Oh yes, I went there. Not metal in any way, shape, or form, this album is still pretty fucking important to the evolution of weird music in general, as well as to the creation of industrial as a genre in its own right.
If I had to give it a genre, I would have to say this is an ambient record, though also partially electronic (more in technique than sound). It's more like a noise record than what most people consider electronic or industrial music. There's a ton of weird sampling that was mostly generated for use in their live performances, which is really the cornerstone behind TG.
I would only recommended for noise fans or lovers of strange music, as I think everyone else is going to hate it. Personally, I love Throbbing Gristle, but you definitely need to be in the mood. This is one of those magical records that I listened to as a teenager and thought "What the fuck is going on?" It made no sense whatsoever, but also made me realize that a lot of things were possible that hadn't previously occurred to me. You will either love it or think it is incredibly boring and pretentious. If you're lucky, it might even give you a headache.
If anything, listen to hear the music of four of the most important musicians/performance artists working in experimental art in the late '70's and early '80's: Genesis P-Orridge, Chris Carter, Cosey Fanni Tutti, and the late, great Peter Christopherson. There is a track from each band member, as well as a very funny sped up version of their single "United," which now clocks in at 16 seconds. "Hamburger Lady" still scares the shit out of me. This is their second album, not counting the many live releases from the same time period.
2. Hit by a Rock
4. Valley of the Shadow of Death
5. Dead on Arrival
7. Hamburger Lady
11. Death Threats
12. Five Knuckle Shuffle
13. We Hate You (Little Girls)
Listen if you dare. And use headphones.