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In terms of extreme music, the members of Behexen know how to raise a devastating storm. They have already demonstrated their capability to perform different kinds of stormy black metal. The ultra-brutal approach of "By the Blessing of Satan" was followed by the very raw "From the Devil´s Chalice", while the debut and "My Soul for His Glory" showed a relatively normal presentation of the darkest music genre. The stylish packaging of "Nightside Emanations" opens the next chapter in the history of Behexen. It indicates a more sophisticated approach. This does not mean that the band tries to score with less powerful tunes. The guys still possess the loveliness of a horde of rabid dogs. Fiery and fast-paced eruptions like "Death´s Black Light" do not show any signs of weakness. Additionally, the more atmospheric tracks also leave an enormous effect. The reason for this is simple. Impenetrable blackness characterises the sonic experience. The dense guitar sound delivers a very solid framework while the deep and powerful vocals make clear that the lead singer has internalised the quintessence of the genre. Evidently disgusted by the human race, he spits out the words imperiously.
"Nightside Emanations" appears as a very good and well-balanced mixture of atmosphere and aggression. All these suicidal black metal whiners should lend an ear to the here presented album in order to understand the true philosophy of this music. Misanthropy and violence are not mutually exclusive. The opposite is the case. They determine and complement each other. And both elements are usually necessary in order to create a really outstanding black metal output. Speaking of the indispensable ingredients, the attacking riffs have the power to bring a dead man back to life. But the slightly more melodic guitar lines are no less exciting. The guitar work as a whole spreads the stench of decay and rottenness. While falling deeper and deeper into the seemingly fathomless depth, you will realize that you are listening to a black metal masterpiece. Despite its proximity to the musical cruelty of the black classics, it offers a new perspective to the slightly rusted genre. Therefore, Behexen enrich the scene without gazing at the rear-view mirror. On the one hand, the music does not lack of catchiness and musicality. On the other hand, the guys do not disobey the principles of the genre. Songs like "Awaken Tiamat" illustrate this successful balancing act of the Finnish extremists who possess an amazing songwriting talent.
Due to the fact that almost each and every track reaches the top level, it does not make sense to speculate about the highlights of "Nightside Emanations". More important is that the album also captivates with a perfect flow. Complexity and directness are broadly balanced and the solo parts fit harmoniously into the overall concept. Remarkable is that Behexen keep up the tension until the end of the album. "Kiss of Our Dark Mother", the final track, shines with unholy invocations and a suspenseful construction as well. After starting with emotional tones, the intensity of the song grows rapidly. It leaves you disturbed and fascinated at the same time. However, the storm is over. You have survived. But I guess that you want to take this hellish trip again and again.
Behexen have come a long way, musically speaking, in their journey as a black metal band. These satanic, overlooked black metal musicians (and magicians!) began with an epic, Satyricon-worship demo, then showcased some of the rawest, most vicious black metal that can be found within the Finnish BM scene, then finally their later music from 2008 and onward seems to have calmed down a bit but after listening to this album, it's clearly that they are not that softened at all. Nightside Emanations shows something very different from Behexen. It's an album not so harsh and raw, but still very dark musically.
The band's musical approach on this album leans much more towards an old-school Beherit-like sound (although the production quality is nowhere near as raw as early Beherit) mixed with some black metal aspects very reminiscent of Marduk and Watain. These songs sound miles away from the raw and savage black metal that they initially began with. Nightside Emanations' production quality is much cleaner, though it doesn't sound over-polished or digitally-produced. It does give a flawless sound quality of being not too lo-fi yet it doesn't sound like one of the latest Dark Funeral albums either. It's right in the middle when it comes to production quality. All of the instruments can be heard in the mix. Speaking of the instruments, the guitar tone is quite different, with much deeper distortion. No more chainsaw-sounding guitars! After listening to many songs from Behexen's back catalogue, it's obvious that these are not the same guitarists that played on any of the older albums or EPs. The riffs do not involve tremolo picking combined with fast, simplistic rhythm sections like any of the older songs. Instead of lots of tremolo picking we hear riffs reminiscent of a lot of first-wave black metal bands combined with power chords that are arpeggiated to bring forth that dark, sinister atmosphere within the music. There's a lot of variation and diversity within these songs. Songs like Death's Black Light, Luciferian Will, and Wrathful Dragon Hau-Hra are fast and contain crushing heaviness whereas songs like Awaken Tiamat or Circle Me are much more melodic. Clearly the guitarists, Shatraug and Wraath, know how to make the songwriting diverse.
Regarding Hoath Torog's vocals, they may come as a surprise to fans who've only heard his screams on the first two albums of Behexen. His vocals are completely unpredictable throughout the album, switching between his professional, high-pitched screeches from the old days to deep-voiced growls to loud shouts. At times it seems like the deep voice of Mikko Aspa (of Clandestine Blaze and Deathspell Omega) might be an influence on Hoath's vocals. He initially began low, death metal-like growls on My Soul for His Glory, yet here he seems to have perfected this vocal style.
Nightside Emanations manifests Behexen striving to perfect the musical turning point they had on My Soul for His Glory. This turning point was where Behexen began to move away from their primitive days of raw black metal. This album concentrates more on the atmosphere behind the songs, which at times develops into something really sinister, such as the middle section on Kiss of Our Dark Mother. Songs like Wrathful Dragon Hau-Hra have fast, very crushing riffs, yet it's as if the darkness that these musicians tried to formulate around this album shaped these riffs instead of extremely crushing riffs shaping a dark atmosphere. The older material made the vehemence and aggression more obvious than the atmosphere conveyed. Behexen have their own sound here; something that doesn't sound like a rip-off of 3 other black metal bands. It's not an album that sounds too uninspired either, although there are a couple filler tracks in the last half of the album. The riffs sound fluent and flow together, as if written very quickly in a very spontaneous state of mind. Overall, Nightside Emanations is a black metal album worth checking out.
Yes, we've all seen it before – a once incredible band takes a nosedive in quality and proves itself unable to recover, settling for a level somewhere just above average. Behexen has a history of releasing their albums with a most moderate pace – an even one, but frustratingly slow for the zealous fan. However, aside from the incredible EP set from 2008, titled "From the Devil's Chalice", every single one released after I was introduced to this band has been remarkably disappointing. "My Soul For His Glory" was painfully forgettable and unexciting, if ultimately well crafted and enjoyable. It was followed by the lacklustre Satanic Warmaster split, which might've foreshadowed a future direction similar to Sargeist of the same era – very melodic, even excessively so – and while a part of me was satisfied that the following full-length was innocent of excess sappiness, ultimately the result was perhaps even more dissatisfying. "Nightside Emanations" is completely unmoving and without merit apart from a small portion of greatness.
With the recently joined Finnish black metal legend Shatraug in the band and a history of both extremely succesful and quite unsatisfying albums to have taught these musicians what things they can make work, and what not, "Nightside Emanations" could've been the album that set it all right again. Indeed, they clearly learned from some mistakes they had made on the previous album; yet "Nightside Emanations" is abundant in completely wrong decisions of different kinds. It's austere, grim and unhospitable, but it's also devoid of energy and passion. The first two albums had copious amounts of incredibly ugly, raw riffing, but they were mostly counterpointed with clever melodies or relentlessly catchy riffs – something like a Finnish countryside version of Gorgoroth's best years. This album's guitars are as muddy as they are uncreative, and while the once so vibrantly energetic drumming occasionally awakens from the slumber it fell into somewhere in early 2008, the majority of the album comprises clinical, run-of-the-mill performances of uninspired black metal. The raw, trebly sound of past could've done wonders to the album, but even if "Nightside Emanations" sounded like "By The Blessing...", it could never mask the gaping void in inspiration that this album embellishes in almost every minute of its 50 minutes duration.
What seems to be happening to Behexen is perhaps somewhat similar to what Gorgoroth went through. Decreased songwriting input from the ones originally responsible for the band's greatness is a likely explanation due to the lineup changes Behexen has gone through since their golden years. The philosphy behind the music has seemingly changed, aswell, to something considerably less genuine. The focus seems to be chiefly on imagery and satanism, whereas it should've been on the music. "Nightside Emanations" is, as a whole, even more forgettable and insubstantial than its predecessor, and where "My Glory..." was still enjoyable to listen to in its entirety, this one gets quite irritating with its unrelenting tedium. The most irritating aspect is the band's newfound fascination with creating some manner of satanic ritualistic metal music. Where "Wrathful Dragon..." and "Death's Black Light" are merely forgettable, try-hard aggressive black metal songs, "Circle Me" and "Temple of the Silent Curses" irritate the fuck out of anyone peering into this for the sake of hearing excellent riffing and actual black metal passion. The atmosphere Behexen went for with these quasi-religious songs was certainly one that is meant to put the listener in a trace of sorts, but the only trance thus delivered is one of utter boredom. It's bewildering how the band responsible for incredibly sinister, doomy songs like "Watchers of My Black Temple" could release something as half-conceived as this, especially considering the album's sterile production that works directly against conveying atmosphere of any kind. Where did the skill to convey the atmosphere of utter desolation and impending destruction go, and how did they lose their ability to musically portray that destruction in all its unhinged intensity?
Unsurprisingly, the album's strongest points are the songs that seem the least preoccupied with religion. "We Burn with Serpent Fire", the advance track, features some brilliantly dark tremolo riffs and those endearingly reckless blasting drums Behexen used to be known for. The intro riffs to "Awaken Tiamat" remind the listener that this band was once miles above the average group of Swedish orthodox three-chord black metal hacks. With approppriate production, this would've been a fantastically evil, melodic and sinister song. "Luciferian Will" brings to mind the more pronounced Gorgoroth influences of the past, setting it clearly apart from the majority of material on this album by the virtue of having excellent riffs. Unfortunately, Behexen has all but completely quit carrying that torch, which is a mistake of gigantic proportions, as their personal style made it all sound interesting and immensely enjoyable again. Their earlier works, even when flourishing with melodies, were darker and more atmospheric than the one-dimensional, overproduced tripe that comprises the majority of this album. Two or three songs on "Nightside Emanations" show that the band is still capable of writing great material (and these individual songs are greatly superior to anything on the evenly placid "My Soul..."), but some incomprehensible preoccupation with imagery, or an ever diminshing amount of these great ideas, that seemingly takes priority over creative songwriting prevents the album from being good in its entirety. It's worth hearing for the sake of "Luciferian Will" and "Awaken Tiamat", but other than those brief glimpses into past glory, little of this album is genuinely worthwhile.
Behexen‘s Nightside Emanations stood as one of the most anticipated releases of the year so far, with four long years since their last release in the form of the excellent My Soul for His Glory. While each of the band members have been rather busy with their own projects (such as Sargeist and Horna), nothing beat the announcement of a new release by these Finnish maniacs. And it leaves one to wonder, what could possibly be the result after the long wait for Nightside Emanations to finally be unleashed upon mankind?
The operatic opening track doesn’t seem to tell much, with organs playing, bringing the listener to a setting of an abandoned, haunting chapel. Yet when all hell breaks loose with Wrathful Dragon Hau-Hra, there is no holding back for the wrath of the band, with four years of anger being unleashed without any mercy. The band are obviously in top form, as the entire experience of Nightside Emanations displays. Hoath’s vocals are more tortured than ever, even more so than the works that he has done on Sargeist as well, and at times sounds like a cross between Marduk‘s Legion and Mortuus. And it seems that the influences from the Swedes do not stop there, as the pace and the riffs that are unleashed by Wraath and Shatraug reminds one of Panzer Division-era Marduk, with not only the urgency, but also the aggressiveness that has never before seen in Behexen‘s history. Furthermore, the intro of We Burn with Serpent Fire even resembles the intro of Watain‘s Total Funeral, further drawing the Swedish comparison. The drums of Horns are also remarkable and extremely impressive, and is perhaps some of the most ferocious works that he has done thus far, with the uncompromising blast beats that last almost the entirety of the album, providing lots of the energy that is in the music.
However, that isn’t to say that the band has completely gone Swedish. There are still the characteristic riffing styles of Behexen that are present on the record, and fans that enjoyed My Soul for His Glory would certainly enjoy Nightside Emanations even more, as the album presents a more intense experience overall. The ritualistic atmosphere that the band has been known for is also retained, with songs like Circle Me taking a slight slowdown from the chaos, focussing instead on the atmosphere, with trance-inducing riffs, reminding one of the title track of My Soul for His Glory at times.
Like I have already mentioned, Nightside Emanations contains some of the most aggressive material put out by Behexen to date. So if you love Behexen‘s stuff and you love Swedish black metal, then Nightside Emanations would definitely be a treat for you, fusing the best of both worlds into a single album.