Download from Bandcamp

Why? I can almost already hear people asking. Why these songs, why rerelease old material, why on vinyl, why isn’t the vinyl clear/splatter/filled with cockroach legs/radioactive etc.

The big one is going to be why rerelease old material. We live in a world of new and shiny, and music has long become a kind of disposable commodity. Lots of reasons why, but streaming, attention spans, and a large shift in the way music is looked at as a whole are a few I think are relevant. I have my reasons, and like everything I do it’s somewhat personal. Each of these songs represent a very specific time in my life. I could bore you with a story for how each and every one was conceived but I won’t, people ask me at shows sometimes, and I love to tell the stories but usually with a glass of whiskey in hand. I don’t want those times lost, buried in the somewhat lackluster technology of early 2010’s mastering, and burdened by my still developing ability with vocals, mixing, automation. A lot of things have changed. The studio I now have is leagues better, the vocals have at last settled into a form that I feel confident about, and I like to think my technical skills may have improved in nearly 2 decades of doing this.

However, and importantly: These are definitively not the songs you heard on CD. Not the songs you hear in DJ sets. They are also not simply remasters. For each one, I tracked down the original stems, in the original DAW. This was no small feat as I used to use a totally different set up. I dropped all of the original FX and compression, I removed several tracks that were just muddying things (I have a problem with more is more when it comes to my songs) brought in each stem individually, remixed them, applied new FX, new compression and dynamics, removed noise, clicks, cleaned up the samples, and lastly I rerecorded every vocal for each song. These are what I would have wanted them to sound like when I made them. It’s maybe a little insight in to how things have changed over the years.

Why vinyl? Simple, vinyl masters are as close as you can get to what I am hearing in the studio, prior to the utter crushing songs go through for streaming releases. Plus, it affords me the ability to work with Vlad McNeally on more fantastic artwork.

Why isn’t it clear vinyl filled with cockroach legs and the blood of ancient gods? First, no roaches volunteered, and no ancient gods were available at the time of pressing. Second, it was as many things I do are, an aesthetic choice. The artwork is very mid century, designed to give the feeling of an old listening station, and those typically spun and recorded reel to reel. The cover and the label were both made to reflect that aesthetic. Since we haven’t as a culture haven’t decided that reel to reel is a viable release method for aggrotech bands, here we are. I tried out a dozen colors, marbled patterns, splatter, and none looked as good as black. Trust me, when you see it in person, you’ll know. Like literally everything else I have ever released I agonized over making sure the aesthetic is as close to ideal as possible. I don’t want to release just a song in to the meat grinder of the world, I want to release something that justifies not only the price but also the shelf space in your home.

So that’s what was on my mind when I created this. Massive thank you’s to Christian Petke (COP International) and Vlad McNeally for helping me bring it to life.

Lastly, for those of you in the camp on “new music no matter what” I see you, I hear you, and I love you too. There’s a new single hot on the heels of this release, and a new album coming next year.

nolongerhuman - over and out.

The solo dark electro / aggrotech project from the mind of U.S.-based artist Clint nolongerhuman.

With deeply personal lyrics and aggressive, danceable, hard-hitting beats, nolongerhuman’s expression is one of a reflection on humanity, society, and the struggle to be human in the distinctly inhumane times we live.

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