Archive for Behemoth

Masachist – Scorned

Posted in Review with tags , , , , , on 27th October 2012 by -Scorpius-

Released: 2011
Death Metal
Released via Selfmadegod Records

Masachist are a 5 piece death metal band from Poland and have an impressive array of members from some very notable bands, On vocals they have Pig a.k.a Wojciech Wąsowicz from Decapitated, on bass is Heinrich from Polish Black Metal band Vesania, On drums Daray who is an ex Vader drummer, Aro can be found on Rhythm guitar and founding member Thrufel is the Lead Guitarist.

All in all an impressive line up and expectations of a quality album is high. The Album itself is entitled Scorned and it’s promised to be, “40 minutes of your agony, 9 songs about your demise”.

The first track, Drilling Your Nerves powers in with a nice rhythmic piece on guitars and drums which is quickly followed by a thundering vocal that screams brutality through and through. Various influences are immediately evident and I would like to desist from comparisons with other notable polish bands, Behemoth being the main one as the similarities are stark which is to be somewhat expected with the close links to the band. The track itself is an exciting mix of death metal pounding and a surprising almost black metal feel to it, which is a nice blend of influence and musicianship, the rhythm of this track is by far its defining quality and it pounds you into musical submission!

The Second offering is entitled, The Process of Elimination and straight away I am caught by the blast beats and double bass pedal work on the drums, the guitar playing is blisteringly fast and choppy and the vocals lend an almost ethereal quality to the music, if you like a mosh and a head-bang then this track is most definitely for you. I am struck by the interesting contrasts throughout the track with rhythm and melodic brutality, if such a term exists! It does now!

Straight and Narrow Path is the third track on the album and it has a dredging, guttural feel to it. Which is then intersected by a middle 8 which gives way to a chorus effect on the guitar, this track is one that you can turn loud and annoy the neighbours with as the bass is punishing and the drums only increase the intensity that is equally matched by the guitars and vocals, an interesting track indeed.

Track 4, Manifesto starts off incredibly brutal and then has a brief melodic guitar part which quickly gives way to yet more unrelenting brutality, this track would induce a brain aneurism if you turned it up loud enough! That’s how unrelenting and punishing it is, if you like your music to punish your senses then this track certainly does that.

Next up is a track called, Higher Authority which to me is a blend of old school death metal and sliding guitar chords, the vocals really chop this track up and the blast beats on the drums really give an added element. There are some very interesting chords in this track and this track really gives you an idea of how good these musicians really are, the skill level is incredibly high and the track really gives the listener a taste of what these guys are all about.

Opposing Normality is track 5 and it starts off with a distorted organ sound and some interesting distorted/reverbed vocal effects, this soon ends and the guitars, bass and drums usher in a very old school style riff. Mid way through the song the brutality relents for a moment and then it smacks its way back in.

Track 7 is entitled Liberation and wow, this track is by far the fastest on the album, the double bass pedal and blast beats are nothing short of incredible, quarter way through the track is slows down marginally and gives the listener a mix of rhythm and interesting chord progressions, the track then speeds up to 1000mph again and the listener is left absolutely dazed!

Liberation II is the eighth track it is entirely with distorted sounds although this time it’s a mix of distorted vox/choral, it’s a momentary departure from the overall theme of the album, call it a auditory break.

Finally we have track 9, Inner Void. Which starts off with a very slow droning old school death metal feel to it, very cool! This track at the beginning almost reminds me of Celtic Frost but that is soon replaced by yet more old school idea’s, there are clearly many influences in this track and I feel this may well be a nice jumping point to where Masachist can launch their next album.

My overall thoughts on this album is that it is a very well thought out album, there are many influences and ideas going on within it and each member clearly brings aspects from their other bands to this one. If you think Masachist is merely a side project or plaything for these musicians then you would be sorely mistaken, it is very much it’s own entity and creation and the quality of musicianship is clear.

The production of this album is perfect, I cannot fault it, every sound is as I believe it should be and the overall mix is just right.

If I were to sum this album up in one word, which is incredibly easy to do in fact that word would be, unrelenting.

Each track pummels the listener into an auditory submission of sorts and they are perfectly placed lending an added quality to the next.

I am incredibly impressed by this album and the name of the band says it all, Masachist You have to have some masochistic tendencies to allow yourself such an assault on your senses, and I love it!




Nine Covens – On The Coming of Light

Posted in Review with tags , , , , , on 11th October 2012 by Paul

Nine Covens
On The Coming of Light
Released November 12th, 2012
Black Metal
Released via Candlelight Records

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Nine Covens are a Black Metal band from the UK, a place not known for a particularly vibrant Black Metal scene, despite one or two hidden gems scattered here and there for those with an interest in this particular scene. Are Nine Covens one of those gems? Perhaps. I have yet to listen to their previous effort “…On The Coming of Darkness” in full yet, but I have read mixed reviews and heard enough to gain a general idea of what this band are all about: a more or less traditional, no nonsense Black Metal band with a lot of ideas and interesting lyrical themes. This release feels like a much more straight forward and focussed effort. Gone are the unnecessarily long song titles and now the band are represented by a much more slick piece of album artwork that wouldn’t look entirely out of place on the cover of say – Behemoth’s next release.

By glancing at the album cover and somewhat unconventional song titles, it might be a good guess that this is a band trying to emulate the new wave quasi-religious, occult avant-garde Black Metal, mostly centred on French acts Blut Aus Nord and Deathspell Omega. Well not quite. Whilst I can’t really guess at what half the lyrics are (this is Black Metal after all and the lyrics aren’t entirely discernible), I can tell you that musically this is much closer to the traditional fair that your average Black Metal fan will expect. Aside from a few interesting flourishes here and there, it is a more or less straight forward take on the genre that has been done a thousand times. Every now and then an unorthodox riff will kick in or the vocalist (/s?) will incorporate some deeper vocals more in the style of Death Metal than the typical shrieks – which are done quite well – that are present throughout this album. At its best, it’s quite interesting; at its worst it is boringly average (though it is simply average and never actually bad). A standout track for me was “White Star Acception”, but there is plenty for listeners to find here.

Although played at a fast pace for much of the album, The band do quite a good job of creating an often droning sound that slowly shifts the song forward, lending the songs a feeling of mystery and longing; however very few of the songs cross the five minute mark and the pacing of this album never feels self-indulgent, as a lot of bands that incorporate these droning tremolo riffs tend to do. At times there is a feeling of something more epic and supernatural. This rarely feels like “angry” or “blasphemous” Black Metal on display here, instead it seems to be trying to communicate something much more hypnotic and profound, and I think that for the most part it succeeds in this.

The band have chosen to remain anonymous, letting the music do the talking. It more or less pays off. I am sometimes left wondering if this band might achieve a more noteworthy style if they pushed the boat out a bit more. There are obviously some interesting ideas here and a lot of thought has been put into the crafting of this release, however not all modern Black Metal should be completely unpredictable or avant-garde. Obviously meant as a sequel to …On The Coming of Darkness this is a record defined by confident song writing and interesting themes. Time will tell whether or not this becomes a cherished classic of the genre, but it is certainly one of the more interesting Black Metal releases I have heard from the United Kingdom.


Paul Gibbins

Behemoth – Demonica [2006/2011]

Posted in Review with tags , , , , , on 21st October 2011 by izaforestspirit

Band: Behemoth
Album: Demonica
Release year: 2006/2011
Genre: Black Metal

Before I begin I’d like to say that this album doesn’t actually contain new Behemoth material. It is a limited edition 2CD box-set, compilation consisting of old demos, covers and some previously unreleased tracks from Behemoth’s early days as a Black Metal band. These songs, like many of their demos, have been influenced by the bands from Second Wave of Norwegian Black Metal, notably Mayhem, Hellhammer and Darkthrone.

The result is 2CDs worth of wonderfully haunting, atmospheric Black Metal to reminiscent to that of early Emperor. Also present in the mix is a handful of fast-paced re-recorded tracks such as ‘Transylvanian Forest’ which are bound to attract the attention of fans of Marduk or Ragnarok; along with covers of Hellhammer’s ‘Aggressor’ and Mayhem’s ‘Deathcrush’.

The highlights include: the instrumental ‘Goat with a Thousand Young’, the relentless ‘Marduk-esque’ pummelling of ‘Transylvanian Forest’ , the eerily atmospheric ‘From Hornedlands to Lindisfarne’ and the melodic ‘Thy Winter Kingdom’. The two cover tracks reveal the lengths to which the band was prepared to go to sound like their idols. So whilst their version of ‘Deathcrush’ may have persuaded me to see Mayhem in a different light, the cover of ‘Aggressor’ has done little to make me consider listening to Hellhammer.


Iza Raittila