Do you know the feeling, when you put on a new cd, and then suddenly the whole world explodes around you? You sit there, nailed to your chair, staring blindly into nothingness, your body numb from the continuing onslaught of barbaric riffs and abyssal artillery shells. You cant move or think. When the battle is over the silence feels like an insult. Some masochistic part of your brain wants more punishment. So you spin your new CD again, and the war starts over. You sit there, nailed to your chair…
Behemoth’s sixth EP, Ezkaton, contains a smattering of tracks, each a slightly different style or in a slightly different form, than anything else on the cd. This variety creates a very interesting half an hour indeed. Behemoth utilizes the tools of the EP – the variety being the very point of these things – fully and professionally. Ezkaton contains seven songs:
“Chant of Ezkaton 2000 e.v.” is already a modern classic within the extreme metal scene. Behemoth has made a new recording of it, with faintly better sound-work. This is by far the most unimportant track of Ezkaton, but it’s a hell of an opening anyway. The last track is a live recording of the song, which is recorded with such superiority, that it sounds like another alternate take. It’s deeper and rawer, of course, but that does nothing to encumber this brilliant track in any way. Generally that goes for the two other live tracks as well, so we’ll leave them there, in the box labeled “Nice!”.
The only new Behemoth-material on Ezkaton is the song “Quadosh”. It wouldn’t be wrong to compare this with Slayer. The strings and the rhythms are very thrashy, but the actual sound is that of the trademark blackened death metal of Behemoth. This cocktail is nothing short of exceptional.
The remaining two songs are covers. This is dangerous territory, but I like when a band takes chances. The first one is even quite obscure. The song “Jama Pekel”, by Czech black metal pioneers Master’s Hammer – an altogether unknown act that nonetheless helped introduce our beloved genre to the east. Behemoth has given “Jama Pekel” a serious ass-kicking and plays it at full speed. The ear-clinging rock n’ roll’ish riff-work flows unobstructed through the black/death background. Behemoth competes with the original, and as tribute songs go, I don’t think Master’s Hammer could be treated better.
Song number four is even more of a gamble. Behemoth puts themselves into the realm of Metallica, Marilyn Manson, Rancid, Rob Zombie, Bad Religion and lesser known acts like Flesheaters, Queers and Screeching Weasel. Motörhead made a tribute song to this band – The Ramones aren’t just anybody… Behemoth, once again, is true to the original material of “I’m Not Jesus”. As a sucker for originality, I can’t say that they surpass The Ramones, but they are damn close! This is the best track of the EP, and The Ramones should be proud.
Now, I’ll return to my chair, to be assaulted once again...
