Concert Review – Behemoth (The Danforth Music Hall, Toronto, ON, 11/06/2018)

Toronto definitely loves Behemoth at their darkest.

OPENING ACTS: Wolves In The Throne Room and At The Gates

If there’s one thing we cannot complain at all in Toronto is the fact that the winter never really hits us hard before the end of December, which means whenever there’s a concert like this Tuesday’s fantastic triumvirate of extreme music with Wolves In The Throne Room, At The Gates and the masters of blasphemy Behemoth at The Danforth Music Hall during their “Ecclesia Diabolica America 2018 e.v.” tour, you can rest assured it will never be too cold nor snowing, allowing any fan to attend the show and have a great time. Well, I guess even if it was -20oC and snowing like hell the concert would have been absolutely SOLD OUT like it actually happened, with about 1,500 metalheads at the venue, and the reason for that is quite simple. All three bands kicked some serious ass with their austere, obscure and hammering music, especially Behemoth, who put up another memorable performance in the city.

I have to admit I didn’t know much about American Atmospheric Black Metal act WOLVES IN THE THRONE ROOM, formed in 2003 in the city of Olympia, Washington, in the United States, before their show opening for At The Gates and Behemoth this Tuesday, and I’m truly happy with them being chosen to do so. Still promoting their 2017 album Thrice Woven (available from their own BandCamp page), the  band comprised of Nathan Weaver on vocals and guitar, Kody Keyworth on the guitar and backing vocals, Peregrine Somerville also on the guitar, the stunning Brittany McConnell on keyboards and Aaron Weaver on drums (and no, they don’t have a bassist) delivered a solid, entertaining and mesmerizing show, playing only three songs but for around 30 minutes, just the way we love it in Atmospheric Black Metal. If you’re still going to see Behemoth during this North American tour, make sure you get to the venue on time for Wolves In The Throne Room, because watching them on stage is indeed a unique experience.

Setlist
Angrboda
The Old Ones Are With Us
Born From the Serpent’s Eye

Band members
Nathan Weaver – vocals, guitar
Kody Keyworth – guitar, backing vocals
Peregrine Somerville – guitar
Brittany McConnell – keyboards
Aaron Weaver – drums

After a quick break it was time for Gothenburg’s own Melodic Death Metal institution AT THE GATES to prove us all why they’re still one of the most relevant bands from the 90’s unparalleled Swedish scene, slaying everything and everyone throughout their entire concert. All fans at the venue enjoyed a lot the flammable performance by frontman Tomas Lindberg and his henchmen, including the songs from their brand new album To Drink from the Night Itself, such as the title-track and A Stare Bound in Stone. Not only their full concert was a feast of first-class old school and modern-day Melodic Death Metal, but it was nice to watch Mr. Adrian Erlandsson smashing his drums once again after so many years, as the last time I saw him playing live was when he was still drumming for Cradle Of Filth. A great drummer, an amazing and charismatic lead singer, and a very entertaining setlist. What else can you ask for in Melodic Death Metal made in the beautiful Sweden, right?

Setlist
Der Widerstand
To Drink From the Night Itself
Slaughter of the Soul
At War With Reality
A Stare Bound in Stone
Cold
El Altar del Dios Desconocido
Death and the Labyrinth
Heroes and Tombs
Suicide Nation
The Book of Sand (The Abomination)
Blinded by Fear
The Night Eternal

Band members
Tomas Lindberg – vocals
Martin Larsson – guitars
Jonas Stålhammar – guitars
Jonas Björler – bass
Adrian Erlandsson – drums 

BEHEMOTH

Right after At The Gates ended their show, the speakers started playing the devilish children’s choir from the awesome intro Solve, from BEHEMOTH’s blasphemous and totally amazing new opus I Loved You At Your Darkest, putting us all in a trance and warming up our senses for the storm of Blackened Death Metal we were all eager to witness once again in Toronto. And when our favorite Polish horde started their fulminating performance with Wolves ov Siberia, spearheaded as usual by the iconic Nergal, it was hell on earth at The Danforth Music Hall for the total delectation of the 1,500 fans who took the venue by storm.

Blending new songs from their latest albums I Loved You At Your Darkest, which by the way worked extremely well live like the hypnotizing chant Bartzabel and the beyond blasphemous Ecclesia Diabolica Catholica, and The Satanist, with the ominous hymns Ora Pro Nobis Lucifer (my favorite of the setlist) and Blow Your Trumpets Gabriel being a true invocation of evil, with old school material like the pulverizing Ov Fire and the Void, Slaves Shall Serve and Chant for Eschaton 2000, Nergal and his horde comprised of the extremely sharp and talented Seth on the guitar and backing vocals, the bulldozer Orion on bass and backing vocals, and the stone crusher Inferno on drums were on absolute fire from start to finish, worshiping Satan while delivering the best and most intricate fusion of classic and contemporary Death and Black Metal you can think of, with their masks, costumes and props being the icing on the cake. My only “complaint” is that they didn’t end the show with the fantastic O Father O Satan O Sun!, including those menacing horns and masks, but the closing combo Lucifer, We Are the Next 1000 Years  and the outro Coagvla were awesome anyway.

Not only Nergal was extremely happy and excited with the warm reception he received here in Toronto (not to mention the endless, incendiary circle pits beautifully crafted by their, let’s say, “most physical” fans), but seeing such packed venue made him pretty much promise us all that Behemoth will strike us Torontonians once again with their infernal music in a not-so-distant future, and we obviously can’t wait for another bestial performance by one of the most important extreme bands of the current metal scene. Lastly, on a side note, it looks like Behemoth love Toronto even more than we can imagine, as the Polish quartet from hell also played a 7-song setlist at a house party of one of Nergal’s friends the night before as you can see HERE, with the same intensity and energy of their usual concerts at much bigger places. I don’t mind not being invited for those parties as long as Behemoth keep coming back to the city with their insanely heavy and hellish concerts, but if by any chance anyone has a spare “ticket” for that type of event, why not? Just kidding, as I’m not that social, only a metalhead who loves when a band like Behemoth keeps spreading their black wings and unleashing hell upon the earth, showing their love for the city of Toronto as much as we love them back at their darkest.

Setlist
Solve
Wolves ov Siberia
Daimonos
Ora Pro Nobis Lucifer
Bartzabel
Ov Fire and the Void
God = Dog
Conquer All
Ecclesia Diabolica Catholica
Decade of Therion
Blow Your Trumpets Gabriel
Slaves Shall Serve
Chant for Eschaton 2000
Lucifer
We Are the Next 1000 Years
Coagvla

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Album Review – Behemoth / I Loved You At Your Darkest (2018)

Poland’s most blasphemous metal institution returns after four years with a much more melodic and dynamic approach than before, but still loyal to their devilish foundations.

“It doesn’t get more blasphemous than this.” Those are the words by the mastermind behind Polish Blackened Death Metal institution Behemoth, the iconic Adam “Nergal” Darski, regarding the title of their 11th studio album, I Loved You At Your Darkest, a beautiful, bold and captivating follow-up to their 2014 masterpiece The Satanist. And the band comprised of the aforementioned Nergal on lead vocals and guitar, Patryk Dominik “Seth” Sztyber on the guitar, Tomasz “Orion” Wróblewski on bass and Zbigniew Robert “Inferno” Promiński on drums is not exaggerating when they say their new album reeks of sheer blasphemy. “It’s a verse from the Bible,” Nergal reveals. “It’s actually a quote from Jesus Christ himself. For Behemoth to use it as the basis of our record, it’s sacrilege to the extreme.”

Musically speaking, I Loved You At Your Darkest, which features a stunning artwork by Italian artist Nicola Samori, is not too far from what they did in The Satanist, but that doesn’t mean it’s an extension of their previous album, sounding less ferocious, more polished, and with a much more melodic and dynamic approach. “I really wanted to redefine ourselves with this record,” Nergal explains. “I Loved You At Your Darkest is a more dynamic record. It’s extreme and radical on one hand, but it’s also more rock-oriented than any other Behemoth record.” Furthermore, the lyrics for each and every song of the album also reinforce that kind of religious provocation Behemoth have mastered through the years. “It’s very religion-driven, maybe more than anything we’ve done before,” Nergal offers. “But it’s not just cheap goading. I believe this is some deeper metal language. It’s art.” Hence, listening to I Loved You At Your Darkest is not a simple journey, as it will demand your full attention, seizing all your senses at once and inviting you to repeat that path over and over again, but never sounding or feeling the same.

A creepy and totally awesome children’s choir kicks off the album on a high (and devilish) note in the intro Solve, reciting some cryptic words (“Elohim, I shall not forgive! / Adonai, I shall not forgive! / Living God, I shall not forgive! / Jesus Christ, I forgive thee not!”) while the music grows slowly and darkly until Wolves ov Siberia comes crushing our heads, following a similar musical pattern from their previous album with Nergal and Seth piercing our souls with their guitars, while Inferno brings tons of intricacy to the music with his precise beats. And things only get better in God = Dog, a full-bodied lecture in modern-day Blackened Death Metal that will work fantastically when played live, with Nergal blasting haunting growls and roars while Orion slams his bass strings beautifully, not to mention those demonic, Damian-like kids who return in full force to intone the same words from the album’s intro, supporting Nergal’s vocals to perfection. And in the excellent Ecclesia Diabolica Catholica we’re treated to a very melodic and thrilling fusion of Black and Death Metal with nuances of Symphonic Black Metal, with its background organ bringing even more darkness to the the song’s already obscure, austere and blasphemous lyrics (“Eritis sicut dii / Thus sermonized the serpent ov Eden / Thus struck the breath ov the Earth / And thus flooded the blood ov the soil / Slither into the gaping void!”).

Then after such demolishing first batch of songs in I Loved You At Your Darkest, Behemoth deliver Bartzabel, perhaps the most Stygian, melodic and melancholic of all tracks, proving they don’t have to play at the speed of light to sound imposing and devilish, showcasing a beyond catchy and hypnotizing chorus while Orion and Inferno bring sheer heaviness to the sonority with their damned instruments. In the also thunderous If Crucifixion Was Not Enough… the band speeds things up a bit, with the guitars by Nergal and Seth sounding ferocious but very harmonious at the same time while Inferno brings the usual intricacy in his beats to a whole new level; and leaning towards classic Black Metal we have Angelvs XIII, a song where Nergal’s growls sound and feel truly enraged and demonic, with the band’s guitar duo slashing their strings mercilessly and leaving the listener completely disoriented. Moreover, there’s no time to breathe as Behemoth keep darkening our minds and souls in Sabbath Mater, another bestial display of Blackened Death Metal made in Poland bringing to our avid ears an excellent job done on the guitars while Inferno’s fast and complex beats will hammer your head in a vibrant way.

Then a serene, almost acoustic intro evolves into a full-bodied aria of darkness and blasphemy titled Havohej Pantocrator (and please note “Havohej” is simply “Jehovah” backwards), sounding even even more melancholic than “Bartzabel” thanks to a brilliant performances by all band members, all enfolded by first-class poetics lyrics (“Our father, who art in hell / Unhallowed be Thy name / Thy legions come / Thy enemies begone / On Earth as it is in the Netherworld / Embrace our souls untraveled / Let us sail to the farthest sea / Ignite our craving hearts / Illuminate our ageless will”). In Rom 5:8 the band gets back to a more traditional vibe, blasting their core Blackened Death Metal with highlights to the perfect sync between Orion and Inferno with their rumbling bass and demented beats, respectively, whereas We Are the Next 1000 Years, the second to last song in I Loved You At Your Darkest, once again sounds closer to what they did in The Satanist, which obviously means awesomeness in the form of extreme music. Nergal delivers another bestial vocal performance, while the sound of the guitars gets more electrified and menacing than ever, flowing majestically until the outro Coagvla puts an end to a fantastic (and utterly blasphemous, as already mentioned) album of Extreme Metal by Behemoth, sounding like the grand finale to a theatrical play from the depths of hell.

In summary, I Loved You At Your Darkest (available for a full listen on YouTube and on sale HERE) is still Behemoth, but maybe not the same Behemoth you got used to. Do not expect to listen to The Satanist, nor to any of their old records, but at the same time there’s no need to panic as the Behemoth we learned to love is still there. I personally think I Loved You At Your Darkest might cause some controversy among admirers of the band, as their diehard, old school followers and their post-The Satanist fans might never reach an agreement if the album is actually good or not, but I don’t fear for the future of the band. Quite the contrary, although I still consider The Satanist their best release to date, I must admit I enjoyed a lot the direction Nergal took with the band in I Loved You At Your Darkest, providing the listener something new, something very melodic and groovy, but still loyal to the blasphemy and heaviness of their foundations.

Best moments of the album: God = Dog, Ecclesia Diabolica Catholica, Bartzabel and Havohej Pantocrator.

Worst moments of the album: Rom 5:8.

Released in 2018 Mystic Production

Track listing
1. Solve 2:04
2. Wolves ov Siberia 2:54
3. God = Dog 3:58
4. Ecclesia Diabolica Catholica 4:49
5. Bartzabel 5:01
6. If Crucifixion Was Not Enough… 3:16
7. Angelvs XIII 3:41
8. Sabbath Mater 4:56
9. Havohej Pantocrator 6:04
10. Rom 5:8 4:22
11. We Are the Next 1000 Years 3:23
12. Coagvla (Instrumental) 2:04

Japanese Edition bonus track
13. O Pentagram Ignis 4:48

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Guest musicians
Dziablas – backing vocals
Michał Łapaj – Hammond organs
Krzysztof “Siegmar” Oloś – samples

Album Review – Eths / Ankaa (2016)

One of the most prominent and innovative French bands of all time returns with a true masterpiece of complexity, darkness and heaviness, shining brighter than the main star of the Phoenix constellation.

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CoverThere’s a thin line between change and evolution several bands worldwide can’t or simply just don’t know how to walk without losing their balance and, consequently, damaging their core essence. Fortunately, this is not the case with French Neo-Metal adventurers Eths, who in my humble opinion have just released their boldest and most innovative album to date, the splendid Ankaa, but still being the Eths we all learned to love. Although I had been preparing myself for quite a while for another blast of creativity by Mr. Staif Bihl and his bandmates, I must say I was blown away by the level of intricacy, darkness and heaviness found throughout the entire album. This beautiful work-of-art crafted by this distinguished group hailing from the city of Marseille, France is the perfect depiction of what evolution in music is all about, and it will surely help spread the electricity and emotions flowing from the music by Eths to the entire world.

Ankaa, which features a unique selection of guest musicians such as Björn “Speed” Strid (Soilwork), Sarah Layssac (Arkan), Jon Howard (Threat Signal), Faustine Berardo and session drummer Dirk Verbeuren (Soilwork), not to mention it is also Eths’ first full-length album with the stunning Rachel Aspe on vocals, shines brighter than the main star of the Phoenix constellation, which by the way was the inspiration for the album name. “This album is linked to the cosmos and the concept of rebirth for the band as well as personally”, said Staif, and that’s indeed what you’ll experience while listening to each one of its twelve jaw-dropping multi-layered songs, all beautifully and meticulously connected to tell a bigger story to the listener. Again, Eths might have changed their musicality in Ankaa considerably, but it was a change towards evolution that no one in their right mind should ever complain about.

One of the best compositions in the history of Eths, entitled Nefas (the Latin word for “atrocity” or “wrong”), kicks off Ankaa in a very impactful way, being insanely heavier, faster and darker than anything the band has ever done before. It’s a feast of Metalcore, Melodic Death Metal, Alternative Metal and many other subgenres of heavy music perfectly put together, and pay good attention to what our screaming diva Rachel does with her “voix incroyable”, it sounds beyond astonishing. Nihil Sine Causa (or “nothing happens without a cause”, from Latin), featuring Sarah Layssac and Jon Howard, is yet another obscure and thunderous composition where the band’s mastermind Staif showcases his always solid guitar lines, with the addition of the Arabic words by Sarah as well as the electronic effects during the song’s second half bringing a fresh taste to the music. And in Amaterasu, part of the Japanese myth cycle seen as the goddess of the Sun and the Universe, Dirk (who sounds like a beast behind his drums) makes a great duo with newcomer Damien Rivoal and his low-tuned and heavy as hell bass lines. Moreover, it’s impossible not to love this brutal Groove Metal aria, and I don’t recall coming across such a powerful triumvirate of songs like these starting an album in recent years.

eths 2016All the craziness, occultism and darkness found in Ankaa keep growing with each and every song, and in Seditio (or “rebellion”, from Latin) that couldn’t be any different. It amuses me how Rachel can sound like a beauty and a beast at the same time, showcasing all her vocal skills and contributing to the song being heavier than usual but still innovative and progressive, just like we expect from such a talented group of musicians. Then we have the startling Nixi Dii, a general term applied by the Romans to those divinities who were believed to assist women at the time when they were giving birth to a child, where its eerie background effects, demonic drumming, choir-like backing vocals and lots of breaks and variations, together with Rachel growling like an evil queen, are all the ingredients you need for awesomeness. In other words, it offers you eight minutes of the best modern metal music you can find in the entire world. And just when you think things couldn’t get more alternative we’re treated to Vae Victis (Latin for “woe to the vanquished”), with Staif providing an amazing piano base for Rachel to shine once again, this time with a mix of clean vocals and visceral growls. As a side note, the production of the album is so brilliant you can clearly hear every single note coming out of each instrument, enhancing the overall experience even more.

The next song, named HAR1 (the acronym for human accelerated region 1, a short DNA region identified recently to have evolved the most rapidly among highly constrained regions since the divergence from our common ancestor with chimpanzee) and featuring Björn “Speed” Strid, gets closer to traditional Melodic Death Metal thanks to the contribution of Björn, but of course with Eths’ own touch added to it; while in Sekhet Aaru, the Egyptian reed fields considered the heavenly paradise where Osiris rules in ancient Egyptian mythology, your soul will be transported to those fields in a flawless fusion of alternative and occult music. Sarah is back with her gorgeous voice as a guest vocalist in Kumari Kandam, which refers to a hypothetical lost continent with an ancient Tamil civilization (located south of present-day India, in the Indian Ocean), perhaps the closest song to Eths’ old musicality with Damien and Dirk providing all the uproar while Rachel takes care of the song’s tranquility, sorrow and anguish.

eths-ankaa-digibox

Ankaa Deluxe Digibox

Last but not least, Eths bring forward a spine-tingling trilogy inspired by the Orion constellation, accurately representing the idea of rebirth. The first piece of this trilogy is named Alnitak, a multiple star (also known as “Zeta Orionis”) that’s part of the famous Orion’s Belt, which Staif effectively translated into an epic and vibrant chant overflowing his deepest emotions. The second piece, entitled Alnilam, a large blue supergiant star also known as “Epsilon Orionis” estimated to be 275,000 to 537,000 times as luminous as the Sun and around 34 times as massive, is an extremely powerful and aggressive tune led by a relentless Rachel, with Dirk yet again pounding his drums mercilessly. And finally, the climatic end to this trilogy comes in the form of another violent chant with esoteric passages and a pleasant ambience named Mintaka, from منطقة (“manṭaqa”), which means “the belt” in Arabic.

As aforementioned, calling Ankaa simply as a “change” in the music direction by Eths is an understatement of the actual evolution Staif, Rachel and the others reached with their musicality, as well as of the brilliant destiny that lies ahead for them. Ankaa is not just another regular metal album, and I’m sure it will shortly become a reference in contemporary heavy music. Thus, if you want to join Eths in this exciting path they are taking towards the future of Heavy Metal, I suggest you go grab your copy of Ankaa (which can be listened to in its entirety HERE), in special its top-notch deluxe digibox including a CD and an exclusive DVD “Live at Hellfest 2015” in digisleeve with a 24 page booklet, an Eths metal key ring and a pyramid folding card, at the Season Of Mist webshop or at the Napalm Records webshop. After listening to such a masterpiece like Ankaa, you will quickly realize it is no wonder Eths are considered by many the most prominent and innovative French band of all time.

Best moments of the album: Nefas, Nihil Sine Causa, Amaterasu, Nixi Dii and, from the Orion-inspired trilogy, I would say Alnilam is the most entertaining composition.

Worst moments of the album: None.

Released in 2016 Season Of Mist

Track listing
1. Nefas 3:50
2. Nihil Sine Causa (feat. Sarah Layssac and Jon Howard) 4:53
3. Amaterasu 3:57
4. Seditio 6:36
5. Nixi Dii 7:58
6. Vae Victis 5:05
7. HAR1 (feat. Björn “Speed” Strid) 4:04
8. Sekhet Aaru 4:09
9. Kumari Kandam (feat. Sarah Layssac and Faustine Berardo) 4:15
10. Alnitak 4:04
11. Alnilam 3:40
12. Mintaka 5:07

Band members
Rachel Aspe – lead vocals
Staif Bihl – guitars, keyboards, programming, vocals
Damien Rivoal – bass
R.U.L. – drums (live)

Guest musicians
Dirk Verbeuren – drums (studio recording)
Sarah Layssac – additional vocals on “Nihil Sine Causa” and “Kumari Kandam”
Jon Howard – additional vocals on “Nihil Sine Causa”
Björn “Speed” Strid – additional vocals on “HAR1”
Faustine Berardo – additional vocals on “Kumari Kandam”

Concert Review – Cannibal Corpse & Behemoth (Phoenix Concert Theatre, Toronto, ON, 02/24/2015)

If you want to live in the bitter cold of Toronto, you have to kill or become.

OPENING ACTS: Tribulation and Aeon

cannibal corpse_behemoth_winter tour 2015If you live in Toronto or anywhere nearby you know how bitterly cold the past couple of months have been. For instance, I personally don’t remember when we had temperatures above the freezing mark (or even above -5°C) for the last time, and it looks like February 2015 is about to become the coldest month in the history of Toronto. Well, nothing better than a hotter-than-hell extreme music night to warm up the hearts of lots of headbangers in the city, right? The venue chosen for this awesome gathering was the always welcoming Phoenix Concert Theatre, where friends wearing the T-shirts of their favorite extreme bands and even a group of girls with their well-crafted corpsepaint were able to enjoy some beers together, headbang like motherfuckers and especially slam into the circle pits.

The bands chosen to liven this mini-festival up were the excellent Swedish Death Metal bands TRIBULATION and AEON, both raising the flag of Scandinavian metal really high with their ferocious performances. If you truly love extreme music but have never heard of either Tribulation or Aeon, I kindly ask you to please go check these two bands: you’ll be surprised with how good they are. The first band was Tribulation, playing a very technical and progressive Death Metal permeated with elements from Black and Doom Metal and singing about darkness, horror, vampires, death and all other of those “beautiful” themes. In case you want to know more about this great Swedish band, my suggestions are the songs Beyond the Horror, Rånda and When the Sky Is Black With Devils, masterfully executed by this four-piece act in front of an avid Torontonian crowd.

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Aeon @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

After a short break it was time for Aeon to deliver their infernal music, blasting everyone’s ears and necks with each and every song played. Lead singer Tommy Dahlström is a beast on vocals (and you can easily notice he’s a huge fan of Cannibal Corpse by his stage performance), perfectly vociferating the violent lyrics of all songs of their brutal setlist, with highlights to the opening song Satanic Victory and also to the amazing Kill Them All and Blessed by the Priest. In addition, how can I describe the performance of drummer Emil Wiksten? That guy is like an unbelievable human stone crusher behind his drums so fast and precise he is, which added a lot of power and fury to the band’s performance. As I said, go after the music by Tribulation and Aeon as quick as the blast beats by Emil!

BEHEMOTH

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Behemoth @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

It was around 8:45pm when the iconic Nergal and his horde of darkness hit the stage with an incredible concert, both in terms of their ominous music and their unique theatrical performance, and it’s amazing how they were capable of delivering so much content in such a limited space. Still promoting their most recent album, the impeccable The Satanist, which even after one year of its release it continues to astonish me, Polish Black/Death Metal masters BEHEMOTH proved why they’re one of the most influential and portentous groups in the world of extreme music.

Although they didn’t play the best song of The Satanist in my opinion, “Blow Your Trumpets Gabriel”, the songs selected from the album were just as superb live, with highlights to Ora Pro Nobis Lucifer and Ben Sahar. Older classics also helped keep the audience mesmerized by their obscurity, such as Chant for Eschaton 2000 and Slaves Shall Serve. However, I believe almost everybody will agree with me when I say they simply kicked all possible asses with the already classic O Father O Satan O Sun!, a song that live sounds even more grandiose than its studio version, augmented by the band’s special satanic attire worn during its execution. This might sound stupid for a lot of people, but Behemoth performing this song at the Oscars would have been beyond spectacular. Unfortunately, the world and all mere mortals that live in it don’t seem ready for Behemoth yet.

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Behemoth @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

Also, it’s undeniable that Nergal is a true Extreme Metal leader and he’s passionate about what he does, and consequently he had almost all eyes staring at him during the whole concert, but the other band members are also wonderful and skillful musicians who help Nergal achieve the level of excellence he has in his mind for the band. Who didn’t enjoy the performance by bassist Orion, who looked like an even more devilish version of Gene Simmons’ stage persona The Demon? And what about the dark riffs by Seth or the rhythmic drumming by Inferno? What an awesome band, and if you missed them this time, may Lucifer have mercy on your soul. Or not.

Setlist
1. Ora Pro Nobis Lucifer
2. Conquer All
3. Ben Sahar
4. Decade of Therion
5. Messe Noire
6. Ov Fire and the Void
7. At the Left Hand ov God
8. Slaves Shall Serve
9. Chant for Eschaton 2000
10. O Father O Satan O Sun!

Band members
Adam “Nergal” Darski – lead vocals, guitars
Tomasz “Orion” Wróblewski – bass guitar
Patryk Dominik “Seth” Sztyber – guitars
Zbigniew Robert “Inferno” Promiński – drums and percussion

CANNIBAL CORPSE

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Cannibal Corpse @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

In order to properly close the night and pulverize anyone or anything that was still alive after Behemoth, Death Metal titans CANNIBAL CORPSE arose from the crypts of hell to transform the entire venue into their own “skeletal domain”, obviously promoting their most recent album, the visceral A Skeletal Domain. If there’s one thing that I love about Cannibal Corpse is the fact that they’re a band that always moves forward, despite having a solid past which they could live on forever like many classic bands do. All their latest albums are brutally superb, and technically speaking they’re getting better and better year after year.

Their setlist was an awesome mix of old classics and newer songs, including almost one track from each one of their albums, from Eaten Back to Life (1990) to last year’s A Skeletal Domain. Mosh pits and pure headbanging erupted with classics such as A Skull Full of Maggots, Demented Aggression, Make Them Suffer and The Wretched Spawn, while the selected songs from their new album for this tour, in special the great Sadistic Embodiment and the steamroller Kill or Become, intensified even more the hurricane that was happening on the “dance” floor.

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Cannibal Corpse @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

Moreover, anything I say about the band members will just be pure repetition of common sense: they are all really talented musicians that love Death Metal above all things (well, Corpsegrinder said he loves pussy above all things), and that translates into pure electricity when they’re performing on the stage. You can barely see Alex Webster’s face, but he’s there delivering the most intricate bass lines you can find in extreme music, while Pat O’Brien and Rob Barrett keep firing their evil riffs and Paul Mazurkiewicz his nonstop beats. And as I always say, Mr. George “Corpsegrinder” Fisher is the face of Cannibal Corpse and the one to give life (or death) to the band’s gory lyrics while headbanging like a fuckin’ chopper in a way only he is capable of. Besides, seeing him scratching himself with one of Paul’s drumsticks due to an incontrollable itch in the middle of his back, and you know he’s not a small guy, was priceless.

When Cannibal Corpse played their last two songs, the unparalleled classics Hammer Smashed Face and Devoured by Vermin (my top Cannibal Corpse song of all time), they turned the whole venue into a fuckin’ monstrous mosh pit with absolutely no place to hide, showcasing how awesome those songs are. But do you think anyone in the audience complained about it? There were so many smiles and so much sweat everywhere when the show was over I’m pretty sure the fans of the Corpse cannot wait for them to storm Toronto once again and heat up our chilly winter with their perfect Death Metal. Fire up the chainsaw!

Setlist
1. Scourge of Iron
2. Demented Aggression
3. Evisceration Plague
4. Stripped, Raped and Strangled
5. Kill or Become
6. Sadistic Embodiment
7. Icepick Lobotomy
8. The Wretched Spawn
9. Pounded into Dust
10. I Cum Blood
11. Make Them Suffer
12. A Skull Full of Maggots
13. Hammer Smashed Face
14. Devoured by Vermin

Band members
George “Corpsegrinder” Fisher – vocals
Pat O’Brien – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Album Review – Behemoth / The Satanist (2014)

Vile, obscure and impressive: these are just a few words that can be used to describe  the new album by Poland’s most influential Heavy Metal band of all time.

Rating3

Behemoth_TheSatanistIf anyone asked me “what’s the darkest and most obscure Heavy Metal band in activity today?”, I would probably point to the infamous Polish Blackened Death Metal band Behemoth. And with the release of their new album, The Satanist, they totally corroborate my opinion: from their Black Metal back in 1991 when they started in Gdańsk, Poland, until their current Blackened Death Metal, it’s easy to see their evolution to a more devilish music approach, which makes me think we should call it an “evil-lution”.

The Satanist is Behemoth’s tenth studio album, and the first after the band’s mastermind Adam “Nergal” Darski was diagnosed with leukemia in August 2010. It’s amazing to see how well he has been recovering from this fearful disease and how he was able to canalize all the pain and suffering into Behemoth’s music, proving to ignorant people he’s not being “punished by God” or any other stupidity like that just because he plays extreme music, but that he’s only a normal human being, a talented musician that had to fight for his life. Besides, if you were one of those people that got “happy” to see him being “punished” with leukemia just because of the type of art he creates, well, you’re A LOT worse than the creature you think Nergal is.

Anyway, let’s get back to the music, which is what really matters here. If you have a weak stomach or suffer from any heart disease, do not even begin listening to this album: The Satanist starts with the extremely heavy song Blow Your Trumpets Gabriel, with its brutal lyrics (“I saw the virgin’s cunt spawning forth the snake / I witnessed tribes ov Judah reduced to ruin / I watched disciples twelve dissolved by flame / Looked down on son ov god snuffed in vain”) and creepy pace. In case you love horror movies like I do, you must take a look at their music video for this song: it reminds me of some great movies such as The Omen, Hellraiser and especially The Ring. You can check the censored version at the end of this review, or the uncensored one HERE, but let me just inform you that the only difference I noticed between both are the girl’s blurred nipples in the censored version, nothing else.

behemothThe next track, Furor Divinus, is more Black Metal, especially the drums by Inferno, while Messe Noire gets back to their later Death Metal with some amazing guitar solos at the end. The second single extracted from the album, Ora Pro Nobis Lucifer, is another tenebrous fast track perfect for live performances, with great riffs and an excellent job done by Nergal on vocals. Amen is as heavy as hell, an evil sonic massacre that fans will love, while the title-track The Satanist doesn’t reach the same level as the previous tracks, despite having an interesting atmosphere.

The album continues with Ben Sahar, an average track with good drums and riffs, and In the Absence Ov Light, another heavy track where Inferno pounds his drums mercilessly. The last track of the album, O Father O Satan O Sun!, is the perfect soundtrack for a horror movie, with its strong lyrics, frightful atmosphere, and the “speech” in the final two minutes of this song are more than amazing.

I guess I don’t need to say anything about the controversial lyrics, or about the superb album art by Russian artist Denis Forkas Kostromitin. Those are “extras” to a great work done by Nergal and his band, which becomes even more impressive due to the thin line we all know that exists between being awesome or totally ridiculous in the world of Black Metal. Let’s hope Behemoth continues on the awesome side, and that their evil empire of music keeps blowing our minds for many years to come.

Best moments of the album: Blow Your Trumpets Gabriel, O Father O Satan O Sun!, Amen and Ora Pro Nobis Lucifer.

Worst moments of the album: The Satanist and Ben Sahar.

Released in 2014 Nuclear Blast Records

Track listing
1. Blow Your Trumpets Gabriel 4:25
2. Furor Divinus 3:06
3. Messe Noire 4:04
4. Ora Pro Nobis Lucifer 5:35
5. Amen 3:49
6. The Satanist 5:33
7. Ben Sahar 5:34
8. In the Absence Ov Light 4:58
9. O Father O Satan O Sun! 7:13

Australian/Japanese edition bonus tracks
10. Ludzie Wschodu (Siekiera cover) 4:11
11. Chant for Ezkaton 2000 E.V. (Japanese version only) 5:10
12. Qadosh (Japanese version only) 5:00

Band members
Adam “Nergal” Darski – lead vocals, guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion
Patryk Dominik “Seth” Sztyber – guitars

Additional musicians
Krzysztof “Siegmar” Oloś (Vesania) – samples
Michał Łapaj (Riverside) – Hammond organ