...DEVIL'S DIARY: Orchestral bliss, forboding, inspiring, empowering, each peice creates an intensely evocative and psychodramatic mood to enhance one's total environment and ritual activities. Besides the haunting embience, this opus also contains a certain martial feel on a couple of selections, even inclusive of accentuating horse and sword sounds {He Rides Through Hallow's Eve}.Among the treats, besides Magus LaVey's black anthem 'Battle Hymn of The Apocalypse', Beethoven's Sonata "Pathetique" also graces this opus, which was quite a delighful surprise as well, and 'Once Upon A Midnight Dreary' is a most fitting tribute to Edgar Allen Poe's pleasantly macabre poem. And for those who were not previously familiar with it, "Manifesting The Sorcerer's Lore" originally within Delashay's other project "Theatre of The Macabre" by the same name, is enhanced herein also.

As mentioned in the splendidly ornate booklet, we can look forward to many more marvellous orchestrations, including an opera "Diablerie", and subsequent Magical compositions created especially for Ritual Chamber meditation.

The Revelations of Wave & Form is another musickal victory for Malefik Meistro Delashay.





...GOTHIC BEAUTY : Le' rue Delashay takes keyboards and programming in hand to play with Classical music conventions in "the Law of 8ve (Octaves)". This fantasy production could be the result of either esoteric discipline or random encounters with music, magic, and mathematics. As Delashay shows real ability as a Baroque- influenced composer and pianist, and Goths enjoy a little pretense anyways, it all evens out. Some tracks come off a bit like a TV theme, but those are forgiven and forgotten in the wake of the complex "String Quartet," piano experiments such as "The true will desired", coruscating transitions between thundering bombast and balletic delicacy, and atmosphere of decadent decay that are over-the-top in a good way.

..UNRESTRAINED: Ahh, the avantgarde composer shares with us a third vision of spatial exploration vie the seeming paradox of inner experience. The satisfaction of listening to a Delashay recording is not restricted to the emotional response his music invokes; rather it transcends to the cerebral imagery the listener’s imagination invokes. Le’Rue progresses on ‘The Law Of Octaves’ with robust symphonies and stylish concerto-like compositions, which both evoke a civilized era long lost and rouse primal passions we never knew dwelt within us. Some passages recall Bach-esque, Phantom of The Opera-styled minor-key gruesomeness, and in the next moment, Delashay’s innovative creative technique harness a cosmic consciousness that stimulates intellectual impulses. One could say that the man’s resourcefulness possess a meditative quality that borders on genius and madness. It’s amazing that he wield such a zeal without the use of Moviola (the device used to synchronize film to potential scoring elements), as Delashay’s material can easily be exploited in the film industry… and with so many of the brilliant film composers of our time drawing closed to the conclusion of their mortal coils, new blood is sorely desired. The world truly needs to find gifted composers to lighten the impending blow from the cessation of Jerry Goldsmith’s and John Williams’ existence. While Le’Rue Delashay’s work is more progressive and slightly less “flashy,” the man would have a radiant career in the film industry

..DEADTIDE: Not often does one come across an entity as captivating as Le?rue Delashay. While not totally unfamiliar with this one-man project from the member of Theatre of the Macabre and Lorde of all Desires, The Law of 8ve is my first aural introduction to this dark neo-classical entity. Thus, while I am unable to compare this latest output to his previous works, I am happy to say that Le?rue Delashay has added another follower to his side of dark, mysterious art.

What separates Le'rue Delashay from the likes of Mortiis, Ataraxia, and many others is his supremacy in classical composition. Anyone who is remotely familiar with music composition, its nuances and difficulties, will be able to comprehend all the skill displayed in these fourteen tracks. Nevertheless, The Law of 8ve is not perfect. While the album contains its share of misses, there are pieces that send chills down my spine, and for these moments I am grateful for. One particular masterpiece is the piano genius of Initiation to the Flame. Listening to that composition, one cannot resist but to take part in the ravishing imagery created by the composer. The same goes for every song on The Law of 8ve; each track breathes life and possesses its own distinct personality.

What fascinates me about The Law of 8ve is the whole concept behind Le?rue Delashay. The artwork that looks like something out of the book of magic and the fact that there are two track seven?s on the album, possibly due to the fact the there is a number 8 in the name of the album, are only a few things to make The Law of 8ve worth further inquiry. Yet, it is the ravishing, enigmatic music that awaits the listener inside that is the real gem. The Law of 8ve creates a perfect soundtrack to the music that one could enjoy late at night or in a rainy weather, but also within the gathering of same-minded people, i.e., rituals. However, it is the impact of The Law of 8ve one those individuals that I am worried about, as the passion and conviction behind every track is so strong that it could lead to some dangerous consequences

..THE LODGE: Do you remember the alluring, poignant and psychotic works of Charmand Grimloch’s The Thrill, and Mr. Doctor’s Devil Doll? If so, you may have a tiny thought of what Le’ rue Delashay might concern. Directed by a certain Mr. Le’ rue, this venture delves into colossal plains of Classical Music, whilst simultaneously exploring the elaborate drapery of horror, mystery soundtracks.
“The Law of 8ve” conjures up atmospheres of dread, diabolical discomfort, in a journey throughout 14 symphonies that surround the listener, as if a mental murder mystery was being channelled by its waveforms, harmonies and dissensions. The stateliness of this third recording is truly mesmerising, as if Le’ rue wanted to convey these primary patterns and structures, all the way through a haunting hallway of a tormented spirit, and deeper into his mind’s subterfuge. These little symphonies have the principle of a complex arrangement, wherein lies an authentic cavern of knowledge, enticing the mind to discover the ineffable recesses of one’s own subconscious; it does defy oneself in its full length, really. And even if the whole record contains one or another lesser shot at sequencing infatuation, it’s by no means flaccid background music, due to its bewitching supremacy and otherworldly loom.
Distressing, uncomfortable and gargantuan: or the root of all evil. Within thee cosmic spheres, even demons dare to dance at an aetheric fibonnochian re-sequencing.

..PROGNOSIS: While this is nothing but Delashay at his best, what we are presented with on The Law Of 8ve (the law of Octave) is an artist who has matured over the course of three solo releases, and in turn offers the listener a work with far more depth and clarity than anything heard from him before. Yes, the tone is lighter in places, but at the same time even more ‘baroque’ if that’s possible? This is a fascinating release which I really can’t compare to anyone other than Mortiis on his early albums and perhaps The Enid. Even with these comparisons Delashay stands on his own. Amazing

..RUE MORGUE: What do you say about a guy whose records are regularly showcased on the Church of Satan's Emporium? You'd probably expect his album to be touched by witchcraft throughout the ages and, not surprisingly, 'The Law of Octaves' is just that- gloomy Gothic fantasies and vampire romances resonate here. Delashay's third album leads his faithful through a black set of neo-classical arrangements for string quartets, harpsichord, pipe organ, choir, experimental noise frequencies and a malevolent waltz. Unusually suited for midnight masses, Halloween masquerades and full moon nights

..CHRONICLES OF CHAOS: Personally, I find dark ambient music to be quite enjoyable if done right. Oftentimes it can drone on and become boring, self-indulgent and pretentious. Le'rue Delashay, a one-man project on its third release, avoids this pitfall by keeping the tone to that of an intense psychological thriller, and the movement of each piece not unlike that of classical music. The instrumentation is aggressive, and abundant changes and adjustments are made to the texture of the music so as to keep even someone used to the continuous onslaught of heavy metal interested. The songs are generally kept somewhat short and to the point, not wasting time to create a dark, disturbing atmosphere -- although for a metalhead this is generally what I would consider 'mood music': something you would only listen to at dusk or beyond, feeling somewhat melancholy. I strongly recommend this to fans of 'gothic' music in the truest sense. In other words, Le'rue Delashay doesn't use dance beats or droning synth loops, rather he uses harsh piano tones, abrasive string sounds and other effects to create something that is somehow beautiful and crazed at the same time.




..REMNANTS OF REASON: The master composer is at it again. Much akin to the Tartaros projects, Le’Rue Delashay creates classically based (I believe) compositions which can really serve as the backdrop to the darker side of any renaissance festival. I think it’s kind of cool though, all this stuff still reminding me of the classic horror movies from the sixties and seventies they would show on Creature Double Feature. For the most part, think of the creepiest aspects of symphonic music, then throw in some industrial mayhem at times for good measure, and you’ve got a pretty fair idea of MiTaP. It’s a pretty short album, with several blank tracks before the “hidden” bonus, which is a scrapingly done rendition of something, I don’t know what. It sounds like an engine that threw a rod barreling down I-95 with Bartok blasting from the tape deck. Another fine display of this man’s ability to add overtones to any project.

..PROMETHEAN CRUSADE: Mr. Delashay once again invites us into his parlor of mystery and awakening with a brand new release on Root of all Evil Records. The follow-up to 1998's The Court Composer sees the modern musical sculptor challenging the mind and daring the listener to release from earthly bindings to transcend to a higher plane of consciousness. Within the complex structures of these soothing (and sometimes fear-provoking) symphonies lies a veritable catacomb of experiences enticing the mind to open of its own free will and explore the inexpressible recesses of one's own subconscious. This is the true charm of Classical music, through the release of a composer's own inspiration, the listener becomes inspired himself through his unconscious interpretation of the passages. Those who fear such an 'awakening' oftentimes pass these experiences off as petty, half-baked and ridiculous, for their opinions are based solely on the learned perception, but a true lover of music allows himself to gain wisdom through experience and inner exploration. Le'Rue Delashay's only purpose is to present the door: only the listener possesses the key with which to open it.

..ZEITGEIST ZINE: As Le'rue Delashay says "Musick is unparalleled in its capacity to portray emotions and meaning on a universal level". And "Musick In Theory In Practice" certainly does that. This follow up to "The Court Composer" carries on marrying the dynamics of rock to the discipline of classical music, and manages to produce something greater than the sum of its parts.

Music that challenges you to listen rather than be simply passive background music is hard to come by, so when Le'rue Delashays gargantuan, theatrical, gothic instrumental hybrid manages to make that all important shiver run down your spine, you know you're onto something good. A unique soundtrack to your worst nightmares and your most beautiful dreams.

..SEA OF TRANQUILITY: Le'rue Delashay is one of the many instrumental composers taking advantage of advancing MIDI technology to create orchestral soundscapes without the expense of a full blown symphony. The majority of "Musick in Theory and Practice" presents the score to an imaginary horror movie quite capably, actually outdoing the horrendous job Scott Vladmir Licina concocted for the blasphemous, ill conceived '30th Anniversary' edition of "Night of the Living Dead." In addition to four new tracks, a Beethoven cover ("Bagatelles, Op. 33, No.6") is included, as well as a bonus track from one of Le'rue's prior efforts (presumably out of print?). Overall the quality on "Musick" is very high, relying more on melody and chord progressions rather than the droning atmospherics most recordings of this ilk are guilty of indulging in. The only drawback is the disc's brevity (barely over half an hour) and the eight minute-plus unlisted bonus track which is of the same character as the rest of the album.



..LAST SIGH ZINE: "The Court Composer" is a glimpse into some beautiful dark classical music by Le'rue Delashay. Everything from the melodic flow of the "Piano Sonata" (Opus 23), to the dreamy swirling in "Harp Aire", this release is a warm and friendly introduction to the talents of Le'rue Delashay and his work with the classical genre. The compositions range from light melodic and uplifting to the more restless, dark and eerie tracks, "Symphonaire Noctem, Opus 48" and "Chamber Musick". Each track is well produced and has superb aural illustration. The flavor of the release is smooth, expansive and filled with obvious passion for the music.

.REMNANTS OF REASON: Here's one for all you horror movie freaks out there. Dig the soundtrack from Dawn of the Dead, The Gates of Hell, any Argento movie? Well, take that band (Goblin, among others) and strip off the percussion, then you're pretty close to what lies here. They compare this to the orchestrated pieces of black metal albums, and I guess I hear that, but it's more like meloncholy, eerie piano and synth music to me. Cool to have something like this to throw on when you don't feel like gettin' the old adrenaline going. Reminds me of the old Hammer movies that used to come on Saturday afternoons.