But what made Park possible was Rave, their producer from the earliest days. As Ogre notes, "Rave became the official psychotherapist of the band, the psychotherapist-producer."

Almost from the beginning, Puppy seemed to divide into two camps, almost always with Ogre being the odd man out. Both cEvin and Ogre claim to have disliked each other from the start, but still something held them all together, although neither can say what. And although both are obviously still angry, neither is quite willing to place the blame fully on the other. The truth is they're both decent people, who just see the world very differently. And after so many years, they knew each other so well there wasn't a button left they hadn't pushed.

Which is why, as cEvin says, "Last Rights really was (our last rites). Ogre was incoherent at times. He went out of control, and we went out of control working with him."

The singer was lost in drugs and a pattern of self-destructive behavior that has left him with scars to that remain to this day-the time he shot coke and went into convulsions, the night he was so fucked up he burned his leg so badly that a dime-sized scar still can be seen, and more.

Last Rights was completed by a totally polarized Puppy. As always, cEvin and Dwayne wrote the music, but now they handed the tape to Rave, who'd take it into the studio with Ogre. Then Rave would return it to the Puppys, and so it continued. After the album was completed, Ogre went off to Europe, ended up in a hospital in Sweden, came back to the States, and finally cleaned up. Only then could Puppy's last tour take place. With Ogre finally sober, the band attempted to patch up their broken relationship. And at first it seemed like that would actually happen. It was a new dawn. With their contract with Capital fulfilled, Puppy excitedly signed to American. The label encouraged them to enter the studio without Rave, and the band agreed. They wanted to start fresh, try something new. The trio rented a house in Malibu where they could live and work together.

Things were fine until the arrival of Roli Mosimann. Used to Rave's sturdy hand and direction, Roli's freer style and lack of technical knowledge created immediate problems. And when Puppy had external problems, internal one quickly followed.

Roli was replaced by Pigface's Martin Atkins, at Ogre's request. Within 24 hours, the band immediately polarized between Dwayne and cEvin vs. Ogre and Martin. After Martin finished, Rave finally came on board. But the damage was already done.

Dwayne was literally cracking under the pressure, and his behavior now rivaled Ogre's former ways.

Meanwhile, American was losing patience. The band were at each other's throats. Dwayne wanted to go more techno, much to Ogre's disapproval, while Dwayne accused Ogre of turning Puppy into a rock band. Time dragged on. In disgust, American began renegotiating Puppy's contract down to one album; in other words, they were dropped. Dwayne died of a drug overdose a month later.By then, Ogre had already quit the band, and signed his new project W.E.L.T. to American. This negated Puppy's contract, leaving cEvin infuriated.

At the end, we're left with The Process-a testament to what was, and what could have been. Stitched together by Rave, after Dwayne's death, it's everything that Puppy was, and was becoming. A brilliant amalgamation of Puppy industrial and Dwayne's techno beats, where Ogre sings without the aid of a multitude of effects on top, it's their most accesible and commercial record to date.

cEvin started Puppy in order to no longer write radio-friendly music. Last night, my local "alternative" commercial station played cuts off the album over an hour special. Puppy somehow survived despite it's members; the band seemingly consumed them all.

Yet no matter how they twisted and turned,the members never compromised Puppy, and Puppy never compromised them. For it was always the most uncompromising of bands.