With the exception of vocalist Alex Love Dolls, each member of the Latexxx Teens already hails from acclaimed Italian bands. These influential acts include Goth-rock mavens My Sixth Shadow and lusciously metallic Draconian Order, signed to Watch Me Fall Records and Dave Pybus’ Sixsixsix Records, respectively. Also overshadowed by mainstream acts such as Wednesday 13 and hints of other groups, the Latexxx Teens noticeably cling to these musical roots.

            Formed in 2003, the Teens have progressed to release their first EP entitled Latex (De)Generation in 2005. Employing technique and musicianship characteristic of their own individual acts as well as many popular glam artists, this EP, even before opening it, was predestined to be a statement of attitude towards rock-n-roll on the path which it is evolving today. This statement, however novel, still remains subjective as our journey begins.

            A blatantly confusing album opener, the disc’s namesake track is mixed in such a manner that the instruments don’t complement each other. The synthesizers battle the guitars, the percussion becomes an afterthought, and the vocals become lost in the din.

            One proponent fortunately breathing life into this track is the cameo of Decadenza frontman Killo; his presence noticeably adds volume to the vocals, thus affording them some much-desired character.

            The record’s second track is unique in the verbal aspect. The lyrics to this song are rather direct, which isn’t usually a quality found in rock today due to cliché symbolism. You, the reader, can research these lyrics on your own and form an intelligent opinion as to whether this bluntness is absolutely appropriate in this case. [The point must be made that the song’s title obviously hints at its content; however, respectability is in the ear of the beholder.]

            Near the end of the tune, one can detect Killo and Kln 69 of Decadenza singing harmony, although the vocals as in the previous track are unfortunately distorted beyond repair and hidden behind the civil war between the synthesizer and lead guitar.

            The third tune on the EP, “21^st Century Rebel Idol,” certainly dawns into a better direction than its albummates, with melodic guitars and the thoughtful accent of a cowbell. Although this track is clearly an ode to the rock-and-roll trinity, the simple fact remains that these lyrics can actually be understood! The added voices in a lower octave also generously contribute to the track’s overall tone quality.

            And, well, Eureka! In this song we’ve found that guitars and synths really can live together. The bass is strangely nonexistent; however, the rhythm guitar seems to take over the bass duties so this predicament doesn’t much matter. Finally, the lead guitar solo displays no lavish technique, but this simplicity somehow augments the song in a positive way. Here’s to hoping the album hasn’t peaked.

            They’re baaaaaack! In the “Lipstick Terrorists” portion of the EP, the overpowering rhythm guitar is dueling the synths with a license to kill. The vocals, if they could be transcribed into pictures, would look like a scrambled television channel. The shout-along excerpt is an effective idea to demonstrate the group’s enthusiasm, although it isn’t particularly in unison. The synths overcome the guitars, but finally choose a battle with the drums, which have taken to fiercely pounding on eighth-notes for thirty seconds straight. As one can probably imagine, the synthesizers emerge victoriously and conclude the track in a peaceful manner.

            “Poison Ivy”, the Latex (De)Generation final chapter, proves itself as the album’s pinnacle. The entrance piano is rather captivating and the synth tone complements it excellently. Unfortunately the vocals aren’t 100% clear, because the lyrics would surely bring more depth to the track that best displays the band members’ talent.

            However, having said this, the subdued vox have one advantage: the calmness and accessory background percussion remind one of milder Peter Gabriel—a true compliment to the Latexxx Teens’ caliber of musicianship. As before, the synthesizer prevails over all, but this time it adds much-due emotion to the EP’s most prominent showcase.