A third of the songs are developed around individual rhythmic phrases where drums and bass work in tandem. Another third are display lone instrumental motifs top-dressed with slick layering choices. More than half of the album relies on rudimentary compositional foundations. Tracks like opener "Double Slit", the five-spot "Elements of Matter", or "Healing Rods" appearing in the album's third quarter all fall into what become trap-points in the albums flow. Some songs are simply interesting enough to overwhelm this tendency towards repetitiveness, like the chromatic and panoramic "Magic Transistor" or the hard-hitting "Machine Vision" that tags along on the accompanying 7". "Scheinwelt" is another track which supersedes the rhythmic clause that the album abides by as it immerses the listener in a robotic sullenness, the depressed circuitry of hyperconnected post-human beings which we are surely streamlining head over heels towards becoming.
And so "Scheinwelt" is one of the tracks which best represents Trees Speak's theme of approaching the soundscapes of futurism and post-human existence. The digitized vocal effects of "Quantize Humanize" are obvious and kitsch but, being as sparingly used on the album as they are, introduce voice as a textural element that has it's intended effect. I find the title track, "Post Human", the most subtle of efforts towards futurism, coming across as a somber ode to the artificial beauty of the unforeseeable eons ahead and so is particularly reflective. All of this effort however is overshadowed by the album's longest, most expansive, structurally complex, and visionary creation, "Amnesia Transmitter". The spacey cinematic narration succeeds as a singular song, but carries the album's defining moment as the synthesizer melody reaches it's zenith just short of the four minute mark.
One of the other aspects of PostHuman which deserves mention and which almost slipped past my radar, even after at least twenty or thirty full listens to this record, was the melodic similarity to a lot of 70's and 80's Afro-jazz and golden age Ethiopian popular music. To what extent this influence is real is to be cited by Daniel and Damian Diaz, the project's masterminds, but I am convinced that the duo has listened to their fair share of Hailu Mergia and Teshome Wolde. The swings of cadence between songs, from uplifting to downtrodden, from Western-music sensible to Western-music offensive, may be a key to obtaining the 'post-human' sound they seek, as global exchange of music and art continues to break down niche pockets and movements. In much the same way that Hip-Hop has influenced and continues to influence popular music - even genres which are polar opposite in many ways such as Country music - it is only expected that in hundreds of years the distant influence of long-gone genres will somehow linger as figments in tiny corners of future art.
Ultimately, the question PostHuman poses is whether or not these tracks produce atmospheres which the listener believes represent what the future holds for mankind; whatever - and whenever - that future is. Obviously, this task is not as easy as attributing an atmosphere to something known, like is often the case in Black Metal as artists seek natural atmospheres of the frigid, the arboreal, or the defiant. Trees Speak do seem to achieve this on several tracks throughout the album, smartly offering a multitude of vistas. While half of PostHuman comes across to my ears as too close to modern euro-trance/electronic dance best suited to posh pool parties and urban cocktail hours, I am yet intrigued by the project's capability to achieve difficult cinematic quality set-piece moments. I'd like to see a higher-minded approach to the underlying compositions as accomplished in "Post Human" and especially "Amnesia Transmitter" across a full album.
