This wasn’t helped by a particularly hollow and generic wind-tunnel production job that made it difficult to pinpoint the songwriting chops displayed on its followup.īy contrast, BTBOS has a thick but granular quality to its sound, conjuring visions of vast, sharp boulders rolling over and over you in the bowels of the earth, while Hoath Torog’s white-noise shrieks ceaselessly peak and crash like the waves of some awful sunless sea. The band’s debut album Rituale Satanum from four years earlier, whilst a satisfying piece of work in its own right, is epitomised by a meat-and-potatoes approach to black metal, with very little beyond simple ferocity distinguishing it from the rest of the early 2000s swell of resurgent Euro-BM. When we join the band for By the Blessing of Satan, we land squarely in the midst of one of these locus points. I’m consistently fascinated by liminal spaces in music, particularly when one can follow a band through their career and find points of flux - moments of uncertainty or experimentation that add a new dimension to music you are apparently familiar with. Essentially discussion of Behexen, or at least this period of their existence, is typified by their apparent ‘regressiveness’ and primitivism. The lazy man’s Behexen review goes like this: use the typical ‘raw black metal’ signifiers talk for a paragraph or so about the so-called ‘Finnish Filth’ movement mention Beherit close. Essentially discussion of Behexen, or at least this period of their existence, is typified by their apparent
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