Seeking stoic thought, ordered meaning within increasingly ephemeral foundations for existence Russian-borne and now Serbia-based black/death metal solo project MITTAGS-ABGRUND frames the slow death of culture and institution as tragedian degradation on this exceptional debut full-length album. Manifested from elite taste and presented in ambitious, mazelike expression ‘Mittags-Abgrund‘ strikes keen balance between gnarled rhythmic feats and its own basal layer of pensive examination. As an introduction their work yields a surprising level of sophistication and identity for a self-built solo affair.

Mittags-Abgrund formed back in 2022 by way of noted artist and drummer Sch. (CMPT, Morgenstern, ex-Pyre) initially as a full band. At some point that same year they’d managed a rehearsal recording (‘Rehearsal 2022‘, 2026) which’d been archived until more recently, featuring early versions of two songs that’d end up on this debut album. Beyond that point, and likely due to relocation, it’d become a studio project focused on realizing a conjoindre of Nordic black metal gust, wrathful death metal sprawl and thier own declarative stance. With ‘Mittags-Abgrund‘ they appear to use this aggressive rhythmic language to muse upon cultural collapse and the dregs of mythology and philosophy left behind.

Points of key inspiration aren’t veiled here on this finely crafted debut LP nor are they so blatant that Mittags-Abgrund‘s material might appear trite. References to the early black-death transformation of Aeternus and the liquid bravery of Urfaust beset by the droning of mid-to-late 90’s era Immortal should approximate the aesthetic impression of the keen-eared black metal fandom. The death metal interests of the musician are less apparent, offering more of a supportive muscle to bring percussive strength to an otherwise heavily atmospheric experience. To my ear the first impression of opener “Портреты моих предков” recalls ‘Blizzard Beasts‘ or even Molested (Norway) to some degree on the trampling and levitating thrum of its arrival, offering a few unexpected turns of the riff and even a mid-song pause to challenge the knowing ear. “Высокомерие над пропастью червей” soon after reprises this approach in similar format, reinforcing the death-intoned black metal grandeur of the work.

While the opener bears its own storming, mazelike anciency its follow-up, “Пой со мной (Грусть в глазах бога)“, takes a droning and slower-formed approach not unlike the obsidian sandstorm of earlier Bölzer. Vocal performances become true highlight at this point not only for the howling n’ growling temperament served but the way their arrangement frames the piece into a running-paced yet still contemplative sermon. Beyond the first three or four pieces supplied you’ll find what are more-or-less variation and extension of the rhythmic vernacular established. The major spikes for my own interest in this regard come via the wary veering of “Паруса крыльев простёрты” and the bizarre gait through “В городе”.

Without the adept hand of session drummer Florian Musil (Theotoxin, Agrypnie) I figure the greater impression of ‘Mittags-Abgrund‘ certainly wouldn’t have been as ascendant on first pass. Though Mittags-Abgrund‘s stylized vision here would never be considered “bedroom metal” fare there is no doubt that the drum performances on this album offer an above-average boon to the material and particularly as their approach calls for variety of pace and technique within its second half. That isn’t to say that Side B is as cohesive as the first half of the album, “Aurora Consurgens” almost sounds as if it belongs on a sequel or different release with its fluid nigh orthodox black metal exchanges, but rather that every song retains a high level of ambitious rhythmic ideation down to the last gasp.

Built from rare earth yet bearing familiar enough muse Mittags-Abgrund‘s introductory work here is exemplar as a voice in natural conduit of particular taste in black and death metal. While ‘Mittags-Abgrund‘ appears in tactful deploy which is satisfying enough there is also a certain depth of meaning achieved within each song’s examination, concepts which should reveal more clearly via lyrics in translation. This additional interest set beside brilliant illustration makes the whole of the experience not only conscious of the high standard available to the myriad black/death sub-genre at peak but also beyond capable of wielding those ideals with strength. A high recommendation.

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