The disc starts off with the almost poppy Downstairs, which very nearly lost me due to Michael Bernstein's vocals, which didn't thrill me at first. He takes a stab at using the vox as an instrument, and while that isn't a bad idea for those with the agility and deftness of touch for such things, Bernstein comes off as a bit self conscious and stiff. Having said that, the insistent, blocky riff is drilled into your head to such a point that it'll either win you over (because it is catchy) or have you pressing the skip button in haste. I found it enjoyable, overcoming my reticence to move on.

The rest of the disc continues with roughly the same modus operandi, that is, simple, mechanical jams, with a heaping of subtle feedback noise. There are some variations in the vocals, the most obvious being the fact that Maya Miller also provides vocals. Her vocals have a rough, unfinished sound which dovetail nicely with some of the more demented tracks, particularly Major Score, a dread laden, creepy rant, which may just be the high point of this album.

The Door certainly isn't bound to blow away most folks. It's not a revolutionary work. But it is worth hearing. In fact, the band's preference for repetition, to an almost tribal degree, and with a minimal framework, is what sets them apart. They take a simple approach, letting the music speak for itself. It's a nice change of pace, making for a pleasant half hour of listening.