devilmentWhen their debut came out 2 years ago I watched the videos that were released, but neglected to go out and grab the album as I wasn’t really too sure I would want to. If it’s anything like their latest release, more the fool am I. This isn’t a clone or a poor man’s version of CoF and that’s probably the best thing about their sound. It’s far less abrasive and more groove orientated making it flow through its paces better.

A nice simple drum roll builds the momentum of “JudasStein” as a pleasant melody is played on the guitar accompanied by that of the keyboard. Dani Filth’s rather distinct vocal stylings work their way through the song going from low and raspy to high pitched shrieks, while the slow riffs work their way down your aural canal to leave an echo as they stop, allowing the bass to rumble on, on its own.

As they have already released a video clip for “Hitchcock Blonde”, I’m going to assume it shall be their first single from this album and has been well chosen. Dani’s catchy lyrics have a meme-like quality that implies you’ll find yourself singing along to them sans-thought but it’s Lauren Francis’s gorgeous vocals that are the true highlight as she hits those high notes. But it’s that chorus which is irritatingly infectious.

“Under The Thunder” has a very warm sound to it as it focuses more on the low end with Nick Johnson’s bass coming through loud and buzzy. Dani’s vocals mostly stick to the lower end of his range with Lauren taking care of the higher harmonies.

Her mesmerising piano work ushers in Colin Parks’s grittier guitar punctuated by the bass notes as her vocals give “Full Dark, No Stars” a gentle undercurrent which Dani maintains until the guitar riff’s intensity forces Matt Alston to keep up by kicking up a storm on the drums.

“Shine On Sophie Moone” starts with things rather up-tempo yet bouncy until the tempo wanes, after the bridge and Dani’s whispered soliloquy the mood is darker as the jazzy beats are replaced with an angry sounding lead guitar to end things off.

The little triplets on the drums are accentuated by the bass on “Life Is What You Keep From The Reaper” as the guitar chugs along with Dani and Lauren bouncing their vocals off each other.

The hauntingly beautiful intro for “Dea Della Morte” is replaced by an equally eerie bass tune which works well under the melodies of both the vocals and guitars are it drives them both towards the sweet piano interlude.

The manic drumming on “Entangled In Our Pride” belies how mellow the song was at its outset or how melodic the chorus over the guitar lead manages to be.

The heady bass and guitar rhythm on “Hell At My Back” makes it a great track to the end album on as it certainly whets the appetite leaving you wanting more, which having the album on a loop rather easily delivers.

Sadly I don’t have any of the bonus tracks that are listed on other releases of the album, but I’m certain they do them the justice they deserve. A thoroughly enjoyable album and rather easy to listen to too.

(8/10 Marco Gaminara)