Trapdoor Tapes batch 2019

Hal Hutchinson – Steelwork Fabricators MC Trapdoor Tapes 2019

Modelbau – The Whole Truth MC Trapdoor Tapes 2019

Luke Holland – Virtues Of Torture MC Trapdoor Tapes 2019

Being well aware of Hal’s activities in his other projects, I am then not as well versed with his solo output – other than understanding it is of a raw scrap metal noise type. Steelwork Fabricators features two untitled tracks, which are both excellent examples of what can be achieved with slow control noise, opposed to an overtly chaotic noise attack. Thus a laborious and roughly hewn scrap metal approach is the order of the day. Clearly not being from a singular improvised recording session, Hal has taken a multi-layered approach, where the tracks are carefully constructed layered for maximum impact. With a slow, jagged, hefty and ripping bass tone, the production is also thickly hollow, and in select moments contains a thunderous but abstracted oil barrel beat. In essence the sound is amazing and could be creatively described as an the rusting hulk of an abandoned steel cargo ship being slowly crushed and swallowed by expanding sheets of ice. With only 20 minutes run time, this is far too short and leaves me wanting much more.

Regarding Modelbau I I had not heard of the project before before, but then immediately recognised the name behind the project – Frans de Waard – formerly of Kapotte Muziek and the Staalplaat shop/ label, and currently of the Vital Weekly online publication. But to talk specifically of Modelbau, the project is concerned with densely detailed tape experimentation, where two length tracks feature on each side of the tape. The title track leads off with highly animated lo-fi noise, which is blended with treated bells or gongs and a plethora of detailed natural field recordings elements (wind, water, birds, voices etc). Extremely dense in sound, the atmosphere is one of an elevating maelstrom of sound than anything remotely ambient or relaxing. Back There features on Side B, and steps the sound up a notch with a more direct sound which verges on industrial-noise. Here scrambling and scattered distortion sit in the foreground, while abstracted metallic tones and distant echoed field recording elements site far back within the mix. With around 50 releases issued since 2012, this is an intriguing introduction to Modelbau and their forcefully detailed, yet engaging low-fi approach.

On Virtues of Torture, Luke Holland delivers a single lengthy 28 minute track of his particular brand of muted industrial noise. But from the lead off, it is immediately apparent that the the track displays more of an affinity with a loosely rhythmic death industrial sound. As such the slow ‘two note’ rhythmic pulse and windswept oscillating layers generates an excellent dank minimalism, which sits at a mid-point somewhere between Atrax Morgue and early Brighter Death Now. Being an instrumental track and with its elongated length, the track takes its time to gradually morph and shift, but generally not straying too far from the core framework, until a quite dramatic shift late in the track to a section of crumbling distortion, forceful bass tones and wailing horns of death. All in all another solid offering from the Trapdoor Tapes label head.

Inflated Climax – Inflated Climax

Inflated Climax – Inflated Climax MC Trapdoor Tapes 2018

Inflated Climax are a new anonymous project on Trapdoor Tapes where their self-titled tape delivers crude and lo-fi industrial noise/death industrial sounds.

This self-titled tape contains a single lengthy untitled instrumental track, which repeats on both sides. The composition has then obviously been spliced together from a series of recording sessions as the cover indicates this was recorded between 2015-2017. Overall the mood is dank and morose which is achieved through atonal, slow throbbing rhythms which are mixed with thick bass driven distortion. In one section, the slow throbbing beat rolls catatonically onwards, akin a container train lurching forwards to the end destination of an unidentified death-camp, while other segments feature stasis inducing minimal looped rhythms, or looser tonal modulations infused with soot and ash. In some way this reminds of some of the long form experimentation of Atrax Morgue, but where that project’s free form sound was often clinical and mid to higher pitch, here the sound is a deep rumbling lo-fi death industrial approach in a restrictive and suffocating way, which certainly matches the visual cues of the cover.

Obscure, crude and understated in equal measures, packaging comes in a plastic pocket with two double sided photocopy sheets with rubber fetish imagery.

School For Cadavers – Re Education

School For Cadavers – Re Education MC Trapdoor Tapes 2018

School For Cadavers is a new project featuring Jon Evans and Julian Percy, who are both members of Last Dominion Lost. In noting that context, there are clearly some strong parallels which can be drawn between the sound of these two project. Yet with reference to School For Cadavers, the tribal industrial elements of Last Dominion Lost has been toned down for a more streamlined industrial noise approach, which on a few occasion furrows within a dank death industrial style.

The tape features seven tracks in all and while three of those are denoted as being live recordings, this is not immediately evident given the consistency in recorded sound spanning all tracks. Sonar opens the tape with a screeching distortion, indecipherable yelled vocals and underpinned but an understated rhythmic loops, while the following track Spirit Of The Air contains a quite distinctly wonky and disorienting tone. Dead Time is a clear standout piece, based around cyclic throbbing mid paced layered loops and other sweeping tones which build in intensity, while other random slashes and cuts of churning sounds continual interject and gradually take over. Side B brings the absolute standout track Demise Of Logic, which is a monolithic pounding ritual death industrial track, completely with wailing air raid sirens, shuddering synth tones and garbled evocations. As for the final track Last Look blends a suspenseful horror soundtrack styled mood and coupled with a central slow pounding death industrial beat, while another screeched distortion layer ratchets up the tension. Great stuff.

Like the very much underrated and under appreciated Last Dominion Lost, School For Cadavers deliver expertly executed high calibre material, and should not be ignored or overlooked.

Grim – Primary Pulse

Grim – Primary Pulse MC Trapdoor Tapes 2018

The long standing and cult Japanese project Grim returns with a new five track recording (from 2017), issued via Trapdoor Tapes. Contextually speaking Grim has always had a left of centre approach to their power electronics/industrial noise material, with the often-weird juxtaposing elements thrown in for good measure, which is certainly continued and exemplified on Primary Pulse.

Hermit opens the tape with loose windswept noise modulations blended with manipulated voices, before Volcano Flower kicks in, framed around a series of burrowing pulsing tones which coagulate into a driving rhythmic structure coupled with distorted agonised vocals, which is a clear standout track and very much in a distinctive Grim style. The third track for Side A is Assassin’s Room, which is categorised by a wonky and off-kilter looped rhythm, while the vocals are of a garbled spoken type, prior to a classical music organ motif and stoic industrial pulse features in the final moments. Side B features another standout piece of Grim weirdness, with Melting Man featuring a strong throbbing element, central sub-orchestral melody and wailing chants of sole project member Jan Konagaya, with the atmosphere becoming progressively more unhinged as it progresses. G.T.R. concludes the tape with a blend of elements including an Asiatic toned loop, rolling industrial drums, sweeping abstracted guitar, squalling noise etc., yet never succumbs to sounding like an industrial band.

Although not overly long, Primary Pulse is an absolutely great underground industrial tape and again exemplifies a sound wholly unique to GRIM. Trademark blown out photocopied artwork courtesy of Trapdoor Tapes rounds out the perfectly suited lofi presentation.

Trapdoor Tapes final batch 2017

Browning Mummery – World of Shells MC Trapdoor Tapes 2017

Browning Mummery are a long standing and somewhat obscure Australian experimental/ industrial project whose activities dates back to 1983 (including a couple of early tapes issued on the cult Extreme and Zero Cabal labels). Being primarily the creative vehicle of Andrew Lonsdale, the lineup has also sporadically featured the late John Murphy, in addition to the contributions of many others over the years. While not having been necessarily the most active project (and there seeming to be a gap of activity between 1996 and 2008), World of Shells arrives five years after the last full length, and was recorded in 2014 as a collaboration between Andrew Lonsdale and Yvan Volochine The tape features four lengthy compositions to span around an hour of material, where the sound covers some diverse sonic scope within a broad experimental industrial style.

Predominantly the sound of the tape features deep cavernous tones framed around layered washes of industrial distortion. Being mid-paced and slightly muted, the tracks surges forwards with idling/ misfiring machines, squiggly sonics and a decent amount of ‘creak, crunch and clang’. By being meticulously layered, there are a multitude of sounds and textures to focus on throughout, and while loosely structured there is still clear composition as play (including some disorientating left/ right channel panning and wonky mid to high toned whistling sonic treatments). Of note, the third track Fibroscan 1 deviates from the rest given it is more meditative drone in execution, where some playful disorienting sonics build to a muted rhythmic thrum and the material coalesces into headier territory.

While not being overtly dark or morbid in tone and quite playful on occasion, World of Shells wears an ‘experimental industrial’ tag like a badge of honour in delivering a worthy release.

Halthan – Live at Obscurex Kontti MC Trapdoor Tapes 2017

As per the title of the tape, this is a live set which consists of five distinct tracks spanning around 30 minutes. Crude and back to basics power electronics is the name of the game from this Finnish project who I have not checked out before, despite them being active from around 2004.

In general terms loose rumbling looped structures act as sonic bedrock, while the vocals are spat in an agonised roar and heavily echo/ flange treated to create a result quite reminiscent of those vocals of Survival Unit. Likewise with its thick grinding industrial debris, hollow tonality and repeated semi-buried samples also reminds (positively) of The Grey Wolves approach to lofi industrial noise infused power electronics. As for the recording the sound is raw and slightly distant in feel, which I am not sure if this is down to the recording or is perhaps representative of the live venue sound (as I understand it the venue it was performed in is in fact a metal shipping container, which would no doubt impact on any live sound created and any recording made thereof). Regardless, the sound is still hefty and thick, with the mood being one of subdued anger with occasional aggressive outbursts (i.e. vocals).

Overall this live tape is no frills and lofi, but definitely to the point, and very effective for it.

Kultur Operating P:N:S – Repeat Offense MC Trapdoor Tapes 2017

Knowing virtually nothing about this project, it seems they are more commonly known as K.O.P., where the three letters are variously used to stand for different interchangeable phases (as per the protocols established by early industrial pioneer SPK). From what information there is available, K.O.P. is a Japanese project active back in 1988 when the first tape was issued, and with a further six tapes, a 7”ep and CD issued through to 1993 before the project disappeared. Now some 25 years later the project has returned with new recordings dating from 2015-2017.

Having not heard earlier material from the project, I can comment on how this sits as a ‘comeback’ recording, but from listening to this the sound is rough, chaotic and crude in a general noise/industrial style, but also leaning more towards a nosier aesthetic.  Twelve tracks spanning around 45 minutes of material features on Repeat Offence, where Some tracks are based around fiercely raw and chaotically overblown distortion which is staunchly analogue (perhaps derived from junk metal sources?). Conversely other tracks are of an apparent digitized source and rapid-fire style, with a clean and sharp sonic tone. Yet to speak of unifying elements, the mood and feel is chaotic and choppy throughout, and where there is limited overtly rigid structure, rather being freeform and amorphous and where tracks abruptly cut out before lurching into the next piece.

With myself personally not being an avid noise listener, it is those compositions which slightly dial down on the higher pitched and harsher overblown textures which (for me) work best (such as the ambient noise mixed with radio chatter which closes out the tape). But equally that description alone will give a clear idea of whether Repeat Offense is right up your ally.

Neurasthenia Psychological Reincarnation MC Trapdoor Tapes 2017

Neurasthenia ‎is a new Japanese/ Australia collaboration born out of a recording session when Luke Holland (of Armour Group, Mshing, Word Of Life Church SS, Trapdoor Tapes etc.) and Tom Miller (of Word Of Life Church SS, Psychward etc.) toured Japan in September, 2016 and met up with Hiroshi Hasegawa (of C.C.C.C., Astro, Mortal Vision, Nord). According to the notes on the cover, the two tracks on this 60-minute tape (one lengthy track per side) were recording live in a single take and delivers a solid dose of archaic industrial noise.

The title track features on the first side of the tape and steps through a number of distinct passages. Commencing with detailed dynamic noise and spitting/crumbling static, the mood gradually moves towards a passage of hollowed out industrial rumble and the inclusion quasi ritual elements provided by junk metal clatter. Later segments feature crude loops and sparse crumbling textures which resemble the distant thunder of heavy waves. Cardiac Neurosis follows on the flip side and is a more subdued and controlled offering. Initial segments are sparse and cavernous in tone and complimented with ritual chimes, before a rough base of sustained and modulated ‘catacomb’ distortion is set down and gradually tweaked and twisted.  Late sections are further augmented with radio frequency type scanning noise and garbled semi-buried vocals, before ramping up to more chaotic and forceful intent in the final segment.

Given the ‘live in a single take’ method of recording, based on the end results it appears there would have been some clear discussion and pre-planning, as this sounds to be much more than a basic improvised session and particularly given its careful balancing of chaos and restraint (and being able to strategically pull back on the harsher elements throughout the tape for added sonic impact). So, all in all Psychological Reincarnation is a convincing and enjoyable tape in a style which radiates a sound of decades past than anything remotely modern.


Trapdoor Tapes Batch 2017

Here is another batch of underground goodness from the ever-reliable Trapdoor Tapes label, with a short overview of each provided below.

Luke Holland – Purgatory Trapdoor Tapes 2017

Purgatory is another solo release from the Trapdoor Tapes head honcho, but upon further investigation it is noted to be a re-issue of a 2015 tape released on Altered States Tapes. Featuring a single track of around 16 minutes (repeating on both sides), the sound is rough yet muted, minimalist death industrial. Accordingly slow morphing and oscillating textures set a grim and minimalist mood, while the later section is differentiated by a dose of heavy thuds and distorted rumble. Short but effective and certainly to the point.

Luke Holland / Mama Baer – Split Trapdoor Tapes 2017

On Luke’s split with Mama Baer, each feature around 20 minutes of material. Luke takes the first side with two tracks of his death industrial meets industrial noise crudeness and which effectively bleed into one longer continues piece. While continuing its repetitive and minimalist approach, the sound is quite bit more animated than Purgatory, featuring splitting and grinding loops to hammer home an invasive industrial noise atmosphere. Being absolutely grim in tone, it also ratchets up its squalling intensity with late sonic textures reminiscent of distant wailing fog horns, and overall is more ‘on point’ material from Luke.

Having then not come across Mama Baer before, it is the solo project of A. K. I. Hjuler and based on this material this sits more towards an experimental industrial approach. The first track Matecto is a wonky layers soundscape of pulsing sound and swirling textures and processed chats/ vocalisations, while other random sound cut and slash across the track, while on Regina which follows and spans a sweeping dark ambient piece, fused with a heavy dose of spitting static. However, the final track Seaworld is not really to my sonic taste, based on its weird playful mood derived from programmed rhythms and stilted musical elements ( and two out of three is a reasonable strike rate though).

Nothinghunger – Livestock Management Strategies Trapdoor Tapes 2017

Nothinghunger, this is the (death) industrial project of Jael Edwards who is perhaps more recognised from his underground death metal band Ignovomous. However Nothinghunger is then not to be considered a ‘fly by night’ side project given it is reflective of his decades long interest in the post-industrial underground. Commencing with a sample relating to society control the first piece Illuminate quickly establishes a brooding mood of a churning mid paced rhythm, layered sustained drones and associated burrowing tones. The following cut Livestock Management opts for a more minimalist path of muted rumble, wavering drones and occasional dialogue sample, which all sprawls out over extended length. Only For Slaves rounds out the tape, following a similar path by featuring minimalist wonky loops, repeated sample and occasional tonal stabs for good measure.

In an overarching sense the approach displayed on of Livestock Management Strategies reminds of the no-frills death industrial sounds being explored on early Sound Source or Old Europa Cafe cassette tape releases from the 1990’s (or even the approach of Puissance as featured on their two early demos before they headed off into far more produced martial industrial and neoclassical realms). So while Nothinghunger certainly engender a sound rooted in the 1990’s northern European industrial underground (complete with a large number of dialogue samples peppered throughout), the resulting impression is this tape is not purposefully regressive, rather is the simply the resultant sound of Jael’s writing and recording process. Perhaps sitting midway between dark ambient and death industrial mood, this is a decent tape for those yearning for ‘that’ particular sound of yesteryear.

Rudolf – 4444 Trapdoor Tapes 2017

Rudolf (aka Ruzelstirn & Gurglestock), is someone I have been aware of for a long time, but admittedly have not familiarised myself with his recording output due to the rather imposing back catalogue. This tape now rectifies that and while I get the feeling the sounds on 4444 does not deviate from his established approach, equally I am not certain on this either. Anyway, on 4444 it feature disorientating and minimalist experimental industrial soundscapes, being framed around sustained yet sparse mid-spectrum tones, and static washes which are further augmented with lots of unidentifiable minute ‘up-close’ elements and on occasion a slow ritual like thudding beat.

Although four tracks are featured, these play out less as individual pieces, rather the tone is akin to listening to the audio track of an experimental film but without benefit of seeing the visuals, with this impression only being amplified by the fact that over the course of the tape with the sound randomly flicking or cutting between segments. Adding to the surreal edge are various morphed and twisted voices, choking vocal sounds and a multitude of field recordings elements, but also the material never sounds random or improvised, given it has been meticulously constructed (and also executed in line with the agenda of the artist which has been described on Discogs as:“Combining abreactive and cleansing actionism with sonic rituals and psychoactive acoustics, generates audio-environments into which he plants grotesque psycho-magic rituals and tantric exercises to trigger a higher awareness”).

In essence 4444 has caught me by surprise and is an excellent and particularly rewarding experiencing if fully submitting to its slightly surreal and experimental approach (which is also a slight deviation from the harder and harsher focus of many of Trapdoor Tapes releases).


quick fix of cassette fifth


Luke Holland Odium 2xMC Moral Defeat 2016

Blut Bound & Gagged MC Trapdoor Tapes 2016

Luke Holland (head honcho of Trapdoor Tapes) has recently issues some more of his solo works on the Danish micro-label Moral Defeat (which mostly deals with tapes but has been known to delve into vinyl formats).  For this new double tape release it features 4 tracks (recorded in 2016, spread across the 4 sides), which amount to further explorations in minimalist industrial/ droning noise.

‘Traumatic Bonding’ opens the set and furrows a throbbing, modulating form, before forceful and blown out rumbling noise elevates the sound.  Nice.  Flipping over to Side B ‘Power And Control’ delivers idling noise and crumbling static to spawn a attitude of unmoving stasis, although the later introduction of a mid-paced pounding/ stilted beat provides some forward momentum.  Moving onto the second tape, whilst the title track ‘Odium’ does not overtly alter the sound or approach, it is delivered with grim intensity and more grinding and forceful than what has proceeded it.  The final of the 4 tracks ‘No Longer a Victim’ retains a similar forceful, driving and pulsing tone to ‘Odium’, but as with the entirety of the tape it maintains an obscure and introspective edge throughout.

With the stylistic approach being of an elongated and minimalist ‘rough’ industrial style, clearly the focus is on thick layers of analog filth which coalesce into meditative ‘noise-scapes‘.  Thus over the 4 tracks Luke positively demonstrates variations on this theme, which also displays differing degrees of sonic force depending on the track.

Moving on to the debut tape of Blut, they are a purposefully anonymous project on Trapdoor Tapes, which through both titles and artwork addresses it themes in a direct fashion.  To speak first of concept, although S&M themes are hardly a new idea, conversely over the decades it has perhaps been overused within the industrial underground, which has subsequently reduced its subversive and transgressive potential.  So while although Blut may have much deeper and personal interests in the themes broached, based on this tape it mostly comes across as a rather formulaic industrial trope.*

But what of the music? Well pleasingly, this tapes contains some excellent high calibre material.  The opening title track sees the use of some blisteringly flanged vocals, which are heavily processed to the point of emulating an echoed robotic style.  These are then mixed upfront to float over a grimy undercurrent of rough, grinding tones, idling clatter and crude dive-bombing textures.  ‘Whip Therapy’ continues is similar sonic guise, but the slow pounding, echoed oil barrel percussion gives it an excellent cavernous sonic depth (…and in part brings to mind a subdued version of Bizarre Uproar).   The minimalist industrial noise-scapes featured on ‘Slaves Lesson: Part 1 & 2’ are relatively loose form and meandering (with understand grinding filth and sex tape sample), but due to extended length are less focused and engaging than preceding material.  Yet the final two tracks on Side B return to focused gutter-noise/ power electronics, where ’Hog Tied’ is an exploration of looped caustic modulations, while final track ‘Punishment’ is built around queasy layers, distant blown out noise, buried industrial pulse and the inclusion of Blut’s rather trademark robotic vocal treatment.

By way of a concluding comment, if you are seeking a quick fix of obscure caustic analogue industrial fifth, these two cassettes absolutely fit the bill. Nothing more nothing less and you should know by now if you are the intended target audience.

* –  Although such themes have become in part a thematic mainstay of underground industrial music, in parallel a project like Bizarre Uproar has adopted such themes and pushed them far beyond being a cliché.  This has been achieved by main member Pasi making his personal fetishes and obsessions central to the project, which have been reinforced by his unflinching willingness to hold nothing back in his desire to publicly revel in filth and humiliation.  The consequence of this has been to demonstrate that ‘boundaries’ within the underground can still be pushed some 4 decades on from the origins of industrial music, and also functions make any other project broaching such themes without similar dedication appear shallow or merely surface level.

Luke Holland – Decomposition


Luke Holland – Decomposition MC Trapdoor Tapes 2015

Luke Holland of Amour Group and Mshing, (as well as being the label boss of Trapdoor Tapes), has opted to use his own name for this solo effort.   Being more subdued than his other works, this tape features industrialised dark ambient drones.  Seemingly the product of analogue synths and assorted equipment, the sound is befittingly rough to suit the tape format and photocopied styled art.

‘Decomposition 1’ takes up the first side of the tape and features tensile, elongated, industrial tinged drones with a sustained tonality and shimmering high-toned textures, which abruptly cuts out at the end of the tape.  ‘Decomposition 2’ follows a similar stylistic arc, but the tonality is more subdued and mid-toned, with what appear to be quasi-orchestral sustained synth notes mixed with a decent dose of crackle and hiss for rough textural quality.  Mid track it abruptly cuts from one segment to the next to feature a singular subdued oscillation coupled with sporadic static manipulations and gradually elevating rough distortion and drawling bass tone.

Overall the compositional approach on display could be viewed as being relatively uncomplicated and straightforward for this type of material, all the same it makes for suitably enjoyable listening, particularly given its analogue means of production and presentation on tape format.

Cold Life – Cold Life / Military Position – Anti-Human

Cold Life Scan 55

Cold Life – Cold Life MC Trapdoor Tapes 2014

Military Position – Anti-Human MC Trapdoor Tapes 2015

Here is another batch of releases from Trapdoor Tapes which function to collectively illustrate the diversity of ‘industrial’ material being issued by the label.

For the Cold Life tape this would appear to be their debut tape, which is focused on analogue, synth driven, minimal industrial to post-punk music (which I must admit seems to be relatively in vogue in recent years).  5 short-ish tracks feature here (being repeating both sides of the tape), where the material is structured around simplistic programed mid-paced to up-tempo beats, over which the straight-forward synth melodies generally follow. Vocals are then overlaid in a partly spoken/ sung style, which are also partially treated with a flange or vocoder effect depending on the track. There is also a rough ‘under-produced’ and noise infused feel to the production which gives it a degree of sonic grit and texture, which obviously works well with the analogue tape format. The mid tape track ‘Safe’ slightly deviates from the general approach described above, by featuring a darker edge to its soundscape, built around a minor keys synth line and more subdued programming.

As demonstrated on this tape Cold Life nails its chosen analog electronic post-punk style with flair and a certain ‘no-frills’ directness. Although not necessarily bringing anything new to the table this will obviously be of clear interest for those into this style.

Military Position on the other hand is the solo project of Harriet Kate Morgan which focuses on crude analogue industrial expression mixed with elements of a muted power electronics tone. This 22 minute tape features 4 tracks (2 each side) with the visual presentation opting to skew the typically expected colours and visual themes.

‘We Rot’ commences the tape with a relatively simplistic heavy and ominous toned analogue industrial loop (being gradually morphed over its length), and slightly flanged spoken vocals brings to mind the delivery of vocals of Puce Mary – which no doubt is based on the fact that both projects being female fronted and inhabiting a similar sonic style. ‘Destruction and Abuse’ follows, being constructed with ‘idling machine’ sounding loops, where the spoken vocals are mostly buried under the sonic mass (a section consisting of a ‘whipping’ loop is tacked onto the end before it cuts out as the side finishes). ‘The Personal is the Political’ opens the second side of the tape, although is listed on the cover as the final of the 4 tracks. With its apathy inflected and mild echo and distortion addled spoken vocals, it again bringing to mind the vocals of Puce Mary, which here are combined with rumbling bass tone and minimalist death industrial pulse. This is the standout of track of the tape by nailing a convincing analogue death industrial sound. The final track ‘Privileged and Weak’ contains a couple of segments, including a short interlude of heavy mid-paced pounding industrial beat and flanged vocals (great!) which cuts out somewhat abruptly before the main section arrives with slow and queasy oscillations (proceeding through a few sectional rotations before cutting out due to tape length).

Overall ‘Anti-Human’ is a solid offering insofar as it demonstrates some strong ideas from a project finding its feet. This is not faultless tape, noting that added volume for sonic punch and more layering of elements for extra complexity and diversity would steps things up a notch.  But such quibbles aside, more importantly it displays all the hallmarks of having the right sound, direction and ideas: where the approach of Military Position will no doubt be further refined with future releases.