You who kneel before the frail architraves of the divine, behold the eruption of the Primordial Antagonist, whose essence subverts the very fabric of creation. This sonic compendium, forged in the crucible of 1990s orthodox Black Metal, is the anti-litany that decrees the corruption of the Seven Sisters—once pillars of cosmic harmony, now collapsed beneath the weight of absolute negation. Each emanation of this opus is a syllogism of desolation, an ontological rupture that dissolves the illusion of order and enthrones the supremacy of malignant entropy. The Adversary offers no redemption—only a mirror wherein your insignificance is revealed, an abyss wherein your faith is pulverized. No light. No hope. No order. Only pure Devil worship.

The album has seven songs, and "Eye of the Seraphic Void" is first. It's so thick, overgrown, and chaotic, the music is barely discernable. The guitars created that infamous wall of sound, the drums roll at lightning speed, and the vocals rage with anger. "Womb of the Abyssal Dawn" has a similar sound and pace. Some of these "True Cult" Black Metal albums can be very one-dimensional, especially when they ode to the sounds of the bands that made up the First Wave. "Sorrow's Eternal Flame" has some fast-picked leads that distinguish it a bit at first, but from there, the sound is again very similar. They set a burning pace from the first few notes, and don't let up in anger or intensity.

"Antlers of the Celestial Stag" has a bit of a slower pace but is no less intense than the other songs. The boundaries of the genre have been greatly expanded over the past decade, but some bands prefer to remain in the forefathers of the genre, as DUNES OF ASH do. "Tempest of the Forbidden" is really the first song with some variation to speak of. It's a short song, featuring spoken words that echo, and an occasional drum strike. "War Hymn of the Wounded Star" keeps the fires burning hot and bright, with another scorching sound. "The Mortal's Shame" is the final offering, and although it has some guitar work that jumps around, is still sounds too close to the other songs.

This is FWOBM inspired music, no doubt. The boundaries of the genre in that regard and that era are so unforgiving, bands who choose to follow the work of their forefathers wind up making an album that has been heard before, again, and again. It wasn't bad by any stretch, it just failed to excite me much.