Dyskinesia's heavy, epic sludge at first appears to be another descendant of the Neurosis school of apocalyptic dirge, but it's not long before this disc reveals that their sound is much noisier and more experimental than initially thought. This Italian band apparently started off as some sort of improvisational noise outfit, but somewhere along the line turned into the hulking noise-drenched sludge metal that appears on this Cd, and it's pretty great stuff.

When the opener "L'Ultimo Giorno" kicks in, it does so with a leaden riff that sounds like it's sculpted out of the same molten lead that Neurosis used on Through Silver In Blood. That metallic crush builds into a frenzied crescendo, then explodes into a thousand fragments of sludgy guitar and cymbal splatter as waves of delay and other effects start to sweep in, and here is where Dyskinesia's true nature is revealed: this doom-laden heaviness transforms into a chaotic improv jam, drums bashed mercilessly against wave after wave of psychedelic electronics and rumbling doom riffage, finally slipping into an incredibly spacey dirge with tons of effects smeared all over, weird wailing vocals rising and fading in the background, the drums locking into a monstrous lumbering groove, but the rest of the band tripping out with a mix of howling metallic space rock, blazing amp roar and some dramatic Mogwai-esque riffage that ascends heavenward through all of the swirling, overdriven noise. It's like a mix of Neurosis, the crushing free-rock of Grey Daturas, and the blissed-out dronemetal of The Angelic Process fused together into a kind of bleary improvised psych-metal.

The album goes on into more passages of majestic, twangy heaviness and sudden eruptions of jagged math-metal as it heads into the rumbling amplifier drones of "Giorno Zero (Fallout Primario)", keening feedback writhing above swells of cymbals and growling amp-hum. This gets pretty abstract as the drums come in, hammering out a series of fills and weird processed vocalizations drift around the increasingly violent and random guitar freak-out, and it resembles something I might have heard on the old Shock Records label, a heavy, abrasive improv-rock meltdown seething with harsh guitar abuse and some very noisy fuckery going on. Then "Il Primo Giorno (Fallout Secondario)" follows with droning guitar strings and the steady pulse of the hi-hat and weird bubbling bass sounds, stretching across the track like some endless intro, gradually growing in intensity, wailing voices rising in the background, becoming simultaneously more and more melodic and more blown out.

"Il Secondo Giorno" reaches a kind of apex, beginning with another slow-burn build of dronerock riffing and propulsive drumming, but it's not long before this shifts into a stirring majestic ascent, part Neurosis crush, part My Bloody Valentine wall of sound, the song breaking off into subdued guitar strum amid moaning melodic vocals and gusts of noise, resembling a noisier, more frenzied Isis more than a little bit here. It sounds fantastic though, hardly another bland knockoff of this sound, as the interplay between the noisier elements and the powerful riffing and the filmic string sections that appear further into the song takes this into spacier, more cinematic territory that finally supernovas into an ecstatic blur of guitar drift at the end, before briefly launching into a crushing sludge outro that closes the song. The last track picks up from that last sludge riff, but here it's changed to a brooding circular groove, winding down through clouds of feedback, almost Skullflower-esque, circling round and round, cloaked in a haze of effects and amp-hum.

Really impressive stuff that fans of both dark, corrosive noise and the sounds of Tribes Of Neurot, Year Of No Light, The Angelic Process, and later Isis would be into. The disc comes in a 7" style sleeve with inserts, the disc attached to one of the interior panels on a foam hub.