Ulcer's fourth and most recent release, from 1997. Subjectively, it is noticably heavier than their previous work. There is much more guitar on this album, giving it a different texture compared to their earlier work.

Track listing:

  1. Freak Intro (1:46)
  2. Freak (5:11)
  3. Forever (10:17)
  4. On Your Knees Intro (1:23)
  5. On Your Knees (6:19)
  6. Daddy (7:11)
  7. Katherine (4:17)
  8. Passion Of Hate (7:32)
  9. I Want To Touch You (8:57)
  10. But I Don't Want That (8:00)
  11. Daddy (Radio Mix) (3:50)
  12. I Want To Touch You (Radio Mix) (3:23)
  13. But I Don't Want That (Radio Mix) (3:25)

Total run time: 71:31

I really like this album, for many reasons. The song "Freak" was my fault. (I don't believe it was intended to be descriptive!) The prolonged intro does a great job of setting the stage for the rest of the song. Lots of fun, since it grew out of my request for a song with lots of tubular bells in it...

"Forever" is one of Ulcer's rare love songs. This one is wistful and threatening by turns; the guitar adds an almost Pink Floyd-esque ambience to the whole mix.

Following that with the title track "On Your Knees" is a stroke of perverted genius. It shares a superficial laid-back atmosphere with the previous song, but it is far edgier and almost misogynist lyrically.

"Daddy" is the latest incarnation of one of their earliest songs; it's the only track that shows up on all four of their releases. This mix adds in the signature guitar work and higher production quality of this album relative to their early releases. "Katherine" is another old favorite, slightly reworked but mostly added to quiet those of us who kept asking for it on a release.

The next three tracks are all versions of songs from earlier albums. "A Passion of Hate" gained a disarming intro, and the chorus got teeth in the form of some crunchy guitar. "I Want To Touch You" goes back to their earliest performances with the Ars Nova Guild, updated to their latest sound. "But I Don't Want That" took a song off their previous album, added some distressing samples, and worked the guitar even harder than before.

The last few tracks reflect a half-hearted attempt to give radio-friendly versions of earlier work (by making them shorter and less profanity-ridden). I actually played quite a bit of their earlier work on KRUX, when I was at New Mexico State University; but Mike was never interested in trying to become really big; he was more into the music as catharsis than as product.

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