All posts tagged Behemoth

El-P and Killer Mike, AKA Run the Jewels.

El-P and Killer Mike, AKA Run the Jewels.

By Rick Polo (Editor-in-Chief)

And so, another year has come to pass. 2014 offered up a number of exceptional music festivals, buzz worthy releases and reunions that most fans never saw coming. Yes, who would have thought both Wu-Tang Clan and Pink Floyd would deliver new music? And that is just the very tip of the iceberg. Alternative rock and metal artists enjoyed the most chart success in years, while underground rap and hip-hop were right behind them. Some of the biggest contenders in classic rock also proved their staying power and overall relevance by knocking today’s contemporary acts right out of the top spot. And let’s not for U2’s ultimate troll, providing Apple consumers with a largely unwanted product.

2014 was definitely a great year for indie and alternative rock. Iconic artists like Morrissey, J Mascis, Beck, Johnny Marr and the Swans all dropped well-received new records this year. But it’s the relative new-comers who have made quite possibly the biggest impression. Acts like alt-j, St. Vincent, Iceage, Perfect Pussy and The War on Drugs all made quite a splash, topping the bill at many major festivals and influencing a next generation of young alternative garage acts. Post-punk acts Death From Above 1979 and Interpol also marked their return, releasing two great albums respectively.

Classic alternative acts saw their share of success as well. The Foo Fighters’ new album, Sonic Highways, went right to the top of the charts, and successful tours from bands like Pearl Jam and the co-headlining jaunt from Nine Inch Nails and Soundgarden drew in fans by the millions. Plus, high-profile reunions from Primus and Faith No More prove that this ear of rock bands still have a lot to say, and the fans want to hear it!

The dynamic duo of rappers El-P and Killer Mike (AKA Run the Jewels), also took the underground by storm with their sophomore collaboration disc, RTJ2. The record featured many high profile guests including Rage Against the Machine’s Zack de la Rocha and Blink-182 drummer-extraordinaire Travis Barker, and took no prisoners. Dropping alongside the massive reunions of Outkast and Wu-Tang Clan, hip-hop is seeing a new golden age, where classic and contemporary alternative acts of the genre are lining up, providing a much needed breath of fresh air among its massive commercialized market.

Punk rock had it’s share dominance this year. The successful Punk Rock Summer Nationals tour brought together big names like The Offspring, Bad Religion, Pennywise and the Vandals all on one bill. Punk acts as diverse as OFF!, The Gaslight Anthem, The Damned and Against Me! released gritty, brutal records that show maturity and loyalty to the genre’s ethos.

Metal fans had to much to rejoice in 2014. Big contemporary players like Slipknot, Machine Head, In Flames and Mastodon took to the top of the charts, along with genre staples like Judas Priest and Exodus, who experienced the highest first-week sales and chart positions of their entire career. A standout release was Behemoth’s massive opus, The Satanist. The controversial Polish Blackened Death Metal act released both a chart topper and a game changer, bringing wide attention to the act in America, who had previous only seen moderate success.

Fans of Doom and Sludge metal had arguably an even better year in 2014. Heavy hitters Crowbar and Electric Wizard kept it, well, heavy! Not to mention Sludge pioneers the Melvins and the Columbus, Ohio underground sensation Lo-Pan dropping two massive records, keeping fans more than pleased. The bands Floor and Sleep also released new music, proving the sub-genre as relevant and powerful as ever.

Classic Rock artists like David Bowie, Nel Young, Paul McCartney and Tom Petty and the Heartbreakers released new music, with the latter seeing their first number one album ever. But perhaps the biggest surprise of 2014 was the return of Pink Floyd. The members have been very active in recent years, with the act’s notable leaders, David Gilmour and Roger Waters, both touring worldwide and occasionally making guest appearances at each other’s shows. However, most fans had dropped the idea of a full-fledged reunion, after a one-off 20-minute set at Live 8 in 2005 and the death of founding member and keyboardist Rick Wright in 2008. But by late summer, surviving members Gilmour and drummer Nick Mason announced a (somewhat) new Pink Floyd album was in the works. The Endless River was released in November, featuring unreleased material featuring Wright, re-recorded with a few new additions. Waters, who officially left the band in 1984, was not involved in the project. The album went straight to the top of the charts, knocking contemporary pop princess Taylor Swift off her fluffy throne.

Many of music’s mega-stars also pulled some noteworthy stunts. Taylor Swift, or most likely her label reps, pulled her latest release off Spotify and other popular music streaming services, forcing fans to purchase the physical copy. U2, took the opposite approach, and gave their new album, Songs of Innocence, away for free via Apple products. Both stunts garnered the acts equal publicity and equal dismay from the public. While Swift seemingly took a stance for the current value of music, U2 received a lot of heat for the ostensibly generous move, with high-profile acts like Pink Floyd and Foo Fighters criticizing them for “devaluing” music. This only goes to show that 15 years after the explosion of Napster, the music industry, as well as some of today’s top artists, are still on unstable ground. As of 2014, the future of the music industry was murky at best.

Let’s not forget who we lost in 2014. Iconic folk singer and activist Pete Seeger left us early in the year, while legendary blues guitarist Johnny Winter and punk icon Tommy Ramone of the Ramones passed in the summer. Ohio rock legend Denis T. Menass of classic rockers Left End also passed away in the summer, before his former band was honored at the Youngstown Music Awards later in the year. Bass virtuoso and Cream founder Jack Bruce left us in October, while the heavy metal community lost former Static-X frontman Wayne Static and Black Tusk bassist Jonathan Athon both in November. Later in the year, Jack White’s touring keyboardist Isaiah “Ikey” Owens and Small Faces Ian McLagan had passed away. For a complete tribute of 2014’s fallen musicians, visit here.

Although rock music, in all of it’s various sub-genre’s and identities, is not the dominant force in music that it once was, it is no where near out of the equation. While pop and country largely dominate the charts, and reality television continues to pump out one manufactured one-hit wonder after another, the real music fans have spoken the loudest. In 2014, rock, alternative, and especially metal acts, have pushed the highest number of physical album sales, proving their loyalty to their art. And as we move further into the digital age, where the value of music is constantly being questioned, it is the fans, all of you, who’ll ultimately deliver the final answer!

Cheers to 2015! Go out to shows, support local/regional/independent music, and keep buying records!!

Behemoth, circa 2009.

Behemoth, circa 2009.

By Jennifer Elizabeth Rose (Social/Cultural Writer and Music/Arts Historian)

As many bands throughout Europe began to be more and more influence by Scandinavian Black Metal one of those pocket regions that rose to this movement was the Slavic regions.

Indeed there was an almost camaraderie between the two regions at least musically and they often respected and acknowledged each other’s influence on each other. Fenriz, the drummer for Norwegian black metal band Darkthrone, said on the band’s MySpace that the Master’s Hammer debut LP Ritual from 1991 “is actually the first Norwegian black metal album, even though they are from Czechoslovakia.”

Although the Slavic bands would general employ a quality that would eventually be known as yet another subgenre that is still flourishing to this day: Blackened Death. It was perhaps a combination of Czech Republic’s Torr ( formed in the 80’s and Poland’s Vader and the original elements of Scandinavian black metal’s originators that influenced the early influential bands such as Master’s Hammer and Root.

Both Master’s Hammer and Root said Bathory heavily influenced them. In addition, Master’s Hammer was also influenced the by the extremely technical aspects which Carl Czerny and Giuseppe Verdi which employed in their compositional styles. Master’s Hammer enjoys a reputation among of the most respected metal acts as composers. Such influences among these early bands would lead to the orchestral metal influences in this region just as it did in Scandinavia.

Artwork on records became quite distinctive (and often unusual) in this region. One of the first contributions in this scene actually came from Master’s Hammer vocalist František Štorm, who did the artwork for Root’s first single, “7 černých jezdců / 666,” and their first full length, Zjevení. These and their later albums reached to other parts of Europe, namely to Portugal where the very successful Moonspell is from. They were greatly influenced by them. Root was indeed an early prominent band and was active until only about a few years ago.

In fact, many bands from this region enjoyed a longevity that unfortunately the Scandinavian black metal scene did not. Many are still currently active. One example that also has a great fan base to this day and who also solidified in 1991, is Behemoth from Poland. Their early works were demos on the small Polish label, Pagan Records but later came full length, Sventevith (Storming Near the Baltic) in 1995.

A year later, they recorded their second album Grom: A stellar example of Black Metal in its starkest form, it is often the most overlooked Behemoth record. The album hits upon themes not dissimilar to Viking Metal with titles such as, “The Dark Forest (Cast Me Your Spell)” and “Spellcraft and Heathendom,” lead singer Nergal seems to be tapping into his own interest in paganism as Quorthon of Bathory did before him. There are decided Black and Viking Metal influences and the record (from 1996) sounds much older but the influences they took from all those elements and what Vader started in the 80’s, Master’s Hammer and Root in the early 90’s is how Slavic Blackened Death would become completely developed.

Grom as well as other early Behemoth records were unique and ethereal, but Grom was especially important, as it was a pivot between applying what they knew black metal as and the band’s starting to experiment with their own takes of it. Tracks with very madrigal style female and children’s vocals and purely Polish lyrics became something of an archaic harkening to Slavic lands in Ancient and Medieval times.

As Behemoth went on to be the most notable band from the Slavic region to refine the blackened death genre, we must not forget the bands a long the way from other regions that were influential such as Akercocke, Belphegor, and Sacramentum. However, Behemoth became more political and critical of Catholicism in their native Poland just as Quorthon was in Sweden and they are still going strong with many of these sentiments as well as thought provoking lyrical themes of many kinds in addition to exploring different subgenres of metal. On their new album, The Satanist (that we reviewed in March) they seem going back in time by using older methods and songwriting styles just as the bands of the early Slavic scene had done before them. It is good to know your musical history.

All of the aforementioned bands as well as some of the lesser known independent acts (which I unfortunately cannot decipher enough of the languages to adequately add to this article with accuracy.) But they all seem to all be going strong – Many since the 80’s. Which is an interesting contrast compared to much of the Scandinavian Metal scene where tragedy abounds. Maybe they applied their own cultural takes on Black Metal and instead of “praising Satan” they embraced Vampirism or perhaps they found a better balance with religious assimilations of their Slavic paganism and Christianity that the some of the Scandinavians did not. (At least not among the hype of the crowds.)

All in all, I find the music of these regions and the blackened death subgenre, genuine and both dark and ethereal… Very interesting music. Please check it out.

In addition to my Picks of the Week (from June 2014) leading to this article Here is a list of picks (as chronological as possible) for your enjoyment!

Vader – Dark Age

Törr – Kladivo na čarodějnice

Master’s Hammer – Ritual Full LP

Master’s Hammer – Až já budu v hrobě hníti…

Root – Píseň pro Satana

Behemoth – The Dark Forest (Cast Me Your Spell)

Behemoth – Alas, Lord is Upon Me

Törr – Encyclopaedia Metallum: The Metal Archives


By Rick Polo (Editor-in-Chief)


Artist: Behemoth

Album: The Satanist

Rating: 9/10

Release Date: 2/4/14

One sure way to ruffle a metalhead’s feathers would be to call a Black Metal band Death Metal, or visa versa. However, some acts have managed to successfully transcend the genres of extreme metal, and maintain a continuing sense of artistic integrity and admiration. And few have be able to do so quite as well as Poland’s Behemoth.

No strangers to controversy, Behemoth have brought their Black Metal themes and influences into Death Metal for their tenth LP, simply titled The Satanist. The Satanist comes five years after their last effort, the epic and genre-spanning Evangelion. Since then, the band underwent a series of unfortunate setbacks including lead singer Nergal’s diagnosis and treated for leukemia, as well as drummer Inferno undergoing appendix surgery as well. However, by 2013 the band reconvened to record one of the most devastating and apocalyptic albums in modern heavy metal.

The Satanist is a record that is thematic in tune with some of the ideals of modern Satanism; rejection of the idea of a god and that the individual is at the helm of their existence. Behemoth are no strangers to such themes, as throughout their career they have observed the ideas of both Paganism and the occult as primary sources of lyrical inspiration. Often times, their message has been misunderstand and they have been the target of several religious and pro-Christian protest groups, especially in their native Poland.

Controversy aside, The Satanist is a shining example of how diverse, innovative and thought-provoking extreme music can be. Beginning with the eerie opening track, “Sound Your Trumpets Gabriel,” a barrage of super heavy riffs swarm the listener like maggots to a corpse. “Furor Divinus” and “Messe Noire” continue the sonic brutality before the slow burning “Ora Pro Nobis Lucifer” descends into blast beats and grind riffs. Lyrically, the following tracks, “Amen” and “The Satanist” begin to ease off the brutality and offer a more introverted perspective. Finally, on the closing “O Father O Satan O Sun!” an almost bluesy guitar solo hits before a final tidal wave of smashing Death Metal riffs, like the last moment of tranquility before the violent storm begins it’s assault.

The Satanist is an overall solid record for two reasons; the first being that musically, it shows a band maturing gracefully without showing signs of slowing. The drive is still intact and although the sound is slightly more refined, it gives many wannabe American metal acts a run for their money. This is heavy done heavy! The second reason would be that thematically, The Satanist is in many ways both provocative and inspiring. It lifts lines from the Bible as well as Pagan literature and folklore, while also bringing several different philosophical ideas to the table. Overall, it’s an album worth listening to for its lyrical content alone, as much of Behemoth’s back catalog is as well.

All in all, The Satanist defies many notion of what extreme metal “should” be by breaking down stylistic barriers and doing so in an insightful manner. Whether it’s Death Metal, Black Metal, Blackened Death “ProgCore” or whatever you may fancy, this is METAL at its finest.