Initially released in 2002, the first album was the first release to consist primarily of normal-length rock songs rather than expansive noise/drone epics. Though albums like and had helped define the drone metal sound pioneered by and the band's namesake, , showed that have an undying love for '70s hard rock, heavy psych, and hardcore, and that they're just as powerful making their own version of more straightforward, driving rock & roll. Like their subsequent song-based albums, however, they mix things up and don't conform to one style, and there's always a superhuman level of energy powering everything they do. "Heavy Friends" begins the album with sludgy stoner metal riffs, building up into a flurry of feedback before launch into "Korosu," one of many rip-roaring tracks on the record. Though this isn't one of the band's harshest or most experimental albums, they still acknowledge their friends in the noise scene. sprays trippy analog synth frequencies all over "Dyna-Soar," and frequent collaborator , who had started recording and performing with a laptop a few years earlier, surrounds "Death Valley" with frayed wisps and squeals of static. Even on their own, inject fierce bursts of noise into more anthemic punk ragers like "Wareruraido." The only real breather on the album is "Soft Edge," a four-minute interlude of ethereal, "Maggot Brain"-style guitar soloing (but far more meandering and formless). "The Bell Tower of a Sign," a lumbering eight-minute sludge-psych monster, requires more patience than the revved-up numbers that make up most of the album, but it's worth it, as the group constantly elevate and change up the intensity with various effects. On mostly kick out the jams, making it one of the easiest entry points into the band's massive, fathoms-deep catalog. ~ Paul Simpson