Following an extensive search Ex-Nord drummer Chris McLeod was eventually enlisted to fill the drum stool, who was closely followed by operatically trained Jessica Hardy fulfilling both vocal and bass duties, which in turn allowed Michael to return to his original position of guitarist.

Brass Knuckle Bondage and Morgue Rules was released in July 2010 to a host of great reviews from various ezines and published magazines including Black Velvet Magazine who stated that “It’s pure darkness, an exploration of the more twisted side of human nature with the lyrics reflected perfectly in the guitars and drums”, which is expanded upon by EGL ezine who stated that “It’s addictive, because it’s dirty. It’s sleazy and filthy and makes you feel bad”.

2011 brought new material and a new direction with the original intention of releasing a second EP titled: Built For Reckless Ruin. However tensions within the band resulted in the departure of drummer Chris before the completion of the tracks for the recording. Various drummers were auditioned, but with none fulfilling the role with enough commitment, the decision was made to restructure the line-up with Keith (having drummed for a band many years back) relinquishing the role of guitarist and taking up the kit.

The recording took a month of tracking in August followed by a week in the studio to complete 5 songs. Initially unhappy with the mix, the band decided to send the tracks to Andra Butler in Los Angeles for a complete overhaul. Two months of revamping produced the result the band was after with stand-out being Murder Lane and Sex and Indestroy.

 

Murder Lane Reviews
Cult Of Whores and Dogs have moved into unfamiliar territory with ‘Murder Lane’, the new single from Newcastle’s Punk Metallers. Influenced by childhood fears of child-snatching, very relevant in today’s world, the song chillingly focuses on both perspectives; that of angelic innocence, taken by the hand, of broken childhood dreams and the malevolent undertones within the lies of a paedophilic assassin. Structured around haunting pianowork, giving a ‘Twilight Zone’ essence, shows they are not just about grunt and audio damage, but capable of producing a much deeper, richer, more elaborate soundscape from which to portray the most sickening of human behaviours.

The focal point here, and throughout the multi-layered arrangements; the piano, dominates in its simplicity, while the interplay between Michael Atherton’s creative guitarwork and the Cello compliment perfectly Jess Hardy’s operatically trained voice, adding power to the big choruses. There is a distinctive underlying ‘Evanescence’ feel to this song, both musically and vocally but that in no way detracts from the overall experience. An interesting if not somewhat disturbing set of arrangements showcasing deeply creative, thoughtful and diverse writing patterns, they elevate the listener to a higher realm of awareness for such a frighteningly heinous subject.
Dominion Magazine April 2012