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The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Running Wild were formed in Hamburg in 1976 and have become one of the most vital and influential heavy metal bands to come out of Germany. They are also credited with inventing the now infamous sub-genre, ‘Pirate Metal’ which is so popular today. The band still command a rabid, global fanbase too, the recent Noise reissue series saw all nine chart in the German album charts. To this day they still headline huge indoor shows and headline festivals.

New vinyl in Olive green with red splatter, 'Speak English or Die' is the
ebut album by American crossover thrash band Stormtroopers of Death, released in August 1985 plus second LP with Live performance tracks recorded in Tokyo in 1999

Here we are! Back for the second volume of Back from the Canigó ! In the same spirit as Back from the Grave, our goal is to look back at what happened in the South of France near Perpignan at the beginning of the 21st century. As you can hear it in the first volume, the city of Perpignan (and its region, Northern Catalonia) has been a strong place for underground rock'n'roll for many years. In the 90's, there were a lot of garage bands and an important mods community. These guys created a spirit in the city that's still present today. This volume showcases the new bands created by Perpignan's city rockers and the country punks from the nearby villages. Bands like Les Gardiens du Canigou, The Ugly Things, The Likyds, The Toxic Farmers, The Vox Men, The Feedback, heard on the first compilation, spawned plenty of new formations. This time the scene has its own labels - Nasty Products and Profet Record are two of them. It has never been easier to record music and put it on vinyl. There are live venues all over the city. The beginning of the internet also makes life easier, even when you're in a town in the South of France near the Spanish border and the Mediterranean. Myspace is growing fast and local bands make contact with the other side of the Atlantic. The Sonic Chicken 4 are signed by In the Red and Trouble in Mind. Parisian labels are also interested in the work of bands from Perpignan. The Hushpuppies, ex-Likyds, go to the capital and are signed by Diamondtraxx. They're certainly the best known band of that era with their hit "You're Gonna Say Yeah", featured on Guitar Hero and in several commercial ads. Boosted by international touring, Catalan bands make their way into the world. The Fatals go on tour in Italy and Canada. The Sonic Chicken 4 are booked for a US tour while Jack of Heart, signed on Born Bad, play all over Europe. The whole world listens. This is the story told by our compilation. Just put the needle on the record and let the music do the talking...

"Social injustices are implanted into our society, and the powerful are not willing to make way for real change. Urgency is the force driving us both in musical improvisation and life. Our sounds are war sirens against an ongoing disaster."- Simon Grab & Francesco Giudici

Simon Grab & Francesco Giudici's 'No Surrender' is a strong and uncut manifest against social injustices, packed into screaming feedbacks and towering drones. Grab lures tender noises and pulsating frequencies from his fragile no-input-mixing-setup, while Giudici adds linear and visceral guitar drones, opening a dialogue between the two musicians, the room, and the surrounding context. Together, they create a uniquely soft but angry musical creature that feeds from emotions of loss and anger to become a haunting call for change.

The album's cover presents a portrait of 'Madame Rochat' by photographer and film maker Aline d'Auria. The seemingly indestructible concierge was stripped from her home of half a century on the day of her retirement. Still, she persistently continued to fight for the working class' rights. '

Focusing on reduction and the peculiarity of self-referential systems, Simon Grab plays fragile feedbacks, pulsating drones and opulent outbursts of noise on a no-input-mixing setup. His has previously released"Posthuman Species" and "Extinction" on -OUS, while "Diamonds", a collaboration with Togolese rapper Yao Bobby and Asian Dub Foundation's Dhangsha, came out via LavaLava.

Experimental musician and sociologist Francesco Giudici plays guitar in bands and creates music for films, installations and theatre pieces. He has released three albums with his band 'Black Fluo' on PulverUndAsche Records. His research as sociologist and demographer focuses on social and economic inequalities, social gradient in health, gender inequalities, occupational and familiar life trajectories.

Dynamite Cuts are proud to have the opportunity of presenting this amazing Dj dance floor diamond, by the legendary funk n soul band S.O.U.L. “Burning Spear” is an upbeat Drum and Bass groove with a super funky flute and all time classic sample. Sampled by hip greats like Pete rock & C.L Smooth & Organized Konfusion to name a few, a pure rare-groove club anthem, I remember those nights, funky-ing down to this awesome rhythm.
Dynamite Cuts’ issue of this monster, is a double-sider of the ultimate versions of “Burning Spear”. The A side cut is taken from the superb “What it is?” LP. On the B-side is the rare and more collectable version; slightly different, more percussive recording which was released on 7” in 1971 on the Musicor record label, but sadly on the hissing, breakable styrene, and not on the lovely VINYL. You’d be lucky to find a copy that doesn’t hiss, pop and crackle. But with thanks to; Mr Simon Watson, who had a mint stock copy almost un-played; and to the A-Lister Dynamite Cuts’ mastering magicians - Andy Pearce (de-noises) and Stuart Hawkes (remastering to get that full-on funk effect). Now what are the chances of that!!!
The name S.O.U.L means Sounds Of Unity and Love, consists of four men from Cleveland, Ohio USA, the band was formed around 1970.
Lee Lovett, a Libra - Lead singer, Bass and Baritone;
Gus Hawkins, a Scorpio - Vocals, Saxophone, Flute
Paul Stubblefield, an Aquarius - Vocals, Drums
Walter Winston, a Pisces - Guitar.

Zwischen alternativem, modernem Metal und spürbarem Zeitgeist haben sich die US-amerikanischen Durchstarter TETRARCH in den letzten Jahren mehr als nur einen Namen in der Szene gemacht und sind längst über den Status eines Insider Tipps hinausgewachsen. Bereits das 2017 erschienene Debüt Freak wurde von der internationalen Presse und der Musikindustrie, als auch von Künstlern der Szene hoch gelobt und sicherte der Band eine einzigartige Position innerhalb des Genres.
Das 2021 erscheinende 10-Tracks starke Album Unstable manifestiert den Kometen-Status der Band und beweist deren musikalische Wandelbarkeit auf höchstem Niveau.
Der kommende Longplayer verliert keine Zeit, um die unkonventionelle, enorme Schlagkraft der Band unter
Beweis zu stellen und statuiert bereits mit dem Intro-Track „I’m not right“ ein explosives Exempel für neuartige Spielarten des modernen Metal. Die Zahlen sprechen für sich - die erste Single erreichte inzwischen über eine Millionen Streams auf YouTube - Tendenz steigend. Getragen von der beeindruckenden stimmlichen Varianz von Front-Shouter Josh Fore und den rasenden Riffs der Ausnahme-Gitarristin Diamond Rowe, bricht der Track zwischen puren Emotionen und einer beeindruckenden, neu-gedachten Hommage
an Genre-Größe der frühen 2000er.
Insgesamt liefern TETRARCH mit ihrer 2021er Veröffentlichung Unstable auf 10 Tracks und 37 Minuten
Spielzeit ein Paradebeispiel für starke Attitüde, pures Talent und triumphalen Modern Metal!

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl. “Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.” Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir). “Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum “(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

South London-based band Soothsayers are set to release their ninth studio album 'We Are Many'. Held together by heavy basslines, solid grooves, and socially and politically charged lyrics; the album takes the listener into different sonic spaces with elements of dub, Afrobeat, improvisational jazz and electronica.

The initial steps in recording 'We Are Many' came in January 2019 when the band's founders - saxophonist Idris Rahman and trumpeter Robin Hopcraft - set out on a journey to Brazil. With executive production in the Sao Paulo studio by renowned music journalist and author David Katz, they hooked up with bass player and producer Victor Rice who they'd met sharing the bill at Freedom Sounds festival in Cologne, Germany a year earlier. Victor organised a session in Studio Traquitana, home of acclaimed Brazilian band Bixiga 70, and invited a selection of local musicians. Percussionist and singer Ligia Kamara contributed lyrics and melodies written in the studio, and drummer Bruno Buarque, guitarist Joao Erbetta and bassist Victor provided some solid, personality-driven input. Fresh and vital, what came out was a fascinating blend of Soothsayers' dub and Afrobeat mixed with distinctly Brazilian inflections.

After arriving back in the UK, Idris and Robin set about creating the remainder of the album in a different, yet complimentary way, and called on the services of Wu-Lu and Kwake at their The Room studio in South London. Things started to take shape very quickly, Wu-Lu and Kwake combining Soothsayers' music with electronic elements, while also referencing elements of the current UK jazz scene.

When lockdown hit in March 2020, there was still a lot of work to do in order to complete a full album and Robin and Idris set about working on tracks with their musicians remotely. Having time to consider the album as a whole, they found strong connections between the music recorded in Brazil and the tracks recorded in London and they set about fusing and combining these elements further into a satisfying whole.

UK based Sengalese singer Modou Toure was enlisted to guest on one track while percussionists Satin Singh and Maurizio Ravalico were engaged to help affirm a sound-world where Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat.

Soothsayers' three part vocal harmony is a defining factor in this album. With strong references to the vocal styles of reggae legends such as The Gladiators, Mighty Diamonds, Heptones, and Abyssinnians; it has benefited from the long-standing friendship between Robin, Idris and Julia Biel. Lyrics, melodies and harmonies were presented, discussed, explored and recorded at Idris' and Julia's home studio in Streatham in a relaxed and positive way, with concepts from social and political commentary turned into powerful songs.

Themes cover political observations of Trump and beyond alongside Brazil's president Bolsanaro (Rat Race), speaking out against increasing levels of violence from the Brazilian government towards its native and indigenous people (Love And Unity) and keeping hopeful despite the impending horrors of a no-deal Brexit (We Won't Lose Hope).

Elsewhere they discuss striving to create space for meditation and reflection against the background noise of 24/7 news and social media (Move In Silence), the daily grind (No Sacrifice) and workers' rights (Slave), while highlighting those that fall through the cracks in society and end up without a permanent address, what led to this and how close we all are from this happening (One Step Away).

'We Are Many' represents a positive and uplifting statement in the face of challenging times - the overriding force, power and positivity of the music to continue forward, pushing the boundaries of musical concepts into the future.

"Whilst heavy questions of life and death and the future of our species surround us all, music is a guide that can help us perceive the challenges in a different way - a guide that can help us towards a deep inner peace. If we listen, music can help light the way. We hope you will listen, and we hope you will experience the joy, meditative power and beauty in the connection of different musical cultures that was experienced in the creation of this album."

- Idris Rahman and Robin Hopcraft

Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the Diamond Daze (2004) and This Bliss (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with Black Noise (2010) and The Element of Light (2013).

On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.

Shanghai-based music producer HUAN HUAN （aka Diamond Lil) is releasing her first 12” EP “One Big Bug” in Ran Music’s sub-label Ran Groove in November. The EP includes 3 dance tracks with influences from Electro, Industrial and Techno music. There’s also a remix from her good friend Fishdoll. Being deeply involved in Shanghai’s club scene, HUAN HUAN’s debut EP is a re-interpretation of her aesthetic towards club music. Her usual deep and exquisite sounds have turned into a more minimalistic and industrial direction which you can hear in the classic Electro grooves, aggressive modern sub-frequency sound design and random industrial noise in the background. The listener can find the trail of the modern techno direction as well as feel the smell of an electro revival, together with Fishdoll’s contrasting flavor remix, presenting us this amazing EP.

HUAN HUAN（aka Diamond Lil) is an independent music producer and DJ living in Shanghai. She’s one of the most appearing figures in Shanghai’s club scene. As an excellent music producer, she produces music and remixes for many other artists in the scene. She’s good at creating deep atmospheric soundscapes with a cinematic feeling. Her delicate sounds are glued together into vibrating grooves, with the synth sounds from the 90s forming her secret weapon conquering people’s ear drums on dance floors. Benefiting from Shanghai’s advanced club scene, HUAN HUAN’s performance and music work have reached wider platforms and have caught the ears of many overseas acts and labels

Mythology for the posthuman age. From "The New Kind" to "Posthuman Wonderland", Simon Grab's album "Posthuman Species" is a sonic journey through an astonishing land of fragile feedbacks, pulsating drones and opulent outbursts of noise.

Recorded on a no-input-mixing setup consisting of low frequency oscillators, filters, analogue effects and a mixer patched with itself, the album sneaks up on dub and leftfield electronica from the side. Over time, the self-oscillating setup falls in and out of tune with itself, emphasising its transient nature. The album is a work of science fiction, telling the story of a time when "The New Kind" shapes its own wonderland.

Swiss sound artist and musician Simon Grab explores new grounds by negating assumed borders. In his recent work, he focuses on reduction, and the peculiarity of self-referential systems.
The album "Posthuman Species" follows his recent EP "Extinction" on -OUS. His "Diamonds EP" in collaboration with Togolese rapper Yao Bobby and Asian Dub Foundation's Dhangsha releases on Bristol's LavaLava Records in September 2019. Simon Grab's recent works includes "Hirnmusik 1 & 2", in which he dives deep into musical imagery by transferring his sonic ideas directly from his brain to vinyl.

The vinyl LP comes with a printed inner sleeve designed by Hammer and a download card that includes the digital only tracks "Transformation" and "Posthuman Wonderland".