Critical reception
The Fort Worth Star-Telegram wrote that the duo "hammer out distorto-infuriated grooves with all the power and precision of a typical four-piece, stringing together their clamor with discordant screams, television samples and, of course, lots of feedback." [1]
Andrew Earles, in Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-1996, wrote that the album "literally held the potential to destroy speakers and stereo systems not ready for the absurdly low and nasty frequencies found in some of [the] songs." [6]
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