People sometimes criticize this album for its misses, and yes there are a couple. However the strengths greatly outweigh them. Others also are annoyed that the circumstances surrounding the band's breakup are clearly evident in the music and give it an air of inconsistency. Maybe, but it also makes the album an interesting and essential historical artifact for fans. The remnants of Murphy's sometimes jarring performance art style (this is most clear on "Antonin Artaud" - as it should be if you know anything about the subject) stand in opposition to the nervy yet upbeat Love & Rockets pop of other tracks; "Slice of Life" would have been great on an early L&R record. "King Volcano" is a Goth-folk dirge that strangely is oft played in clubs; perhaps you've heard it and wondered why it was played in a club and why it's so mystifyingly popular. "Who Killed Mr. Moonlight" is a nostalgic tune that feels like it comes straight off of 7th Dream of Teenage Heaven; it contains the enigmatic lyric, "Extracting wasps from stings in flight". Despite the obvious divergence of paths within the bands, they managed one song where the pith of Bauhaus all comes together. That song is the nearly perfect "She's in Parties", a dark, jaded look into the life and mind of a coddled starlet; I could argue that this is the best song they ever made.
Looking back at this album after many years, it should be remembered as a quality collection of songs, some brilliant, and a chronicle of the disintegration of a towering band.