The Mechatronics is the second album by The All Seeing Hand, While the bands’ first album documented the band's original incarnation as a turntable and drum duo Mechatronics presents the band in its new, three headed form.

The first album was absolute sonic freedom and although improvisation allowed them to reach aural destinations impossible to reach conventionally it meant that often the turntables and drums existed in totally different universes. Fortuitously, there
were parts where the band would fall into perfect synchronization and these moments gave glimpses of a way forward.

On Mechatronics the drums and turntables are in‐sync, interlocking, moving, and sounding, like huge cogs in a mechanical production line. Where once any human voice would be scratched samples from ethnic folk records, there is now a real living throat; singing! Rather than just contributing a looped texture the voice now tells an entire story and its rich‐tone, gritty screams and percussive yelps drag the drum and turntable rhythm section up to the heavens.

Although all the pieces on Mechatronics stem from this tight palette of overtone singing, turntables and drums the subject matter and images projected into the mind are diverse. From sprawling mechanised assembly lines (Mechatronics), robotic nano‐surgery (Surgery) and riot control (Grab & Smash) to shamanistic séances (Cadentia) and hectic theme‐music for extraterrestrial road tripping (Maximum Capacity).

The album was recorded at Scumbag College, a beaten up but much loved DIY studio, lurking under Wellington Airport. The album features contributions from Deane Hunter on guitar and previous live collaborators St Cosmos and Samin Son on vocals.

The album artwork is a fantastically detailed masterpiece from the twisted mind of Daily Secretion (a.k.a Hannah Salmon). In perfect visual analogy to the music, it combines the mechanical, the biological and the cosmic.