Slick Disney mouse trash

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Doom's style has gotten beefier and beefier over the last few years and his voice and flow is beginning to sound like sonic molasses (not a bad thing, it's quite a sound). This release is no exception. Holding it all together is DM's at-times-so-cute-it-could-be-the-score-to-a-Disney-film production which gives the album real depth, mixing in tasteful samples with his creative use of beats. He's not afraid to make jokes at his own expense or play around a little, which is a quality rarely seen in emcees of his calibre these days.

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No pain, no Gein

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Kicking off with a light hearted out-take from the studio, the album surges into gear with Robert Flaig, a song that hails their arrival in the heavy music scene with bitter aggression and primal time changes over the shared vocals (all three members contribute equally: they seem to divvy up phrases amongst themselves so each members gets to scream over every song). The shared vocals are quite an accomplished feat for a band that plays such demanding music and it adds another layer of skill and depth to music that some would think is just noise.

Other highlights are Small Towns, Small Minds – Pee Wee Herman/Paul Reubens – which is a great example of the band’s musical skill with startling guitar effects and time shifts. Also, the cover of Breed by Nirvana at the end of the album (a secret track) is certainly a nice touch.

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