If minimalist punk group {$Flipper} had incorporated the excesses of {$Pere Ubu}, then created a hybrid of {$the Cramps}' {$Lux Interior} and {$the Make Up}' s {$Ian Svenonius} to sing vocals, this {$Old Time Relijun} album would be the result. Vocalist/guitarist {$Arrington De Dionyso} explores the guitar's fretboard in every non-standard method possible, whether it's detuning and retuning during the middle of a song ({&"Telephone Call"}), sounding like an uncontrollable factory machine ({&"Giant Boat"}), or picking the guitar strings near the bridge to create piano-like noises ({&"Broken Water"}). Along with drummer {$Phil Elvrum} and bassist {$Aaron Hartman}, the band destroys any preconceived notions of what rock is supposed to be. They take a metallic, simplistic, and chaotic approach, where instruments sound as if they're melting (the bass at the end of {&"Johnny Appleseed"}) or dying (the bass clarinet in {&"Broken Water"}). The group even manages to explore free-form noise ({&"Hot Oven"}) that puts {$the Stooges}' {&"L.A. Blues"} to shame. The album would be an all-around success in noise rock if not for a two-and-a-half-minute Jew's harp solo ({&"Khomuz"}) and a drawn-out acoustic guitar/vocal ditty ({&"Office Building"}). Fans of no-wave punk, or experimental renegades like {$Captain Beefheart}, should take note of this record. ~ Stephen Howell, All Music Guide