Crushing is the perfect way to descibe this album. "Henry" is loaded with screams reminiscent of crude comedian Sam Kinison, while the underlying guitar plays heavy time changes. In this trio, Tim Harriss' guitar plays mainly a rhythm role. Using droning strings, Harriss fills out the songs and often adds the illusion of a second guitar ("Wrong"). Meanwhile, Michael Bishop's bass takes a lead position in shaping the melodies. Even on an instrumental, such as "Brainflowr," the group manages to leave listeners' mouths agape as the slow riff rings out in atonal bliss. Even more of a mind-melting experience are the fusion overtones of "Eenie Meenie." Bishop lays down an incredibly tight bassline that would make someone like Les Claypool of Primus grin in ecstasy. As for the title track, it's one of the creepiest riffs on the record that ends up convulsing in dry heaves as the dynamics completely shift. The interesting tempos and changes make this an album worthy of repeated listens.
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AllMusic Review by Stephen Howell