Eight seconds of guitar feedback opens the mini-album, prompting instant curiosity and intrigue. The track steadily gains momentum, seamlessly integrating a quick bass and drum line until the song comes to full fruition with the addition of vocals. Zeahorse’s opener, "Spider Stole My Fungus", serves as an hors d'oeuvre to the 8-track menu, whetting the appetite of listeners with a taste of the band’s punk rock roots; psychedelic overtones evident in distorted guitar chords and twisting frequencies. Music connoisseurs, be aroused.

The wailing chords of the second song arrive. "Rabbit Hole" is short and potent. Like a shot of vodka, it slides down well. Stirring guitar riffs kick start the alcoholic effects; aural senses are in disarray. Anthony’s vocals slur, augmenting the psychedelic experience as the track ends, coming in just under three minutes.

Down tempo and slow, the next track saunters onto the table. A delectable main of sedated notes, "Jesus" keeps lyrics to a minimum. The meal offers lashings of distortion, moderately peppered with drum cymbals and the echo of Anthony’s howls. The track is digested at a leisurely pace. No risk of choking as the song prolongs the warped effects of the morsels previously consumed.

"Victim" offers a short respite from the glutinous consumption. Lighter and quicker in beat, number four on the 8-track menu is a palette cleanser. Like a sweet glass of wine, it washes the other tracks down well; a perfect complement of guitar strums and steadfast drum beats. However, halfway through the song, the mood turns. The second wine glass takes its toll. The chords start to wail and the head becomes heavy, but the chin is still up as the track picks up the pace again before fading out.

Music diners are swamped once more with another main; this time a slice of "Morphine Pie" is placed on the table. Clocking in at just under six minutes, the song is to be savoured in its entirety. The rise and fall of the tempo and the warped feedback of the guitar is aural assault on a plate. The stomach digests; the ears and mind revel in the garage punk soundscape. Senses are satisfied.

Dessert makes an appearance on the sixth track. Sweet and succinct, the two minute song is a guilty consumption: “Life is one big party, of ecstasy and wine.” "The Goo Will Be Gone Real Soon" highlights Anthony’s vocal work: part slur, part grit. Guitar warbles laced with regular riffs round out the meal. A delectable treat.

"Sulfur" and "Big Tall Trees" conclude the aurally decadent course. Knives and forks are placed on plates, fingers are licked in time to the ever-dependable drum line that are present in both tracks. The songs exude light and shade, picking up speed and then relinquishing acceleration, all the meanwhile playing with the mind and inducing a heavy, potent drug-like effect on the senses. An aurally appeasing feast served up by the Sydney four-piece. One can only hope to be invited to dinner again.

Review Score: 8/10