in papers and such......................... 

October 21, 2015 - by ©2015 Anders Ekdahl


BOTTOM kinda grabbed me by my ears and shook me real well the first time I heard them.

So I knew I had to interview them. ©2015 Anders Ekdahl

What is it that fascinates you into coming up with new songs and albums?

Sina: Life. My songs are about going through it—the struggle, strength, battle and joy. I write songs to exercise my fears, ambitions, dreams and to tell the stories I need to hear. When I’m not writing/playing I feel really out of sorts. Music is my church, my practice, my dogma. It’s the way I make the connection between life and the spirit. It guides me in times of darkness and gives me strength when I can’t go on any further. It’s also the sonics of when I feel awesome. Those are the songs I write.

How is this new album different from the previous? How do you take your sound one step further?

Sina: All BOTTOM records are a bit different. They are all journeys. Hug Myself..All the time is just that, I needed a big one. Originally, I had wanted to write a concept album which my character goes through complete breakdown, insanity, loss, failure and has to rebuild. I started on the path, little did I know I would go personally through the complete journey.

Originally planned for a 2009 release, BOTTOM had line-up changes and over the course I experienced a lifetime of stuff: I lost a major love. I was betrayed by good friends and bandmates. I seriously lost reality for a bit, but came back. I found life and love again and I had a child. I exhumed my band. Then as life brings twists, I got a near fatal illness (Myasthenia Gravis) and had/have to deal with that. All the while, Billy Anderson (engineer/co-producer) jumped from a burning house clutching the only copy of the masters. So we had to go on. It’s been an intense ride. I think you hear it in the tunes. Nietzsche: what doesn’t kill you it makes you stronger. Putting this one to print was a victory and I’m glad it’s done. Ready for the next chapter!

When you write songs about the topics you do what kind of reactions do you get?

Sina: I dig it when people find them inspirational. I write them to keep me going, to exorcise the demons, to get the darkness out! so when I get that reaction it’s awesome, it means the listener has journeyed too. I found it a highest compliment once that a reviewer felt scared for me, he went along for the ride and felt it. If you feel like everything is daisies and lollipops after listening, then you’re not listening to BOTTOM. I want you to jump in to the depths, the bottom and emerge stronger.

Whenever I think of you I cannot help wandering off to different bands. What bands do you indentify with?

Sina: I love so much music. I grew up playing violin, Mozart, Bach, Beethoven so I get inspired by orchestral music. On a pop level I turn to Kurt Cobain, Layne Stayley, John Lennon. I love the riffs of Pantera, Slayer, Helmet, LambOfGod, classics like Metallica, sabbath. Being one of the oldtime stonerrock crew, I dig my brothers MonsterMagnet, High on Fire, Kyuss et al. Newer bands I like are Gojira, Arch Enemy.

How did you go about choosing art work for this new album? What was important to have in it?

Sina: Just like the album, I struggled with hundreds of images and ideas. The painting artwork is by Jeremy Geddes! His paintings are amazing, haunting, transforming with amazing craft. Born in New Zealand, he lives in Melbourne. He balances darkness and beauty to perfection. I couldn’t imagine a more perfect BOTTOM companion. I’m an art school kid myself; man, I’d love to have a Geddes original on my wall one day!

What kind of topics do each song deal with? Is there a red thread to the songs?

Sina: Universal life stuff: Love, hate, death, sorrow, overcoming, strength, spiritual awareness on a daily level. Lots of metal songwriters deals with cars, aliens, cartoons, fantasy elves and stuff. I’m just more into the human condition. The real shit. In a nut shell: how it feels to be alive.

How do you come up with song titles? What do they have to have to fit the songs?

Sina: My bandmates joke I’ve created BOTTOMology, my own language. It includes sounds, math, spelling and definitions. I like to bring that culture into the song titles, they are typically extractions from the lyrics then word-smithed into BOTTOM-lingo.

Is digital a format that fits your music? Is digital killing music?

Sina: Recording is an art form. It’s important for musicians to be stewards of the art. The problem with digital is that anyone can do it. While I think anyone should express them self, not everyone should be behind a recording device and certainly not release that crap for the rest of us to be tortured. The worst is listening to lo-fi mp3s loud. Slayer dumped down to some horrible quality mp3 is just horrid, thin, lame. Powerless. I hate it.

That said, BOTTOM records have all been recorded using both analog and digital. I prefer analog tracking and mixing. It’s just real time. Whatever happens in the studio at that moment the red light is on is the moment that lives forever. Audio would be better if we all had record players with needles that pulled across an actual pressing. Unfortunately that’s not our world, plus ol LPs aren’t as handy as an iphone.

My feeling about digital is the same as all art: crap artists put out crap from content to technical quality. The opposite is also true.

How much of a live band are you? How important is playing live?

Sina: I love playing live! I live to play live! BOTTOM was a touring band for a decade, playing 320+ a year from Vancouver to Croatia. We loved our marathon tours, 100+ in a row, sometimes playing 2 shows a day for stretches. As of late, we’ve been playing local shows. Touring has been on the back burner due to line up changes, my health, I had a son, etc… We’ve been are working to get our live format together and want to get back out there. It’d be great to get a decent booking agent again and line up shows. We’re ready.

What lies in the future?

Sina: BOTTOM albums have creepily foretold what’s to come: Made in Voyage brought us to endless touring. Feels So Good When You’re Gone ended with a death in the BOTTOM family, mass breakups and 911. The lyrics of YourNext almost all came true. I nearly needed a straight jacket creating Hug myself..all the time. After the last albums, I’d be smart to try concepts like health, happiness, gold limos and too much cash. Who honestly can predict the future. I’m praying for more songs, more adventure, more BOTTOM!

Thank you for this interview. I wish you all the success you seek!



Review by Gulo Gulo
Sept 2014 

Bottom - MMXII (Self-Release)
By Chris Barnes
March 10th, 2013

 Sweet Jesus… I feel like I got the business end of an aural battering ram.

Bottom has gone a drastic evolution since their stoney 1998 debut Maid In Voyage. The all girl band that once blew out my eardrums in LA’s late, great legendary dive Al’s Bar is a thing of the past. Founding member/songwriter/producer Sina is the last remnant of the original band, her erstwhile compatriots in both music and gender, Nila (bass) and Clementine (drums) have been replaced by two males… both named Kevin. The music has gotten progressively darker as well… 2004’s you’rNext bore almost no resemblance to Maid In Voyage and was a large stride forward to a darker place than 2001’s edgy Feels So Good When You’re Gone. you’rNext was to Bottom’s Stoner Rock past as was Black Flag’s My War's side B was to Punk Rock. An abrupt and arguably brilliant re-invention that seemed to polarize fans.

It’s nine years post you’rNext and Sina has put Bottom back on the burner. And turned the gas ALL the way up. MMXII is a live in-studio recording, five tracks in all, and seems to pick up the scattered debris from the blast crater you’rNext left in many a head. Bottom is less Stoner Rock than it is an amalgamation of the desolate, Hardcore-frame of long-running, Connecticut-based Rehab Rockers Cable and the metallic Ginn-isms of post-1984 Black Flag minus the solos. MMXII seethes with a feral intensity. “I Scare My Friends” with its gut-wrenching prose on drug addiction and Corporate wage slave reality, packs a visceral punch. Even the re-do of “Bullseye” from the first Bottom record has new found intensity and fuckloads of pure, unexpurgated gravitas.

The biggest draw of Bottom and MMXII In particular, is Sina herself. When she isn’t indulging the plaintive wail, she’s screaming from her toes on up. Not just an everyday half-assed scream, but the sustained, tortured kind that would seemingly take years upon years of piled-upon pain to draw upon and pull off. When Sina screams, the earth wobbles a bit off its axis emitting it’s own celestial “what the fuck was that???” in response. I keep hoping that her music is at least somewhat cathartic. After 12 years of Hesh Rock Journalism, this is the first time where I’ve been genuinely concerned for the well-being of the musician.

A new Bottom record is currently in its mixing stage, under the aegis of Billy Anderson. He tends to do bad things to vocals which would be a huge mistake here. I pray, fervently even, that he preserves Sina’s trademark intensity. The two new songs on MMXII are certified chuggers, which signals that Bottom may be continuing to evolve still. Heavier than heavy, MMXII is a work of profound heaviness with intensity to match. Definitely not lighthearted fare. Approach with a strong constitution.


May 2013
Released: 2012, Self Released
Rating: 4.0/5
Reviewer: Aaron Yurkiewicz

Like an amphetamine fueled Sasquatch at the apex of his bender, San Francisco’s Bottom tramples their audience with graceful and reckless abandon. Lead by stalwart vocalist/guitarist Sina, the trio has been a worthy contender among the doom/stoner/sludge circuit since the late 90’s, taking the occasional hiatus along the way to relocate and regroup. But with each eventual return, Bottom seems to come back more focused and ferocious, as evidenced on their latest EP MMXII. A live in the studio recording that covers material across the band’s discography, MMXII serves a sort of a primer course for new fans, as well as being a reintroduction for the long term faithful.

While each of the five tracks on MMXII bear semblances of the usual genre trappings (low end fuzz, trudging Sabbathian riffs, the faint scent of reefer that somehow permeates out of your speakers), they all present a unique identity that collectively becomes the Bottom sound. Opening track “Pale Horseman” is a grungy saunter that marries Sina’s uber powerful bellow with a dirty foot stompin’ groove, but hints at influences like The Melvins with its crust punk shape shifting. “In an Instant” sounds like a raucous L7/Pantera mashup, while “Scare My Friends” is a sort of doom/blues/Sonic Youth fed almost ballad. “Ode” is pretty straight up traditional thrash, and closing track “Bullseye” is a targeted dose of sludge induced angst, that leaves you feeling just a little dirty at the end.

MMXII does a great job of detailing where Bottom has been and where they intend to journey in the future, and the fact that they chose to do this in “live” setting just seems to add some additional hutzpah to an already potent set of tunes. I’ve had the privilege to hear some of the pre-production demos of the forthcoming full length HUG MYSELF…ALL THE TIME (due out sometime later this year), and as much as I’ve enjoyed Bottom’s catalog to date, I can safely attest that this new album will be their best work yet. But until said album gets a proper release, MMXII is the perfect appetizer to tide you over. Check out Bottom’s website to for more info about the band, samples and purchase info.

2005 Reviews for you'rNext. . .


Although 2005 isn't over yet, this album belongs definitely to one of the biggest surprises of this year, and it was a courageous step from BOTTOM to record such an experimental low-end album like "you'rNext". With the last album "Feels So Good When You're Gone", released by Man's Ruin Records, the band had established themselves in the heavy scene and due to constant marathon touring, BOTTOM gained a good reputation for being a crushing live-act. After the breakdown of Man's Ruin, the band was signed by Small Stone Records and with "you'rNext", their first album for the Detroit-based label, BOTTOM have executed a radical cut. The new album still includes a few of the band's trademarks like huge monster riffs, an extreme low-end, or the stunning vocals from Sina. But they have removed almost all well-known rock conventions and filled the empty space with feedback, song fragments, whispering vocal-parts and folk-like elements, featuring a flute. And at least, they weren't afraid in recording a verse from Friedrich Schiller, entitled "Excerpt from Schiller"! Well, this "song" is very short, but it helps in emphasizing the bizarre folk-vibe on "you'rNext". Sina is still an outstanding vocalist with a very varied voice, and in "Requiem", her singing reminds me to Diamanda Galas or Nico. But the album includes also a few "real" rock 'n' roll songs like "By a thread", that could have been taken from the previous album or the outstanding "The Traveller", one of the best songs I've ever heard from BOTTOM. I'm not sure, if they have resigned the old formula and will come up with more sonic surprises in the future, but "you'rNext" will be a shock for fans of the first two albums. To speak for myself, I like the experimental edge here, although sometimes, I had the impression that I was sitting in BOTTOM's rehearsal space at NYC's Lower East Side, and watched how this three women were tuning up their instruments... But after this disc had taken a lot of spins in the player, my conclusion is, that the album must be seen as an entire piece of art. I guess, they won't find a lot of new fans with "you'rNext", but I think it's great, that BOTTOM gave a shit about any expectations and recorded this kind of catharsis within four days. Respect!

Klaus Kleinowski

November, 2005


Opening with a mass of feedback and loose guitar meanderings, New York’s Bottom set the scene for a dirty, raw-edged sludgefest complete with a deliberate but limited sense of direction and purpose. The trio put an unusual slant on an all-too-often emasculated artform, though they steer clear of femininity, proving that female does not necessarily equate to sensitive and genteel. Indeed, these three lasses are as abusive, abrupt and classless as those they look to for inspiration – that being Neurosis, Isis, Helmet, and Scissorfight, all in the early part of their careers.

Self-produced, You’rNext utilizes tortured, vitriolic vocals that are spewed forth in angst whilst the music remains loose and intentionally sloppy. Such an approach creates an interesting tension as the two elements tug against each other, seemingly waiting for the other to snap. And indeed, on ‘Distordo II’ the composition side wins out as feedback and adlib jamming are committed to tape together with patient fuzz and snail-pace enthusiasm. Additionally, minor forays into sludgy blues hint at something more to come as their career develops.

Misspelt for no apparent reason and sporting Cathedral-esque coverart, You’rNext requires an enduring ear to get beyond the moments of nothingness. But there are rewards for those that do.

June 17th, 2005

(-----that's right buddy, I 'misspelt' my lyrics on my linernotes.hahahaha. At least, I know, it's mispelled. Did you purposely make two spellings errors (in the same sentence) in your review? ---sina)

INK 19

This is an album creepy and terrifying. The trio offers deep, dark and mysterious rugged instrumentals like watching perturbing motion on the surface of an underground lake. Then there are the screamo songs of melodic noise rock. Bridging this subterranean chasm is such reduced metal as the potent chthonic ballad "The Same". This is music for black lights and stormy nights. (4)

Thomas Schulte

May 13th, 2005

The Cutting Edge

Cutting Edge

Your Next - Small Stone Records

There's absolutely no fat on Bottom - just dense swamp-water riffs seeped in old-school Sabbath with a ring of Cathedral/Trouble on the lower end. Super heavy on both bass and feedback, the New York-based trio grind this mother into the ground like a plow eating asphalt. Check out the dirge courtesy of guitarist Sina in “Testimony of the Mad Arab” with the apocalyptical ring of a military transport chopper flying overhead. For an instrumental, it certainly sets the mood for the next 50-minutes.


“By A Thread” has elements of Sab’s “Planet Caravan” in mood and reflection before Sina’s voice comes roaring forth unleashing a banshee’s fury. Her delivery is similar to another siren of a bygone era – that of Détente’s Dawn Crosby. Yet, that voice can be deceiving as we hear her subtle beckoning in “The Same”, and “Nana Del Rio” right before it rips the cover off your speakers. Groove is essential throughout especially when they converge on the mouth-watering “Requiem” and “The Traveller.” The drums are brought to the forefront over a Gregorian chant in the darkest way. Brilliant!


This is Bottom’s first post-Man’s Ruin release and breathes new life for the road-worn band. Delivering 300+ shows a year has made them an extremely tight outfit. Yet, never afraid to stretch out as heard in “Distordo II”, the thick “Memories of Orchard Street” and the power mad “Bushmills Jimmy” make the most out of an arsenal of three. Whatever you do, don’t cut this cherry short before “Two for the Road” rolls into “Rainy Day Blues”. Pulling off a jazz/blues tempo switch not only keeps the record interesting but wonderfully fulfilling.


Website:, Small Stone Records

Todd Smith
May, 2005

Wolfie - Absolute Metal

Bottom's latest offering comes complete with cover art that looks like it belongs on a Cathedral album cover, but the music inside is something in a realm of it's own. This album starts off mellow enough, laid back guitar noises, drums and bass...atmospheric here and there, before eventually heading into an angry punk-fueled vocal with feedback screeching forth from the bowels of hell. Occasionally, the mellowness returns, but usually only for a brief period before the passive-aggressiveness boils over. Track 5, 'Distordo II' is a definite favorite. It's over 7 minutes of guitar feedback, occasional cymbals and drum rolls, random bass notes...laid back stuff. 'Memories Of Orchard Street' is a badass instrumental also. 'Requiem' has some crazy opera house vocals going on in the middle of it...this album even has a blues tune on it. It's one of those albums you just have to hear for yourself.

March, 2005

Scott Heller - Aural Innovations Mag

I have only ever heard the one track on the High Times magazine Stoner rock compilation by this band from NYC. They are touted as the heaviest band ever. The CD opens with "Testimony Of The Mad Arab", and features the band tuning up and spacing out before they enter into track 2, "By a Thread". "By a Thread" begins with some nice melodies before the evil rumble from below creeps into the sound. The lyrics on this song are great, being both funny and tragic. The band have long tracks of strange feedback and angry vocals but most of the songs are strange instrumental adventures and very much remind me of the old Melvins (pre-90's). I have to say this band have a unique sound and while most people will hate this and not really think it is very musical and worth listening to, others will appreciate the art. So fuck off is basically the message presented here. Take what we give you and if you don't like it, tough shit!!!!!!!!

AI #30 (February 2005)

Michael Toland - High Bias Magazine

The best of the stoner metal bands treat Black Sabbath and Blue Cheer as starting points, rather than ends unto themselves. Bottom is undoubtedly one of the best; its Feels So Good When You're Gone album is one of the genre's classics. With the long-awaited follow-up, though, I'm not sure what's going on. The black metal influence ("By a Thread") is welcome, the laid-back, non-metal tunes ("Rainy Day Blues" and "The Traveller") are cool, and some of the old riff-rock magic ("The Same") is still loudly present. But way too much of the record is given over to meandering feedback instrumentals that sound more like filler than conscious effort. Then there's the Carmina Burana thing happening with "Requiem," which should be left to European power metal bands who don't know any better. On the one hand, I'm glad Bottom is striking out in some new directions. On the other, too many of those attempts make me wince on You'rNext..

February 27th, 2004

Kevin McHugh - Hellride Music

you'reNext,' Bottom's third album, comes at you with one of the strongest left hooks you're likely to hear this year. Their first, self-released album, 'Maid In Voyage,' was a fine exercise in raw stoner metal played with passion and conviction. Those of us who saw this group of hardened road warriors ca. 1999-2001 know that this tuneage lent itself especially well to live performance. Then came the corrosive, brutal riff metal of 'Feels so Good When You're Gone,' a bloody exercise in pain and anguish that upped the stakes from the first album. If memory serves it was one of the last Man's Ruin discs, and Bottom's profile seemed a bit lower in the wake of the label's dissolution.

So its all the more surprising that Bottom should choose to present this unexpected aural snapshot as their comeback on the estimable Small Stone label. I don't usually do this, but I'll quote the press release: "'you'reNext' tells a gypsy lie using minor chords and wrenching howls and guitar tones that circle like ravenous buzzards." That tells the story well, backed up by the fairy-tale art of the cover. There's no doubt, the album is experimental. The riffs are virtually gone; instead the guitar paints accent strokes while feedback rules all with the drums providing intermittent structure underneath. Sina's anguish is still there, and in some ways the rather experimental structure of the music allows it a freer and more effective expression. Make no mistake, Bottom was feeling experimental when they recorded this, and bravely decided to go with it and release it, expectations be damned. This will no doubt upset the more hidebound among us who are disappointed at not getting their money's worth of expected riffage.

Suck it up and broaden your mind. Bottom is committed to the music, and I'm glad to honor that commitment by keeping an open mind for whatever they have on theirs. In some ways this is their best album, though certainly not the most comfortable. This music is more likely to remind you of the more outre efforts by the Melvins and Black Flag, or the no wave madness of DNA, early Sonic Youth, or Teenage Jesus. Hey, Bottom hails from New York City, maybe they remember those halcyon days of angular musical nihilism. In any case, the latest info is that they've got alot of music in the can that hearkens back to the metal days of 'Feels so Good.' So you malcontents are covered. Their next release will likely serve up the expected riffage, and I'll be there for that one as well. In the meantime, turn the lights off, spark up, and open your mind. In the long run this may turn out to be their most satisfying album.

February, 7th 2004

Craig Regala - Lollipop Magazine

The crush metal power trio heavy grooves are gone. Darkness, darkness, drone and darkness. The guitar is an accented noise tool, the bass an over whelming malevolent center the drums punctuate and frame a desparate cry to kill. Man; this is the ultimate breakup record. All it’s missing is a guest vocal by Diamanda Galas. The drone, drift-noise, growl-hiss incased takes a band who easily toured with power punk, nu-metal and stoner bands into the terrrain of the non-rock and roll song side of Boris, The Melvins, and Jucifer. Still it’s identifiable as Bottom no matter how “outside” it gets; the mark of a true band with a real musical identity. There are replicatable “compositions” more than “songs”, but it’s not jerking around.

It’s almost as if they made a “dub” record, but instead of blatent Jamacian dub techniques they pulled the idea and ripped apart their previous music, stripped it down and added other accents wherein a quaking molten core gushes forth. At times it’s closer to aggro-free music, (ever hear the father-son Brotzmann team?) , held together by a strict adherence to an emotional goal. “you’rNext” abstracts the feeling and subtracts the overt rock trappings to get at something they couldn’t get to “rocking out”. Although there’s a pulse and often rhythm tracks that’d grace any Scorn record that keeps the brooding life force creey crawling forward. The 15 year old “rainy day blues”, based on twenties-ish style vocal pop-blues, slyly and wisely reflects the giving-in-to,-not-giving-up-to nature of the other stuff. Check .

See; Neurosis, Jucifer, Porn (the men of), The Book of Knots.

February, 2005

John Pegoraro -

Those expecting more of the crushingly heavy grooves of Feels So Good When You're Gone will wonder what in God’s name happened to Bottom. The trio’s latest and first release for Small Stone Records, you’rNext, is a huge shift in direction.

It’s not that they’ve abandoned bass, drums, and guitar, or that their songs are now about puppies and sunshine. But they’re far removed from the style of their past releases. On you’rNext, they’ve got more in common with eclectic, experimental acts like Book of Knots. Some of the tracks, like “By a Thread,” “Nana del Rio,” and “The Traveller” are stripped down to the barest of essentials, accented by instruments not normally associated with this style of music.
“The Same,” the closest to the Bottom of old, seethes with animosity. You can feel the rage and desperation creeping out of the speakers when guitarist/singer Sina shrieks, “I shut you out of my brain/I feel you just the same.”

Intertwined with these more “traditional” style songs are, to steal the title of fellow Small Stone act Porn, experiments in feedback. It’s easy to dismiss these tracks as filler, but they in fact serve the purpose of keeping the listening off kilter. you’rNext isn’t background music. The arrangements are too complex and the music’s too engrossing for that. You’re taken on a journey with this album.

you’rNext has been described as “volume-addicted folklore,” and that’s just about right. It’s the type of album that will garner equal amounts of adulation and damnation. While it may not be perfect, it shows they’ve got creativity and daring to spare. All in all, you’rNext is a hell of a move on Bottom’s part, and I hope this release brings them a larger audience.

February, 2005

Chris Barnes - Hellride Music

Geezus H. Keyrist I was broadsided by this one. Bottom to me were always a good band, decent output in the past that I wouldn't say is particularly stellar or memorable. So it's this kinda expectation I had when you'rNext got it's first spin in the Barnesmobile.

In my humble opinion, the band has created their masterpiece… I expected the usual stoner-influenced output, big riffs, melodies as interpreted by Ney York City female gutarist, Sina. What I got was intensely visceral songwriting, framed by moments of dire feedback-drenched oddly-tuned minor chord mayhem… and Sina’s vitriolic, seemingly deeply personal lyrics delivered with … man, I don’t know the word for what it is but you feel it. No doubt about that. "By A Thread" will scare the shit out of you. Rollin's "Gun In Mouth Blues" comes to mind and those of you that know, really know… take "The Same" for instance:

"Words touching silence are felt long distance Like a shot in the dark, you've a heart. Weight up on my shoulders I grow twisted, I grow older. Held by vice of crutches, I struggle from your clutches…"

When she emotes on the word "crutches", it's like she reaches out and grabs you by the trachea and shakes… the impact of the bass and heavy handed drum work (I shit you not, during the hypnotic "Memories of Orchard Street", the combo's compression on the sub-woofers made the ends of my slacks visually move) put the "I" in "IMPACT". Both musically and emotionally.

Bottom exceeds expectation in spades, especially with the magnificently dark and ambitious "Experpt Von Schiller" (in creepy guttural German) into "Requiem" which, in my mind, is the "Expressway To Your Skull" for a new generation. Early Sonic Youth isn’t the only thing I hear however, as the raw negative energy of Black Flag's My War (especially side two) and The Process of Weeding Out come to mind as well. "Bushmills Jimmy", with its seemingly random, atonal guitar work, is more Greg Ginn than Greg Ginn. Nods to Lydia Lunch, Patti Smith, et al all along as well.

Also of note are the wonderful, unusual vocal harmonies in "Two For the Road" that are further explored and expanded into "Rainy Day Blues"– a song originally penned by Sina way back in '89. Gawdamn does it remind me of something Tom Waits might've wrote. I play this over and over like a mental patient. "The Traveller" is also amazing with it's Spartan approach to accompaniment and Sina's voice way up front…

This review has already gone on too long – suffice it to say if this is one helluva release. I'm truly blown away. Nice work, lady.

February, 2005

other shiiite.... we can't keep up.


You'rNext -
Feels Tour -
BOTTOM tour -

Attitude Zine. UK.

Daredevil Webzine. Germany.

Loud Planet. UK.


Metal Desert Webzine. Argentina.

Metal Guide. Greece.

Stoned Gods Webzine. Italy.

Stoner Sunshine Webzine. Japan. Reviewed Both Records 6/03. Japanese only.

Stonerrock Rules Webzine. Italy. Reviewed MadeInVoyage 2000. US. Reviewed 5/01 and 6/01. Made In Voyage Reviewed 2/00.

Zoopa Loop Webzine. France. Reviewed 5/01

Austin Chronicle

Austin Live

Slow End - France

W.I.G BOTTOM on the Van's WARPED Tour

No Brains Zine


New York Waste - Vol. 4 Issue 1 - January 2000
Who doesn't love a little BOTTOM…"Made in Voyage" is their latest and this month's Ass-Kicker! They are great live and it comes off smashingly on the disk. 11 songs that are "Ozzy Approved" and NYWaste Certified!

High Times - October 1999
Stoned by Rock - by Robert Braswell
Combining the trues element of rock--the raw energy and irreverent attitude of punk, the trippy jams and psychedelic effects of acid rock, the power-chord hooks and killer licks of metal, and even the rhythm and groove of funk--a new form, 'Stoner Rock' has evolved for the millennium.

The weekly stoner-rock night at New York's Continental club, DJ Laurie Es spins everything from the newest local bands to the mandatory Black Sabbath. I've seen dozens of great bands there- Atomic Bitchwax (featuring Monster Magnet guitarist Ed Mundell), BOTTOM, Roadsaw, Sixty Watt Shaman….

Like the feedback of an unattended amplifier, the group of bands dubbed "stoner rock" have been the source of a thundering buzz on the rock scene of late. Though the term is fairly recent, the concept behind the music traces its roots back to '60's acid-rock. Bands like Cream and the Jimi Hendrix Experience laid foundations; then Black Sabbath, Deep Purple and Blue Cheer emerged, steering rock away from the flower power towards a more aggressive, hedonistic vibe.

UIO online : Bottom
What do you get when you cross three females with a love for moshing and bands like Kyuss, Barkmarket, and Black Sabbath, and who happen to be from New York, you get the gut twisting sound of Bottom. Consisting of Sina, Nila, and Clementine, these three females have banded together to make some very good acid rock. If you don't believe me, you can ask Ozzy (yes that's right!) who signed their sticker with the words "girls rock", so if Ozzy likes them, they have got to be good.

With their chunky riffs and punk style vocals (much time spent at CBGB's could be the reason) Bottom is a refreshing take on the revived 70's acid rock sound. With most bands laying down to the likes of Kyuss and Black Sabbath and just playing the same thing they did, Bottom have added a new twist to the scene and could be an up and coming classic, who will inspire females to pick up an instrument and show that males aren't the only one's who can make groovy acid rock.

Gardenia (Italy) BOTTOM-MADE IN VOYAGE (English Translation)
By Andrea -
BOTTOM are an ultra-distorted power trio that debut with this great work inspired by Blue Cheer, Kyuss, and Fu Manchu. The group's characteristic is that they have a fulminating rhythm section and an ultra-distorted guitar over Sina's voice, a mix between P.J. Harvey and Zakk De La Rocha.

"25 HAWAIIAN is a stoner that I always want to hear, with fuzz distorted guitar, a killer rhythm section and a great chorus. A wild song that will sweep you out is "WHIPPING CHILD" It has a rhythm with a little Kyuss flavor but tons more of distortion, slow and rutilant. "THE GARDEN" is a Kyuss like song, full of groove while "WISH YOU WERE MINE" reminds me of the best past power trio, Blue Cheer. "THE LIAR, THE WITCH…" is a road-roller in action, while "BULLSEYE" does an excursion in the new metal style, thanks to the sharp guitar. "0HIGH0" is psychedelic while "EVIL OUT" AND "SEMIAUTOMATIC" are stoner versions of Rage Against The Machine!!!! Closing with "SHINE", a beautiful song with an incredible bass groove. Over all, a work that will make a breach in all the stoner fans' hearts.

Daredevil Magazine - Bottom-Made in Voyage CD
by Ralf : 2 (out of 5, one being the Best)
Bottom rock it, man!!! New York is were they come from, but, believe it or not, they've got NO New York-sound. The CD contains 11 songs, really groovy and well played. With '25 Hawaiian they made a cool opener, Bullseye is one of my faves. The guitar-work is really fat and the drums play well aside with the bass, cool. In my opinion is Bottom a really good stoner-act. The voice, hmm…, there's really no female-singer I know I can compare her with, but anyway it's good and it fits to the music, that's all that counts. Ok, all together you can say they play a style between old Magnet and sometimes Acrimony, a bit to technical (sometimes), but it's a really good two.

Nod Zine
Solarized, Bottom, -Brigthon Bar, NY, October 31 by Don Welch
Next was BOTTOM, with the last show of their recent tour. To call Bottom tight is an understatement, the road has honed them into a well oiled juggernaut of heavy rock. I caught Bottom this summer and they were great; but seeing them last night proved to me how a tour can make a great band insane. They played about 5 songs from their debut Made In Voyage, plus some new material. And even did a few commercials for Solarized.

Stoner Rock Rules Webzine
BOTTOM "Bottom" (tape) by Neddal Ayad

When I heard the opening riff to "Garden", the first song on this five-song demo, I almost wrote these ladies off as yet another Kyuss wannabe band. Boy was I wrong. BOTTOM takes the best parts of the "stoner" genre (fuzzy guitars, groovy riffs, power drumming...) mix it with a heavy dose of snarling punk rock intensity, and top it off with a vocalist who sounds like PJ Harvey and John Garcia's lovechild. Get this demo!!!

Mountain Express - Asheville, NC - July 10
Bottoms Up - Smart Bets by Marsha Barber
Skeptics take note: NYC's retro-tinged band Bottom is "Ozzy Approved" (at a recent gig, that wild-haired, bat munching legend signed the band's trademark sticker). This trio of hard rockers loves to tout the fact that the week they met, all three were suffering from minor whiplash sustained in different mosh pits.

… Sex and politics get explosive treatment in the songs of Sina, but the real charge is in the music. Loath to align themselves with all the "singer/songwriter fluff" out there today, Bottom wallows in a heavy, textured,'70 guitar decadence and swears,"[We are]the slowest & heaviest band ever."

Nod Zine
Core, Solarized, Bottom, Daysleeper -Brigthon Bar, NY, July 4 by Don Welch

Don Welch from Nod Zine risked life and limb to make it to the show at NY’s Brighton Bar.

Next up were BOTTOM, and they destroyed. Everyone's been telling me about them and now I understand why. Incredibly heavy and tight, BOTTOM ran through some of my favorites from their full length Made In Voyage (oHIGHo is my favorite), and a couple of new ones, I think. There were times I was wondering if Leslie West was in the band (but Leslie's a guy and certainly not that beautiful). BOTTOM has a definite line on who they are and take no prisoners, I highly recommend.

Around 1 AM, Core took the stage. Beginning with a soft jam, they segued …. Their set was also very intimate, in the sense that Finn was joking with crowd. He even showed us the lick he stole from BOTTOM, and said "Yeah, I borrowed that. I'm not ashamed to admit it." Fucking great.

Flagpole - Athens, GA - May 5, 1999
ABC by John Britt
BOTTOM: These NY natives are way into Zep and Sabbath, constructing some pretty aggressive and dark rock and roll.

Carbon 14 vol#13
Your Demo …My funeral! by Larry

Three NYers who dig Fu Manchu, Motorhead and kicking ass. They've got the chops: heavy, chunky riffs and pounding drumming (definitely a Bill Ward fan) under a strong vocal presence that, although mixed Way too high, has grown on me. I can honestly look forward to hearing more from BOTTOM. Best tape of the batch.

Oculus magazine
Bottom (formerly Racer-17) by RBF

Borrowing from punk, hardcore and grunge, BOTTOM presents a wall of sound that might knock down the walls of Jericho. Sina's growling vocals and guitar work head up the project. Both are sharp as nails, driving the music with the intensity of a gun to the head. Recommended.

 sings Led Zeppelin
Everybody else in this Zep coverband is lame (cover-band posers, they prefer to play covers than origianal music), but its great fun to see SINA having a good time singing Zeppelin!,

seriously old news.....

Monday May 22, 2000

Bottom with Witch Mountain @ Satyricon 

Bottom totally kicked ass when I saw them at Satyricon on Friday, March 31st. They really seemed to have the most energy of the bands that played that night, and they were in very good company with High on Fire, Acid King, and Witch Mountain. It was also interesting to see the differences between this show and the Supersuckers the same night at Berbati's. One big difference was in the dress and attitude of the females. At Berbati's the girls looked like they originally came from suburbia, a couple of them in evening gowns even. At Satyricon ... hell they're right up there on the stage and kicking more ass than the Supersuckers ever dreamed. And the dress was definitely tougher: jeans, t-shirts, jackets, definitely more down to earth and yet sexy in its own completely different way. These girls were ready to rumble. 

Anyways, back to Bottom. They have a very comfortable stage presence and they are damn talented. And they do the little extra things that demonstrate how they've got their act together. For example, the drummer will spit water onto the cymbal during the quieter moments so that when it comes time to crash it, water goes flying everywhere (takes me back to when the Butthole Surfers' Gibby used to pour lighter fluid into an upside-down cymbal, light it on fire and then smash the hell out of it, shooting flames up high, though I think that could have disastrous results if not done just right).
What I initally found interesting about Bottom was that they formed in NYC right about the same time that I moved from there to Portland. Seeing them play made me wish just a bit that I had stayed a little longer, but hey, that's what tours are for. And speaking of which, they are touring for something like seven months. Hopefully they will still have as much energy for this show as they did for the last one. Something tells me they will survive it pretty well. After they finished, I bought their CD, Made In Voyage and promptly listened to it in the car. I'm still not too crazy about the pun, but the music is damn good. The intro is also interesting, with sounds of the subway and Sina yelling "Welcome to the Bottom!" She said the guy [Mike Jones, NYC] recording it was off in the distance, which not only gives it that far-off sound, but the people near her thought she was nuts. Too bad they didn't have video of that also. I had listened to the MP3's on their website, but the thing I keep forgetting about stuff like this is that it really has to be played with big speakers to get the full sound. Those lil' 'pooter speakers just don't cut it (though a subwoofer does help). Amazingly, they seem to have captured much of the live feeling in this recording. Buy it, and then go see them in person, or vice versa. 
[Kenric L. Ashe]


                                                   if it ain't heavy, it ain't shit.