Behemoth - Evangelion
2009 Metal Blade Records
Ray Van Horn, Jr.
In all likelihood this review is worthless, considering what you'll read here is no doubt the same judgment as everyone else confronting Behemoth's latest litany of confrontationalism.
Is it not surreal a band as unapologetically extreme as Behemoth has found themselves in the strange lap of guaged success? Sure, this is still underground material, but look amongst today's generation of mallrats and lo, you'll find plastered across their barely-nubile chests one of the most blasphemous and precisely bombastic death/black metal outfits in the entire universe. Next thing you know, Gorgoroth's metallic germination will be spread across today's teen metal society. Or Xasthur, for that matter.
Indeed, we've come to a point in modern metal's resurgence where Slipknot is no longer heavy enough for the masses. Lamb of God is still one of the top dawgs of the scene, but the hip upswing in favoritism is leaning incrementally towards Nile, Vader, Dimmu Borgir and of course, Behemoth.
This is not to say any of the aforementioned groups including Behemoth have sold out to the machine. Instead, the machine has spun its beacon hard towards the riotous cacophony of triple-timed antichrist anthems, since said music obviously demands to heard these days. A sign of the times, be sure.
Evangelion is all you can and should expect from Behemoth. As one of the indisputable leaders of death metal, Nergal and his feral hellhounds play straight into their severe schemes with no deviation. Bloody mayhem prevails as usual on Evangelion with nonstop savagery ala "Defiling Morality of Black God," "Ov Fire and the Void" and "Daimonos."
If anything, Behemoth has grown a smidge more exact in their already letter-perfect attack plan. Save for the doom-trodden march prevailing on the eight-minute-plus closer "Lucifer" and the lumbering, ratchety first half of "Ov Fire and the Void," Evangelion is all-systems-go with plummeting thrash designed to make you hold onto your cookies all the way.
Evangelion's most tapestried cuts are "Transmigrating Beyond Realms Ov Amenti" and "He Who Breeds Pestilence," where the pace is so reckless even drummer Inferno trips over himself a couple times, albeit he's on the dime the majority of the album. Nevertheless, these songs are so intensely written, the weaved miasma in their wake leaves the listener paralyzed by Behemoth's astounding grandeur. The ride of "Transmigrating Beyond Realms Ov Amenti" is so fierce Nergal's final throat blat is like a rebel yell at the end of a whiplashing coaster.
Nergal's diatribes are well-known (as if anyone would be foolhardy enough to question them with music this brutal), however, he reportedly delved deeper into the Old Testament for Evangelion in order to substantiate his hardline arguments of Christian sanctimony. Mallrats today may or may not have a clue of what Pandora's Box of fiendish hatred they're endorsing on their bodies, but they're tripping on the blaring and unyielding temptations raging out of Behemoth's box.
Evangelion is the tempestuous sound of professionals (if not professors) easily expounding their deafening craft while most of their imitators drool on...
Monday, September 07, 2009
Behemoth - Evangelion