A long-buried fragment of mid-’90s magnetic decay unearthed at last. Autonomous Rex documents the solitary tape and noise experimentations of Stuart Dennison, a key figure threading through the harshest veins of the UK underground, with credits in seminal projects such as Ramleh and Skullflower. Originally recorded in 1994 at the so-called Big Pink Caravan, these private sessions—previously unreleased—offer a rare glimpse into the artist’s uncompromising inner zone. Built entirely from handmade tape loops, guitar, Copicat tape delay, whispered voice, and slippages in time, Autonomous Rex emerges as a statement of pure creative isolation. As Dennison notes with dry resolve: “An endeavour to make something without the compromise inherent in collaboration.”

The resulting sound world is raw, unstable, and texturally dense—hovering between decayed drone, abstract noise, and introspective minimalism. There’s a tactile intimacy to the recording, as if the oxide and hiss of tape are co-authors in this haunted aural journal.

Painstakingly mastered by G. Tait and cut for vinyl by Jean-Marc Foussat, the LP is issued by Nashazphone, who continue their essential work in surfacing forgotten or overlooked chapters of sonic dissent. Autonomous Rex isn’t just a time capsule—it’s a dispatch from the outer reaches of autonomy and anti-structure.