Vol. 12: H
No. Title Length
1. "Track 1" 3:12
2. "Track 2" 10:48
3. "Track 3" 2:15
4. "Track 4" 10:16
5. "Track 5" 2:57
6. "Track 6" 3:33
7. "Track 7" 1:19
8. "Track 8" 15:19
Total length:
49:44
Volume 12 starts out with "Animatronics Workshop". Similar to the other Factory/Workshop themed tracks, it's more of an experiment ambient terror. A slow, rather sweet bassline and mellow jazz drums accompany a screeching guitar tone as Buckethead shreds up and down scales and all around. It provides an eerie creeping on private property feel to it. As the drums pick up some funk, Buckethead warbles his way through a whiny solo, like a child throwing a tantrum. It's hard even as a fan to enjoy this, but I see where he was coming from.
"The Organ Grinder's Mishap" is the second track. This track carries on the creepy vibe, but the in-your-face screeching guitar tone is suspended. Creepy overtones sweetly played on guitar with accompanying drums. As the clock tower chimes, a piano incessantly wails insanely for a few minutes, followed by some notes on guitar strummed softly. Minutes of ambient rattle creep by until harsh keyboard/organ overtones signify the climax. Odd instrumental story-telling. A pain in the ear for some.
Track three, "The Last Tooth to be Pulled", has a very enjoyably, funky drumtrack laid down, while Buckethead warbles with some different tones. Conversing in squeaks and warbles. A few funky guitar licks are thrown in, but nothing to really resemble a song. More of a warble session.
"Alektorophobia", track 4, is where this volume starts to show hope. A small choir sings a chorus of 'aah aahs' to creepily introduce the track, with sporadic thunderous strums of the guitar. When the drums enter, head nodding is not optional. This just got sick. Very funky, very 'hard' drumming from Brain. There's a rumble and synth break and we're back to the wicked drum and guitar pattern. Buckethead is starting to piece these notes together at this point. Another long break for synth and effects. It sounds like a power band from old Hanna Barberra superhero shows. This goes on for minutes, which was mildly disappointing for me. But it could be up someone's alley if you're into avant-garde -ish electronic-y stuff. You be the judge, though...
"Electromagnetic Interference" is up next, and it's a short continuation on the electronic-themed wankery. There's semblances of a beat here. Avant-garde. Buckethead softly solos on acoustic I believe against an electronic drumbeat. His speedy shredding blends well with the bleeps and bloops of the machine.
Track six, "The Sticker on Endorphins", is a strange one. It's got a very modified, over the top, almost 8-bit tone. This is a slow passage, like an electronic robot's death march. Or somebody struggling to fight off a hoard of junkies while on acid.
"One Last Breath" is even shorter, at 1:20. It reminds me of wind chimes in the breeze, or a really pleasant alarm clock.
The last track on the album is "Monsta Kreepathon: Revenge of the Mutant Slunkzilla". This is a cool aural assault. His bends sometimes get close to cringe-worthy, the general feel is strange but slunky. Drums are funky, gettin' down pretty hard. Bass keeps it funky. Buckethead warbles in an accessible way, making things a little hectic but expectedly so. He's purportedly telling a story here, as well. This is, after all, the revenge of the mutant slunkzilla...
Guitar lick at 2:30 rocks, as well as at 6:45 and both lead into very appreciable little solos that border on insanity but never make the leap. Foot tapping is unhelpable. Tribal drumming and back to funky. Love it. Don't miss this track.
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