Although there are seven separate pieces on this album, the CD reads the time code as being one track only. While this makes little difference to the sound, it makes it difficult to tell where one track closes & another begins. The area this falls into is a sort of Experimental dance with one foot in EBM while maintaining a feel & fluid approach which sets it apart from the more mechanical ANTLER-SUBWAY groups. "he, her, you, Drooling, Slavering" opens play - starting with atmospherics - STOCKHAUSEN / VARESE-like weirdness coupled with fading in and out female heavy breathing. It gels into a medium-paced piece of dance music with strictly defined drums & a complex mass of sounds all swirling around the listener in distorted/twisted facsimiles of real musical shapes. It warps normality in the same way Salvador Dali did with everyday objects - Soft Watches an obvious example. This has the ever-oncoming feel of CABARET VOLTAIRE circa the CREPUSCULE period - "Secret Agent Man" etc. Sampled voices repeat at intervals, adding to the atmosphere while squeeky sounds like dog toys become integral to the rhythm. The rhythm collapses, echoing in heavy slabs of sound to bridge between each track, forming it's sounds into "ready for the Clinic Of The Composite Body" which follows similar lines with a trilling Red Indian- like warcry tinkered into the ever-onward dance logic which enters a mad world of 'altered' drum machine sounds. High pitched sounds play a part in the structure, existing a degree beneath the pain threshold. Again looped sound, rolling with spikes, forms a bridge between this track and the next, "the Uterus Matrix" which opens as another weird looped thing. before forming into a rhythmic piece, a lot more subtle than the others, like a cross between John Carpenter's early film soundtracks, and a timeless, airless suburban Jazz. Over this are various moments of chilling strangeness - industrial masses form & dissolve~ hysterical / orgiastic female voices, bereft of humanity moan in a non-language. It eventually dissolves into a non-beat weirdness which reminds me of the more atmospheric pieces from "Beating The Retreat" only stranger. This melts into "bears a baby bright red Livid Lips" again a mass of industrial noise, twisted into painful contortions, smashed into semi-animal submission. Out of this amalgam of fused sound grows another cold sub- (or super-) EBM piece - a medium-fast paced dance track which avoids 'tune' in favour of 'effect'. It doesn't shy away from using non-sync'd sounds, and some of these - water, crashing, hard- edged sounds survive the crash which concludes the previous track, allowing "kiss The Gory Man" its freedom. It's another piece which has a peculiar atmosphere. straddling between TG and Body Music, while having clear, bizarre identity of its own - a fast, high rhythm, reminding me a little of some of the things REICH did with tuned percussion - xylophones or marimbas or whatever - over which waves of strange sounds sweep - from Industrial grey masses to warped voices. "twitching, sybaritic, sated, Ascent Of Psychiatry And The Military" pulls itself out of a sucking mud pool of looped voice & found sound - it forms into a bright & frenetic drum pattern, full of dimensions & strange, disturbing noises, while the percussive patterns change direction - first this way, then that, becoming a thick, intricately involved piece, then thinning out to a minimal rhythm, around which found nois, whistles & looping, echoing voices all weave their sound, adding to the atmosphere. Finally, rising out of the shattered remains of the previous track comes "the patriarch murmers 'no' yet Holds A Heart To The Sunlight" - this piece as shattered & strange as the previous one, yet the drums are harder more formed, like whiplash across bare, untainted skin. Again it collapses into non-beat, a strange mind-swamp of audio images - barely human voices moan and growl, shout & gibber. It forms rhythms again then visits vet another corner of Dystopia, to see yet another twisted post-human tableau of pain, misery & suffering. Out of this forms the most basic, most post-apocalyptic rhythm on the whole album - metal bashin' forms the bas/s/e while all manner of sounds, rooted in organic, play over the top of this tribal slow dance. It's not so easy to describe this album, because although it has the technology of the EBM school, it maintains a savage, primitive - something more akin to WHITEHOUSE in sound, and even has degrees of DEATH IN JUNE while sounding a nothing like any of them. A hard-edged, uncompromising album full of audio surprises. Originally reviewed for Soft Watch.