Are these guys in love with their effects pedals and the f***ed up things you can do with them, or what? As you would expect from a band whose members bonded over a mutual attachment to Velvet Underground, Joy Division, and Beat Happening, and who clearly dig the Fall (see the Mark E. Smith-ish vocals on "Lawn"), this is damaged post-punk anti-rock, where every guitar, vocal, bass, or electronic component is set on stun to see how abrasive, nutty, or off-kilter they can make it. Like Suicide, early Cabaret Voltaire, early Human League ("Being Boiled"), 1981 Sonic Youth, Chairs Missing Wire, and Chrome, it's unpredictable, subversive, unsettling, and angular, but somewhat purging. It's a delicious pattern of torture listeners could have easily used, instead of bad metal, on Noriega when he was holed up in that embassy in Panama City: distortion, feedback, needles in the red, silence, quiet space, reverb, mass EQ, siren screams, and a detached but sinister vocal. Well, you can kill me tomorrow, after listening to this, but remember -- never today, and tomorrow will be today again.
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AllMusic Review by Jack Rabid