And this is certainly a scuzzier, rawer collection of music than they’ve put out for a long while. But the thing about Therapy? is that they’ve always been able to marry the noise with a subtle melody to create an enormous hook to a song. The chorus to album closer Sister is a prime example. It’s so simple, it’s like Therapy? have been churning it out since they were in their nappies, but it is so effective.

There’s hints of Sabbath flying through this album to my mind, riffs descended from the guitar of Iommi, mixed in with the more abrasive noise elements of Big Black. Such as the bastardisation of Children of the Grave that appears on Hate Kill Destroy or the progression through Ten Year Plan. And with a title like that you can maybe read into the current mind and thoughts of the band. Even through to the presentation where they’ve reverted to the days of no lyrics being printed. Work them out yourselves. Almost like it’s a little darker and you don’t need to have your hand held to get through this. The addition of Martin McCarrick to provide cello as well as extra guitar of course worked on Semi-detached. And it does so here, but as there is this harking back to the earlier days, then this time round it adds an even darker more sinister edge. But again it’s used sparingly. You could easily overplay a factor like that to draw attention to the band, but they manage to avoid such a pitfall.

Opening track He’s Not That Kind of Girl isn’t that different in a way to say Church of Noise. Not in construction. There’s a quirky riff, Andy does his Evil Elvis vocal, bringing to mind the style from Epilepsy off the Infernal Love album. It’s just that the main riff when it crashes in is so much dirtier. Being a non-musician, I can’t describe the difference. I guess to me I would say this sounds like it’s on a cheaper distortion pedal than your fancy "I can play anything perfectly after hearing it twice" mate has. You know the one who’s so worried about the perfect harmonics and all the pretentious bollocks. When sometimes the cheaper stuff just sounds well ... better. That’s how it is hear. It’s rawer, cheaper. Better. Then there’s a little jazz like break which is quite gorgeous. Played on guitar, it’s just all suddenly mellow. Bit like the first time you heard a nice relaxing ska/reggae break in a rock/punk track. It sounded great, different. Then of course everyone and his uncle did the same thing and it became boring. But those first couple were great. Much like this.

God Kicks is all dark dark dark, the haunting cello sound coupled with an ominous spoken word, while Other People’s Misery is a sub two minutes kick to the bollocks. Hard, fast and twisted. On the other hand Six Mile Water is Therapy? doing their spartan thing. Some call them ballads, but in a way it’s debatable if Therapy? have ever done that. They’ve done these ones that spare the distortion and throw in the mournful cellos. But that’s a different thing surely? Besides, they also do it well. And I could swear that’s a Madonna er, riff?!? being bastardised at the start of Little Tongues First. I could be wrong. It’s definitely a familiar thing. Not that I’m familiar with Madonna. Well not in that. Or that way either. They’re gonna love the chorus, chanting suicide pact.

Big Cave In has a few little guitar licks that do bring to mind the Babyteeth era, but it’s still kind of wrapped in more modern Therapy? with a hint of Sabbath. Well that’s what I reckon. And no vocals. So that’s good then.

Of course I hate hidden tracks, and Therapy? have gone and put one on here for which there is no forgiveness. The annoying thing is it’s damn good and moody. But you have to fastforward through 10 minutes of silence to get there, and I hate that. Cheap lazy gimmicks. Don’t know if it’s the bands fault or record labels, but I really hate the concept. Much like the idea when CDs were still catching on of giving you a "bonus track not found on the LP". Cheap cheap ploy. But hey, that’s the music industry for you. Doesn’t give a fuck about the customer.

It’s easy to say that Therapy? have "comeback" and all that crap. Truth is they haven’t done a duff album yet in my opinion. This is no exception. It’s no Babyteeth. It’s simply different to that which they’ve put out the last few times.

Anyway, the CD comes with instructions. I pop the Neurosis CD into the computer, the ToN into the hifi - it’s the only way I can have a two CD setup. They say to experiement with volume settings, and placement of the speakers, and also the timing. Well, the positions are set, cos I ain’t lugging the computer all over the fucking room. Timing - how quick can I move between the ‘puter and the ‘fi. They’re off, about a second apart. I’m impressed. With the speed I moved I mean.

Does it work? What does it do? I dunno. I have to try and explain this with reference and respet to the Neurosis album. It does sort of work. The focus is drawn away from being entirely on the Neurosis album, kind of where that gets quiet, sounds are drawn in from the Tribes. There’s commentry that accompanies some of the seques that are on the Neurosis album, and as for example End of The Harvest builds to it’s climax, so the Tribes just add a little something. Sometimes it’s almost just like static being added, other times the heavy is made heavier, and melodic more melodic. Sometimes it’s the complete opposite. What it does remind me of more than anything, is the live gig and how everything was just somehow linked together. I don’t really know that I can explain this, because it is different each time. Only slightly, but those timings mean that it will be different. Is it good? Jury is out on that. It’s different. I do think it’s pretentious. Would it make Neurosis more approachable for non-fans? Hmmmmmmmm? Yeeenoah. That’s yeah and no in case you were wondering. Bizarre, and probably this set is only for the Neurosis fan.