Probably one of the most marvelous albums that I’ve ever heard, Blasphemy Alley is humanely poetic, and the melodies flow naturally, like the rain after a hot afternoon; you just expect it to happen, but not with such a vast, tempestuous and astutely atypical grace. With fragility, patience and a rational flavor that adds a sensational splendor to the musical surface, the group really has made some simple songs, with a glorious level of creative sensibility, that really strikes the listener at an emotional level, with a genuine, reliant and formidable sense of artistry, that reflects a superb level of audacity, that keeps modest and discreet at the insight of its own unquestionable greatness.
With only five songs – Vampa's Lore, Catch 22, Masquerader, Descent and Simbelmyne – the only bad thing on this album is the already mentioned conciseness. Nevertheless, this is easy to solve, after the album was finished, I’ve started to listen to it again. It’s easy to notice that the general style of the group is simple, but the eagerness and objectivity of its melodies contrasts highly with the astonishingly marvelous level of profoundness and fearless, unbound and gracious creativity of its rhythmical procedures. Penetrating the human graces of the heart without being overtly romantic nor sentimental, Bienwolf has really conceived one of the most glorious and inventive albums in modern independent rock history.
A fantastic album that opens and understands new possibilities for the genre without disrupting its basic premises, nor exhausting the fortunes of its artistic sonorous signature, Blasphemy Alley is a wonderful, sincere and splendorous work of art, that deserves and has all the necessary qualities to make history.