Foremost, color was never meant to be existent in the universe of Tetsuo. The grainy and obscured visuals of steaming coils, leaking faucets, and wire-rotting junk atop sordid soil was breathing the monochromatic horrors that Tetsuo: The Iron Man effortlessly exposed in a daring and culturally unheard-of fashion. The addition of hues flattens the lucid transgressions of the oddity that was the Tetsuo namesake. To set further in motion and to evolve my previous argument of narrative, Tetsuo II is more of a film than the original film ever aspired to be. With theories of gangs turned to manifesting flesh alchemy and the surplus scenes of tripe chest-piece manipulations with body cannons exploding with roadside sparklers and soaked fireworks, Body Hammer is not to be taken as a serious project. Perhaps a foot in the door as an aspiring film maker and not just an extended music video project for Chu Ishikawa's incredible hammer-to-anvil noisemakings, our pal Shinya has (decidingly) created some stale, albeit enjoyable, creations but Tetsuo II: Body Hammer finds no time to entertain except for a handful of scenes. Proving to be a failure on near all fronts, Ishikawa's return to scoring the post-science world of the Iron-beings is a haggard attempt at "evolving" the now "advanced" prototype of real industrial. Given inspiration from a poster with frogs(?), Ishikawa's ideal representation of the soundtrack to Tetsuo II sounds more as if a Super Nintendo track was recorded in midi format under several feet of water.