordings, which creates a very rich and vulnerable frame for your poetics. Can you tell me your favorite machines that make up your work flow? How much of the work is experimentation versus prepared material?
My go-to synthesizer is the infamous and always admired (Korg) MS-20. There’s something about that machine that makes it special. Truly special. Craft magic. Lately I’ve been creating everything on the Werkstatt. When I say I go minimal, I go minimal! From leads to thundering bass lines, I can construct anything. I have an array of drum machines, but the SR-120 is one I often use. It’s a simple approach, but that’s how I work. I’ve done tracks with constant transitions and drum fills, tracks that take time from the original foundation. Nowadays I’m like, fuck that! Let’s keep it simple but precise. I’m not saying not to take your time, but I don’t polish up much or overcomplicate things. Kills the initial mood. Everything is better when RAW, I mean everything.
Noir Age & the label’s aesthetic often worked well with that of your own, I also understand you have a history with the Virtues Label. How did the idea of doing the LP happen?
I have always felt at home with this label, largely because of Richard’s work and taste. We share many similarities & we blend well together. There’s been a release in the works for Noir Age for a while.
I feel that music acts like a spirit. It dwells in the aether of our eardrums. It’s important for me to create a visual form that humanly connects with sight and of course touch. I naturally create music with images, not so much sound.
I’ve known Alex Kmet for many years. He is a kind, talented artist that clicked with me. We even made a split tape together. He became very interested in A.S. when I started playing with the vision of the project, posting artwork. He loved the videos and wanted to work together again. I was honoured and so Modern Antipathies came to be.
