You've been pining for more Polish extreme metal in your life, haven't you? And to top if off, Behemoth, the genre's forerunners, have been puttering around, releasing re-recorded versions of old songs and Ramones covers on their most recent effort, 2008's Ezkaton EP.
Well, now you can pin a release date in your grey matter for something substantial. North American representatives Metal Blade Records has announced that the band's ninth studio effort Evangelion will be available on August 11. What a relief, huh?
Evangelion is the follow-up to 2007's highly acclaimed The Apostasy, which was a real innovator of the blackened death metal genre. It's alleged (at least by me) that the album is deserving of a "Now with XX% more blackened" label, but they couldn't get the percentage down to a specific digit.
As for Evangelion, the CD was mixed at Miloco Studios in London, England, by Colin Richardson, who you may know for his work with Napalm Death, Machine Head, Slipknot and more. So you know it's gonna sound tits. It's almost as cool as this quote from guitarist/vocalist Adam "Nergal" Darski about the most important part of an album: the cover.
"Evangelion combines a pure art form with a direct message. It was also important for us to ensure that the graphical presentation did justice to the record," Darski says in the release. "Again, we have worked with Tomasz Danilowicz, who has created his best illustration yet for Behemoth. The picture is of the Great Harlot of Babylon riding the seven-headed beast. Saints bow before her in worship whilst the tablets of the Ten Commandments lie broken at her feet.
"It represents our vision and the interpretation of the New Testament parable where the 'Whore of Babylon' is a symbol of rebellion and resistance against God. I am fascinated by stories whose sources lay in the Bible and we have used biblical symbolism, coupled with my experience and outlook, in our lyrics or on the covers of previous Behemoth records. I love to juggle meanings and play around with symbolism, which is exactly what I have done in this case. The main character of our new cover is an archetype of disobedience, individualism, self-determination and a free, unfettered will - these are universal keywords that are typical and crucial in understanding the character of our works, life as a whole and the true nature of man."
And all of that intellectual play is delivered in guttural bellows while sporting Gwar-esque face paint.
To be fair, in regards to the music, he has previously stated, "I must confess that I'm way more excited about this record than I was for The Apostasy. Most of the songs are really fast, technical and intense, at the same time there's a lot of diversity. There's even a very slow, massive song that's probably the most epic track in Behemoth's history. Everything sounds more serious and... dangerous. There's probably [a] more sinister vibe in our music this time too."
Well, now you can pin a release date in your grey matter for something substantial. North American representatives Metal Blade Records has announced that the band's ninth studio effort Evangelion will be available on August 11. What a relief, huh?
Evangelion is the follow-up to 2007's highly acclaimed The Apostasy, which was a real innovator of the blackened death metal genre. It's alleged (at least by me) that the album is deserving of a "Now with XX% more blackened" label, but they couldn't get the percentage down to a specific digit.
As for Evangelion, the CD was mixed at Miloco Studios in London, England, by Colin Richardson, who you may know for his work with Napalm Death, Machine Head, Slipknot and more. So you know it's gonna sound tits. It's almost as cool as this quote from guitarist/vocalist Adam "Nergal" Darski about the most important part of an album: the cover.
"Evangelion combines a pure art form with a direct message. It was also important for us to ensure that the graphical presentation did justice to the record," Darski says in the release. "Again, we have worked with Tomasz Danilowicz, who has created his best illustration yet for Behemoth. The picture is of the Great Harlot of Babylon riding the seven-headed beast. Saints bow before her in worship whilst the tablets of the Ten Commandments lie broken at her feet.
"It represents our vision and the interpretation of the New Testament parable where the 'Whore of Babylon' is a symbol of rebellion and resistance against God. I am fascinated by stories whose sources lay in the Bible and we have used biblical symbolism, coupled with my experience and outlook, in our lyrics or on the covers of previous Behemoth records. I love to juggle meanings and play around with symbolism, which is exactly what I have done in this case. The main character of our new cover is an archetype of disobedience, individualism, self-determination and a free, unfettered will - these are universal keywords that are typical and crucial in understanding the character of our works, life as a whole and the true nature of man."
And all of that intellectual play is delivered in guttural bellows while sporting Gwar-esque face paint.
To be fair, in regards to the music, he has previously stated, "I must confess that I'm way more excited about this record than I was for The Apostasy. Most of the songs are really fast, technical and intense, at the same time there's a lot of diversity. There's even a very slow, massive song that's probably the most epic track in Behemoth's history. Everything sounds more serious and... dangerous. There's probably [a] more sinister vibe in our music this time too."
