Review Summary: Russians stuck in the past with Satan
It’s taken them eight years, but in 2012 Pseudogod have finally released a much-anticipated package of bestial hate and sonic rampage. A culmination of everything expected after many splits and demos from the Russians, Deathwomb Catechesis
is a blackened death metal album comfortable with callback after callback to monsters of yesteryear like Incantation and Immolation. Their debut is all the better for it, too. It’s clear that Pseudogod have not inserted overwhelming amounts of creativity or innovation on their own, but their brand of death metal is particularly inspired and reverential.
Simplicity can be satisfying, and with this in mind there’s not much to
a record like Deathwomb Catechesis
. Much of its appeal is strictly in the focus of attitude and direction, as the album rarely deviates from the path of the aforementioned behemoths of death metal and bolstered by constant prayers to almighty Satan. With utter devastation in mind, Pseudogod mold a landscape of rumbling bass and little flair that works as a perfect complement to the vocals, which are absolutely insipid. The growls broil over the old-school-inspired riffs with an unrelenting vehemency, and are the centerpiece of Deathwomb Catechesis
The band’s debut is a familiar album that almost falls off the cliff into strictly “derivative” territory but with their precision and technicality -aspects that transcend the sheer scope of the album- do not succumb to this brand of failure. What does manage to set this apart is the modern production that augments the clarity to the maelstrom of riffs, adding another dimension to the already-fertile concoction of hatred. So while Deathwomb Catechesis
does not usher in any new waves of innovation to the scene, Pseudogod’s solid album adds, along with labelmates Antediluvian, a much-needed dose of death metal to 2012.