| Which is to say: it’s really, really
loud. It makes liberal use of the triggered-double-kickdrum that for
better or worse is to death metal what the saxophone is to bebop.
It leads off with a sound-collage that’s as predictable as it
is, well, effective: some disorienting stereo panning of unidentifiable
staticky noises, a disembodied radio voice too brief to identify,
and a quick tape-speed-up to drop-out before the music starts. |