��Sheolic is the latest blast of pitch-black power electronics and infernal industrial from Deadwood, the sinister solo project from Swedish artist Daniel Jansson. Also a member of extreme doombeasts Culted, black metallers Blodulv, industrial project Keplers Odd and the dark noise duo Ritual Inclusion Of Code, Jansson sure knows how to keep himself busy. But of all of his various projects, Deadwood has always been the most evil sounding, blending together black industrial horror, cold monotonous electronics, and crushing distorted rhythms into something much more blighted and blackened than the typical death industrial project.

�� Beginning with "A.V.E", Jansson unveils a vast abyssal soundscape littered with distant metallic groans and scraping noises, swells of sinister choral drift and tectonic reverberations that ripple out in every direction. Hushed voices recite obscure verses, their voices lost in echo, unintelligible muttering that trails off over the jet-black ambience. That opening track is one of the most desolate pieces of stygian drift I've heard from this project, more akin to the classic chthonic ambience of Yen Pox and early Lustmord than the crushing blackened industrial that infested the previous Deadwood albums. As that drifts into the second track, however, we're finally greeted with the more familiar filthy murk with the waves of corrosive black electronics that sweep across "Pulverization Pulse", fields of smoldering static blooming beneath massive metallic rumblings and hissing, inhuman voices that waft up out of the distant depths. The sound is still pretty subdued, a sprawling blackened ambience flowing over those far-off mechanical tremors and infernal factory rumblings, but little by little, bits of caustic distortion and burnt electronics emerge through the mix. Vaguely militaristic rhythms slowly materialize through the gloom, joined by pulsating synths glowing in the darkness. A malevolent vibe seeps from the warbling deathdrone of "Compound 4080" as female voices echo endlessly over the wavering bass-heavy synthesizer and engine-like rumble, and hideous demonic whispers lurk in the background, taking this into that signature blackened power electronics sound.

�� And it just grows more disturbing from there, opening up into immense oceans of nightmarish synthdrift and harrowing ambient sound, those harsh, blasted vocals blurred across the background, rendered an indistinct howl of abject hatred, each track unleashing an undulating mass of bleak black drone and crushing distorted bass that's muffled and diffused into a churning black fog deep in the mix. Tracks like "Dead Waste" and "Traditorem" sound like some vicious, necro-influenced interpretation of classic UK power electronics, the high end synth noise replaced with that crushing abyssal roar, blistering charred sine-waves slithering through the murk, clattering percussive loops buried deep beneath a bog of decayed aural ooze, deformed liturgical hymns floating over the impact tremors of distant detonations. Raving diabolical voices amass in a fog of gibberish, unintelligible testimonies obscured by that omnipresent industrial rumble, shot through with surges of rhythmic distorted noise. Veins of electrical hum pulse through swirling, suffocating cloudbanks of sepulchral mist and subterranean whirr, while a lone voice chants solemnly in the shadows. This stuff sounds thoroughly malicious, cold and threatening, the sparse arrangements only accentuating the feeling of pending violence and horror that hangs over this album - death industrial rarely sounds quite as evil as this.