This sinister French project is another fine example of the strange neo-classical work appearing on the fringes of the black metal scene, of which Mortiis is the best-known exponent. De Magia... is yet further proof of what one man can achieve armed with the best in modern synthesisers and samplers coupled to imagination on a grand orchestral scale. The man behind Melek-Tha, who goes by the name Lord Evil, is best known for his involvement with the black metal label Adipocere ([Ophth] rather Evil Omen Records, Lord Evil's label), cutting his teeth creating intros and interludes for other bands and for compilations. Following the limited release of his debut Astrum Argentinum on Adipocere (an unremarkable black ambient record), he has now been signed to the UK's premier experimental label, Cold Spring.

De Magia... marks a huge advance on the project's previous release, as Lord Evil has succeeded in finding a very distinct voice of his own. From the explosive intro track, based around a spectacular sample from 'Hellraiser 3: Hell on Earth' onwards, he proudly displays both a magpie love of horror films and a darkly obsessive passion for the demonic. Presumably aided by the composer's day job at a cinema, Melek-Tha's music presents a promiscuous collage of suitable movie samples intermixed with Satanic chanting and complex ambient synth work that pulses, howls, throbs and chimes menacingly around them.

De Magia... is the least restful 'soundtrack' work you're ever likely to hear, especially on a quality stereo where the intricate layers of sound can separate out and the menacing samples surge three-dimensionally around you. All hell quite literally seems to break loose from the speakers! Often there are multiple layers of sampling in action simultaneously, with sampled 'lead' and 'backing' sounds acting as celebrant and congregation. Lord Evil has clearly spent a great deal of time putting so much depth into each track that it is impossible to keep track of everything that is going on at any one time. This induces a feeling of powerlessness and confusion, which contributes to the work's brooding aura of menace. The sequential heightening and lowering of this intricate menace paces the tracks as rhythm would conventionally be expected to, thus using a cinematic rather than a conventionally musical pacing technique.

The standout track is undoubtedly 'Hell on Earth', a climax to which the first six tracks relentlessly build and from which the eighth provides a resting-place. Here Lord Evil pulls out all the stops, unleashing the demonic catechism from 'The Exorcist', the summoning spell from 'Hellraiser: Bloodline', distorted choirs, every atmospheric sound effect he can muster and then some. The result is a massive, completely deranged demonic ritual on our stereo, that at its peak develops into a relentlessly pulverising death-industrial machine rhythm in celebration of the triumph of evil.

This is the work of musical hubris on an appropriately Satanic scale. Whatever one's misgivings about Lord Evil's choice of moniker, or about his shameless large-scale sampling, once the result comes thundering apocalyptically through the speakers it all gels perfectly. Melek-Tha doesn't go in for half measures - this is proudly grandiose music that dares you not to be impressed. Buy it now and frighten your religious neighbours.