The CDR album comes in a oversized white double folder with a stuck on colour picture on the front  cover which shows what looks like  either a battered blue painted wall or canvas with blobs of brown shit like colour  showing through where the blue paints peeled away. This gives the release quite a different look from your usual horror,
giallo or dark themed covers of a lot of HNW titles.

The album opens with “Preparing For The Worse” which comes in at  just shy of  the nineteen and a half minutes mark. The ‘wall’ opens with this very tight and tense bass lined mixture of mid-paced taut juddering, and crisp static jittering  obsessive noise. The track really feels like something is weighing down and pressing on your shoulders, with Boar creating a track that’s both very airless and nasty yet at the same time damn hypnotic and entrancing. The track pretty much remains locked in this taut and tense battle between the main two or three tones for most of it’s running time, which builds the tracks tension to great highs. But in it’s  last four or five mintues the static seems to get more hacking tense and pressing, and just when you think you can't take any more pressure (around the seventeen minute mark) Boar suddenly releases his vice like sonic grip and cleverly drops into loser wiring/ droning type ‘wall’ of sound- and it feels like the pressure is slowly easing out of yourself and the track.

Up next we have the title track which takes up the lions share of the disc with a running time of forty two minutes. And once more this is another very tight, airless and pressing example of hypnotic wall making- yet it offers up some great texturally shifts in it’s length. Most of the track finds Boar unfolding this throbbing, muffled bass-like and tightly juddering tone that has this really sleazy and nasty air about it. On top of this Boar moves these patterns of thick weathered static grain, which slowly morphs in shape as the track progresses to form new battered shapes. By the mid-way point a new more hectic and clamouring yet stuck muffled jitter has appeared, and this slowly takes hold of the track. By the thirty third minute the track becomes more battering ‘n’ ripping in it’s intent, and once more the pressure feels released again.

Lastly we have “Walking Away With Only Broken Ribs” and this is the shortest track here at just under the thirteen minute mark. It’s also sadly the least impressive track too, it not that it’s a particularly bad slice of wall-making by any means it just seems to pale in comparison with the build of tension and weight then release of the first two tracks. The tracks ‘wall’ is just a fairly standard mixture of fast paced roaring flame drone with a smaller slightly juddering static tone on top- it stays held in it’s same state and structure for it’s entire length. As say it’s ‘ok’, it's just not as special as the first two tracks.

For most of it’s seventy plus minutes running time “Fucking Disgusting” is a wonderfully celebration of building tension and brutal release- it’s  HNW  in its most compelling, devastating yet thought-out form. It’s just a pity the last track stops it just shy of becoming a masterpiece.