It's easy enough to see why-every song on this album completely shreds in some form or another. Even the slightly more boring numbers, of which there are two, have at least ONE super awesome beyond good mindblowing piece of fretboard bitch-making in them that makes them seem 100% cool in retrospect. The best tracks just floor you from the get go and refuse to let you get up throughout their durations. Things start off incredibly strong on this outing, with the 1-2-3 punch of "King James" (fierce ultra-melodic metal riffing), "Gory Head Stump 2006 The Pageant of the Slunks" (equally fierce wah-ed out neofunk workout with some blistering Slayer style soloing) and "The Fairy and The Devil" (a piece reminiscent of the epic masterwork "Colma", just heavier and more rock oriented.) It's hard to even catch your breath as these three spin by but if you can make it through there's better on the way. That "better" happens to be "Soothsayer", one of the penultimate Buckethead tracks, brimming over with fiery, goosebump-inducing guitar work and an emotional weight that is rare to find in these sorts of "shred" albums. "Soothsayer" is a tribute of sorts to Buckethead's aunt and the passion and love are obvious-this track utterly slays. Nine minutes of gorgeous metal guitar fireworks haunted by ethereal slightly time-bending effects and the frantic mind-numbing fretwork that Buckethead is so famous for-it's all here and the result is an amazing song by any measure, containing what is probably my favorite Buckethead solo ever put to tape(the last outro solo-gives me CHILLS every time!) So fucking good, the album is worth it for this track alone.
The latter half of "Crime Slunk Scene" doesn't quite live up to that moutainous high but there lots of good material nonetheless. "We Can Rebuild Him" and "Electronic Sleight of Hand" are both metal heavyweights chock full of lightning guitar work and needlepoint precision riffing, while "Mecha Gigan" flattens you with some ultra-fast double bass and death-metal style riffing, referencing the pomp and splendour of the Japanese robot television shows that Buckethead so fetishizes. The album ends on something of a low note, the monotonous detuned chugfest of "Slunk Parade AKA Freaks in the Back" but listening to some detuned whammy bar dives seems a small price to pay for the crushing slice of majesty that Buckethead has just carved off the rock cake for you to enjoy. How big a piece did you want again?