Returning from the gloom of their Baton Rouge-bound hiatus, Nadjia rises again with 7 Ends 13, an intriguing blend of southern twang and goth chic. Despite the move away from a full band approach of 2010’s Angels of Rust, this sixth album does notably boast Martin Atkins on percussion for several numbers, a point of pride for the band that provided a moment of coming “full circle” given Nadjia’s past sampling of drums from Pigface’s Gub. Scant seconds into the opening “Voodoo Queen,” one is struck by how front man M’s vocals, bluesy and baritone, evoke all sorts of Puscifer; the song slinks along with lush guitar and layered, textured vocals. “Victory or Death” throbs with greater rock and industrial influence, Jeff Filmore’s fat, overdriven guitar droning beneath M’s up-tempo and incanted vocals, the song clubbier than the blues-driven riffs of “Voodoo Queen” largely due to Paul Jansen’s synths adding a more pronounced electronic texture. “As It As,” a reprise from the debut album of the same name, begins with pulsing, driving bass and surf-inspired guitar licks and flourishes beckoning to mid ‘60s throwback soundtracks from films such as Kill Bill and/or Natural Born Killers. M’s vocals here again switch it up with more alto and tenor-dominant melodies, neither overwrought nor unfurnished, yet Jansen’s violin ultimately steals the song with first melodious, then frantically beautiful runs enfolded within the other instrumentation. Finally, “Devil In Disguise” continues the trend of soaking wet reverbed guitar accompanied by plangent harmonica and more spoken/whispered delivery from M, the blues and southern rock influence here again undeniable, albeit with a tinge of Nicolas Godin/Jean-Benoit Dunckel in terms of the ethereal vocal refrains and the slow, gently tranced-out bass. With 7 Ends 13, Nadjia lays claim to what many bands in the industrial spectrum strive for, and yet, ultimately falls short – versatility and a true sense of visceral – not to mention danceable – dread.