While Belly of the Whale provides some interesting manipulations and solid programming from the likes of Kim Cascone, Scanner, and Yannick Dauby, too much of the content either employs its exotic, spiny lobster- and orca samples as a pointless backdrop, or passes off overindulgent, Ableton-esque effects as calculated sonic expression. All conceptual wankery and Greenpeace propaganda aside, Merzbow’s contribution, which sounds like the cast of Finding Nemo being pureed in a cocktail blender, definitely brings some much needed balance to the album. Two chin-strokes and it’s over.