The title of opening number "Wizard of Love" evokes images of a smiling white bearded mage dressed in flowery garb, his pockets overflowing with potions and charms, but you should never judge a song by its title. What we actually have here is a doomy slow acid blues tome played at almost funereal pace that is drenched in fuzz, and distortion and boasts a vocal that you could easily believe was delivered by a member of the living dead with its throat still partially filled with the graveyard earth it was buried in.
Next song "Addicted to Madness" is driven by a slightly more industrial backbeat but is nevertheless just as cloying and dank as its predecessor, the vocalist proclaiming himself "the lord of lost, the lord of void, the king of worms, the fall of man," in monotonic tones over screaming lead guitar, economic but effective bottom end and that aforementioned industrial drumming. Following tracks "Prince of Darkness" and "Crucified" stick fairly rigidly to the format of the albums first two numbers, sedately paced and heavy on atmosphere but then along comes the upbeat instrumental "What Lurks Underneath" to show us that what actually lurks underneath is an artist/band with the chops to be the next Earthless or Karma to Burn if they ever decided to jettison the gloom and despair for something a touch more upbeat and hopeful. A touch of the previous tracks musical positivity does manage to manifest itself on following tracks "Claws of Pleasure" and "My Damnation", although any light allowed in is heavily filtered through layers of lyrical despair and despondency. Next up comes the laid back and semi-acoustic "Holy Land", the vocalist voicing his dreams of a land where "all flowers are empty" and "the crosses have shattered", the song serving as gentle respite for the oncoming storm that is "Hollow's Rise" a schizophrenic instrumental that is part doomic riff fest and part heavy psych mindfuck. Final track "Children of the Sacred" finds Prayer for the Massess pushing for the finish line in full doom mode, not quite abandoning the bluesy elements that have served them so well, up to this point, but certainly dumbing them down in favour of a more dark and dank sonic attack.