This latest piece of recorded madness from guitar virtuoso "The Great Kat" sees her continuing to take the classical music from world famous composers and shred it up into a hundred million pieces scattered on the floor - then piece it back together and record it about ten times faster and louder. That's what she does, and she's amazingly gifted at it. Recognized as both a technically advanced guitarist and violinist, she's singularly invented her own unique method of recreating the music of world renowned classical composers, and applying it to a ferocious brand of speed metal that can both astound and mortify all in the same breath. Taking on the challenge of trying to bring classical into the modern era, where too few people have come to appreciate it as a fine art, her intentions are clear - either the listeners are going to get it slowly but surely, or she'll be pleased to ram it down their throats! For anyone who's familiar with the wicked dominatrix image she's portrayed since her "Worship Me or Die" days, they'd be well-inclined to take heed.

Her latest creation, "Bloody Vivaldi," follows in the tradition she's long since established - much like the "Beethoven on Speed" stuff before, only this time she takes her CyberBand and Chamber Orchestra and picks on Vivaldi's "The Four Seasons" and Sarasate's "Carmen Fantasy." Each track begins and ends the disc as it's only four songs long, but anyone who's familiar with The Great One's music knows that every last ounce of blood is poured into each interpretation, and if they were slowed and broken down, they would last an eternity. Each piece is over and done in about two minutes, and indeed, one would be hard pressed to find anyone with more dexterity on the fret board. She once claimed to be the fastest guitarist in the world, and who's gonna argue with a screaming, blood-soaked blonde who loves to administer pain and torment with a whip and chain in both hands??

The other two tracks sandwiched between the classic pieces are typical of Kat's own material. "Torture Chamber" and "Blood" are both nonsensical in nature but follow her traditional theme of trying to scare the hell out of everybody within range. The classics will be instantly recognizable to listeners and you will indeed be amazed at the complete massacre that takes place between your speakers. But that's precisely what she wants, and whether you know it or not, you will want more - you will become her slave. Give her credit. She's still out there doing her thing, and it may not be easy for everyone to swallow, but she's determined to get her message across one way or the other.