When asked about the new album, composer James Lollar commented: “It’s a record that perfectly reflects the horror and grim anxieties of a world beset with religious and political over reach, and progress “being rolled back to the fucking 1950s”. It's about an imaginative fall of the Western civilization, the biblical end of the world – the rise of Satan and Armageddon,” says James. “In America, there's been a big rise of scared, reactive Christianity again, and almost like a re-emergence of the Satanic Panic. So it felt like an appropriate time to bring Satan back into things.” The album has thirteen songs.

“Judgement/Prophecy” is first. Heavy, spacey electronics lead off the song, rumbling low with distortion, and a steady beat ensues with a groove. It sounds like Thomas Dolby when to the dark side, or a shadowy soundtrack to The Terminator, especially with those heavy beats that drop like meteors. “Death in Bloom” is next, and it’s another dark offering. The cosmic and at times downright sinister qualities of the music remind me of a sterile torture chamber, where the torturer just goes about his business without emotion. “Obituary” has more heavy accents that leave a trail of fire behind them when they strike the ground, and the little high notes here and there provide expansion to the sound.

“Temple of Tears” has an evil and harrowing tinge to each note of the keyboards. Each strike is like the fire of a high-powered rifle, cutting into the flesh of the victim with deadly accuracy. “Widow Song” hears some of the frightening elements dialed back just a bit at times, and also features some cold baritone vocals. Twisted shapes form in the background with hideous figures, and duck in and out of your perception…are they real? “Golgatha” has a faster moving sound, like a ninja killing an entire family while they sleep. He must be both quick and silent at all times, and leave no trace of his presence behind. “Digital Death” is more chaotic, with different blasts marring the song. It never fully reaches any one particular groove because it is always moving, always hunting.

“Through the Water” has creepy piano notes that lead to another devastatingly heavy keyboard sound. “Leviathan” closes the album, and it’s like witnessing the return of the dark lord on earth. He brings an army of the dead, he brings fire, pestilence, destruction and death with him. Cutting down false prophets and religious fanatics, he heads to the heart of his mission: assassination and replacement.  On the album, the melody creeps through the darkness, each note tinged with a sinister edge. The storm outside mirrored the turmoil within, as the keyboard danced under the musician's fingers. The music told a story of shadows and secrets, drawing the listener into its dark and stormy depths. If this is Satan coming back to move us forward, I say welcome him with a smile.