I might be tempted to call this band a super group, and in a way they are. But, also, it's almost a superhero group, in that due to contractual issues, only two of the bands members are known, only one can be mentioned in press materials. The rest have kept their identity secret, with promo shots featuring those involved in the project wearing Ronald Reagan (ooh political!) masks. Rumours and speculation are rife as to who the members are, and many suggest those involved in the project, include Chree from The Number 12 Looks Like You, Cooper of Made Out of Babies, Jonah Bayer of The Lovekill, Ben Koller of Converge and Josh Mihlkek, guitar tech to both Thursday & Killswitch Engage. Alongside those are the two members we do know are in the band for sure, Glassjaw's Daryl Palumbo and Geoff Rickley of Thursday. This alone is a unification of two of the biggest names in their respective brackets, although even their contributions to the album are shrouded in some confusion, despite their founding member status. First of all, as far as the album is concerned, it's hard not to feel an immediate tinge of disappointment. In interviews, Rickly had talked about making an album which is heavily influenced by powerviolence, grindcore, and heavier bands from recent years, calling the project ‘emoviolence'. 'Everything became so predictable and formulaic, and in the last couple of years, bands like Young Widows, Ceremony and Cursed have come along, and they've been electric and awesome. This is basically us trying to kick that [heaviness and attitude] back into gear and remind bands that if they do anything safe, it just sucks.' Whilst to an extent this fore frontal intent is evident, almost instantaneously it's clear that this is not a straightforward grind or powerviolence record, nor does it draw from these influences quite as much as I had hoped and suspected. Whilst it's difficult to define clearly, with musical styles varying over the course of the half an hour record, the record is closer to bands like Orchid and Saetia, than Infest or Siege for example. Not that this is necessarily a bad thing of course! It was furthermore somewhat inevitable that this would be the case, given the lack of experience of all the members in playing and making this particular kind of music. The initial dissatisfaction soon gives way however, when I realise that this record is good. Really good in fact. Track one, ‘The Spinning Heart of the Yo-Yo Lobby' is an explosive introduction to the band and sets the scene for the next 25 minutes. Fast and loud, it's a blistering start, with ideas and ingenuity bursting out for the one minute duration of the song. The pounding rhythm and vocals is reciprocated throughout most of the album, particularly the first 5 or 6 tracks, which are all brief and to an extent incohesive aural barrage attacks, reminiscent at times of Scholastic Deth and other 625 Thrashcore bands, but featuring too many progressions and changes, and too much structure to really be called powerviolence or grind. By ‘Filmed in Front of a Live Studio Audience' however, a more experimental, dirgey, sludgy note is hit. Featuring audio clips from various TV programmes, News stories, conflicting clips of canned laughter, progressing into a wall of guitar wailing and screaming, before featuring further sound clips, this is probably too experimental to really be considered a close relative of the bands they have cited as influencing this record, but it is still a departure from what you might expect from Thursday or Glassjaw. It also helps to break up the face melting noise of the rest of the record, making both the break, and what it is a break from, stand out more.    ‘Say Goodbye to the General Figment of the USS Imagination' is probably the most ‘out there' track on the album, featuring an extended saxophone solo. It's to an extent anti-climatic, as the album seems to be building and building as it goes on, but if that trend had continued, it would blow not only your speakers, but your entire stereo. It also senses to underline the power of the ten previous tracks your poor ears had endured, and makes the record seem even more powerful. Incorporating all these different influences has led to an eclectic, interesting listen that could never be called formulaic. This isn't 25 minutes of pounding, repetitive noise, and its all the better for it. Tracks such as ‘I Keep Living the Same Day' could easily have descended into sub par grindcore, but for the fact that there's so much going on around it. Touches range from spazzy post hardcore, to powerviolence, from emo, to atmospheric hardcore, with each having their own impression on the album. Forget preconceptions over what grindcore or powerviolence should sound like, take this record for what it is, a swirling, bittersweet cacophony of noise, bursting with aggression and power, like being caught in the eye of a storm.  Inevitably with such an album, there is an element of trial and error present, but the hits outweigh the misses by such a degree, the minor deficiencies inherent can be forgiven. The fact that the album flips unpredictably between such raw noise, and slower more melodic aspects makes it such a truly great album, putting it at the top of the field for loud, angry music being made in 2008. The hype for this band was to be expected, and as such they could never fulfil what was expected from them by many. Perhaps at times it seems as though they've taken too much on, and whilst the influences are spot on, the songs are not always greater than the sum of their parts. But for the most part it works, no matter how you define it. Put simply, this sounds like a group of talented musicians stepping out from a comfort zone, making music that they want to make, drawing from music that they love and for the vast majority of the album, more than doing it justice.. They could all easily have sat back and continued to be well respected within their own subgenre, but that's boring. Whilst to an extent this is still only a progression from their own musical styling's, or even a return to original roots alongside the maintenance of a semblance of post hardcore, this puts a lot of the crap released today to shame, pushing the boundaries of post-hardcore by taking inspiration from some great music. The truth is, had this not been so anticipated and if people were not so concerned with which genre to place this record, listening without preconceptions of what it should be; people would be talking about this record as though it is one of the best releases for a long while. And it is. 9/10