"Turn on, tune in and drop out / Almighty's in da house," et cetera. Almighty's still funkin', still "got that groove, got that sound".

Repeat to fade.

Chorus: Hip-hop cliché, groovy baseline, turn on, tune in, drop dead from boredom. But wait. Here comes the industrial white metal noise. Almighty Groove are raging against the drum machine, proving that their talent is diverse enough to cope with not one, but two, types of clumsy dirges.

It's always a worrying sign when a band looking for credibility points covers a variety of genres, but still ends up sounding monotonous and one-dimensional. Like Cornershop, for example. Detroit trio Almighty Groove mix standard hip-hop mantras with strangely muted hardcore guitar riffs, sprinkle with Identikit raps, and then add some canned feedback into the cocktail. In other words, they are a musical mess.

Plus points can be found on token mellow moment 'Oceans' and 'Interlude (The Fall)', where Almighty Groove opt for the answering machine message trick and other voice samples to make the loud/quiet a bit more interesting. Overall, though, Almighty Groove winds up sounding unfashionably awkward.