It's been a while since I've heard Throbbing Gristle's "20 Jazz Funk Greats", but from my recollection, I don't remember it being nearly as mind-altering and proto-industrial and noisy as this album is. Aside from that, I'm familiar with TG member Peter Christopherson's later endeavors with the great post-industrial band Coil but that's about the extent of my knowledge of TG. If I had to say anything about this album, it's that I think the most mind-blowing thing about it is its release date. I think a lot of the songs on the album blend to form one large directionless void. It's all unsettling, there's not a single earwormy or straightforward track here. The electronic, glitch, distortion effects, and sheer power electronic vibe of this album may not sound so impressive today in the era of post-industrial electronic giants, but it's not hard to pinpoint just how many artists this record could've influenced. When paired with the technological limitations of the time, this album's existence alone is quite a feat and makes it worthy of praise. As for the individual songs, they're still pretty enjoyable and distinct. Again the drones and walls of noise are all there, most notably on "Hamburger Lady" which has these vocals drenched in bizarre vocal effects paired with these strange piercing and high-pitched shots of noise. "Dead on Arrival" may be one of the most direct tracks here, it has several facets and phases and has an electronic groove that sounds so modern it's uncanny. "Wall of Sound" is probably the most haunting and bone-chilling track here, you can probably infer why purely based on its title. The thing I love about this album is how it's influential yes, but it's not "watered-down influential"; that is, the music it inspired doesn't outshine or overshadow it, and its potency is still prevalent even in retrospect. Too many times with influential albums, you can tell that they're very much "prototypes", that's not the case here. It's not clunk or aged in any way. The more "serene" and less noisy tracks with hazy, detuned blushes of noise like "Weeping" and "Hometime" are just as enjoyable as the noisy songs. Many of these songs are paired with either bizarre singing or interesting and uncanny field recording snippets or tapes that are seemingly random, but also tell a story. The tapes on "E. Coli" are probably the most unsettling, it feels like you're listening in on some forbidden memo about some super-mutant bacteria over these uneasy string-sounding synths. "AB/7A" may be the easiest song on the ears here, with a gorgeous ambient proto-EDM groove driving the entire thing, it's a gorgeous moment on the album. While not perfect by any means, this album's existence alone I think is worthy of praise. It's not music for everyone and I understand hating every second of this, but for my ears, I think it's a very cohesive and enjoyable electronic experience.