From the Perishable Records website:

in Rape Fantasy... was assembled as a loose sequel to it's conservative bigger brother So Much Staying Alive and Lovelessness. recorded simultaneously, they were intended to be a single album - but they grew. some songs were written in the studio before and after a Friend/ Enemy tour. some songs came from tim and mike kinsella fleshing out fractured guitar pieces brought in by sam zurich. the epic 22 minute title piece came from tim not trying to do side 2 of Bauhaus' "the sky's gone out", but from the attempt to capture the effect that it had on him when he was 10yrs old and accidentally bought it before he was ready to hear it. fragile, childlike paranoia as it comes in this climate. Sense/no sense coming apart/together, cultural information overload making sense out of this mess or accepting that everything is movable and nothing is fixable. clean twisted guitars & sweet voices unglitching just the same as laptops and found sounds. learning to breathe in this air. everything has a shadow side. everything. jim becker (Califone) - pedal steel rob roy campbell - drums amy cargill - singing matt clark (Pinebender) - guitar graeme gibson (Boas) - drums, synthesizer mike kinsella (Owen) - drums tim kinsella (owls, Friend/Enemy) - guitars, singing ben massarella (Califone) - enabler todd mattei - guitars, singing rob mazurek (Chicago Underground Duo) - coronet sheba nemerovski - singing jamey robinson - piano tim rutili (Califone) - guitar joe tricoli - drums, percussion sam zurick - bass, guitar, singing, percussion Recorded and mixed by Graeme Gibson at 4Deuces (Clava)

From All Music Guide (4 stars):

The brothers Kinsella move on with their dark, fragmented indie stylings found on So Much Staying Alive and Lovelessness for the strangely beautiful In Rape Fantasy and Terror Sex We Trust. This album was recorded simultaneously with Joan of Arc's fourth effort and was initially planned to be a part of it; however, these particular tracks took on a different tone. Joan of Arc are much more abstract and bleak on In Rape Fantasy and Terror Sex We Trust. As if the title wasn't suggestive enough, the Chicago collective strips the heat and gunfire prominent in early Bauhaus singles and condenses it into a grating reel of chimes, synthesizers, and percussion. In a way, Joan of Arc create their own stage show of things breaking and converging, but never too much to sonically make sense. Guitar riffs coil, drums ride a thunderous beat, and glitchy vocals are twisted as Joan of Arc criticizes American conventionality ("Happy 1984 and 2001"), spits on Main Street ignorance ("Gang Language"), and mocks celebrity ideals ("That Radiant Morning"). The nine-minute title track, which is Sam Zurick's own reflection on how he reacted to Bauhaus' The Sky's Gone Out at the age of ten, is a manifesting, distorted waltz that has nothing to do with the title itself, but is thematically just as haunting and bizarre. Joan of Arc have once more surpassed themselves as artists. In Rape Fantasy and Terror Sex We Trust breathes fear into a lovely nightmare. — MacKenzie Wilson