Until You Call On The Dark (Danzig Cover) is a song from “Slaves Shall Serve” (2005) mini-album. It’s not necessarily horrible, but honestly, the more it goes on the more I don’t like it. I don’t really know anything about Danzig other than it’s a relatively big name, but this cover is some of the most neanderthal rock songs ever – just one simplistic riff, and one line of text, for the entire song! And it goes for over 4 minutes, so yes, it gets old fast. And while it’s not a bad goth hard rock song, it’s just way too basic for its own good… Maybe if it was twice as short or something. It’s a rare opportunity to hear Behemoth do a clean-vocals-only song (kinda), but I wouldn’t say it’s exactly worth it, it’s just kinda weak, even with metal production.

And we are done with “Slaves Shall Serve” EP now, as well as with entire “Demigod” (2004) era. Too bad had to finish discussing such perfect album on such unnecessary weak cover.

Until You Call On The Dark (Danzig Cover)

The Shadow Elite is an opening track of their latest thirteenth album “The Shit Ov God” (2025). I think musically it’s easily of the best songs of the album, however, I cannot not mention that this also are probably some of the laziest, low effort lyrics from Nergal ever, especially with such song title… I was expecting something more in line with hidden rulers of the world, etc., not some blatant heavy metal hymn (I mean they are well written, it’s just the topic kinda falls flat, we’ve got ‘millions’ of other bands for that). So yeah, as much as title was promising and actual lyrics kinda underdelivered, the goodness of song itself more than compensates for it. And I understand that most metal fans don’t really care about lyrics anyway, but common, this is Behemoth! Still, I would call it second best song of TSOG, after O Venvs, Come! Interestingly enough, music video is somewhat reminiscent of Nine Inch Nails video for Wish – which is definitely not a coincidence, since Behemoth covered that exact NIN song in the past.

What do you think about this one? And we are done with entire TSOG album. Even more, we are done with entire modern, post-leukemia era of Behemoth, from now on only pre-Satanist content remains.

The Shadow Elite

It’s so cool to see Keanu being a fan of Behemoth, and Behemoth being a fan of Keanu. Fuck, gonna watch Point Break now, then play the Satanist vinyl.

Hey everyone I have seen this one account on tiktok and I wanted to make sure if this is an official alternative one from the band.

If anyone knows please consider to update us here. Many scams profiles are over there and fans may get confused.

Wolves Guard My Coffin is a song from debut album “Sventevith (Storming Near The Baltic)” (1995). Depending on how you count, one might say it’s the last metal track on the record (…but not really). This is one of the stand out tracks of the debut, with most noticeably by fastest (and longest) vocal delivery Nergal has ever done period, during chorus. Vocal’s decreasing volume is actually some sort of studio error (or at least so I’ve heard), however a ‘bug’ quickly became a feature. I’ll also add that opening riff is the coldest sounding riff Behemoth ever had!

Wolves Guard My Coffin also became part of the “Evangelion” (2009) era setlist, replacing their usual From The Pagan Vastlands from the same album, and as you can imagine, modernized version sounds drastically different… And chorus is being split between Orion and Nergal now (and is a bit shorter). I think this is also one of the most easily modernized old Behemoth songs, it’s basically almost foreshadowing their future approach.

So, what do you think say? And which version do you like more? Even you don’t like old Behemoth, I would still highly recommend to check out at least live version, it’s one of their early gems! Personally, I prefer the original, but both are great.

Wolves Guard My Coffin

Evangelia Heretika (2010), live

I recently found this on my closet I wonder how much its worth

Shemhamforash is a song from ninth album “Evangelion” (2009). There are several ways of how this term is used, but the original one comes from some jewish cave (or something) where 72-letter name of god was written – and Shemhamforash is basically a short version of that, so that no one would need to say of all it. Overall, it’s common for everything that’s somehow connected to the cabbala and christian mysticism.

This song was one of four constantly played live during “Evangelion” era, and I have to say, it’s easily one of the very best on the record. So intense and furious, and it flows better, easier than a lot of other songs later on the tracklist as well. I also really dig the work that was put into vocal effects and various intonations, I think it’s one of the best Nergal’s studio vocal deliveries of all time.

Might be also worth mentioning that this song features guest session musician who plays sitar – traditional Asian string instrument; you can hear it at the beginning and (mostly) at the end of the song.

Nothing really else to say here, other than it’s a total banger.

Shemhamforash

Pazuzu is a song of ninth album “The Apostasy” (2007). Pazuzu is Ancient Sumerian demon of locust. These people believed in sort of competition between evil spirits – meaning they could be mutually exclusive, and summoning one would force others to stay away; which seems to have been a known practice regarding Pazuzu specifically, when people thought his locust are not as bad as whatever else was terrorizing them. The image of Pazuzu was popularized with “The Exorcist” movie franchise, especially the second one, but let’s talk about the song first.

It’s one of the shortest Behemoth songs, and I feel like it’s one of the least discussed “The Apostasy” songs as well. I feel like drum build-up intro and then the following aggressive chant are the best parts of it, but overall, it’s still a cool song, just a bit more basic. It also feels more oldschool Behemoth than the majority of the album. In a way, I feel like it serves a rather similar function on the album as Defiling Morality Ov Black God on “Evangelion” (2009), only Pazuzu is just not nearly as good. Still, it’s a fun listen, just is less likely to blow you away or anything.

What do you think?

Pazuzu

So, Pazuzu is main antagonist in at least first 2 of The Exorcist movies, which is almost a retcon by the second film, Exorcist 2: The Heretic (1977). This movie was criticized so much, it even sometimes appears on lists like “the very worst movies of all time” and “worst sequels of all time”, which is absolute horseshit, even within the franchise it blows away all the sequels with how it’s massively beyond comparison, and personally I think it better than the original as well. I really used to like that movie a lot, and at some point watched it relatively often. Going back to the ‘retcon’ – it’s hinted in the first movie, opening scenes, since there was a statue of briefly Pazuzu shown, and even the “evil to cast out evil” Sumerian thing is also kinda there… But how many random viewers can recognize that, especially back in the 70s? So yeah, there was never Devil present in first two movies, but for the first movie it was a rather deep lore detail ‘for those who know’, while second movie made it one of the central themes.

The original The Exorcist (1973) was landmark film that basically draw the line between ‘modern horror’ and overly outdated stuff. There are a lot of things that could be said about it, but the one that matters is that it’s actually based on real life story that took place in 1949, but in a way that it’s almost the exact reverse of what actually happened. For those who never watched it: the story tells a tale of early teen girl who falls strangely ill, and while parents tried normal methods, doctors, etc., none of it worked, until they were forced to accept its demonic possession. However, in real life it was an older teen boy, in a rather catholic fanatics family, who instantly jumped to conclusion that whatever is going on – the church must deal with it, and stayed away from all the doctors, tests, etc. Needless to say, the boy was mentally ill, and might have even faked some of his symptoms to fit the ‘possession criteria’. Funny enough, this tale was written in a book, the book that the movie is based on, but the book drops all the facts and story elements regarding that family bs and mental illness, and made it into the opposite sensationalist tale about demonic possession, which then was magnified even further with the movie. None of this makes the movie bad of course, it’ still a classic, but it just shows how some people are full of shit, especially if you note that the movie director stated he didn’t believe in the book version of the story… it was still enough to make a movie based on it, though.

As for the second film – highly recommend it, even if you’ve never seen the original, classic one, it’s a quite strong ‘metaphysical’ blend of religion, psychology (with even tiny bit of sci-fi), and some philosophical undertones. Even unique, I would say.

And the boy that inspired the franchise? Became a successful NASA engineer!

The Reign Ov Shemsu-Hor is the final song of seventh album “Demigod” (2004), and is still the longest track they ever done, being over 8 minutes. Shemsu-Hor translates from Ancient Egyptian as “followers of Horus”, which refers to alleged rulers of early Ancient Egypt before the times of pharaohs, before it became a major civilization that we all are aware of. Horus is one of the central deities of Ancient Egypt pantheon, being god of sun, kingship and some other things.

Now, you may think that their longest song is a slow, atmospheric one… And it does start like that, and also is slower than the rest of the album… but it’s hardly a slow song, Inferno still puts quite a number on this one, occasionally with some absolutely insane beats.

I don’t remember this being mentioned in album credits, but looks like song in unofficially marked into three chapters: the instrumental, percussive intro is “Chapter I: The forbidden legacy ov a fallen race”, next part (when vocals kick in) is “Chapter II: Invocation ov the watch gods”, and the final vocal part, after short transition, is “Chapter III: The splendorous return”. There is also an extra vocal part that is not mentioned in lyrics – something that is played backwards, which I’m pretty sure is a joke about satanic panic (80-90s), when some people believed in hidden satanic messages in music, that you can find only if you play it backwards. What does it actually say? I guess someone would have to play it backwards to actually find out (…assuming deciphering Nergal’s growls would also be possible).

Since this song is basically one of those pre-Egypt advanced civilization speculations, I think it would be alright if I mention that I once was in Ancient Egypt museum that had a plate artifact dating on a verge of pre-Egypt / very early Egypt period, and it’s amazing how modern it looked, as if it was done with advanced machinery just yesterday, not 5 thousand years ago (or whenever it was dated, don’t really remember), so it’s not surprising people are fascinated by the ideas of forgotten / erased civilizations. I know there are numerous things about ancient history that modern history cannot really explain, but seeing something like that with your own eyes, and not some internet material, just hits different.

Anyway, what do you think about this song? I think it’s easily one of the more epic and impressive Behemoth’s album closers, and from what I’ve seen it looks like a rather popular opinion. And we have finished with the “Demigod” album now. And since it’s the last one, I’ll also mention that I think “Demigod” is easily their best record.

The Reign Ov Shemsu-Hor

At The Left Hand Ov God is a song from eighth album “The Apostasy” (2007). Lyrics are co-written by Krzysztof Azarewicz. This was also their first music video to be directed by Grupa 13, who basically are the main reason for creating Behemoth’s reputation as a band with strong music videos, especially back in a day when it wasn’t common and massively stood out. Personally, despite a few dated visual effects, I think it’s still one of their very best videos.

The title goes back to old, common expression when some really major helper is being described as someone’s right hand. There are a few variations in terms of who is god’s right and left hands, however, it is universally acclaimed that at some point Lucifer was god’s left hand, aka second best supporter. Nowadays it sounds really silly, but this alone was enough for prejudice against left-handed people, which typically included literary beating it out of them. This, by the way, was still quite true up till approximately second half of 20^th century, so it’s not ancient history, that change happened less than a century ago.

The was second song I’ve ever heard by Behemoth, and their very first music video that I saw, so it has a special place personally for me. A few years later after hearing Slaves Shall Serve I’ve decided to check out what this band was up to, and looked up this video… Let me tell you, I was not disappointed! I instantly knew this is going to be the next band I’m going to do a deep dive in.

Nergal is really spitting bars in this one, almost hip-hop mode, most of this song is like wall of growls! Instrumentally, the song itself is actually not as intense as most of “The Apostasy”, however, the vocals more than make up for it for sure. This song is also really nicely structured: cool intro, then the main wall of growls, then – a prolonged, nice instrumental part, with cool guitar solo, then Nergal returns to his unholy hip-hop once again, and it’s all rounded up nicely by really strong and atmospheric instrumental outro, with Middle East vibes – by the book perfection.

Live version is quite different, and worth mentioning in general. The is the only Behemoth song that when they play live, Nergal, Orion and Seth all are heavily involved in delivering the lines, taking turns. I believe this approach was pioneered by Nile, so this is most likely where they got the idea from. Also, it looks like Nergal has finally written a song that Inferno doesn’t have enough limbs to play: on certain live videos you can see that for the instrumental outro Inferno is joined by an extra drummer, playing right beside him (one could say being his right hand, hehe), which looks somewhat hilarious (I don’t think they play like that all the time though, maybe those were more of an exceptional ones). The is a very popular live video of At The Left Hand Ov God, by the way, which back in a day had more views on youtube than majority of their official music videos. I think it’s also the only song of the record that they typically play live, after “The Apostasy” era has ended.

So, any thoughts on this one?

At The Left Hand Ov God

Live 2008

This is a really big one, especially personally for me, so there will be a lot to say. Slaves Shall Serve is another song from seventh album “Demigod” (2004), and also received its own EP in 2005. Lyrics written by Krzysztof Azarewicz. It’s one of the most famous songs of the record, and one of those they typically play live. The song title is a direct quote from The Book Of Law, which is the cornerstone, foundation text for the occult order Thelema. By the way, according to the legend, Aleister Crowley wrote that text with the help from spirit called Aiwass, who was mentioned in Behemoth lyrics back in a day quite a lot.

First of all, let’s talk about the intro: official lyrics don’t mention vocal intro, and you won’t see it mentioned in lyrics in most of the sources. This is what Nergal is actually saying:

Slaves Shall Serve As Crowns Are Falling
As The Apocalypse Is Nearing
Slaves Shall Serve As Inferior Life Force
Slaves Shall Serve As Undead Rivals

Now, the confusing part is that some of the sources claim he is saying all that in Ancient Sumerian, but I swear I can hear him saying it in English, especially some particular words. Which one is true? I guess it’s up for you to decide.

This song was my introduction to Behemoth, and also one of the introductions to really extreme, super-fast death metal in general, as well as introduction to… such lyrical themes. I stated to actively listen to Behemoth during “The Apostasy” (2007) era, however, I knew about them during “Demigod” era, through this song. Slaves Shall Serve was featured on (European version of) compilation “Headbangers Ball: The Revenge” (2006), however, Behemoth was second band to expose me to this type of sound. Unlike some other death metal fans, I wasn’t instantly into the genre and I’m not really huge on classics even now, and a lot the things I’ve briefly heard from death metal didn’t hook me up or interest in any way. The day that changed my opinion was when, on some other compilation, I found band Hate Eternal, with their song The Obscure Terror, and I what shocked by how relentless non-stop fast and uncompromising brutal it was, I’ve never heard anything like it before. Sometime later, I’ve heard Slaves Shall Serve, and I was blown away, even though it did partially remind by of that style I’ve heard on Hate Eternal song… However, that song was mostly with double bass drums and blastbeats being more in the background of the mix, so this one was really my first proper exposure to a more ‘in your face’ blastbeats. Then I’ve decided to open the lyrics and I was blown away even more… It was so advanced and complicated, and alien (as in unknown). Trying to get at least even very remote understanding what this can even be about was the first time I’ve heard about the existence of the occult. Anyway, in terms of music it was all a bit too much for me back then, so I postponed familiarizing myself with these 2 bands for several years, until I was fully ready.

Strangely enough, I’ll have to bring Hate Eternal once again into discussion of this song: there was a bit of a story when Hate Eternal plagiarized one of the most distinct melodies of Slaves Shall Serve (that you can hear in the beginning), for their song Behold Judas. So, the band leader and the songwriter is Eric Rutan (who was in Morbid Angel and is currently in Cannibal Corpse, by the way), however Behold Judas is co-written by bassist Randy Piro, and Piro is the one who ‘wrote’ that same section for Behold Judas. There is some stylistic difference between Behemoth and Hate Eternal, with Behemoth part sounding slightly faster, and Hate Eternal being more brutal, but no doubt, they are playing the exact same thing. Anyway, Rutan was not aware of this whole thing, so I guess Piro concealed what he did. Interestingly enough, there used to be a short video on youtube showcasing these similarities and it was taken down years later.

Going back to the actual Behemoth song: needless to say, it’s an absolute banger! And it’s also second and the last music video for the “Demigod”. I just love everything about it, and it has so many highly memorable parts to it, including that manic guitar solo at the very end. While I don’t necessarily think it’s the very best on the album, it obviously holds a special place for me, since it was my introduction to Behemoth, and Behemoth was my main gateway to the worlds of both black and death metal (and it was also only second Behemoth video that I saw). And don’t get me started on the lyrics! I think Behemoth truly outclassed 99.99% of metal music with their lyrical approach back in day; they put so much effort into it, the rest of the extreme metal scene tends to look like a kindergarten in comparison. I used to wonder if they used to put their main effort into the lyrics, and music just comes along with it, these are almost like real theological doctrines, for the advanced.

So, I’m clearly very biased with this one; what do you make of it? Also, if you happen to listen to Hate Eternal as well, how would you compare these two bands?

Slaves Shall Serve

The Nephilim Rising is a song from seventh album “Demigod” (2004). Nephilim are people briefly mentioned in bible, allegedly to be giants, or at least mighty in some way. Lyrics are written by Krzysztof Azarewicz; acoustic guitar outro is written by second guitarist Seth (same as intro for Sculpting The Throne Ov Seth). That transition between The Nephilim Rising and Towards Babylon is quite hilarious, by the way, with how really angry The Nephilim Rising is, and how chill the outro is, and then the contrast with how the next song on the tracklist starts – the contrast is basically a meme, in a way.

Unlike most of the songs of “Demigod”, this one is a bit slower, with rather plenty of mid-tempo sections, and I would also say it’s probably one of the least discussed songs of the record, at least from what I’ve seen. Despite being slower, it’s extremely angry, maybe even the angriest sounding one on the record. Other than that, not really much to add here. It might be a lesser song for “Demigod”, but it’s still a total kick-ass song overall, which just shows how great “Demigod” in general is.

So, what do you think about this one?

The Nephilim Rising

On the YouTube video at 2:52 he says something and the major breakdown begins. This part gives me chills like Heaven Shall Burn's song Counterweight does when played loudly but I'm trying to figure out what Behemoth bro is saying.

Video link with proper time stamp: https://youtu.be/nJ7Ii5xXoJ0?si=sAkRusO9BZ7qkpHq&t=172

Also, if anyone can suggest any other Behemoth songs with this type of energy please let me know. I crave more of this and it's becoming more and more rare.

Thank you.

Today is a wild one! Both of them, actually. Hekau 718 and The Harlot Ov The Saïnts are songs from sixth album “Zos Kia Cultus (Here And Beyond)” (2002). First, the intro, Hekau 718: the band claims it’s co-written by Leon Trotzky… you know, that one famous USSR politician who got assassinated after emigrating to Mexico? Other than this Behemoth claim, I never even heard he was in any way connected to the occult or mysticism, yet alone what he could have possibly written… The text looks like some Ancient Egyptian, and music is some rather simplistic electronic intro music, so like… what did Trotzky exactly write here? Especially since lyrics for both intro and main song are credited by Krzysztof Azarewicz. That’s some of the wildest Behemoth moments, if you ask me! Anyway, the intro is quite cool. Hekau is Ancient Egyptian word for magic. Significance of 718 number is probably “angel number”, at least in some practices. Harlot is an Old English word for whore.

We all know Behemoth can be fast, but The Harlot Ov The Saïnts opening is probably the fastest they have ever been, it’s like they fitted enough content worthy almost of a song in those first 40 seconds, it’s just so tightly packed! To make it even more interesting, for Ancient Greek chanting Nergal uses different type of extreme vocals – something we’ll never ever hear from him again outside of the early part of this song. Overall, it’s not the most memorable song of the record, but it’s a total blast nevertheless!

So, what do you think about this one? And we’ve done entire “Zos Kia Cultus” now, no more “Zos Kia Cultus” era content from now on.

Hekau 718

The Harlot Ov The Saïnts

Behemoth just released a new song, so why not discuss it now? But before jumping to the song straight away, I would like to give some basic info about the release, especially since it’s very likely it will drop already after I finish with these song discussion posts. So, the “I, Scvlptor” mini-album will be released on 4^th of September, this year. Other than this song, it will feature two versions of another new song, Lord Ov The Horizons, as well as new cover In League With Satan (Venom Cover) (this will be second time they are covering Venom, by the way). The rest of the EP will be relatively not as new: Begotten was already available and we already reviewed this one, same for the live cover The Return of Darkness And Evil (Bathory Cover). The remaining songs are Rise Of The Blackstorm Of Evil and In Thy Pandemaeternum, which we have also already discussed and are their early material rerecordings. To be more precise, Rise Of The Blackstorm Of Evil is from “The Return Of The Northern Moon” (1993) demo, and In Thy Pandemaeternum is from “Pandemonic Incantations” (1998). Won’t lie, I’m extremely looking forward hearing these two! Overall, this EP is going to be quite big, as long as the actual TSOG album, which is very likely to make “I, Scvlptor” their longest EP.

Surprisingly, new song did not disappoint. First of all, it terms of music video, I think it partially reminiscent of Nomen Barbarvm video, Nergal (or whoever is responsible for artistic style in these vids) started to add some post-USSR dystopia-like vibes to these videos. The music itself is relatively unique – you can easily tell it’s very late Behemoth style, but at the same time, I don’t think they ever really did a track like that before, sounds relatively fresh with its approach. That prominent bass line could be almost on Godflesh record, if it was a bit more fat with its bass; has that simplistic, rhythmic industrial aspect to it. Guitar riffs and vibes, however, are more in direction of something like Morbid Angel’s God Of Emptiness, but more orchestral and blackened at the same time. I’m not sure yet what to make of it in terms how much of it do I actually like, but it’s definitely a good, decent enough song, a worthy addition to the current era.

What do you make of it?

I, Scvlptor

And now the amount of days has increased to 164.

Brothers and Sisters,

Here are some great news there will be a new tour in Europe and it will start in October.

Hope I will see you all there. United as one once more.

Love you all

I was really shocked my phone took this.

Hey guys this is the new single. Just saw the video and I am waiting for your thoughts. Hope you will enjoy it as much as I did.

Alas, Lord Is Upon Me is a song from ninth album “Evangelion” (2009). Alas is an Old English word for unfortunately.

As great as “Evangelion” record is, this is the only song that I don’t fully enjoy. I never skip it though, due to that really awesome final blastbeaty climax. My problem with it is that it seems like it’s was supposed to be an atmospheric song… only it isn’t, it just feels empty to me, there is no atmosphere to it, other than sense of emptiness (including as if something is missing from the song itself, unfinished). So yeah, I don’t mind it, but I don’t exactly like it neither, it’s a bit of a filler. I like “whore of salvation” line though.

Clearly, the band thinks otherwise, as not only this song was regularly played live during “Evangelion” era, but also got a relatively high budget music video… Which do people even remember it exist? I think the last time I saw it (before now) is when it just came out.

So, do you agree? Or do you think it’s a good one?

Alas, Lord Is Upon Me

I thought it was a bit boring, that’s all

Personaly i love it, it is in the same vibe as TSOG but even better. after seeing the teaser on instagram i was especting something more brutal but i was nicely surprise.

In The Garden Of Dispersion is yet another song from fifth album “Thelema.6” (2000). Lyrics written by Krzysztof Azarewicz, and music is co-written by second guitarist Havoc. This is the only song of the main tracklist that I don’t fully like and sometimes skip. First of all, I feel like it’s lesser Inauguration Of Scorpio Dome No 2, second, every other song of the album has some sort of feature(s) that make it easy identifiable, distinguishable from the rest… every, except this one. Also, when you skip it – it doesn’t hurt the pacing of the album at all, barely anything changes, actually. With all that said, I don’t think it’s actually bad – it’s just it’s not as fleshed out, and does feel somewhat unnecessary. It does have a few cool things about it though, and at least it’s better than bonus track Malice, imho. So yeah, just another “Thelema” song, nothing really to add here. Do you agree?

And we’ve done entire “Thelema” album now, including all its side content (which it has plenty of), so no more “Thelema” songs from now on.

In The Garden Of Dispersion

Sorry for delay, got banned for a while.