I like Humant, very soft and delicate, a fine hybridisation of sound and movement. Again, amongst other things, I am disarmed and impressed by the 'experimental' tag, it usually makes for good music, partly because it does not presuppose anything in particular, and mostly because it means it is a musical creativity done for that reason alone, which tends to make it more spirited. The first track is a beautiful sound manipulation, and makes me think of days in the late 1800s/early 1900s when experimentation with ambient industrialism was just starting out. There was a phase, that still will retain some currency, where industrialisation means screaming, painful, raucous, barely (if at all) intelligible sound. That's just a part, and has it's own place and following. Take Front Line Assembly and the diversity of their side projects. Some of them have more than one face. doLL, has a concrete feel in places. Again, a good construction around a noise essentially. Artfully done, which is part of what makes it good. There is a hard, mechanistic twist to this tale, but it is done with such aplomb. The voice sample works in well. Nice track overall. There are some things in life that just stick with you, one of those for me is Rosehip. A strange, subliminal fascination, but one nonetheless. Nicely harsh in presentation, a fantastic noise experiment, full of activity. Makes me think of the epic Halluciphile, so I will go for postmodern as much as avant garde. Progressive sound manipulation, but one that does not seem to forget its origins. Which is nice in a way, contiguous but a step onwards in the right direction, I feel. ad Vent Medicine, moves like a large multi-dimensional beast, which is something similar to the pharmaceutical industry!-) Some lovely side-effects going on, very enjoyable sound control. Gag on This (Designer Substance) has a curiously, slightly disturbing quality. Great sounds abounding, it progresses and develops and gives the impression of a conglomeration of sound sources at times. Like there is some music being played somewhere, added with real life sounds, and then overlying this a quite drastic, at times, synthetic creation. Like sharing a space while listening and simultaneously composing on-the-fly. Exemplary experimentation, including silence, which is every bit as valid a part of musical creativity as any other. I know a lot of people complain about this, but just look back through history at how many musicians have tried to replicate 'silence'. There is no such thing. It's like the dark part of a film, it might appear to be nothing, but in a sense there is more there for all its intangibility. Nice adaptation within the track, reprising and uprising. Ultimately brilliant, but by now, that's not surprising. I play with the words, you play with the sounds. There is a lovely earthy quality to ghosts&noodles. Again, it seems to be about perspectives, almost as if the track is part of the brain functionality going on in a human as they listen/compose music. Being once in a band lends me the ability to know that 'jamming' feel, which seems apparent, but it is also like looking in a mirror with a mirror behind you. How many parallelisms are possible in an experimental musical sense? According to my hypothesis, it is infinite. Can Nobel Kill Them is pure concrete, with sound effects. Like being at the fair whilst standing behind the waltzers and finding the hum of the generator more intriguing than the screams of those on the ride itself. Lastly, we have The Overwhelming Unnecessity of Everything. A fantastic title for an album, a fantastic album. It has, as a listening experience, sat here in my unbounded virtual reality, been overwhelming at times, but I quite like that sense of transcendence, I think such ability is what music should be about. As a result I will argue the toss about whether it is necessary. I could think of a lot more things than this brilliant creative endeavour, that I would term unnecessitous (is that a new word?, was there any need for that????). As for everything, you managed to cover the bases fairly well. As a concept, I can only go by the lead ins, the artwork, title, tracklisting and the experential aspect of listening through. So, as a listener, therefore absolving any responsibility about technical issues, I found it thoroughly enjoyable and immensely interesting. Thanks for sharing. Even humants needs things!-)

You guys a incredible. i really love the move that your going in. because now and days industrial music sounds to much like hard techno with distorted vocals that you can barely understand what the fuck they're saying. and i wish bands would go more into the older days of industrial music. my personal taste is mostly within the 80's and early 90's. but this is really good. and im glad that im not the only one that's trying to bring the old school back. thanks guys.