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Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

Review: As part of a large and comprehensive reissues campaign of the work of both horror-punk pioneers Misfits and their most eminent creative brain Glenn Danzig, this reissue of Danzig's Black Aria should be of special note. Danzig's first ever album as a solo artist following prior forays into everything from punk to metal to industrial, it was first released in 1992, again breaking away from prior genre explorations. This time, Danzig would focus his efforts on contemporary, gothic-metallic classical music - though it's largely an instrumental album, Black Aria deals thematically with the Biblical fall from grace undergone by Lucifer, after which grace and sin were implied to have became confused, and hell on earth unleashed.