Review by Alain on March 29, 2020.

Kazakhstan is by no means one of the most known metal scenes, so it was a nice surprise to have Scolopendra Cingulata’s EP in my hands. The band was founded in 2013 by Andrey Kozlov, who plays in this band under the nickname ‘SS’. The project was initially a one-man band, though shortly the lineup was completed with several new members. This line-up has continued almost unchanged with the solo exception of Jurinimus, who left the band some time ago. Scolopendra Cingulata’s first years were reasonably active with the release of several demos and splits and the subsequent creation of the EP I am going to review. From the 2016 onwards the band has remained quiet, so the re-release of the 2015’s EP is a good excuse to discover what short of music these guys make.

Only few months ago the EP Kuoltuu Kaikin Kohetah was re-released by Careless Records as a nice digipack, which comes with some bonus tracks. Those tracks are originally part of their earlier demos and show Scolopendra Cingulata's first and most primitive sound, firmly rooted in the raw black metal genre. There are also two unlisted tracks, which sound slightly more similar to the newer stuff. Anyway, the most interesting part of this EP is to focus on the new tracks, though the old ones are a nice source to see how the project has developed in a quite short time. Kuoltuu Kaikin Kohetah contains four new tracks, which still sound undoubtedly pure raw back metal, as the ones released in the first demos. But these new tracks show a slight evolution in small but important details. Firstly, the production though raw has a more powerful sound in comparison to the first demos and tough is far from being clear and 100% distinguishable, it allows to distinguish the instruments much better. The new songs sound stronger and heavier thanks to a more appropriate production. Musically speaking the band is far from being a classical close minded raw black metal project, as I had initially thought when I raw a first description of the band's sound.

One of the aspects which caught me by surprise was the use of keys. The band has in fact a permanent keyboard player, which is an interesting detail. Those keys don't play a major role, as they are an extra resource to add some atmosphere in the commonly aggressive and straightforward compositions. Anyway, their use is a welcome addition, which enriches the songs and gives an extra point of variety and ambience. A fine example is the opening track ‘Помрут - Все Хорошими Станут’ (Everyone Becomes Good After Death), where those keys have a very nice section in form of an interlude, which serves a bridge between two well differentiated parts. The song itself is a great example of black metal full of aggressively, with Andrey's vicious and devilish vocals and quite well written guitar lines, which are quite aggressive, but still retain a little sense of melody. Pace wise the track is fast, though flows naturally through mid-tempo sections and the aforementioned faster ones. The next tracks don't differ too much, though the third track has an even darker tone and a slower pace. This song has another ambience interlude, with some battle sounds accompanied by melodic and calm guitar chords. As it happens with the keys, which are used in different tracks of this EP, these tranquil guitars help to increase the melody and atmosphere of the song.

All in all, Scolopendra Cingulata shows us with this EP that successfully tries to escape from the restricted laws of the raw black metal scene, adding some nice touches here and there, which enrich the band’s music. Hopefully, a future full-length should reinforce the balance between the expected and enjoyable rawness, and a reasonable increase in the use of keys and melodic guitars.

Rating: 7.5 out of 10

Review by El Viejo on March 29, 2020.

Scolopendra Cingulata's Kuoltuu Kaikin Kohetah is one of those weird black metal bands that I don't know if they are being self-aware or not about how funny they sound in their delivery, composition and specially vocals. Don't get me wrong as this doesn't have to be something bad, Immortal have made a career and recognizable sound out of it and in this case its similar in that aspect (at least to me). The musical direction has a lot of DSBM and classic second wave black metal sound to it, with parts that reminds a lot of (instrumentally) Bethlehem's "Dictius te Necare", Mayhem "DMDS", Darkthrone and Burzum. Vocally has a lot of the Donald duck style of Maniac on his later years, but manages to stand on its own and keep exciting the music played as is actually fun to listen if not taken so seriously.

One of the things I've noticed listening and paying attention this album, is first to hope the album title Kuoltuu Kaikin Kohetah (KKK... ups) and the vocalist pseudonym SS (double ups..) are a mere coincidence, and second that this band has a lot of borrowed/similar riffs that I can even point out which songs they were taken off. Starting off with 'Помрут - Все Хорошими Станут' whose chorus reminds me a lot of (without being equal to) 'Buried by Time and Dust' by Mayhem, then switching to the drum beat of 'Schatten aus der Alexander Welt' by Bethlehem, and then a bit of Darkthrone's "Transylvanian Hunger" there. In no way this sounds like a copycat as it has its own reasons why this is played and not a collage of old riffs put together. The song is interesting by its own merits composition wise but I can't help to point out on this track and the following ones.

The sound of this band manages to converge all this elements from other older bands and does it interesting anyway, which is harder than being creative and causing the same. Black metal as a genre has been repeated through the same message and passages, and few bands can innovate and create something new and interesting without repeating the formula. This band in the other hand, is an homage to those previous innovators, and has fun doing so and so I do listening to them. It's no masterpiece, nor mediocre, but above average and a blast to listen, with parts that manage to make an original sound of its own (in short parts) like the best song 'Ветер Войны', specially on the end part of this song.

'Шакалы', is really similar to Burzum, or at least their more slow paced songs, which again does not plagiarize, but rather brings the listener to a nostalgic trip to those early raw black metal bands, with much better production, without over doing so in that regard. In contrast with this 'Меч Смерти Клеймор' manages to do the opposite, and what could be the focus of this band onward, an original sounding song that still is interesting and shows the real original style of this band.

Scolopendra Cingulata is the scientific name of a veracious centipede, and fits well this band, manages to catch with each leg something from someone but makes it its own, creating this awesome EP that can recommend without any doubt!

Rating: 8 out of 10

Review by Fran on March 29, 2020.

Scolopendra Cingulata play a traditional style of raw black metal with a strong Norwegian influence, even if the band hails from Kazakhstan. The vocals are long high-pitched shrieks, screams of deep emotional pain and desperation; I’m not familiar with this language but the vocalization they use isn’t very segmented. The string department is formed by two guitars and a bass, the leads aren’t very technical and consist on melodies and the rhythmic guitar relies mainly on open power chords or the main riffs. The riffing is pretty simple and monochromatic, but it isn’t boring because the principal themes are strong and interesting enough for the ears. I have to admit that composition wise the album is kind of monotone but there are some variations; one super heavy mid-tempo break with a bluesy Black Sabbath shape on the fourth track, and a slower breakdown to finish the last song before the outro, that has more of a death/doom look and was even heavier.

The bass guitar goes along with the riffs and the bass drum, nothing special but it’s always present on the mix and serves its purpose correctly. The drum kit doesn’t sound like today's top-tier death metal drummers at all, there is just one song with a double bass drum part. The tuning of the drums itself isn’t very metal at all, it sounds more like a soft rock kit; this style of drumming is common in this genre and even if the combination of black metal elements and this type of drumming is weird at first, that odd sounding result actually enhances and fits the music well. The overall depressing atmosphere and the drumming reminded me a lot of Forgotten Woods but the faster parts have the same level of belligerence displayed on classics like "De Mysteriis Dom Sathanas", except for the drumming featured here that is less fierce compared to Hellhammer. The third track feature a clean guitar section with arpeggios, neatly done. Even if the music of the band is formulaic, it was gracefully arranged and executed.

I'm not a fan of keyboards on any heavy metal subgenre but in this album they weren’t overused and the synths had nice lazier distortions, not virtual medieval string skins that sound super cheesy. There are some melodies played just on the keys that sound very cold and dismal. The production is very crude and polished, but everything is perfectly timed and in tune, I like it a lot… you could say it is perfect for this genre. The first four tracks consist of an EP released in 2015 and the final five tracks are bonuses from the demos released one year before, these feature an even rawer production as you can expect from a demo, but everything sounds legible and is as enjoyable as the first tracks. In some way you have a nice compilation of the band’s early works and almost their entire catalogue here.

Rating: 8 out of 10

Review by Mladen on December 8, 2023.

"I lift the blood-filled chalice towards the sky, and drink in the honour of my master of the deep. I kneel before the black altar of Satan and the sign of the Baphomet. And command the dark forces to come forth..."

Sounds stupid? Maybe it does. And if I told you that there's more of it, seven full songs of endless Satanic nonsense in every possible and impossible verbal combination, you would probably look elsewhere for good music.

But, just as Setherial were capable of writing approximately 1,000 lines similar to "The rise of the ancient dragon, from the darkened depths. The seventh gate is open and Satan rules the world..." without repeating the same nonsense, they were, at least on Hell Eternal, also capable of making 1,000 insane riffs. Without repeating the same song. Hell Eternal, for me, is the best and most brutal that Swedish black metal has ever offered.

Okay, obvious comparisons to Marduk or Dark Funeral will pop up. Screw that. In the same year, Marduk released Panzer Division Marduk, and I went to see them live. While buying the ticket, I also noticed the Hell Eternal digipak and bought it as well. Marduk were... okay. Boring. Nothing special, after 15 minutes just the same-old, even though I was in the first row. They didn't even play the good tracks from the two excellent albums they had. And when I came home, early morning, ears buzzing, legs and neck aching, I just tried Hell Eternal, at low volume. WHAM! Blown away. It was marvelous, and still is.

Concerning Dark Funeral... Nothing they have ever done belongs in the same sentence as Hell Eternal. Pretty much the same as anything Setherial themselves did after this.

The digipak in question looks what every self-respecting black metal digipak should look like: black. On the front: the logo, a shield, the title and two figures looming from the darkness. One holding a spiked club, the other an axe. And the one with the spiked club had the weirdest corpse paint: splitting his forehead in half. Open it, and you're threatened by more of them, almost as if they are displayed on a fantasy war figures exhibition.

Open it some more, and on one side there are some credits and hails. On the other side, someone, in their infinite black metal wisdom, confused the left and the right side of what was to be folded downwards, so you have to read the right page first, and THEN the left page - if you want to follow the lyrics. Kvlt.

And, yeah, there's the music too. Seven songs, forty minutes and forty seconds. The production, done by Tommy Tagtgren at the Abyss studio, was impeccable. Play it low, it's thundering. Play it loud, it's bloody scorching. The drums have the best sound this side of De Mysteriis Dom Sathanas. The guitars are fairly clean, but the clarity is of little help when you take into account what they are doing. Almost always there's the classic deviant black metal rhythm guitar, blazing as if there's no time for small talk. If it wasn't grandiose, it didn't end up here. Obviously, if we're talking Armageddon, there's no point in using small words.

And the lead guitar adds three or four other dimensions. When you are able to notice what it is doing, that is. But if you do, you'll be rewarded.

Armageddon... that's the word. No intro, just instant blasting, a ferocious scream, and we're in. No mercy. Except for the subliminal ride cymbal going at half the tempo of the snare drum, the rest are ubiquitous blastbeats of the most merciless kind, and the regular eight beats per second seem to be able to go on forever. The riffs are ascending and descending from everywhere, Wrath's vocals are magnificent and quite understandable, and the music is just beyond comparison. The levels of brutality are so high, yet so gloriously outrageous, that, once you get used to Hell Eternal, you will actually consider the songs NOT starting with a scream "weaker tracks." And even though one, title, track, does indeed have an intro... when Setherial kick in, the snare drum blasting is so loud that it deafens everything else.

Hell Eternal is not an album for the weak. Most people would complain about the lack of variation, but those who know will "get" it. To this day, I haven't heard anything like this: fast all the way, brutal all the time, endlessly insane and with no indecisive moments. And catchy as the aforementioned hell. Listen closely and stop complaining about how it hurts, and you'll realize just how many sweet and outstanding moments this all-out noisefest has, and you'll keep returning to it for years to come. I do.

Want an example? "Towards Thy Realm" has a moment when the singer growls, and not screams, "Satan." And yes, that's a great moment, just as is the closing moment when the song slows down a bit and the vocals threateningly command "Creation: Reverse." But you have to hear it to witness it.

"Shadows of the Throne" screams "best song ever" at least while I'm listening to it — just the beginning holds an explosion and a moment where everything stops, slams down with full force three times, and continues at full speed. Then, what else... ah, it has the best riff ever, then another best riff ever, then another... and then a double-bass drum part where it feels like you're ascending into the freezing night sky, and if there ever was one moment in music history saying "THIS is black metal," listen to it between 4:21 and 4:35 and this would be the one. Did I forget to say that I've never heard tom rolls and cymbal crashes being used like this?

The title track manages to sound even MORE brutal, and the way the guitar follows the scream through the "flame, my dark delight" part of the lyrics damn right feels like some flames are being thrown at me. And listen closely, you'll notice one of the noblest melodies ever written passing you by as if it's nothing special. Somewhere around 3:30, Alastor Mysteriis also goes for the "fastest kick drum ever" and it sounds as if he's resting on that part. Actually, the drums are, as a whole, played with so much careless speed, precision and variation that... Never mind. I'm out of superlatives.

"The Aeschma Deava," besides having the best riff... damn. Yes, another best riff, just like almost any other riff on this album. I'm already regretting having started to write. If this was a regular review I'd just write 10/10 and instead of reviewing give you the links to every CD shop in the world where you can buy Hell Eternal. If you can't get the digipak, there is good news: Napalm Records has re-released it in 2008, as a double CD, so in the same case you can get Hell Eternal and Nord. If you can still find that one in 2020, or whenever you're reading this.

And yes, "The Aeschma Deava" actually slows down. Then the drumming gradually speeds up to one and the same riff (yep, best ever) and you're exposed only to total blackness and an annoying cymbal playing with your nerves until everything explodes back into blasting. Then Setherial go progressive, and I promise to let you know what "The Sign of Wrath Awaked" is about as soon as I figure it out. 20 years after buying the album, I'm still not sure. It sounds like it was played backwards, but it isn't. No idea how they came up with that, and learned that thrashing interlude either. It doesn't make sense. Except that it's brutal.

What does make sense is the more straightforward follow-up track, "The Nightwinds," and by that time, even though it's easier on the nerves, all you'll be able to remember is "Satan... in hell awaits..."

Finally, "Guardians of the Gates of Flame" ends as abruptly as Hell Eternal started, and this one is so twisted that I can only tell you that the chorus consists of "Rahhhh!!! Rahhhh!!!" and it repeats twice. The parts in-between sound like Emperor are having a knife fight with Dark Funeral. Incredibly messy, but in a glorious way, as if Setherial had a million more things to say but instead decided to shove them all into one final song. And the poor listener, by then, gets so exhausted that it's all the same. Just mental pain.

Twenty years later, Hell Eternal is still the best fun you can have without actually watching the Armageddon with a cold beer in your hand. Since that fairytale event isn't very likely going to happen, and "Satan" is a pre-Christian word meaning basically "the one we don't like" and not a personal name of some imaginary bad guy, you're left with this. To my knowledge, no one has ever tried to do anything like what Setherial did here, or if they did, it was nothing memorable and fell apart after a few minutes. This one is a documented moment in history when someone decided to do the maximum in glorious, Satanic violence, and had the means to do it. No mercy, no romance, and if you're looking for mood, the mood is the Armageddon itself. As if it wasn't enough to throw in more riffs, fills, melodies and breakneck direction changes than other bands do in their whole careers, Setherial hammered the point home by using the word "Satan" about 33 times. I counted. And trust me, not for a second, never, does it sound like they were joking.

Rating: 10 out of 10

Review by Felix on July 20, 2019.

Hell Eternal was released in 1999 and it seems as if Setherial wanted to end the 20th century with an appropriate apocalypse. The Great War is over? World War II ditto? That's not okay, the century needs an ending in fire. The aptly titled album shows that Sweden, currently the European country with the longest period of peace, has still a lot of martial energy under its surface.

Okay, the sheer vehemence of the material does not only blow the audience away, it is also at the expense of a differentiated production. A wall of sound forces the listeners back into their seats. On the one hand, I enjoy the uncompromising mentality and the pure blackness. On the other hand, the album lacks dynamic, because the noise level remains unchanged during the entire album, if I ignore a short section of the fourth thunderstorm. 

The constantly raging Scandinavians did not forget to intersperse a minimum of melodies, but I am sure that I would not be able to distinguish the single songs on a concert. Hell Eternal does not suffer from monotony, because it never gets boring. Its brutality has a fascinating component. Nevertheless, this work offers more or less uniform compositions. It challenges albums such as "Vobiscum Satanas" and, no doubt, it has more muscles. But I am sorry, this does not mean that Hell Eternal wins the comparison. Sometimes less is more and Setherial have to face the fact that their tracks are less catchy and less variable. Indeed, this record hails from the most gruesome corner of hell, but it does not allow a brief look at any other location.

Be that as it may, there can be no doubt that Setherial have drunken from the blood-filled chalice of black metal. Tracks like "The Nightrealm" destroy everything that tries to resist. Extremely fast rhythms torture soul, mind and body and a greater distance to mainstream music is simply not imaginable. The sinister horde does not prefer conventional song structures and the dudes also spit on progressive patterns. They switch from hyperfast to ultra-hyperfast and back, that's it, but the compositions do also not lack substance. The fervent hatred of the musicians is mirrored by the seven spawns of evil in a very impressive way. Should I criticize that they just use the typical means, for example the throaty voice of the lead singer? I don't think so. Every sub-genre needs an identity which is based on some core elements and therefore I have absolutely no problem with the general approach of Setherial.

It remains a mystery why bands like Dark Funeral or Marduk stand in the first and formations like Setherial or Thy Primordial wait in the second row. A better promotion, a better distribution, a better image, all these things can be the crucial factor. But in terms of music, I see no big difference. Honest, untamable and violent: this is Hell Eternal. And I must add that it houses high quality black metal without exception. I can hardly wait to experience how the band will finish the 21st century, but I am sure that all will end in fire.

Rating: 8.7 out of 10

Review by Luka on June 8, 2001.

Razor sharp, lightning fast black metal more furious than anything I’ve ever heard save perhaps old Immortal. The CD doesn’t let up for one second, it’s amazing, absolute chaos, never gets stale and seems to keep a relatively safe distance from the dreadful realm of boredom, although unintentionally drifts there as well once in a while.

The drum set used here is absolutely massacred by Alastor Mysteriis (left, on the cover), furiously beaten and brutally pounded by his powerful, breakneck blast beats and the constant double bass drumming. I just don’t know how these modern black metal skinsmen do it, even with triggered bass drums this is fucking unbelievable, I wonder how many sets they went through to record the damn thing.

Tommy Tagtgren, Peter’s brother, handled the production here and a damn good job he did. Guitars are razor sharp and sound like a raging, turbulent, low-tuned chainsaw ripping up the riffs at breakneck pace, and here is where it gets a little monotonous. Sure there’s a fair bit of variety but after being so furiously pounded for some 10 minutes you kinda get disenthesized and it just doesn’t have as much an effect on you. But, I think the guys from Setherial figured that out too and after the fourth track things start to let up just a little, to give you what meager breathing room you can obtain. The double bass eases up a bit, thankfully for the drummers feet, and the guitars drop the furious shredding to just slowly hit a few distorted chords.

If you can survive the tumult you’ll sure as hell like this thing. If black metal fury is what you like then, for Satan’s sake get this right away! It’s not the cheap crap like Antaeus where it’s distorted beyond any recognition, this is clear, fast, furious, Satanic and downright brutal!! Plus the logo is one of the coolest I’ve ever seen, designed by Jens Ryden (Naglfar, Dead Silent Slumber).

Bottom Line: This stuff makes Dark Funeral and Marduk seem slow. Absolute fury and destruction!

Rating: 7 out of 10