When first released, this album was a real enigma - Mick Karn fans wanted something similar to his first solo album "Titles", Peter Murphy fans were thinking Bauhaus, and back to Karn again, for those (most) that had no idea his even did a solo album, they were waiting for something like the later era Japan. The common thread between karn and Murphy was a love of 70's glam and after they had each explored and became tired of the formulas with their previous acts, they moved onwards to record one of the most interesting and challenging albums of the ultra-fertile mid 80's. Murphy's lyrics have never been better----singing over karn's somewhat chaotic bass lines was a true test of meddle for PM who had always been much more straight forward and seemingly in-control. For the most part he seems a bit lost as he takes his well-worn personal themes and lays them atop music that simply didn't make sense to him - the crazy thing, is that it all worked beautifully. To this day I think it's the best thing Murphy's ever done (though he disowns it no doubt due to a bit of ego clashing with Karn and Bauhaus fans that simply couldn't accept it (but for some reason could accept Tones on Tail). I wonder if David Jay and David Sylvian could have come up with something this interesting......At any rate - a true jem for Goth fans as well as a treat for the artsy Fripp, Eno, Laswell set......Karn has to be one of the best bass players ever to walk on this planet and the fact that he collaborated with Murphy was something I felt was ultra-cool (Karn could play circles around most jazz and studio heavy hitters). Very cool and highly recommended.