The three Merzcow albums are themed around the worship of cows with in the Hindu religion, and this second part takes its title from one of the names for Kamadhenu- the Hindu goddess who is the mother to all cows. Instead of the colourful & spacey vibe of the first Merzcow release, this ones digit-pak features disturbing pictures of malnourished cows- clearly this is Merzbow pointing out the mistreatment & neglected of cattle bred for meat & farming.

Up first we have “Vanamali And Shravan”, which comes in at just shy of the sixteen minute mark. The track starts out in with a manic & overloaded mixture of searing ‘n’ face melting Merz-guitar textures, grating & fluttering almost percussive electronic textures, sudden attacks of banks of looped sped up percussive matter & melted melodic piano structures, along with spacey ‘n’ throbbing electronics which slowly but surely seem to soak the chaos of the track more & more as it progresses- these elements weave out eerier feeling sc-fi dread & tripped out 70’s synth sound tracking. The whole track mangers to create a great juxtaposition  between the manic & overloaded elements,  and the more spacey & psychedelic licked electronics & synth throbs ‘n’ melts.

Track number two is entitled “Balaram”, and this comes in just over the sixteen minute mark. The track starts out fairly stripped & stark with Merzbow  just circling this slightly wonky sounding buzzing electro or electric razor  like tonality, then at just around the minute mark he adds in a thin layer of floating & swimming electronics, & another distant layer of this great descending mass of jittering & clinking electronic tones which sounds like something darting slowly through a forest made a pure glass. For the tracks first five or so minutes he just floats & fires up single synth throbs or melts, but after this point things start to get a bit more noise bound with a mixture of searing merz-gitar bays & roasting electronics, yet there is still ebbs & swirls of more spacey synth & electronic textures too. Around the seven & half minute mark this throbbing ‘n’ brooding synth repetition appears in the track, & this gives a nice semi groove to the proceedings. In it’s last few minutes the groove departs & the track returns to more noise ‘n’ space bound ambient feel.

Last of all we have “Yamuna Snan”, which is the longest of the three track here- it comes in at just over the twenty minute mark. This track starts with a sonic vista of three or four noise drones that bay & searing against each other- one drone is all about longer sustained pitchers, and the other two have more fork & active feel to them. As the track progresses you get added into the mix: a noisy sc-fi like churn,a UFO landing like juddering, more cluttering ‘n’ searing improv electronics attacks, & all manner of ripping ‘n’ throbbing noisy sc-fied textures. Around the seven or so minute point a layer of looped  brightly buzzing ‘n’ wiring electronics become the central focus of the track, and these sound like something like a spaceship control panel going towards overload- this extra layer adds more of a playful urgency to the track. As the track weaves towards it’s last five or so minutes the more sustained noise drone pitches return once again as it sourly ebbs towards a more slowly seared yet still spacey crescendo.

So all told “Surabhi” is worthy slice of psychedelic & spacey electronic based noise matter, with each track here having it’s own charm & detail- yet  all three tracks work well together as a consistent and shifting spaced & seared out whole. Not as good as the first part of the Merzcow trilogy “Kamadhenu”, but never the less a rewarding & consistent Merzbow release.