From sunny and tan Los Angeles comes a dark new offering from Dawn of Ashes infested with wrath, ready to reign. Vocalist Kristof Bathory brings back the classic, old-school industrial aggro-tech signature sound of Dawn Of Ashes. The past few years brought turbulence and change for Bathory but he’s weathered storms and challenges, keeping his vision intact, conjuring up new alchemy-ridden creations in the studio.
He along with bassist Angel Dies have begun 2019 with the next chapter to DOA’s last stab at aggro, The Crypt Injection II (Non Serviam). Venturing back to the dark-electro sound that brought early success, they’ve gone vintage modern, projecting the downfalls and darkness of society into the music, keeping the black flame burning.
Distorted vocals, noise experimentation and tracks filled with cinematic ambiance are par for the next cursed course. Bathory creates hooks that rip and tear flesh from the darkness with Cenobite-like ecstasy. Bathory’s voice twists, mangles and distorts crawling in and out of the shadows as each track introduces esoteric topics. Plus when you look like a possessed demon in rapture live, you need music to match.
The dark enchantment of “Thirteen Chants to Lilith” begins the underground Injection, her voice shrouded in industrial beats and sounds building and giving foundation to her calls.
Pulses pump on “Reborn in Fire” raising anticipation with electro beats hitting like they’re smashing sacred stained glass windows with blackened breath and an angry fist. A bit of Skinny Puppy is found as rebirth rejuvenates the 2019 DOA back into burning existence. Drums smash forward building up the process, feeding the machine its speed. Flames erupt as guitars creep along, ripping away ground with ashen footsteps.
The cold wind of withered memories spins, trapped in perpetual pattern on “Ahirman.” Like an industrial hurricane, sound rips away like angry wind forming destructive patterns. “The Serpents of Eden” march with definitive direction. Metal guitars play an engraved unholy mission statement. It’s the circle pit song of the bunch brought to ritualistic, hedonistic, forbidden visual life on YouTube.
“Slaves to the Addiction” is spooky with anxiety laced sounds like horror movie background music. A silver tongued addict’s voice drips with crimson manipulation as vocals scream out like waves of painful withdrawal.
“Spirit of Anger” has an almost classic video game feel from opening beat. Vocals sneak through the ear lingering to infect, torturing the lobes as background succubus voices get sensual, rhythmic and seductive working the chains of manipulation.
The military beat of “Hexcraft (Featuring Johan Van Roy)” begin as horns sound and the lady of war calls, with spell-casting and magick.
“Abuse the Abuser” is sound manipulation, with cleaner and audible vocals. Female vocals intertwine a gothic, grandiose, distorted romance in words like the poison apple shared with a tainted Adam to Lilith’s Eve. Liquid like execution and lurid with dream like qualities, painting the ongoing story of the doomed saga.
Darkness is opened and exposed on “Entering the Realm of Shadows” by industrial and mechanical hands. An instrumental of heavy diabolical creation carried by the cold, empty breath of ancient buried history left forgotten.
Chris Crenna lends his touch to a remixed “Slaves to the Addiction” giving it a danceable groove with skinny puppyish influences. While Hacico gives some creepy supernatural vibes to the God of Darkness on “Ahriman” in a blood-war to possess the living.
The second Crypt Injection breathes new life into the next chapter of DOA with sounds that will haunt, provoke and potentially possess. It’s a new audio bloodbath with songs that will paint esoteric images in your mind of what dwells down the left hand path.
