Behemoth
Evangelion (Metal Blade)Poland’s export quotient rolls out far less than its prime death metal exponent Behemoth, founded in 1991 Gda´nsk. Global economic collapse has thus circumvented both the Central European republic and the band’s sole original singer/guitarist, Adam “Nergal” Darski. Evangelion, Behemoth’s ninth LP, beckons tourism sure as late Polish film director Krzysztof Kieslowski or silver ECM horn Tomasz Stanko. As dense as the belching malevolence of 2005’s Demigod yet more sonically homogenous and nowhere near as clutching as full-length predecessor The Apostasy (2007), the trio’s latest batter platter nevertheless streamlines its Iron Age metallurgy as effectively as its previous career-high blitzkrieg. If evangelicals pledge Christian faith, Evangelion – translated in the liner notes as “the reward of good tidings, given to the messengers” – delivers anti-Christian fury in scientifically measured doses and scholarly genius. Pitting philosophers (Proust, Nietzsche, Jean-Paul Sartre, Aleister Crowley, Caligula) against gods (Dionysus, Ra, Jesus), the exactly 42-minute Evangelion touches down first and foremost as a drum exegesis sure as the bombing of Dresden. Zbigniew Prominski (aka Inferno) plays God of Thunder on the massive rhythmic beatdown of “The Seed ov I,” while “Transmigrating Beyond Realms ov Amenti” paddles cardiac arrest in the tomahawking percussion intro rushing into Nergal’s roaring whirlpool of gladiator riffs and slaughterhouse leads. The Poles save best for last, “Lucifer” a black mass of tar-pit guitar sucking down a demon vocal on Evangelion‘s only native tongue proclamation, lyrics by Neoromantic poet Tadeusz Micinski. Metalurgiczny.
This article appears in September 11 • 2009.
