For a band with progressive leanings and a killer rhythm section, the album blurs together like one long song. That's because DoHM misfires on two key cylinders: First, singer Brian Noll's vocals are layered to the point of overkill; on tracks like "The Jerk," his melodramatic wailing detracts from the solid grooves. Second, the band's stale riffs and predictable leads homogenize songs like "Meet at the Steeple." DoHM's songwriting needs to catch up with its ambition.
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