HUMANS ETCETERA: Tenth Album, Normal Temporary Reaction To Life Events, Out Now Via Nefarious Industries

[photo by radiotheartist]

Eclectic rock/alternative act HUMANS ETCETERA – the creation of one American-by-way-of China-based Christopher Henry – released its tenth full-length album, A Normal Temporary Reaction To Life Events, through Nefarious Industries on New Year’s Eve, the album now streaming on all digital platforms.

HUMANS ETCETERA‘s A Normal Temporary Reaction To Life Events was written and captured in Wenzhou, China by Christopher Henry. On the album, Henry handles all vocals, guitars, bass, drums, keys, xylophone, sampling, recording, mixing, and cover artwork, after which the tracks were mastered by Bill Henderson at Azimuth Mastering.

Stream A Normal Temporary Reaction To Life Events where the “Big Snow Mountain” and “For The Sake Of Truth” (Live) videos are also playing RIGHT HERE.

While the dust on the release of A Normal Temporary Reaction To Life Events is still settling, Henry is already deep in the process of creating the eleventh HUMANS ETCETERA album for release later this year also through Nefarious Industries.

Primarily a solo endeavor, occasionally a collaborative effort, the music of HUMANS ETCETERA is created in the time between work with creator Christopher Henry’s other China-based bands — Fuck Your Birthday and Polyphozia – both in which Henry wears the singer/guitarist shoes. HUMANS ETCETERA began in 2012 as his outlet for recording experiments and songwriting, the artist using the project to relax from the pressure of being a full-time college student at West Virginia University and holding down a part-time job as a photo-tech.

A Normal Temporary Reaction To Life Events is an experimental rock album that sews together a mental unravelling from sides both before and beyond sleep. It begins with lulling hypnotic guitar and drum loops and wades deeper and deeper into a psychedelic mess of anxiety and depression. The protagonist is worried about the future, afraid of riding ahead alone, and tries to gather confidence but breaks down at the awareness of reality’s callousness. From here, he tries escapism via alcohol, and soon succumbs to vivid dreams of being lost in the Daisetsu mountains, hypothermia, autosarcophagy, and being transported through dream-death to a world in which the only currency is hope itself. He stands in the metro station with an empty wallet and feels torn between asking for help or hiding behind a phone screen. The listener must then make the choice: repeat the cycle with the comfort of familiarity or go it alone.