Compact Deity's sophomore effort displays the band's evolution in a harder rock direction. Recorded with producer Al Sutton (Kid Rock, Sponge, Black Dahlia Murder, Big Chief), Evil Eye is a topical, timely anti-war, anti-racism album of sorts. The album opens with the title track, Evil Eye, an ironic lament for the brutally maligned Arab world in spite of the evil eye good luck charm commonly found in Middle Eastern households. Poison Blood and Fog follow and make for a highly spirited grand rock opening replete with great choruses, brilliant guitar riffery and heavy-hitting, in-the-pocket rock groove drumming by Paul Chisholm. The most obvious development in this phase of the band's evolution is the vocal approach of singer/guitarist, Tarik Al-Kadhim, who really belts out the vocals on this album. If you can imagine the dark crooning on 'Trancemantra' replaced with empassioned gale force vociferations somewhere between Chris Cornell (Soundgarden), Glenn Danzig, Rob Tyner (MC5) and Ian Astbury (The Cult), then you have the right idea. The album only echoes the baritone darkness of the first on a single track entitled 'Gallery' which still nicely displays the band's significant post punk flair. The skies grow swiftly dark for the chilling epic 'Spectral Forms Approach' in which the condemned 'scoundrel kings' are engulfed and dragged into the abyss by dark spirits following a haunting epitaph which mocks their mortality. A thunderous sound like the closing of a gate punctuates the song's close. Compact Deity continues to flaunt historical, literary, and artistic scholarship in songs like 'Knight, Death and the Devil', a marvellously composed ode to Albrecht Dürer's masterpiece. Again, the theatrics of the visuals produced by the swelling of this piece into a full, desperate gallop to the end is nothing short of inspired. The metallic pounding of the anti-drug song 'Thorns' is followed by 'Kill the Lights' whose anvil strikes and vintage European air raid siren wailings reinforce the images of homes waiting in darkness as a threat of war passes overhead. It equates these shadows to all things of human design and points to the shadows waiting within the world we've built. Evil Eye wraps up with 'Gravity' and 'Torn 13', two breakneck paced songs revealing Compact Deity's hard-core punk element with inhumanly fast guitar solos and a disdain for the establishment. It is, again, testament to this band's original mission statement to experiment freely and evolve without taking anything but an abiding love for sincere, original music under consideration. Evil Eye, like Trancemantra, is still an album of variety, yet clearly more refined and acutely sharpened in all the right places.