Demigod

Behemoth was my first introduction to extreme metal, and this album was my first extreme metal purchase. As such, it has held a special place in my heart. Now, more than two years after I have first purchased it, I decided to try and use my knowledge of metal I’ve attained over that time to review this album objectively, regardless of my possible fanboyism.

The first thing one notices on listening to this album is the crystal-clear production. Relatively few releases of this type have this kind of clarity of sound, for the sake of the atmosphere of the music. In this case, however, the modern sound job is a bonus. The style of moderately technical playing used here is enhanced by having each instrument clearly distinguished from the others. At no time does any single sound drown out the others.

The next thing a listener will notice is the sense of atmosphere employed in the tracks. From the acoustic passage sprinkled at the end of “The Nephilim Rising” to the subtle choir recordings on “The Reign of Shemsu-Hor” to the light keyboard pieces throughout the album, each track feels like a piece of an occult ritual, or a tale in an epic from ancient Babylon.

Despite any atmosphere, a metal album is nothing if it does not have riffs, but rest assured, there are plenty of those! Much of the album’s guitarwork is an interplay between low plam-muted triplets and higher tremolo-picked riffs, and the use of counterpoint licks at the end of repeated riffs is a common theme here. The band manages to construct their music on a structure of technically competent playing without sacrificing the overall feel of the music. To anyone familiar with Nile’s music, the similarity in terms of melody is immediate and obvious, but Behemoth pull it off in such a way as to make it their own.

Unfortunately, on this record, as in many other death metal albums, the bass is practically inaudible. However, the rhythm section is ably filled by Inferno, the band’s drummer. His speed is impressive, and his fills are tasteful and creative. The vocals, on the other hand, leave something to be desired. Nergal never was particularly understandable, but the double-tracking of his diabolical roar makes it even less so. At times it almost sounds silly (as if you can call guttural vocals not silly), but they do not ruin the listening experience.

The songwriting is this album’s main downfall, as it varies between very solid, creative, and catchy songs (“Sculpting the Throne ov Seth”), and more derivative works (“Conquer All”). Some songs contain very cool riffs and melodies, and I feel they could be amazing songs, if only the musical ideas presented within were expanded upon (“The Nephilim Rising”).

Overall, though not entirely original, Demigod is a very solid album that tries a little too hard to be commercially accessible. Its short packages of brutality are entertaining and sometimes inspiring, but leave something to be desired. However, if you are a fan of modern death metal, this is a recommended purchase.