AKROTHEISM is a bottomless cave well of malcontented dissonance that fizzes and sputters blast beats in a writhing, boiling mass. And it's so captivating! This unclean bathwater of sin and whispers and tuneless yells into a deaf void is strangely calming. Law of Seven Deaths is AKROTHEISM's sophomore album with a greater deal of cavernous reverb and dozens of places for the vocals to reverberate from. Tasos "Aeon"'s vocals seem to spawn straight from the noise of the guitars, a pure, electric discharge that has a hint of oxygen as faint yet foul voices surface from the haunted, instrumental cacophony.

The far away nature of the recordings has an interesting framing effect on the sound. Inside a larger circumference of silence, there is a chaotic pinprick of abominable noise so abrasive, lead and rhythm guitar chords grind each other down in a mess of shooting sparks and acrid metallic odor. Thunderous clouds of kickdrums and cymbal crashes die and are reborn in seconds. Law of Seven Deaths has a much more dissonant fever dream vibe to it than AKROTHEISM's first album, Behold the Son of Plagues. While Behold has all of AKROTHEISM's cosmic rage, Law of Seven Deaths is more abstact; a terrible figment conjured up by taking just a tiny bit too much salvia.

Take opening track "Typhonian Serpants" for instance. It is floating, distant fury not unlike a cumulonimbus cloud personified. Or the great and terrible psychic attack that is "Oracle Mass". Law of Seven Deaths is calming because you aren't part of the soundstorm. You get to watch it happen, see all of nature's wrath unfold like a quick timelapse. It feels as if you are either just ahead of or just behind the storm cell. Either way, Law of Seven Deaths is meant to feel dissociative.