Los Angeles, CA-based DAWN OF ASHES - whose very name brings to mind "the beginning of the end" - has broken ground across multiple genres, from Aggrotech/Terror EBM to Industrial Black Metal, producing a unique hybrid of Dark Electro and Industrial-Metal styles since 2001. This fusion of terrifying soundscapes with brutal, relentless rhythms forms the foundation for the lyrical themes of founder/frontman Kristof Bathory - exploring concepts of horror, perversion, while standing in bold opposition to the dogma of Abrahamic-based religions. "The Antinomian" contains nine tracks.

"Pawns of the Wretched" leads off the album. Heavy electronica dominates the landscape, with even, harsh vocals. The guitars are drowned out a bit here but the bass can be heard. It takes a pause around the half-way mark, coming back to the main sound, before a long fade-out. "Sleep Paralysis" is a shorter, four-minute track that moves forward with speed and energy. That heavy electronica still dominates the sound. The whispered vocals give a different edge, and the sound is more harrowing here. It takes another pause, with heavy hitting accents.

"Blood of the Titans" opens with some atmospheric tones, before the song hits the ground at full speed. It has a slow grind, allowing all of the elements to seep into your skin. The title track is next. Hushed, slow tones lead off the song. It stays in this realm throughout, with some really scary tones. "Dried Up" is a short, one-and-a-half minute instrumental, that mostly focuses on atmosphere. Like a night club of the undead, the bass thumps away rhythmically. Seguing into "Follow the Pain," it reminds of a bit of MARYLIN MANSON. Taking another long pause, with spoken words, it returns to a heavy and aggressive sound. This song slowly entrances you, with the repeated electronica, in a mesmerizing pattern. That pause at the half-way mark is becoming predictable.

"Scum of the Earth" is a quick three-minute blaster. Hard and weighted accents strike the ground, shaking up the very foundation of the earth. It segues into another shorter song, "Mind Prison," that again features electronica as the main feature. The vocals are hushed while the keys create a frightening experience, with some background atmosphere. "The War Within" closes the album, opening with atmospheric elements before the big riff hits you square in the jaw. It has a lumbering pace, with evil sounding vocals. Pausing again for a shorter time, dead, evil tones take us to completion.

Overall, I found this album to be exactly as advertised, with a combination of several genres coming together in a sterility that is really bard to beat. As I mentioned several times, electronica is the name of the game here. In fact, at times, it was hard to hear the guitars. The drums are electronic as well, but that doesn't take away from the compositional style of the band. For a band that has been around as long as these guys, I applaud the effort here to keep creating unique music for the listener.