The fainthearted should be warned of the recordings of Whitehouse.Noise music freaks will find even the most abrasive works of Merzbow, C.C.C.C., and the like to pale next to the extremity of these recordings. This group works with concepts of brutality and harshness in sound and content -- an approach that is difficult to stomach for even hardened noise listeners. This depraved and violent project's tenure lasted throughout the '80s and '90s when they released some of the harshest and most difficult recordings that the post-industrial and underground noise camps would witness. Fans of the group should know that this recording presents quite a departure from the analog sound of earlier works. In its place is an equally abrasive wall of digital noise made up of hammering beats and high-pitched drilling-tone punishment, over which the trademark dialogues of depravity and sickness are delivered in clipped distortion. An exercise in utter repulsion, there is no denying that Whitehouse represents a necessary extreme in avant-garde noise music, making it their business to push the limits a few notches too far; by challenging every taboo and violating the listener, the work is profoundly discomforting to say the least. In going beyond the limits, Whitehouse raises questions of acceptability in art that surmount to a conceptual polemic inquiry which would inevitably be made in the dark realms of the extreme. Someone has to set the threshold, and Whitehouse made that their goal for a good 20 years, which culminates in this subversive masterwork.
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AllMusic Review by Dean McFarlane