Behemoth are one of the most intriguing bands in metal. Their black metal origins gave way to a more blackened death metal sound, and their lyrical and visual content has constantly pushed the envelope. It’s even been questioned in the Polish Supreme Courts in regards to freedom of religion. The band put out The Satanist last year to critical acclaim. It was both a daunting and honest release, and unapologetically declared its origins and the band’s beliefs with one fell swoop. The band hit the US with Cannibal Corpse in support of the record, and while on the St. Petersburg date of the show, I got to sit down with the almighty Inferno, the super fast and proficient man behind the drums, to discuss a myriad of things, from Satan to what Behemoth really means to him.
Worshippers Of The Seventh Tyranny
01. Worshippers Of The Seventh Tyranny
Of all the bands in the world to announce that their next album would be one long 40 minute track, I never suspected Impiety. For those who are unaware of Impiety, they are a Singaporean band who play blackened thrash in the same sort of vein as Blasphemy, Morbosidad and Infernal War, sometimes falling in the realm of all those bestial NEKRO NUKLEAR KVLT TERROR bands but siding more with early Celtic Frost. It’s probably the best reference point, vocalist and sole original member Shyaithan invokes the gruff snarl of To Mega Therion era Tom G. Warrior and the whole song reeks of a very ambitious Hellhammer.
The idea of one continuous track is not a new one but it is one I feel that hasn’t been properly explored yet, take for example Pig Destroyer‘s Natasha. It’s an amazing exercise in stretching what is acceptable for a grind band and while it’s not uncommon for grind bands to flirt with doom, it felt new and exciting at the time. Worshippers Of The Seventh Tyranny takes on the idea in a new way, while there are lulls in the intensity of the record, it’s all relative and the record maintains a steady pace throughout. There is little of the throw away ‘funeral doom riffing’ that seems to plague other attempts at crafting longer songs, but what doom there is sounds more like a huge tribute to a sleazy Black Sabbath rather than the note-a-minute world of Ahab.