"The Lion Hunt" is named for the series of relief sculptures from the palace of Ashurbanipal, held by the British Museum.

"The artwork depicts the King partaking in mechanised slaughter - there is an infrastructure of trappers, cages and charioteers involved in killing the giant cats. There are multiple wounded, crippled lions, some vomiting blood, some clearly already drained and dead. When I was making this record, I had a moment of absolute terrifying clarity in front of the panel that is the cover of this tape. I was the lion, and the lion was me - only my infrastructure was the grinding, slow wheel of capital-induced mental disorder, rather than the skipping fast wheel of the chariot" (George Rayner-Law).

"The Lion Hunt" is an exercise in reflection and reanimation. The tracks lurch from discrete meditations on the nature of grief, to harsh feedback drones, which cave in on themselves under the weight of heavy saturation, dissolved in the acid rain of personal history. They creak and heave in a sonic palette of austere synthesis and manipulated feedback loops - an exercise in working with limitations. Comparable to the early industrial tape experiments of T.G. and Cabaret Voltaire, as drum machine led minimal wave lurches into gut churning drones.

Pro-duplicated C30 cassette on a 'brick red' tape in a printed natural card sleeve, with separate detailed liner notes, all bound in twine.