The themes of delving deeper into existentialism and the death of God and criticism his ultimate creation are thus accomplished in a manner most poignant. Then come the two covers, which would almost seem like KRVNA tracks themselves if one were not well versed in '90s black metal; the cascading sensation comes full circle as “The Rhythmus of Death Eternal” closes in triumphant fashion.

 “Endless Monument” is first. The opening guitar work is both strong and harrowing, and it gives way to a fast-paced song thick with guitars and harsh vocals. As it settles into a groove, you can really hear the supporting connections the guitars provide the music, and a solo? Why not, and it is tastefully done. I hear both traditional Black Metal elements as well as more modern ones in this song. “A God’s Work” begins with solemn clean guitars, leading to a more depressive sound that is still quite frightening. What sets the album apart from their Black Metal peers so far is the guitar work…it is complex and catchy. The bass is also noticeable, keeping a steady beat, and there is a tinge of Classical progressions in the music as well.

 “What Great Lengths” closes the EP, and I don’t have the two covers songs to review. In any case, it’s a strong closer, again with thick guitar sounds and excellent drumming. It shifts through varying shades of grey skies throughout, always leaving space for personal interpretation. Overall, although it was only a three-track album, I enjoyed it. As I mentioned above, what sets the album apart is the thoughtful guitar work. It is complex, but also accessible. Let “The Rhythmus of Death Eternal” accompany your thoughts about God and his existence, for it will give you much to consider.