A side-project of the 'power electronics' project Sutcliffe Jügend, Bodychoke continues that projects musical obsession with the mental landscape of perverts and serial killers, but in a somewhat simpler and subtle way; at the very least, Bodychoke is much more actually listenable than certainly early Sutcliffe Jügend material (which consists mostly of Kevin Tomkins screaming explicit sexual threats over churning vortexes of white noise). The different approach allows not only for a much greater sonic range, the downbeat, atmospheric tracks like 'From Hell' and 'Skinflick' contrasting well on the album it comes from, (1996's Five Prostitutes), with the viciousness of tracks like 'Whore' and 'Cripple'; with the unpleasant 'How Much Can You Take' somehow managing to do everything that early Sutcliffe Jügend material seemed to be striving for.

This is the sort of music which can be unpleasant to listen to not only an aural level, but even on an actual moral or even spiritual level, which is what I think makes it most fascinating. One thing that can definitely be said in its favour is that it does not try and glorify or glamourise sexual violence or outpourings of hate. A lot of people, I think, might get hung up on the question of whether the voice in which these songs are sung is a character, or more an authentic expression of Tomlinson or others. I personally don't think that's an interesting question, though I understand why it is asked. It remains a convincing psychological study in any case, and to me has a similiar appeal of a peek into the abject that's offered by some very good crime fiction. Like good crime fiction, the ornamentation (here, the music, there, the prose) serves primarily to enhance the aesthetic effect; it does not draw a veil over the unpleasantness, but instead gives it a vehicle to penetrate more deeply.