Haust take no prisoners on this their fourth full-length album. A messy bass production really suits the opening notes of Raw Material and you get possessed by the beefy riffs that surge afterward. They hit hard and are accented by a melodic passage as the song is a collision of traditional punk, hardcore and driving rock. The vocals are harsh and scathing, like a blackened version of The Accused. Swells is a mid-tempo brooder. You can actually discern black metal riffs that are turned on their ears with a sloppy punk approach before the guitars turn in a crunchy groove. The next track, Let It Die, starts with a cacophony of cymbals and feedback only to reveal a determined riff and some Hellhammer-ish primitivism that punishes and brutalizes your eardrums. It is not a pleasant song by any stretch of the imagination. The riffing turns towards a more traditional blackened feel as the song closes out and the song's title is uttered by some dry vocal retching. A punkier vibe emanates from the title-track, but then a magical thing happens, a blackened melodic overtone drifts through those vampiric punk riffs. The title-track is the first time I really see the merits of the amazing word of mouth this band has been getting. Into The Night also utilizes a blackened foundation for its songwriting and dragging guitar lines slowly sway amongst haunting vocals. The guitars continue to drone and the chorus lunges with a pounding acceleration of energy and noise. Night brings to mind some of the more somber songs of The Police. Mantra is for me a throwaway song with its monotonous drum line and simplistic lyrical approach. It's punk, but boring for me. Luckily it's short. The final track on the album, Dead Of Night is a mournful funeral dirge of a song and serves to calm you into a coma as the night ends. Haust's new album is delightful blackened punk with some great songs and some throwaways too.