Deep from the depths of Pennsylvania, in a little aptly named town of Erie, comes Abjection Ritual. They come to us from darkest recesses of the human mind, to bring us their third offering of Industrial infused Doom Metal, “Soul of Ruin, Body of Filth”.

Lamentations kicks off this morbid, decrepit journey of ours, with what sounds like just a droning guitar, with some unexpected female vocals overtop, that provide a bit of unease in this 2-minute intro. This blends effortlessly into our next track, Body of Filth. This song really brings in the rest of the band well. There’s not a whole lot of live drumming on this album, but when there is, it really adds a different kind of texture to the song, and Body of Filth is a prime example of this.

Blood Mother curb stomps us right out of the gate with slow, heavy, crushing bass/guitar combos. Right around the two minute mark, things take a disturbing turn, as we hear a woman talk about passing on sexually transmitted diseases to a potential lover. All the while we get more droning guitars, and the vocalist unleashes piercing screams underneath, before the music brings back the slow, plodding riff they introduced us with.

Deathbed Conversion gives more of the droning guitar that we’ve come to expect in our spiraling descent. We get more sampled vocals here, this time of a man, speaking of hearing voices. This is very much like a horror movie soundtrack, with lots of distorted screaming, glass shattering, and crashes going on underneath the Drone.

Ruin continues the ever increasing loss of our sanity, returning us to the full band sound. It’s at this point, where the vocals go from a simple, distorted shouting, to almost Black Metal like shrieking.

Carnassial Passage slows things way down, feeling very much like the score of the early games of the Silent Hill franchise. Faint vocals, bells/chimes, the familiar drone that seems to rise and fall in between the various noises and sound effects, creating a very unsettling feeling while listening, especially with quality headphones on.

As we reach the lowest circle of Hell, Old Sins drops on top of us with an incredibly heavy bass riff, and more distant screams, while the drums keep what is probably the slowest beat on the entire album. Midway through the song, we’re treated to rain and thunder, which gives way to an unexpected surprises… Some clean bass playing! This bassline, which is reminiscent of Alice Cooper’s Dead Babies, has another sample over top, this time speaking of witchcraft. We also get a very melancholy guitar line over top, almost sounding as if the guitar itself is weeping.  This break is not to last, however, as we are soon returned to the heavy drums, accompanied by a more distorted, crushing bass, along with more Black Metal-esque vocals.

This album, as a whole, really does feel like an interpretation of Dante’s Inferno, as we slowly make our way through the many circles of Hell. I think part of the reason it feels this way, besides the instrumentation, is even though the album only has seven tracks, it clocks in at 42 minutes long, with each song becoming progressively longer than the one before it. If this was a conscious effort by the band to kind wear down the listener by the end, and make them feel as if they’ve just been dragged into Hell, then they definitely succeeded. This is certain to appease to fans of similar sounding bands, such as Neurosis and Godflesh.


Visit Abjection Rituals Bandcamp Site HERE!