released December 5, 2011

Vocals, Autoharp, Violin, Guitar, Synthesizer, Keyboards, Electronics, Percussion, Producer – Kevin Tomkins
Synthesizer, Guitar, Electronics, Vocals, Effects [Multi-effects], Electronics [K-pad], Sampler – Paul Taylor
Photography and Painting – Kevin Tomkins
Layout – Abby Helasdottir

Reviews:

"...lest you think Sutcliffe Jugend unfurls a static harsh wall of noise for 70 minutes, With Extreme Prejudice emerges as a varied and dynamic album always scraping and scratching at the depths of human cruelty... atonal electronics... guttural howls and splattered screams.... Frankensteinian rhythms... a frenzied maelstrom of ill-will and bad-vibes abound... a punishing noise crescendo that’s equal to the heights that Controlled Bleeding and Prurient have reached in the past" (Aquarius)

"...these days it's very rare that power electronics leaves me feeling genuinely unsettled in a clammy-brow-sweaty-palms sort of way; I wish more did, but for the time being let's be thankful for the masterclass afforded by With Extreme Prejudice... Kevin Tomkins manages to stop even the most jaded of listeners dead in their tracks when he veers off into hyper-real fantasy / confessional territory... an in-your-face demonstration that less is more... deftly constructed and ruthlessly executed" (4/5, Heathen Harvest)

"...a violent, deranged, unsettling, and often darkly creative joinery into overloaded electronica, atmospheric modern electronic composition, power electronics, wavering ‘n’ sour drone matter, and dense muilt-layered noise matter... For most of it’s runtime this album is deeply dense, layered and complex beast; electronic textures shifting, jerk & hammer, as slightly off-kilter but often harmonic & atmospheric synth textures seer & ebb with controlled noise textures. And then of course there’s Kevin Tompkins one off vocal delivery that tops the whole thing off, and this sounds like a cross between unhinged carnival barker, an character actor having a breakdown, and a man at the end of his sanity..." (5/6, Musique Machine)

"Many horror movie fans complain about the fact current movies don't manage to scare anymore. Well, if they're not scared enough by a critical reading of financial reports, daily news, pop culture, media addiction or just ordinary life, they could reach their goal with this new frightening release by Sutcliffe Jugend... someone could assume they've recorded it nearby a snuff movie set or in some frightening chamber of horrors... Dreadfully absorbing" (4/5, Chain D.L.K.)

"It's clearly apparent that the menacing vocal of Kevin Tomkins remains key to the Sutcliffe Jugend assault as he takes on personas to play out the more insidious aspects of this brutal and particularly complex release... From lashing scrapings of electronic frequency noise Tomkins spits out words in a rabid frenzy, punctuating the noise with his bile diatribe, just as the music cuts to quivering, electronic drones amidst an almost horror carnivalesque organ chime. Power electronics by numbers this ain't" (Compulsion Online)

"From relatively calm and sickly lustful to schizophrenic and hysteric tracks... the album is intellectually aggressive and this duo still has to try and disappoint me... one of the original and better albums that I've had a chance to listen to lately... I am convinced by this real feeling of schizophrenia, that is transmitted via my speakers... a strong and recommended album" (Terror)

"It will once more appeal for lovers of Deutsch Nepal, Brighter Death Now and co. the main difference with the aforementioned bands is that Sutcliffe Jügend also walks on quieter paths... I especially like the way the noises remained pretty controlled. This work is for sure more accessible than Whitehouse and yet it’s still terror-like enough. Sutcliffe Jügend don’t go down in pure improvisation, but it sounds like they have gained a certain control on their machines and instruments. [I was] affected by the never ending creativity and commitment of the project." (Side-Line)

"...wird recht schnell deutlich, dass SUTCLIFFE JUGEND auch auf diesem Album ein Sinn für interessante Klangkonstruktionen, ja sogar ganz nette Stücke herausgekommen sind... Die Atmosphäre wirkt greifbar bösartig und ablehnend - wie es bei der Beschäftigung mit dem Thema 'Vorurteile' auch erwartet werden kann. Lässt man sich allerdings darauf ein, warten interessante Soundstrukturen und atmosphärische, fast (Underground-)filmische Szenerien" (nonpop)

"Sutcliffe Jugend ist in Sachen harscher Electronic fraglos eines der extremsten Projekte und die Abbildung einer blutigen Rasierklinge lässt eventuelle Schmerzen erahnen, die vielleicht in Kürze den Hörer in gelegentlichen Wellen heimsuchen. ... du spürst jeden feinen Schnitt, der sich brennend durch das Fleisch zieht und blutende Wunden hinterlässt. Mir kommen Wörter wie krank und abnormal in den Sinn... Nur wer in die harschen Klänge mit Leib und Seele verliebt ist, sollte sich an das Werk heranwagen, in welchem es nur selten Kompromisse gibt und Sutcliffe Jugend abermals lautstark verkünden, nur begrenzt von ihrem musikalischen Wahn abzuweichen" (Necroweb)

"Laut, brutal, bisweilen unappetitlich und doch so faszinierend wie eine Mischung aus dreckigem Gonzo-P*rno und einem Autounfall... Ein Sprung ins kalte Wasser, den angeschlossenen Fön fest an die Brust gedrückt... Synthesizer grenzen sich aus dem lärmenden Gesamtbild besser ab und verhelfen den Stücken zu einem in diesem Sektor auffälligen Eigenleben, zu einem Wiedererkennungswert, der die Platte nicht nur in spontanen Anfällen auditiven Masochismus interessant macht, sondern eben auch auf 'musikalischer' Ebene" (Black Magazin)

"Auffallend und dem Werk guttuend ist der intensive Vocal-Einsatz, der sich in jedem Track findet, von fiesen Schreieinlagen bis hin zu rezitativem Charakter variiert und dem augenscheinlich große Bedeutung zugewiesen wird. Auch bei den Noiseeinlagen sind SUTCLIFFE JUGEND näher am Industrial als je zuvor. Die beiden Briten haben damit ihren Legendenstatus weiter ausgebaut... einem sehr spannenden und interessanten Album und einer uneingeschränkten Kaufempfehlung für Fans des Genres" (Terrorverlag)

"Sutcliffe Jugend sembra voler coraggiosamente cambiare pelle, e non è cosa da poco quando si ha alle spalle una carriera trentennale e il pesante fardello di essere uno dei primi monicker... Noi premiare questo audace cambiamento, rendere onore ad un progetto che preferisce evitare lo scimmiottamento di sé stesso e affrontare un'evoluzione dignitosa, figlia della lezione degli anni '80, ma orgogliosa di innestare nel vecchio impianto input nuovi" (Darkroom)

"Tomkins und Taylor beschlossen, ihre Vorliebe für Kakophonie ein wenig anders zu kanalisieren. Reiner Geräusch- und Lärmterror muss auf "With extreme prejudice" immer wieder ruhigen, z.T. sphärischen, aber auch atonalen Sound- und spoken word-Parts weichen, die sich jedoch nicht minder grotesk gebärden als schierer Noise... Für alle "Eingefleischten" und Masochisten auf akustischer Ebene wird das wieder ein Pflichtkauf sein" (Medienkonverter)

"“With Extreme Prejudice”, se in I Have Kissed The Sick Sick World Goodbye, Death Of A Post Christian Humanist, Fuckrage, risponde alle attese grandinate power electronics, supera le strettoie del genere nella sorprendente title-track, undici minuti di vortici rumorosi da cui fiotta una violenza onirica e allucinata che galleggia a lungo nell’epilogo sulle rovine procurate, in Carnage, che segue cerebrali logiche da drone music, Beaten, drammatizzata da macchinari in disfacimento, nei nocivi miasmi di Lucky, e persino si compromette con elementi dark ambient in Fall Of Utopia." (Blow Up)