Track 1:Ultraviolence
The song starts off with a great guitar progression with hard-hitting drums & bass backing it up. Then it has a short bass bridge that’s very funk-esque before the vocals begin. The vocals start out sounding like Eminem, which to me is not a compliment. “My name is Satan! Death raps! I take it in the ass and den I mah boyee bust some caps!” Okay, so I made up the second part of that, but the point is the lyrics are that silly.

Throughout the song the bass and drums stay solid and the guitar belts out a couple of good riffs, but they’re drowned out by the screams of “VIOLENCE! It solves all problems! ULTRAVIOLENCE! You can’t stop it!” with a point I can’t really make out as he sings them – I had to go and look at the lyrics on their website. It sounds to me that the lyrics are meant to emphasize a hard-assedness in our boy Eric on the mic.

Track 2:High Gravity
This song starts off with a bass riff and then a solid guitar progression and drums chime in. The intro for this song is great. A whistle blows and then distorted screaming begins. “STEEL! It hits you like a shot to the dome!” and “Don’t fuck with me!” and “I’ve killed for less!” The whole lyrical content sounds like it’s about playing thug and takin’ mothafuckaz out, yo. It’s hard growing up in the rich, white suburbs of Chicago. While the music in the back is solid, again the vocals ruin the song.

Track 3:The Will to Kill
Yet another lyrical masterpiece that exhibits a wanna-be thug lifestyle of takin’ nukkaz out fo dey fo'ties, dawg. It starts off with a quote that I don’t recognize. It sounds as if it could be from a movie, but I’m not sure. Guitar kicks it off, followed by a bass & drum build up which backs off rather quickly and then into some nice guitar work, then the tempo comes back up a bit again.

Track 4:Milwaukee
This one kicks off with a sound clip from Wayne’s World – The conversation Mike Meyers and Dana Carvey have with Alice Cooper. I don’t know if this violates some copyright infringement laws or what, but whatever. I think an intro should have more to do with the song than just mentioning the name of the song in it. This song is kind of twisted… Telling an abridged version of the story of Jeffrey Dahmer. The serial killer cannibal from Wisconsin. Ex-squeeze me? Bacon-powder. What does that have to do with Wayne’s World?

The song starts with a great guitar riff and the bass & drums back it up really well. The music here is great. The vocals on this song aren’t as obnoxious as the other songs, as they actually fit. And the song, although kinda morbid, is well done from a musician’s perspective.

The song ends with another WW quote. Meyer’s saying “Does this guy know how to party or what?” It makes me think Low Profile supports fucked-in-the-head murderers, but I’d hope not.

Track 5:Hotboxed
Another winner with the intro guitar and gradual drum build-up. Then it’s a steady guitar riff which eventually breaks into a great musical composition. There’s a nice guitar solo toward the end, as the tempo picks up. The song itself is about “fuckin’ bitches” after the show, at least that’s how the lyrics read. And much like the other songs, there’s too much effects slapped on the vocals.

Track 6:Intermission
This is a 26 second clip from what sounds to be an intermission from an old drive-in movie theatre or something of that ilk.

Track 7:A Radical New Idea
Whoah. The tables turn on this one. I don’t like the musical composition of this song at all. The whole thing sounds sloppy. But I’ll digress for the simple fact that I like the lyrics. “A radical new idea//It’s very outlandish//Some call me a revolutionary//But my proposal is quite average”. The song’s content seems to be about different musical approaches, such as Alice Cooper’s theatrics or KISS’ extreme makeup and bondage suits or Poison’s looking like fuckable chicks and making every boy who grew up in the 80’s shriek in terror when he found out they’re really guys…

Track 8:One Mississippi
One Mississippi starts off with an eerie guitar wail and a bass picking line that’s not too shabby. Sounds like the guitar has a “Concert Hall” effects box thrown on it. Not bad at all.

Then the song begins and the music is phenomenal. The screaming doesn’t sound good and no matter how many times I follow the lyrics, I don’t really understand them, so I’ll leave them be and my look on the lyrical content of this song will be left as one big fuckin’ question mark.

Track 9:Studio Nightmare
Good intro on guitar. Very rock-your-ass. The bass and drums kick in and hold it solid. This is one bad ass fucking instrumental. Easily the best track on the disc. This song is fuckin’ rad.

Track 10:JPF
Kickass blues-rock intro. If the vocals weren’t distorted here, this would have been greater, even vocally (and it’s still not bad at all). Kickass lead guitar work tears this one up. Solid, hard-hitting. Very Slash’s Snakepit in the non-vocal parts (actually, even in the vocal parts since Eric sounds like Eric Dover on this track in some cases).

This song itself is about Joseph Paul Franklin, a white supremacist sack of shit who shot Larry Flynt, paralyzing him, and confessed to murdering others after his conviction for 9 murders from Tennessee to Utah. All of his murders were hate crimes against blacks and interracial couples in an attempt to start a race war.

This is the second track telling a tale of a serial killer with just as twisted of an outlook on life and society as ol’ Jeffy. This song does not endorse JPF. In fact, it points out how “fucked up” this guy was.

At the end of the track (16:40 total) there are a bunch of answering machine messages and phone conversation(s).

In summation, I think this record would have been fucking rad if it had either been left strictly instrumental in a lot of cases or they had stronger vocal ability and lyrical content in a lot of cases. Better yet, a more apt way of putting it is that Low Profile should stick to their hardcore edge (which they do well) and dump the thug life rapping (which they do not do well).