Sophomore full-length from an intriguing Detroit outfit. Newly signed to the label, their earlier output (dating back a decade): EP and debut album, will be made widely available, come early 2025. So now is the time to get aboard the sometimes off-kilter ship Demon Bitch. The skilled guitarwork often incorporates neo-classical passages, as Logon Saton yips and yelps in high pitched (veering on falsetto) vocals: if John Cyriis (Agent Steel) replaced John Arch in Fates Warning, might sound akin to Demon Bitch. High praise, indeed!

It all begins oddly enough, a few sporadic Casio keyboard notes, then a bit of medieval flair (still instrumental-only), flute, acoustic guitar and burning fire sound effect (86 introductory seconds entitled "Beyond The Pillars"). Speaking of blazing fires, the guitars jump right into "The Quickening" (Hell, it's more than merely "quick") as the band rages. There's a regal air about the delivery (perhaps that was the purpose of the initial folksy table setting) and come the guitar break, there's the first of many classical sounding sections. Most of the compositions are either side of five minutes: neither too immature, nor overly indulgent.

The title track features Saton's stratospheric squeals as the musical mercury seemingly dissolves into separate pieces, only to periodically re-congeal into a coherent, ultra-talented unit. There's an ethereal evil (read: King Diamond-ish) vibe wafting throughout, although this one in particular recalls ‘80s Arch-era Fates Warning. Come the middle of the running order, Demon Bitch are not only hitting their stride, but issue some great material that's played (relatively) straight, i.e. light on the "gimmicks" and lets the music do the talking. 

First up: "Not Of The Cruciform". Guitars and throats wail and then the twin axes kick into an even higher gear. It's followed by another stellar cut, "Protector And The Horse", begun with two guitars, into a crunchy, heads down metal groove. Once more there's an asymmetric nod to Spectre/Guardian era Fates. The Motor City quintet are no slouches in the musical department either.

"Into The Archway" (a veiled reference to their influences?) bounces along, plenty of frenetic polyrhythmic undercurrents taking place, as well as traditional twin leads. "Sentinel At The Spire" leaves most of its dynamics until the second half. Beginning with a buzz of riffs, and Saton in subdued mode, he uncorks a couple of wild yells, as the guitars go acoustic and the singer launches into a hyper, almost punk parlance, as the returning electrified guitars dance across the landscape. Orchestral music, on guitar, greets "Tower Of Dreams", which, like the others, never settles into place for any length of time, opting to up the pace, and intensity, in a race to the end. 

Despite the seemingly dissonant ideas, it's all held together by a melodic, earworm hook. (Temporarily) adopting a deeper timbre, the voice introduces the disc closing "Soldiers Of Obscurity", which descends into a hum-along, with a snippet of acoustics, before ending in a triumphant flurry.

Damn shame this came out too late for annual poll considerations, as it certainly deserves some attention, as well as a few nominations. Best "new" band I've heard in a while. Highly recommended!