There are differences. The bass-drums team of Jean-Hervé Peron and Zappi Diermaier plays faster and harder than Maranha’s rhythm section, and Conrad’s stranglehold on a bowed pitch is more monomaniacal than Maranha’s. But that just makes it sound like Antarctica is the near beer version of Conrad’s heavy brew, and that doesn’t quite seem fair. Because unoriginal although it might be, this LP sounds great. The keening violin nicely shorts out most higher thought, the buzzing organ evaporates the rest, and the music’s stolid trudge will lure your pulse into locked step. The textures are raw, the sound hypnotic, the effect nicely time-stopping. Is this music any less worthy for being an open homage?