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Come into My Aggro Groovy Parlour - 55%

bayern, April 13th, 2022

Come come, please, where you’ll be very dearly beheaded… if your head manages to hold, not from incessant banging mind you, on the band’s first instalment “Temptation”, then it will by all means roll down on the album reviewed here. But why? What could be so scary and gruesome about these lads’ music?

Honestly, nothing. These Manchester natives have chosen to follow the prevalent at the time vogues obediently, first with the “In a Darkened Room” EP, then with the mentioned temptation, a nod to Pantera with a heavy groovy post-thrashy sound and a sniff of stoner/doom (think Down), the singer a total Phil Anselmo impersonator, shouting with panache and vociferous glee, toning it down wherever appropriate.

Worked alright, this modern 90’s metal slab, pouring more anger and groove into the already voluminous by that time numetal pool… but a second outing built on exactly the same blocks, released just a year after the first one… sorry but won’t do. On top of that the delivery has become stiffer and more confrontational, sitting now between Machine Head’s first two, but having little from the combustible memorable nature of “Burn My Eyes”. It’s in the pounding hammering execution that the two acts come close together, “A Thankless Task” having the thankless task to introduce the trite banal approach which turns into one thick angry wall of grooves before long, the guys adding more bricks to it with each passing number, unwinding with the lively faster-paced title-track and the vivid crossover hit “Faceless”. However, those two brisk injections can’t turn things around as the band are fixed upon the mentioned wall, thickening it further with repetitive rehashed groovy rhythms, the one-dimensional delivery devouring the Voivod cover of “Tribal Convictions” from “Dimension Hatross”, this otherwise stylish cut not easy to recognize until the faster-paced second half.

The vocals are even more pronounced and more shouty this time, further erasing the element of surprise, the guys doing probably what they found was relevant and necessary, to contribute as much as they can to the consolidation of the numetal trends, which in England in particular weren’t that insistently present if we exclude Xentrix’s “Scourge”, and Paul Di Anno’s Killers’ “Menace to Society”. The rest were small not very significant fish which didn’t do much to facilitate the groove invasion. In this train of thought the band under scrutiny here could be considered its most loyal advocates, having spent their entire discography in its snare, including with the continuation of this enterprise, Sleath (one demo in 2001), a short-lived project that got erased from the map quite quickly.

So, will I choose to lay my weary head in this chamber again? Nah; it’s a bit too monotonously noisy for my taste, relaxation would be hard to come by… my stiff neck needs something less cumbersome and more sprightly to get back to normal.