Limited copies! Just found these last vinyl copies of this Japanese noise trio's 2nd full-length for AT (and the band's fifth studio LP overall).

"The ferociously elegant avant-rock of Zeni Geva. Think of an anvil. Picture its surface swarming with an exquisitely sculpted filigree of swirling shapes and patterns creating a patterns creating a complex, interlinked artwork. Now you have a visual analogue to the music on Zeni Geva's latest record, Freedom Bondage. Merging the power and intensity of hard-core punk with the abrasiveness of avant garde noise and the intricacy of progressive rock, Freedom Bondage is one of the most potent and multifaceted rock records to come down the pike in the recent years. Zeni Geva's mastermind is Japanese guitarist Kazuyuki K. Null, long renowned in avant-rock circles for his bold, aggressive noise assaults and frenzied punk rock. But on Freedom Bondage. Null has unveiled a new sound, deftly leavening the bands legendary racket with lilting melodies and passages of stunning rhythmic and harmonic sophistication. "Since I started Zeni Geva," explains Null, "we've changed many members. And results have been interesting. When our new drummer joined the band, our sound changed in an very interesting way. In the very beginning, Zeni Geva was basically a noise band. But now we're evolving into a progressive hard-core band." The term "progressive hard-core" sounds about as workable as "beach front igloo." But on Freedom Bondage and its shows, Zeni Geva unleashes a sonic barrage so heavy and well crafted it's as likely to appeal to fans of King Crimson and Henry Cow as it is to fans of Slayer. 'We need intensity to fight and survive in this world." adds Null. "Yet life and reality are very complicated. That's why our music is very complicated.'"
- Chicago Tribune

"Chalk up another release for this Japanese trio's seemingly exhaustive catalog. Yet again, a Zeni Geva recording session helmed by Mr. Big Black/ Rapeman Steve Albini. Freedom Bondage stresses more dynamics than previous outings and this factor proves Zeni Geva to be ever expanding their sound, a sound which is both metallic and industrial influenced. Industrial in the sense that the band employs pounding percussion and layers of feedback similar to early Swans. And add a touch of keyboards for additional atmospheric effect during "Death Blows," "Hate Trader/Interzona," and "Shi No Umi" which has Neurosis quality. The guitar tone is very raw and abrasive. Punctuated with a blower bass sound, the guitar texture is assured to be numbing. The drumming is particularly solid. Not much flash, but very forceful. Overall Zeni Geva should appeal to those interested in Voivod, Prong, Helmet, Neurosis, Big Blackand Swans. Freedom Bondage is replete with elements associated with these groups; aggression, somber moods, edgy chords and dynamics. Zeni Geva seems to have settled into a position where they are more confident of each other's musical talents and the song writing has progressed as a result. The songs are showing more complexity, whether incorporating more tempo changes and transitions or experimenting with additional percussion, guitar noise and acoustics. "Shi No Umi" and "Ground Zero" are particularly adventurous. The first being an example of continuously building upon a basic structure with acoustics, keyboards, sleighbells until the roar of dirge finalize. Clocking in under eleven minutes, "Ground Zero" is one of the longest tracks Zeni Geva has recorded. It encompasses all of the recurring textures and is especially attentive to dynamics: climbing, falling, fits of silence interrupted with explosions."
- All That

"In a faxed interview, Zeni Geva singer-guitarist K.K. Null denied that his band is a part of a genre which Americans have dubbed "Japanese noise." Noise or not, Zeni Geva plays rock music with the kind of power which blows out speakers and makes human blood curl. Using keyboards for the first time during the bands 11-album career, the Steve Albini-produced Freedom Bondage doesn't diminish the aural attack either."
- UCSD Guardian

"Really heavy grinding punk. This sounds like something Pessimiser fanzine would love, it even has a little metal in it. Pretty damn good."
- Punk Planet