I acknowledge the significance of Bermuda Drain, but at the same time I wonder if it really qualifies as power electronics album or even noise. Knowing that artists often considers noise more as conceptual thing, not necessary to be harsh noise sound all the way. He is of course entitled for such approach, and album has certainly its benefits but most of it is not noise by any means. One could perhaps argue album is something that within several music tracks, there are power electronics type songs inbetween that may have exposed totally new crowd to this sound? To me it sounds almost like situation would one consider SPK "metal dance" as remarkable breakthrough for power electronics? Musically Bermuda Drain has several tracks that have way more Metal Dance approach - with exception of screamo vocals. I have never heard anyone claim that single or following album would have taken things to next level, but becoming something else?
As result, I suppose artist became bigger and bigger, and could perform in bigger venues and fests - and I believe he didn't hold back on how brutal sets could be? That would be interesting element.
There is the element of regional importance. Wolf Eyes and such, as big they were, I remember talking with some european industrial-noise people and they being "wolf... who?". Big for noise. Big for indie rock. Big for indie media. All those valid points for sure, but in canon of power electronics, I would certainly think Pleasure Ground (and history of aids) probably would stand as something that made its mark also within genre itself. I would say after Pleasure Ground came out, it had some genre changing impact. Design, sound, etc. Next PE things you'd hear coming following it, you could hear artists who "sound like Prurient" (and often referring this album), look like his asthetics, and topics they deal with appear like they certainly would be more "Hospital" than "Come org".
