Shock Frontier's 'Tumult' was released in December of 2017, but it was one of a number of albums sent to Chain D.L.K. central and not to me directly. The review wheels grind slowly when that happens as my reviewing time is limited, and it could take a while before I get to something when it comes through an indirect channel. Shock Frontier is the duo of Robert Kozletsky (Apocryphos) and Kyle Carney, and 'Tumult' is their second release after 'Mancuerda Confessions'. (Haven't heard that one.) Kozletsky and Carney are assisted here by Kristoffer Oustad, Grant Richardson (Gnawed), Noculture and Christopher Angelucci in certain areas on some tracks. The program is a varied one but most certainly weighted on the dark side with very little light entering this oubliette. By definition 'Tumult' means highly agitated, distraught and/or turbulent, and there is plenty of that on the album. Opening track "The Cold Illucid World" sounds ritual-industrial with a blaring warning horn and mechanical thudding as Carney's morose funerary intonations turns into screams as the piece progresses. A jarring, but effective way to open this opus. Shock Frontier is not adverse to employing dialogue samples (movies or otherwise) to achieve their morbid objectives, and sometimes it's highly effective while others somewhat of a distraction (a bit of an overkill on "What We Are"). Some of the atmospheres such as "I Am Afraid & Bringing Fire" are quite chilling and creepy fostering an aura of apprehension like a cold sweat tricking down your neck. Others such as "Duress" and "Our Vain Illusion" are heavily industrial-percussive with all the subtlety of being bludgeoned by huge mauls in a reverberation chamber. Some tracks such as "Ashes of Others" are simply inscrutable with what sounds like raining shards of something metallic, abrasive and unpleasant with hoarse screaming arriving later in the piece. "Forefallen" sounds like it would work as a good background environment for nearly any horror-oriented computer game. I was particularly impressed by the final (and title) track "Tumult" which utilizes a good amount of Oustad's sound sources. As with most things I’ve heard that he’s been involved in, the dark ambient atmosphere is predominant, eschewing some of the noisier aspects of death industrial in favor of thick, joyless drones that weigh heavy on the soul. All of this was mastered to perfection by John Stillings of Steel Hook Prosthesis, someone who definitely knows his way around this genre. While some of 'Tumult' does recall the darker acts from C.M.I. such as Brighter Death Now and Peter Andersson’s harsher industrialized recordings , this isn't some tribute to the founders of death industrial, but rather an exploration of new terrain for a new age of darkness. While I can't say I love it all, there is enough of value here to please most death industrial enthusiasts.