The second of two Eps released for the band tour (why they didn’t just put both together and get a single disk is beyond me. It may have something to do with fact that these disks are the results of two attempts at trying to get a second full-length CD finished to no avail.) Anyway, the sound is bit better than the first Ep, more high frequency info and the sound isn’t quite so muffled. Four tracks of electro rock angst. The songs sound a bit unfinished in places but still some interesting bits here and there, with the last track bringing the heavy guitars in for a nice change of pace after the electrobabble of track #3.

Music for disaffected youth. One of two Eps that were released for the tour. Four tracks ranging from mediocre to pretty good. The band really shines when they stray from the usual and let the twitchy electronics speak for themselves.

After years of unavailability, eighteen years since its original release on Pathological Records, here's surfacing MAXIMUM MONEY MONSTER by Zeni Geva. Merging free jazz, hardcore and repressed rage the Japanese trio open the album with a punch in the audience's face thanks to the sixteen minutes of "Slam king", a track based on a couple of chords that is able to hypnotize and devastate at the same time. "Blaze" and "Black out", instead, in less than two minutes are able to pick you up and make you do a roller coaster ride through hard rock psychedelia ("Blaze") and obsessive industrial core ("Black out"). Musically, is like listening to an extreme version of Black Flag on acid and by the way guitars are treated you can understand the reason why K.K. Null collaborated with Merzbow later. I saw Zeni Geva live twice at the times of "Desire for agony" and I assure you that their nihilism was throbbing and alive, on and off stage (the guitar player that time was so angry for some reason that he beat his head against a wall of the bathroom). Thanks to this new Cold Spring reissue you can check their live sound on the three bonus tracks: "War pig" and "Skullfuck" (coming from this album) plus "Dead car, sun crash".

Right yesterday I've seen Lento and Ufo Mammuth playing live and I was thinking how Neurosis, sludge, Stoner and 70's hard psychedelic rock have won, be it Isis here, Queen of the Stone Age there, Sunn O))), Boris or Southern Lord, whatever it is you know that's the trend. I know with a beginning like that you're probably thinking this the same flavor everybody is selling at the moment, but that's not exactly true since this band from the land of chocolate, of Young Gods (and Alboth!) plays post-70's music with that melodic-heavy style many are playing, but I think they've some more prog elements and a goodman inspiration to make the difference. Most of the times I get fucking bored while listening slow heavy band but tip of hat to these gentlemen hailing from Suisa because they've good taste to sell and their rifforama I traditional but not a copycat of something else. The most of the songs are based on a muscular but yet warm rhythm section on which keyboards and guitars embroid some prog meets post-rock finitures, the first of the three long long song here featured sees them mixing together Om and something more melodic like early Tarentel when they were still on temporary residence. The whole idea of the record is like a concept musically since the following tracks share the same atmosphere plus what I perceive as a consequential song-structure. The cd starts getting more prog-rock during the second suite and even more depressive and physical approaching the end of the recording and obviously you pass from clean guitar sound to a more distorted but far from heavy Neurosis-wonnabe-guitars and right when you don’t expect it to happen they also have a great acoustic-psychedelic break. When Five Roses sent a mail to advise about the promotion of this cd I've been giving a check to their myspace page and I was positively impressed after a few seconds listening, after having passed the test of several repeated and careful listenings I can say the early impression was good, I wish they'll evolve more and more in a personal way cause they're already better the majority of the bands playing this genre.

Initially formed by Thilges 3's Armin Steiner and Nik Hummer, Metalycée saw their line-up grew in 2007 when singer Melita Jurisic, drummer Bernhard Breuer and bass player Matija Schellander joined. METALYCEE 12" is their debut release and contains three peculiar tracks. "Mad tom song" is in balance from glitch electronica and industrial rock with female spoken word, similar to the "quiet" Diamanda Galas moments. "Mirek" is more ambient and plays a lot with silence at its beginning just to turn into a dub rock track with noises which give to it a spatial ambience. "Ghostpriest" with its ten minutes length has a first ambient experimental part which after about three minutes is joined by the spoken word and the dub rhythm/effects. Things change suddenly at minute five when the track increase its tempo and the tension raise. During the remaining minutes we have an alternation of these two structures where noises and guitars build a thick background. Not bad for a first release, isn't it?