[4] Gwar's angle on the album is that of a morbid punk band (a la The Mentors, The Misfits, Butthole Surfers) obsessed with debauchery, violence and toilet humor.

The band play sooth-sayers to the United States ("Americanized" and "Ollie North") and modern human civilization in general ("Slutman City"), who have come to torture and enslave Earth for their own perverse sadistic pleasures ("Time For Death", "Bone Meal", "War Toy", "I'm In Love (With a Dead Dog)").

Despite having superpowers, Gwar is not without enemies - a character known as Techno-Destructo has followed the band to Earth to recruit or enslave them to serve "The Master" in a holy jihad against the universe ("Techno's Song").

Other songs follow similarly crazy themes - the "Gwar Theme" is a car-eating anthem, "Je M' Appelle J. Cousteau" features famous aquanaut Jacques-Yves Cousteau in a Dada-esque romp, and "AEIOU" disputes whether the English alphabet is the property of Satan or Gor-Gor, another Gwar character who would later surface in the song/video of the same name.

Musically and conceptually, the record fits in with and came from the arty 80s noise rock or "scum rock" scene (Butthole Surfers, Pussy Galore, early Ween) with similarities to grunge (Tad, Mudhoney), funny punk (Meatmen, Angry Samoans, Dead Milkmen, Happy Flowers, Nig-Heist), punk (The Mentors, The Misfits, Black Flag, Samhain), hardcore (Dead Kennedys, Bad Brains, Ministry) and heavy metal (M.O.D., S.O.D., Slayer).

As such, when the album was released on CD, it was remastered (possibly remixed) to bring out the bass and make the production smoother.

Chuck Varga, who played The Sexecutioner, posted on the Gwar fan page Bohab Central that he was so disgusted with the sound quality of the recording that he walked out of the session after hearing a few tracks.