"The most intelligent minds can be led astray by what seem to them phenomena, but to me, mere problems susceptible of lucid explanation" - this quote, derived from A Magician Among the Spirits by Harry Houdini, became the basis for their second album. The main focus of "Minds Led Astray" was on writing shorter and more coherent songs - still keeping the refined compositions - and delivering the former dose of groove - but rooted in even more inhospitable and darker sonic aura. Lyrically, the album explores the issues of irrationality and mankind's vulnerability to it, drawing on and referring to the skepticism tradition extending from the first protests against witch trails, throughout denouncing the spirits séances to more recent activity of modern skeptics.

"Shield of Disbelief" leads off the album. It begins with dark, nefarious tones and a slow grind. The evil slowly seeps in, and the riffs are black against the Death vocals. The background ambiance is set quite well. Eerie lead guitar notes enter, and you feel as if you were covered with the filth of a thousand insects. "The Demon-Haunted World" is a little shorter but no less intense. If it weren't for the smooth grooves here, I might call this Deathcore, but that is neither here nor there. Densely packed passages of groovy riffs combined with the punishing harsh vocals create harrowing sounds. "Ghost Hunt (Discoverie)" begins with another slower channel for the rhythm guitars, while the drums pound away with the vocals, reverberating inside your head like repeated hammer strikes.

"False Spirituality" begins above the open E chord, with a nifty guitar riff that bends time just a little. Four tracks in and the songs are indeed more coherent, but could also benefit from at least some diversity. "Interlude" is a very brief, thirty-second piano breather from the intense drama of the previous tracks. "The Orphans Bloodline" returns to the somber shadows, crawling forth with intense, brutal sounds. An extended instrumental passage rolls forward but the hateful, agonizing tones are hard to step beside. "The First Disbeliever" begins with dissonant guitar tones then settles into a murky groove of rhythm guitar work. A brutal passage of sustained guitar work connects the punishing parts.

"Circle of Mourners" opens with a riff that moves around and breathes a little more. But the deep vocals shroud out nearly everything else. The rhythms pound away at you in a mesmerizing fashion. "Interlude 2" is another short, connecting piano track, leading to the closer, "Eternal Atonement." The intensity is dialed up a notch here, being sure to lay waste to everything around you. Heavy grooves resound in your ears, mesmerizing in their display. Just before the half-way mark, the sound drops to thick bass guitar notes along with some ethereal elements in the background, before returning to the previous sound.

The guitar work here is really the hero of the album. The grooves they create are massive, weighted and even flirtatious at times. Most of the album is mired in darkness with punishing tones, dissonant at times. If the vocal style varied even a little, it could create some welcomed diversity on the album. The intensity on the album is hard to match.