Flight Number 666 (1159KB) Death To All (198KB)
Message From Hell #1 (1105KB) Message From Hell #2 (198KB)
Conjuring Beelzebub (205KB) - unreleased


Initially, the name SwineRoar was chosen for the band, but that was too much of punk flavor...
Newertheless, this word is historical: "Do stop this swine roar!" - barked my father when occasionally heard Black Sabbath IV on my tape recorder.
On the other hand, think of the sounds coming from the Herd of Pigs Possessed by Legion. (Matthew told us something about that... and from the New Testament we learn that some ancient jews (shepherds) was actually the first who heard kinda proto-death-black performance, and they did not like it from the very beginning, at least because THAT herd of pigs was lost forever.) Similar option was the name IronPig, but it also did not rule.

What concerns DeathFrost, you can relate this name to: a message from The Frostheart of The Deathland, or a tribute to Celtic Frost and Death and similar bands, or simply to some items in modern computer games... where one can meet again some bloody battles at mountains covered by snow and ice.
Last, but not least: this word has almost as much hardly articulated sounds in its middle part as "DarkThrone" or "BoltThrower" do.


Most important, DeathFrost is a one-man band/label/distro entity. Here I am, Cynoptik Of Deathfrost, and I am running it, from time to time, in one way or another... This seriously impairs the ability to play live... but I do not feel such need... and it also saves lives of potential band members/managers/producers.

Therefore, the band history is simply a certain aspect of my bio. For non-musical and/or unhuman aspects see page "Real Horror Behind".

What was the reason to start DeathFrost?

Not to get/lose money,
not to get/lose fame,
not to get/lose influence,
not to get/lose personal contacts... etc.

But rather to find a more complete mental self-consistency, for which I must formulate and express explicitly some (normally) neglected and suppressed memories/nightmares/fears/images... (which otherwise DESTROY ME). The above list simply gives items in the price list to pay for it.


As a musixx, it was started at least near 1980... That time I managed to bought a Lead Star guitar ($200). (Earlier I used an acoustic $10 guitar with some awful pickup attached). Played some solo guitar (my younger brother conferred me a title of "Shitty Hendrix"). But also learned the standard music notation (now I forgot it and use tabs). Even then there was some trend to find my own riffs and to go over diatonics, pentatonics, and even bluesy tunes. I tried to implement atonal approach, but there was no much success. (Nevertheless, the second theme in "Conjuring Beelzebub" goes up to a riff found 20 years ago...)

By The Year 2K, the principles of The Evil Satanic Harmony (or maybe The Pure Arian Harmony?) become to be a bit clearer. Definitely, there exists some rather dissonant but very coherent harmony which cannot be reduced to any diatonics, and is deliberately Anti-Bluesy.
Listen to all


(Especially "PanzerFaust")...
Listen to all


(Especially "Filosofem")...
Listen to all


(Especially "Octagon", 6-th track)...
Listen to all


(I got "Mercenary" and could not stop bying their CD's until I had all their earlier ones)...
Listen to

Celtic Frost

(The early one; but Vanity/Nemesis sometimes also rules)...
Listen to most

Black Sabbath

(When I was a little boy, I heard their "Sweat Leaf" and that was the last drop... I have made myself some ugly one-string device to see immediately how their monstrous riffs are constructed. I could not wait until my parents will buy me the promised acoustic guitar)...
Listen to some

Led Zeppelin

tracks (e.g. "Friends" and "Out on the Tiles" from LZ III, and a lot of intriguing sound stuff on Physical Graffiti, incl. "In my time of dying", where, at first feeling, one hears "Jesus" as every second word, but actually Robert Plant tells us about uncertain chances of L.Z. crue to be taken in Paradise after Death. Well, well, well, there are a lot of rumors that Jimmy Page was Satanist, and anyway he is a big fan of Alister Crowley)...
Listen to

Blue Cheer

tracks "Just a Little Bit" and "Gypsy Ball". (unbelievable, but these two were released as early as in 1968 - !!! on their OutsideInside LP... one feels a strongest mid-tempo death/black flavor; these three evil guys made a great input into my audio-seduction. Eternal thanxxx, L.Stephens, D.Peterson, and P.Whaley.)


Currently, I got enough (low-budget) equipment to produce demo tapes and to copy them in limited (some tens) quantities. To my fortune, I have a friend who is professional musician, well understands any kind of (extremal) metal, and consults me on some technical problems.

I could say much more about the technical details of running DeathFrost... Just only one e-guitar freakness: quite recently, my younger brother (a good Christian, and mainly blues player) took a more precise look at my execution axe, and asked me: DO YOU ALWAYS USE THE SAME (lower) POSITION of the 5-point switch? I said YES, BECAUSE THE OTHER ONES SUCK (and are unstable when occasionally hitting this fucking switch by the right hand). THIS MEANS, he answered, THAT ACTUALLY ONLY THE HUMBACKER GIVES THE ELECTRIC SIGNAL OUTSIDE, WHILE THE TWO SINGLES ARE DOING SOME PERVERTED EVIL JOB: THEY AFFECT THE STRINGS MECHANICALLY VIA THEIR MAGNETS, JUST AS SMALL PIECES OF STICKY SHIT COULD DO. - But that was COOL! That worked as a new weapon against fucking boring middle trebles in the sound!!! Only after that I realized, what was the reason for an incredibly dirty early DeathFrost sound when the singles were screwed up as close to the strings as possible. So I decided to screw them back, a bit apart from the strings... or may be only ONE of the two:-)

There are many other specific Do It Yourself solutions, but I will better stop here.


1. Writing lyrixx is sometimes the most critical and annoying task. DEAR VISITORS! SEND IN YOUR VERSES AS THE LYRIXX FOR MY TRAXX! (As soon as I obtain some better lyrixx, that track will be re-recorded.) AS THE PAYMENT, A CASSETTE WITH THE WINNER VERSION WILL BE SENT BACK! (If you will give an address to send the package). Sometimes this scheme works, remember the great "Total Death" CD of DarkThrone.

2. I have already installed heavy bottom D'Addario "caterpillar treads" (.052-.042-.030-.017-.013-.010) on my "Diesel Tank" Ibanes (S-S-H pickup scheme). The main intent is to make future releases tuning it "two frets down" (from E to D, as normal people would say).

3. I know, more efforts should be invested in the percussion/bass section...

4. Somehow, verse-bridge-chorus paradigm must be further transformed into some less trivial track structure...


Below I will dare to expose some speculative observations concerning the phenomenon of music (with some respect to extremal genres).
The main idea is very simple: we musicians will never understand what we are doing - exactly as all other people will never understand the purpose for what they are living for. And the answer is very simple: life is not for purpose... life is a testing procedure (or a kind of torture, if you feel so). Wait a little, and the testing will be completed.


There must be some consistency and coherency in any masterpiece, will it be a painting, or a song... Can you imagine a picture of an angry awful devil painted with bright yellow lines over white background? You will not be able even to see anything! Likewise, a certain relation should exist between the musical harmony (which deals with relations between basic tunes of instruments) and musical instrumentation (deals with the choice of different sound types; the latter are inherent to different instruments in classical case, but obtained via different sound processing boxes by e-guitar people).

In a few words, such notorious things as:

(a) the whole extremal voxx spectrum, from histerical blackmetal screeches - to guttural deathmetal growlings;

(b) all kinds of fuzzboxes which has the evil option to suppress or eliminate some middle range frequencies;

(c) somewhat elusive, but very definite and specialized harmonies (extemal metal music is by no way atonal in its essence) used in thrash/death/black etc.;

- all these three components are the three sides of the same tetrahedral metal missile hitting your head! Some purely physical/mathematical evidences can be presented for this... The fourth side of this sharp-angled/rotated/flying pyramide (at 333 meters/sec) is its rhythm, the most enigmatic thing, as is illustrated in the next section. At least, I am unable to imagine any simple and natural system of laws establishing consistency between FREQUENCY and TIME aspects of any kind of music (be it light or heavy). But the most essential things are hidden INSIDE this tetrahedral body... Because any book is not simply a chain of symbols (be it latin letters, or greek letters, or even runes)...


Obviously, notes and sounds themselves cannot be of any value when disconnected from the underlying DIRECTED rhythmic structure which is EVOLVING along the time line. Here lies the mystery of any kind of music, be it bright and relaxing (he-he, not our case), or dark, fearful, and aggressive.

Imagine that you have reversed the letters (symbols) in a whole sentence(phrase) - in 99.99...% cases you will obtain a complete rubbish. Reverse even order of the words - in more than 50% cases the sense of a sentence cannot be recovered after single reading of it. And play in reverse some magically unforgettable musical phrase or a long riff - in 99.99...% you will hear nearly the same sound, almost the same harmonies, but nothing catchy. Hearing some new sensible music is a hard work, but writing it seems to be a nearly impossible task... Most of us can recognise musical letters/symbols, maybe somebody can identify some musical "words", but the structure and sense of a whole musical phrase (not mentioning a whole track) is always an elusive matter of subconscious vision. It cannot adequately be expressed in words or drawn as a picture.

If you are playing gammas or so, you are actually pronouncing letters of some alphabet in a simple order. If you can play them fast - this is only an exercise in improving articulation. Now you can imagine what actually do some famous "hi-tech" solo guitarists when improvising... That is the reason for which I am not deep into solo guitar activity at present time.

The key to the above audiotrack reversion effect is the destroyment of rhythmic matter caused by the time reversion. The musical rhythm as the whole is similar to the black-white drawing component in painting art. And the harmony is similar to the choice of colors. Time reversing normally makes a "shuffled puzzle" from a musical "picture" (if it was a sensible "picture" in its original state).


Everybody knows what is crossword. This funny thing was invented by a prisoner (kinda 100 years ago... but sorry, I forgot his name) and is based on formal VISUAL (through common letters) combination of (in general) ABSOLUTELY RANDOM words, which should be placed in some (normally, symmetric) geometrical pattern. Some vague hints are provided in order to make the solution unique. As is seen, humans do have a strong inclination to build quite artificial self-consistent objects. Such objects are based on human knowledge but connected through completely formal rules, with no relation to the meaning of the things (words etc.) they are connecting. And sometimes unexpected side effects arise...

For example, here is a very special one. The hint/answer list is redundant here because the solution itself comprise a perfect verbal/geometric object. This is the magic square from Mr. Vikernes:


Very simple, but hits as a laser-targeted missile, because the words are not random in this case. I would like to refer such an effect as a Sensoric Ghost one, which comes when an information object can be viewed from absolutely different points, and their synthesis yields a completely new vision, which cannot be expressed rationally. Here you see all the things explicitly: letters, words, and geometry, but their union invokes some invisible extra reality. (Do you hear some alien sound images while watching this 4 by 4 square? If yes, this may be a piece of music which Varg could not write because of his being in prison.)

In the case when the soundwaves are coming into play, the situation become even more mysterious.

To my deepest beleive, the sound data obtained by the human brain through the two ears, and the images going to the same place through the two eyes, are processed and analyzed by THE SAME nervous network device. The latter is always huge, powerful and well trained, so the music, as an ARTIFICIAL sound object, may occasionally require an additional analysis by video-specialized brain structures... What are the resulting impressions and impacts - only Satan knows. Do not forget that 90% of human knowledge about the world comes through the eyes, AND YOUR BRAIN STUFF IS 9/10 EXPRESSED IN TERMS OF VIDEO CODES. Then the music comes, and your memory is started to be scanned in an unexpected way which you cannot understand, cannot control; you can only feel something that you CANNOT DECODE (i.e. express in words and/or images).

Also, much of your video knowledge is subconscious because it is connected with high-frequency harmonic analysis. I hear you asking: WHY? WHAT? - Think of the expression of eyes, the "eye's voice". When looking at somebody's eyes, especially when you are staring at each other, you can always determine, is he(she) tired, or angry, or drunk, or being in prison for a long time, or simply mad etc. The explanation is: the eye's muscles are ALWAYS vibrating at rather high frequency, and the shape of this vibration is not simpler as compared to a complex sound. Maybe, it is even more complicated, because the sound wave presents a one-dimensional phenomenon, but the vibrating surface of an eye generates a two-dimensional wave. And when the music comes, then it is also processed by your nervous device intended for recognizing somebody's gazes and glances... and sometimes (just when you listen to you favorite band) you are feeling that Satan himself glares at you! From every point outside! From inside! And if the evil melody is catchy, He succeeds in watching you ALL THE TIME. Till you can hear the inner call. Till the Death coming.  

In The Middle Ages, ANY music except of the canonical one used in Church, was concerned Satanic. Therefore, somebody who played something wrong (especially a non-authorized person) can be punished in a proper way. Very safe approach. In our era, only high xpl0z!vs are treated with similar precautions.


For tons more on DeathFrost please visit the official DeathFrost website.