"Knees and Bones" is a rugged, charging bull of an album; a chaotic mess of noise. Prior to 1985, I don't believe experimental music ever got this pulverizing. The album is a 50 minute endurance test, but there are rewards here.For starters, the soundscapes are actually engaging, a factor that early industrial music usually lacks. From it's opening samples of psychotic gibbering and retro space effects, we are drawn into a sonic mess of harsh feedback and distorted vocals. On first listen, it's an intolerable racket.We are briefly sucked into a sampled argument between a dysfunctional family (sort of like an R Rated after-school special). From here on out, "Knees and Bones" shifts through a number of noise paintings, each pretty fascinating if you let your imagination loose.Arcade machines go heywire. A machine-strewn dungeon clangs mysteriously. A black train moves across a desolate landscape of windmills. Insert your own image: (____).After multiple scenes of ghastly sonics, "Knees and Bones" ends on a surprisingly melodic note. Dreamy synths briefly subdue things and the moment of relief makes the trip worthwhile.Make no mistake, this is only going to appeal to adventurous listeners. The album probably wouldn't last ten minutes on most CD players, so purchase at your own risk. The CD release also contains an additional 30 minutes of noise, just in case the first hour wasn't enough."Knees and Bones" has to be called a classic. Controlled Bleeding shoved industrial music a step further.