This came out in 1998 – or at least that’s when I got it. Here’s what I said about it back then (with some minor editing):
Please allow Keir McDonald to introduce himself; he’s the man of stealth and taste who masterminds Detroit’s Medusa Cyclone.
Borrowing from both the Motor City’s rawk and techno scenes on his second album, McDonald crossbreeds them into a mutant hybrid of ominous, lo-fi electronica. Sometimes it’s droning, dramatic and dreamy; other times it’s robotic, pseudo-industrial and nightmarish. From top to bottom, it’s compelling. Call it psychedelia for the devil.
