Incorporating the usual array of styles, Today is the Day have made a smooth label change and release a fairly coherent noise offering which is sure to make you think once more about your state of being. Examining human depravity seems to be the key here, and amid the tortured screams of "Reverend" Steve Austin we are subjected to samples of quasi real life stories of intense sexuality and fear. The music here is farily technical and interesting, yet ironically, the one piece that holds it all together is also what may be the least likeable aspect to me, the vocals. These tortured screams are the basis of the album, which, if these are your preference, will chill you to the bone. Yet, for me, it's a little too much. As I said though, musically, the band is spot on, and the intensity of the songs moves me, especially the title track, which is pure genius. I'm not sure where humor comes into this (if at all) for Pinnacle has to be an allegory for some deeper meaning (one would hope). For what it seeks to accomplish, building a wall of emotional force through musical channels, this album does work, and for those into the "noise metal" realm, this will not disappoint. The album is also worth hearing through for the end track, which is a reprise of what I consider the strongest track, followed by a more than adequate rendition of Sabbath Bloody Sabbath. This is also probably the most "metal" track on the album, for like labelmates Neurosis, Today is the Day aren't what I would consider "metal", but rather what alternative used to stand for, before it was tainted by popularity. Worth checking out...

Today is the Day is an exhaustive experience. Coming close to their potenital on 1998's Temple of the Morning Star, TitD finally give birth to the monstrosity that we feared they were carrying within. A lot of the credit has to go to new drummer Brann Dailor, for this guy puts in a performance that's way above the call of duty, peppering every evil-tainted riff with more insanity. It fits though, drawing and swirling around Austin's tortured screams and tales of terror. Not for the weak, In the Eyes of God also sports some truly horrificly good packaging, courtesy of Paul Booth, who has put to canvas what one may honestly call a morbid vision. Better use of atmospherics here surround the listener in an aural pummeling. Yeah, lots of metaphors here, but I feel allowed, as this album to me just represents pure evil, an evil that is not blatant or shown, but something lurking below the surface. To sum it up in one word, depravity, that's what I hear. And while it's not the happiest thing to throw in the tape deck, something draws me back to this time and time again. Worth the risk, if you dare.