As an opening manifesto to an album 'God's Busy In The Back Room' leaves the listener in no doubt that they are listening to another fine exponent of British epic rock. The guitar playing is ferociously driven, drums clatter in precise and incessant fashion whilst Conal Byrne rasps as if the Stereophonics' Kelly Jones had become a fan of post-punk. As is often the case Adom's first song is also their best but there's certainly more strings to the bow of this foursome who met up in Atlanta but have since decamped - surprise, suprise - to Manchester. 'Mary' dares to employ a very similar riff to U2's 'Pride' and gets away with it. 'Plastic', 'A Cut Cocoon' and 'Concrete Beach' all feature terrific key changes which swing one way then another and anyone who remembers The Pecadiloes should check out 'Supermarket Surgery' for subversive, quirky thrills. An impressive debut but probably destined to be one of those albums which avoids a wider audience; more likely to be this year's Molly Half Head and that's certainly no bad thing.