quickly increased its cult following with by bringing an element of thematic engagement to otherwise above-average death metal. This entertaining source of engagement comes via the song titles and the accompanying lyrics; much along the lines of , , and writes genuinely perverse songs about the sort of taboo subject matter that is appalling yet undoubtedly intriguing. In the case of this album, the Chicago trio bases each of its songs on a different psychopath; for example, the opening track, is based on , just as the next track, . Sure, this is a juvenile concept, but when as seemingly tongue-in-cheek and as well-executed as this, it becomes a unique and quite charismatic attribute that helps to differentiate this album from the glut of other death metal releases churned out by globally reaching independent death metal labels in the mid-'90s. (The album cover's satirical take on , picturing each of the psychos, only helps.) So even if the music isn't necessarily as timeless or influential as something like 's or , and even if isn't as downright serious as a group like , in the end, this album has become somewhat of a cult classic, right alongside other perverse classics like and . [ re-released this album in 2000, adding the four-song EP .] ~ Jason Birchmeier