"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
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.
by Laura Slattery