[Reviewed by Iaha Crax]
The group members on their second record have gathered organized sounds expressing their will of metamorphism through self-created rites. When it comes to ritual individuation, the artists have a way of realizing and putting into practice in a personal manner their understanding of ceremony. In most of the cases – and I think here of Aesthetic Meat Front, Psychonaut 75, Aghast, Halo Manash – the music might only be the layout of secret aspects that we will never clearly see. Druha Smrt, a Czech entity, reveals they materialize their works by DYI rituals influenced by Lovecraftian archetypes and Chaos magick.
The Ukhulth ceremony starts with the “Call Of Madness”. The sound is deep death industrial tending to rouse fear and cause a blurring of the senses by means of a bludgeoning pummeling, enforced through a dramatic neoclassical tune. This ego-cide intro is continued by the proceeding into the ritual when ”the stars are right”. “Blood Ash” takes form in a last breath framework of tragic nuances, slowly brought forward by a fearful rhythmic dislocation into a In Slaughter Natives styled drumming that falls naturally into the debut part of this musical endorama. The vocals point out the stages of the ceremony and realize a transition with the psyche of the listener.
In the artists’ world Chaos magick has been related to heterogeneous areas, from psychology or esotericism to mythology and personal revelations. Whether we thing of Stanislau de Guaita, Austin Osman Spare, H. P. Lovecraft or their modern juxtaposition from Arckanum, Dissection or Endvra, the archetypal denominator remains much the same. The track “Gator Atavist” searches nostalgically for the repossession of an irrefutable feeling of belonging to those forces of the psyche long-lost in our subconscious. An elegy of remembrance and an epitaph to a closed passage that might only be accessed through musical analogies.
Of what value the music of Druha Smrt may have, you can get an idea by the menacing grace of “Deconstruction”. Starting in tremolo horror and redressing under an industrial reloaded Coil-like rhythmic section, that moves echoing a distant ceremony, the track subjugates the mind by delivering visions of pharmakonik relief.
In its finale, Ukhulth praises the Dark One. The track reinserts the classical sounds of the album and reinvests them with a tremendous shrilling solemnity enacting the apokastasis. The musical speech crawls laden with a grim, religious fever, growing into a radiant yet restrained exultation.
This was magick – the rest is silence and chaos.