Behemoth

Behemoth's ascent is a story that can be told in many ways and from many perspectives.When one writes about a band that has written and rewritten the book on extreme metal forover 30 years that much isinevitable. However, it would be difficult to really capture thestory's essence without focusing on the ambition and power which drive the band. While bothpower and ambition, as terms, can be tied in some way and some meaning to every story-their interpretation here is exact and carefully chosen. Ambition is the charioteer, navigatingever forwards to new horizons and visions and power are the horses, without whose prowessthose horizons would be but a distant dream.The new opus,The Shit Ov Godis emblematic of that. Here's a band that, 34 years in, isreleasing its most inflammatory and extreme record to date. 8 songs that go into the fathomsof humanity, divinity and what defiance means in an age where individuality is prized buteveryone is clinging to their saviors.Musically, politically, or otherwise. The title of the albumis in line with those sensibilities. Intentionally polarizing, founder and frontman Nergal, saysof the title " We chose this provocative title deliberately, rejecting subtlety in favor of a directand polarizing statement. It’s a defiant plunge into the depths, daring to seek the absoluteeven in the gutter."Artistically, bringing such a striking sonic vision to life is no small feat. Aside from the band inse, Behemoth meticulously chose the audiovisual artists involved on the album. Productionon the album was helmed by the inimitableJens Bogrenof Fascination Street Studios(Emperor, Enslaved, Kreator, Rotting Christet al.) Working closely with the band, Bogren'sdefthand underscored the band's natural sound while sacrificing none of the mayhem andferocity which permeates the band's essence. As is always the case with Behemoth, thevisuals were as carefully constructed as the sound. The band tapped long-time collaboratorand partner in crimeBartek Rogalewicz(BLACK.LODGE.IS.NOW) as well asDark SigilWorkshoptomake the beautifully ominous and unique cover-art.This commitment to innovation has long been solidified into the band's DNA. Each album hasits own personality, its own way of building upon and disconnecting from the rest of theband's work. It leads to a discography where no two albums are interchangeable. From thevery early days ofSventevith (Storming Near the Baltic)and all the way toThe Shit Ov God,Behemoth never repeats itself while remaining prolific and true to itself.This does nothappen by accident and is not merely a game of luck. It is an ambitious artistic disciplinewhere, loveit or hate it, things must and will evolve. Of this evolution and dodging thedrudgery which afflicts so many bands, Nergal remarked-"it's not about skill, it's about soul.It's about making a statement (sic) by who you are... it's thinking "how can I expand thosedeath metal/black metal spectrums?" And if we can't go any further or faster-we'll gosideways. That's what Behemoth has done for the last few records."This mentality often brought the band into conflict with all kinds of agents of orthodoxy andmediocrity. Whether it's the Catholic Church in Poland, which was nonplussed about theband's vibrant "love" of their dogma or different black metal circles that weren't happy the band developed its own personality, acrimony was certainly all around. But as Nergal isquoted as saying "play stupid games, winstupid prizes."So far, the winner of these disputesis clear. Catholic institutions have tried time and again to silence the band through the courtsand the pile of cases that have gone the band's way is only getting taller. As for theunderground circles, Behemoth has spearheaded the international popularity of Polishextreme metal. The band enters this new age on the back of the award winning andenduringly impactfulOpvs Contra Natvram, which saw them headline shows from as far westas California to asfar east as Tokyo and Sydney. Playing prestigious festivals such as Hellfestand Wacken and even more prestigious occasions such as being the first extreme metal bandto shake the Paris Philharmonic. Meanwhile most of their opposition have...uh, written angryFacebook posts and turned tail.If that sounds confrontational, well, it is. Power and ambition attract derision. But thatderision, that dialogue, is fundamental to the power dynamics of the band and its audience.It's part of whyThe Shit Ov Godcan be so honest and eye level about its subject matter whilenot shying away from loftier topics. Tracks like ‘To Drown the Svn in Wine’, dealing with griefand death, can stand shoulder to shoulder with bellicose and vitriolic attacks like ‘Sowing Salt’precisely because of this multifaceted relationship. The band is not, nor was ever, one single-minded approach. The die is cast-and now the metal world holds its breath.