The first and title track ‘Yaaaaagghh!’ kicks in with layers of feedback that gradually increase in intensity, the result almost bordering on HNW, inhuman screaming adds to the cacophony, taking the noise to the next level with almost masochistic abandon, taking perverse pleasure in completely annihilating your senses in the process. A looped vocal rant provides the intro to ‘Tnasty Tnest’, dripping with playfulness, Glass then ups the ante as the track descends into madness, squalls of noise fall over the vocals, dark synths are added to the background, lending the track a darker edge, electronic blips are fired into the mix, the whole experience is maddening, your brain trying desperately to latch on to some part or hook, but each part is decimated at every turn, leaving you awash in the turmoil.

‘Repetitious Hooded Scumbag’ breaks in with a playful synth loop before falling into a fuzzed out punk ditty, which inevitably gets swallowed up in the ensuing chaos, destroying any kind of semblance from the outset and completely numbing the mind, bringing to mind the artist Sloth (first heard on another Scottish label At War With False Noise) with their D.I.Y and often hilarious garage punk ramblings combined with the harshness of artists such as Vomir or Kylie Minoise himself.  ‘Too Close for Comfort’ takes a similar approach, taking a familiar sounding sample and then destroying it piece by piece and layer by layer until you can do nothing but marvel in the hideousness that is left in its place. Feedback is the name of the game during ‘Tricycling’, a short sharp burst of ear-shattering intensity before diving headlong into ‘Wet’ which drops in some really heavy and grating bass underpinning the gratuitous noise that ensues throughout.

The closing track ‘Blinx’ takes on a more subtle approach, the main body of the track is made up of what sounds like a broken drum machine which has been submerged under water, either that or heard through the ears of a seriously drug addled brain. The main focus is on the howling drones with play in the foreground, slight shadows of noise fall around the peripheries and the whole effect is very disorientating indeed, but does offer some reprise from the visceral onslaught that came before.

A great little release, definitely pick it up if you are a fan of Kylie Minoise, Blue Sabbath Black Fiji or any other form of noise that does not come with all the elitist snobbery that unfortunately pervades the scene in general.