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East Trading Wang
Favela. Yayo. Caipirinha.

I’m not sure what the band name, or indeed the album title, are supposed to mean, especially considering that the band are Estonian, but whatever they’re trying to say, this is their second album and the highlights of their career so far include opening for Clawfinger and writing music for the Adam Sandler movie ‘Little Nicky’. Not bad.
As for the music, it is an eclectic mix of rock, punk, grindcore, stoner and grunge - think Medication with hints of Groinchurn and Chris Cornell on guest vocals... yes, I’m struggling to make comparisons here, which is rather refreshing and can only be a good thing. And while there isn’t a new technique or sound to be found anywhere on this disc, the melding of so many different influences results in a strong identity and keeps the listener’s attention firmly riveted throughout the album.
With no preamble ‘No Way’ kicks in to open the album. A strong rhythm and a jangling solo are about all there is to it, unlike ‘Bad Brains’ which uses a staccato verse rhythm to emphasise the melody that breaks out in the chorus. A powerful track, it leads smoothly into the drum intro of ‘Freakadell’. A slightly darker song, this one doesn’t mellow at all and revels in its disjointed bridges and choruses and high energy solo. This high energy level is evident throughout the album, even in ‘The Follower’ which although it starts out a bit slower still rises with each chorus. ‘Fire In The Hole’ steps everything back up a notch with strong, fast rhythms that seem to energise the vocals and don’t let up even during the surprisingly melodic solo.
‘Seven Days’ is a bit of a diversion and is the track that really brings Soundgarden to mind, at least in places. A well crafted, flowing song that stands out on the album with an enthralling chorus and drumming that is noteworthy for the first time on the disc. If there is going to be a single, this should be it.
‘Free’ is slightly lacklustre with its experimental breaks but ‘Mikromirror’ turns the power back on and returns to the disjointed, thumping-rather-then-grooving feel of the first half of the album. ‘Zombie Lives’ is a bit of a filler but ‘Voiceover’ takes a different turn to create a new feel that is happier, in a bouncy kind of way... not a bad track actually, and it does wake the album back up, just in time for the final track, ‘Dark Side’. An annoying minute of silence followed by another minute of almost completely inaudible voices serves as the intro for the this track which builds up slowly before launching into a funk riff before finally turning the power on at almost four minutes in. An experimental track with atmospheric sound effects, but when the guitar rhythm kicks in it flows beautifully and gains an epic feel. The reason for all the preamble becomes clear as the tension builds and breaks, and even at almost seven minutes long it still feels like it ends too soon. A great way to finish off an album.

Author: Stef Kutranov
Zine: Live 4 Metal

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