'TALKING IN my sleep again' murmurs Ogre on this dirgey, slow-simmering and suitably down-beat sleepwalk through the nocturnal avenues of the dark side of drug addiction.

IN WHICH SP re-imagine techno as an insane trance of drugged-out demons going crazy to stomping beats, eerie voices, cooing robotic female laughs, and Ogre's exorcism-on-acid stream-of-consciousness yelling.

A STRUMMED guitar and disjointed drumbeats accompany Ogre's clean vocals for SP's saddest, most emotionally naked song, though the punk yelling, and sticking needles into half-cooked meat aren't far away.

A POUNDING onward rhythmic lurch, ominous synths and Ogre sounding exactly like the humanoid monster he takes his name from on this most enduring of SP's dancefloor anti-hits.

'I AM a God, I am a faceless warrior' chants Ogre robotically on this psychedelic Eastern-soaked scathing attack on George 'They tried to kill my Daddy' Bush. Tool's 'Vicarious' expresses similar despair.

WHAT A robot dancing itself to death might sound like, all stuttering drum machines and raucous industrial clangings. No surprise then, that it also inspired Trent Reznor to write his first ever song, 'Down In It'.

A JAUNTY drum beat more suited to early Depeche Mode forms the backbone to Ogre's preacher-gone-mad vocals as he rhapsodises dementedly about 'acid rains', 'mangled meat' and 'melted prophets'.

A DUB-REGGAE lilt plays off against Ogre's gruff and gargled finger-pointing, pitting torture in the name of organized religion and vivisection against each other. Nasty stuff.

A BALLAD! Skinny Puppy-style, of course, meaning the swoony keyboards and slow-paced amblings are gradually ravaged by shuddering percussion, warped noisescapes and Ogre's muffled and anguished vox.

THIS FIRST studio release in seven years was a pounding slice of chugging straightforward techno metal of the type SP usually shun, showing the pretenders they can do this style better than anyone.

OGRE RAPS! A re-formed, re-energized band back him up with this stunning slice of catchy, thumping industrial metal. Goths out-breakdance breakdancers in goofy accompanying video.

IN 1993 SP jammed in Malibu with Throbbing Gristle founder Genesis P-Orridge: the resulting mayhem, noise and madness made for this thrillingly indigestible 40-minute 'song'.

AN UNCANNY bleepy loop that never gives up like some kind of endless distorted siren backs Ogre's droning repetition of 'Kiss the master's feet'. A young Marilyn Manson was taking notes.

OGRE LOOKED like a beanpole Robert Smith at this point, though this harsh slice of grinding industrial minimalism made it clear SP were no bouncy goth minstrels.

DEFTONES FRONTMAN Chino Moreno re-invents this formerly sputtering track as a drugged-out voyage into unsettling bass-heavy dub-ambient gloom, replete with twilight zone flickers and moans.

PROCLAIMinG 'THE following is an anti-vivisection film' the video to this melancholic reflection on the cruelty our world inflicts to animals in their millions was a shocking, heart-rending collage of actual vivisection footage.

'BIG AL' Jourgensen from Ministry brought on the chunky riffs and galloping drum machines to craft this anti-social, anti-modern world, fists-in-the-air industrial metal classic.

SINEWY SYNTH work does battle with chugging superdistorted riffs as Ogre, sounding as evil as never before, spews out tales of disease, yellow eyes and mental shock. Oo-er.

'JESUS WANTS to be ug-ly' repeats Ogre over jabbing beats and stabbing riffs on this belter of an industrial dancefloor-stormer, proving Puppy are still kings of the genre 25 years on.

PROCLAIMinG 'THE following is an anti-vivisection film' the video to this melancholic reflection on the cruelty our world inflicts to animals in their millions was a shocking, heart-rending collage of actual vivisection footage.