Review Summary: Evil, constant, and unsympathetic.
Behemoth is one of the most controversial bands in heavy metal. The music videos are graphic and somewhat disturbing, the music itself is relentless, and the lyrics expose the ugliness in divinity as well as humanity. At live shows you might get lucky and see the bible being torn on stage. This is a band that does not cater to mainstream music or publicity, often to the chagrin of the record label. Behemoth is a monster but it shields itself with immense talent and originality.
To understand this album it is vital to know what kind of music this Polish band has been writing. Behemoth started with black metal influenced by traditional Polish instrumentals and eventually grew heavier, incorporating a plethora of other sounds from Asia and the Middle-East. This is what continues to make Behemoth stand out in heavy metal. Many critics label this band as blackened death metal but I agree with vocalist/lead guitarist Nergal (Adam Darski) who labels Behemoth simply as heavy metal. Every album written is distinct and the band makes it clear that there is no signature sound to the Polish band, nor is there a song that defines them which is one of the reasons why they are unique and truly talented musicians. Behemoth’s discography is incredibly varied which divides fans over which album is considered the strongest.
After the ambitious but muddled 2007 album The Apostasy, the band saw a need to take the frenetic energy and channel it into a mature, thick, and focused sound which remains fairly consistent throughout the album. There are some instrumentals but they most of the time blend in with the ferocity of the guitars. The shortage of experimentation definitely drives this album towards a steady combination of speed and brutality.
The layered vocals that were in heavy use in Behemoth’s 2004 album Demigod, have largely disappeared. Nergal uses his mid-ranged growl throughout most of the album without the laughable effects that were used in Demigod. His improved vocals are untainted by production and while not mind blowing, serve their purpose in delivering the intelligent lyrics while blending in with the entirety of Evangelion. His solos along with guitarist Patryk Sztyber’s, are a mix of melody and technicality that share a resemblance to the band’s Polish cousin, Hate. The drumming is fantastic; Zbigniew Prominski never takes a break and beats the living hell out of his snare drum. The speed of the double bass kicks are impressive as they pummel each song giving a foundation for the guitarists and bassist to play in a more organized and sinister manner.
Behemoth feature less guest musicians this time in order to stay with the consistent sound that brings in the familiar black metal and Middle-Eastern influences. The production has a lot more treble but it is clear, defining Nergal’s successful attempt at atmosphere with a 22 channel sound.
The lyrics are dark. Nergal outlines the controversies of the New Testament and deviances in Greek mythology. Nergal illustrates deities in personal as well as social conflict and often assumes their roles. Ov Fire and the Void expresses the loss of happiness in being the “son of perdition” who brings hate upon the world. The same goes with Alas, Lord Is Upon Me, which indicates the fall of humanity. The example used is the Romans, who once stood as a dominant and civilized empire only to crumble, as Nergal witnesses the destruction. Evangelion embraces consistency for the most part, yet it also explores new sensitive areas to provoke lyrically letting the guitars shred their notes to pieces, and the drums to batter away with wicked potency.
This is an evil album, but it is also powerful with the musicians expertly presenting their ability to play cohesively while attempting a less melodic and more atmospheric touch to their sound. While this isn’t a progression for Behemoth, Evangelion’s blisteringly fast and unsympathetic sound serves its brutal showcase of sacrilege, making every moment on this album significant and worth the punishing listen.
