makes seem like a mere opening of the gates. Original guitarist gets added to the lineup, and vocalist adds bass, giving the second EP a thicker, more brutal thrust than the essentially all- debut. The first 30 seconds of opener is the first true unleashing of 's industrial power guitar, sounding little like the instrument that it is. Influenced by 's and , 's noisy scrapes are just as riveting as his precursors, given extra accent by 's more rhythmic screeching. like a fair amount of 's lyrical points of reference throughout his career, involve boredom and how people attempt to curb it. Two options include hanging out at a slaughterhouse or, well, killing pigeons. Hopefully, the rampant misogyny of wasn't taken literally as inspiration by anyone -- a good example of how 's first-person character sketches could get him into trouble. The intense rockabilly of (one of the rare instances where live drumming takes place) deserves to be covered by or in a non-swing moment. Lumpen tempos and lack of direction on a couple songs prevent from being regarded amongst the band's later works, but credit that to a still-apparent working out of the kinks. A newly formed alliance with engineer extraordinaire proves helpful. [ was later issued on CD as part of , originally on and later on . It was also reissued in its own vinyl version.] ~ Andy Kellman