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post homo sapiens


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biosemiotics 13:33


1. biosemiotics
with agata krawczyk, voice
2. stridulated requiem for homo sapiens
3. arthropod phenotype
4. metamorphosis (for jerry goldsmith)
with luzia rasu, voice
5. hydrotropism / heliotropism
6. phytognosophysiology
with luzia rasu, voice

PLAY LOUD as one listening session

all by dp except where noted
recorded november 2018 to june 2019 at shs32
thank you oliver, sascha, daniel, luzia, agata



for cassette version :
dp / Etched Anomalies


more albums by Dave Phillips on attenuation circuit:


released January 6, 2020

Dave Phillips' artistic mission is to use intense sounds to change our perception of what it means to be in the world, to de-center our certainty that we as humans are always in control of the world we inhabit. Contrasting human voices with non-human sounds (such as those created by insects) and magnifying their impact on our minds, as well as bodies, through layering and amplification, he makes us feel what it is like to be overwhelmed by something greater than us (in real life, this greater something is nature, evolution – although we in our technological 'civilisation' constantly choose to repress this fact). And this experience, best available if you follow the “Play loud” instruction on this album, can be an intensely sensual and cathartic one.

Dave Phillips has often been classified as a noise musician, and this is true to the extent that high volumes and extreme frequencies play an important role among his musical strategies. However, the quieter moments full of foreboding (of ecological disasters, for example) are equally important, especially in this album. “Post Homo Sapiens” is not just about full-on sonic assaults, but also a lot about atmosphere and suspense – hence it is no coincidence that one track of the album is dedicated to Jerry Goldsmith, composer of myriad film scores such as “Omen,” “Alien,” and “Psycho II,” to mention but a very few. However, rhythmic, quasi-industrial noise parts also have their place in this album, as well as the dissonant microtonal droning of the opening piece “Biosemiotics,” which sounds somewhat like Tony Conrad's early-sixties string experiments, possibly played by crickets. Conrad explained his interest in the drone in socio-political terms, namely from his interest in the dismantling of any and all forms of organised culture. This concern may well be shared by Dave Phillips as he urges us to shift our attention from the narrow focus of our human-made culture to the larger natural world of which we are only a part.

File under: Noise, ambient, non-human sounds, ritual protest music, humanimalism



slow suspension pulses, eerie field recordings. layered drone-walls, strange animal sounds, deranged instrumental melodies... a slowed down hell abyss opens up, but also quieter, almost beautiful passages, 6 tracks with 65 intense minutes, highly recommended!




Dave Phillips is a solo artist from Switzerland that plays a mixture of experimental and harsh noise and this is a review of his 2020 album "Post Homo sapiens" which was released by Attentuation Circuit.

Distorted sounding drones start off the album while most of the tracks are also very long and epic in length. At time s the music also gets very avant garde and experimental sounding along with some screams also being used briefly which also adds in a touch of black metal.

Home made instruments also take the place of a percussion along with some harsh noises and power electronics also being utilized quite a bit throughout the recording. Throat voices are also utilized at times as well as one track also introducing programmed beats onto the recording and all of the tracks also sound very different from each other, some songs also bring in a good amount of field recordings, pianos and whispered spoken word parts can also be heard briefly.

Dave Phillips plays a musical style that takes experimental, drone, field recordings and harsh noise and mixes them together to create a sound of his own and the production sounds very dark.

In my opinion Dave Phillips is a very great sounding mixture of experimental, drone, field recordings and harsh noise and if you are a fan of those musical genres, you should check out this solo artist. RECOMMENDED TRACKS INCLUDE "Biosemiotics" and "Metamorphosis". 8 out of 10.




Hot on the heels of his LP 'Sixth Mass Extinction' Dave Phillips now releases 'Post Homo Sapiens'; more music (sixty-six minutes) and less text; it is about insects and how they are among the earliest species on earth and how they evolve and how we, humans, could learn from that. The music comes with two instructions, "play loud" and "as one listening session". That last one is easily done and something I always do, but the first one comes at the wrong moment. The downstairs neighbour in this ancient, no-isolation house, asked if the volume could be down a bit. Headphones are not my thing, not always, but it helped here. There are six pieces on this release and four of them are well over eleven minutes. Of interesting note here is that Phillips made a small yet significant change in his compositional approach. His music is loud, that it still is, but sometimes works with abrupt changes and cuts. A door slamming, a burst, cracking. Here, in these six pieces, this is hardly the case. In each of them there is an ongoing sound to be noted that gradually changes throughout the piece, but not via an abrupt cut. In his pieces, Pillips uses a lot of heavily amplified field recordings, heavily processed voices (his voice, but also from Agata Krawczyk and Luzia Rasu) adding a creepy element to the music. It sounds like an element of horror, but not in a Hollywood entertainment sort of thing, but the urgency of our environment. There is also room for piercing electronics, feedback and deep bass rumble. 'Stridulated Requiem For Homo Sapiens' starts with a deep and slow bass drum, before piercing electronics set in; it is the loudest piece on the CD. My favourite is 'Hydrotropism / Heliotropism', which is quieter, spookier and with cracking and crackling field recordings sounding like Etant Donnes, circa 'Bleu', but then slightly more musical; strange as that might sound. All in all, I thought this was quite a surprise and another excellent CD. (FdW)




Frogs Rain, Humanimal, Songs of a Dying Species, Insect Apocalypse, Frogoroth, Sixth Mass Extinction, Post Homo Sapiens (ACU 1017, CD / Etched Anomalies, ETCH 03, Cass) - DAVE PHILLIPS schraubt weiter an seiner Kritik an der Anthropozentrik, die sich abspaltet von der Koevolution mit dem Empfindungsvermögen alles Lebendigen und zunehmend das jahrmillionenalte Geben und Nehmen der Ökosysteme stört und zerstört. Seine Sicht wird dabei zunehmend dystopisch, und ist es noch Warnung oder schon Drohung, wenn er dem Anthropozän nichts Gutes prophezeit? Weil Homo Sapiens seine Maßstäbe verabsolutiert, um den Preis ständiger Verdrängung in einer Spirale zunehmender Anästhesie. Woher rührt die Schmerzunempfindlichkeit und Gleichgültigkeit darüber, dass die natürliche Hi-Fidelity untergeht in Dauerlärm und Müll, Müll und noch mehr Müll? Dem entgegen stellt dp als Fan von Jerry Goldsmith - dem er 'Metamorphosis' widmet - seine Omen, sein Loving the Alien. In Gestalt von Bruder Frosch und selbst von Insekten als fernen Verwandten vom Stamm der Gliederfüßer, deren Mimikri und Symbiotik mit der Pflanzenwelt er als biosemiotische und in Phytognosis eingebettete Lektionen dringend empfiehlt. Ohne Mu¬tualismus kein Überleben. Ordovizisches Massenaussterben - Ursache: Kontinentaldrift + Eiszeit; Kellwasser-Ereignis - Ursache: Megavulkanismus + Meteoriten; Extinktion an der Perm-Trias-Grenze - Megavulkanismus des Sibirischen Trapps; ... an der Trias-Jura-Grenze - Asteroidenimpakt + Vulkane; ... an der K-P-Grenze - Chicxulub-Einschlag + Dek¬kan-Trapp; "The Sixth Extinction" (Elizabeth Kolbert) - Ursache: Homo sapiens. Dagegen inszeniert dp sein Ritual, mit monotonem Trommelschlag und gutturaler Stimme, ein¬gesenkt in eine bienenschwärmerische Insekto-, ja Faunosphäre, mit einer Nymphe, die darüber lacht, wie dämonisch Pan da wieder tut. Auch paukendes Dongen und sirrender, hochtourig sausender Noise werden infernalisiert durch eine panische Stimme und garstiges Krähen und Blöken. Ein Monstergrummeln wie von Sauriern geht über in ein gezupftes 'Dies irae', auf dem wieder Krähen sitzen. In brodelige Ursuppe spuckt saurer Regen, Feuer knistert, und dp denkt nicht daran, Natur von Noise zu scheiden und zur Idylle zu schönen. Er gongt den Kessel, der ebenso Zaubertrank wie Gift enthalten kann. Und lässt zuletzt eine Sopranstimme zum Himmel schreien, zu elegischen Pianotönen, Insekten, Vögeln und dem eigenen Keuchen. Ecce Homo!




Screeching, prying dark ambient assembled from ghostly hums, booming percussion, and various field recordings. It’s a testament to post homo sapiens’ power and sublime instrumentation that, even though it clocks in at over an hour in its entirety, I never fail to become completely transfixed by it, unable to look away from its first cry to its final death rattles. If I were in a score-giving mood it would probably get my highest rating. There isn’t much I feel compelled to say about it here; I think the music does the talking. As the release page says: “PLAY LOUD as one listening session.”

Listen if: you’re on an elevator, going up, somewhere: where? It doesn’t matter. On each floor, the doors open and close. No one gets on with you; nothing stirs the void beyond the doors. You don’t get off, either; you’re not sure how, but you know that you have a long way to go before you reach your destination.

Favorite Tracks: “biosemiotics”, “stridulated requiem for homo sapiens”




Dave Phillips is coming back with cd released by Attenuation Circuit ( also as a cassette), and what a comeback it is. His work was always both ingenious and individualistic in an every sense of this word, derived from musique concrete, drone, noise and even a bit of post industrial and spoken word of late 1980's - he blends all those idioms in his own amalgam or should we rather say - puts those as a reference for something that could be labelled as ritualistic protest music.
His music was always a manifesto - a decentring punch into a face of anthropocentricsm. Puts into persepective our own approach and the role human species assumes in the whole food chain and biocenosis of the post-modern world.
But Dave's art is far from academia and any sort of uptight form and pretense. It's direct, agressive but not in vulgar way, dissecting the biology of human voice into an utter horror of noise. Surprising and enticing at the same time.
His work is far from the clichees of underground noise - Dave is self-educated and you can hear that - both in terms of composition and the production which is a great showcase of how can you infuse all sorts of experiments from the post WW2nd world of modern music into something really intimate.
Enjoy his work - every time I listen to it - it's both rich and endearing - comes across as a shocking experience - especially in his live action.




De discografie van de Zwitserse,. sinds half jaren ’80, in noise gespecialiseerde Dave Phillips is bepaald imposant te noemen. Middels de diverse projecten waar hij deel van uitmaakt en zijn activiteiten als solist groeit deze gestaag. Vorig jaar kwamen er weer zes nieuwe albums bij en onlangs lanceerde hij voor Attenuation Circuit ‘Post Homo Sapiens’.

In 1994 / ’95 verbleef Phillips een half jaar in Thailand, daar raakte hij geïnteresseerd in het geluid van kikkers en insecten en middels deze geluiden in het werken met veldopnames. Die interesse in kwetsbare ecosystemen vormt ook het uitgangspunt voor Post Homo Sapiens. Op de achterkant van de hoes staat Phillips uitgebreid stil bij de wijze waarop de mens zich niets aantrekt van de onderlinge samenhang in de natuur en zo zijn eigen leefwereld verwoest, om te besluiten met de rake opmerking: “Nature doesn’t need us.”

Zoals het evenwicht precair is in de natuur, zo is het in ‘biosemiotics’. Een lange drone vol ruis en kraak, waar geregeld noten uit lijken te vallen. Dan doet een bas gedreven ritme zijn intrede en krijgt het stuk diepgang, gevolgd door de toevoeging van een zwaar vervormde zingende stem en ten slotte een lachende Agata Kramcyk. Wat hier het meest opvalt is de zeer verdichte textuur, de muur van geluid die Phillips optrekt. In ‘Stridulated Requiem for Homo Sapiens’ slaat de beklemming toe. De zeer diepe, penetrant klinkende bas, de zeer hoge, zeer scherpe fluittoon, de machinale drone die daar doorheen slipt. Dit is in alles een requiem, één waarbij de rillingen je over de rug lopen. En dan de wijze waarop Phillips al die klanken met elkaar verweeft tot één onlosmakelijk geheel, dit is iemand die zijn instrumentarium tot in de kleinste details beheerst. Dan horen we aan het eind de kikkers, maar zodanig bewerkt dat het meer klinkt als een groep lachende duivels.

De duistere nevels aan het begin van ‘Arthropod Phenotype’ doen je huiveren. Het lijkt wel de soundtrack van een horror film die zich hier ontvouwt. Dan breekt in ‘Metamorphosis’ de zon door, horen we het dierenleven, tegen de achtergrond van een monotoon ritme. Maar niet voor lang, de beklemming neemt geleidelijk weer toe, alsof de wolken voor de zon schuiven. Het is geen gewone regen die er valt in ‘Hydrotropism / Heliotropism’, te gruizig, te dik. Het voelt als vuile regen, zure regen, verwoestende regen. Eindigen doen we met ‘Phytognosophysiology’. Hier intieme pianoklanken, de lang uitgerekte klanken van vocaliste Luzia Razu en wederom dierengeluiden, als stemmen in de nacht die zeggen “We don’t need you, you need us!”





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