#behemoth — Public Fediverse posts

Ich habe noch Live-Video Konzert-Mitschnitte aus den 1990ern (in der Studienzeit digitalisiert als DVD), unter anderem vom Abschluß-Gig der Europatour von Behemoth, Svartsyn und Desaster (+ eine weitere Band) aus dem Jakobsplan in Weimar.

Kumpel hatte damals ne Videokamera und mehrere Akkus, die wir alle 15min neu laden mussten. Ladegerät war auch mit im Club 😅.

Behemoth waren maybe gerade volljährig und stark betrunken, spukten Feuer bei niedrigster Deckenhöhe, an der auch noch ein Tarnnetz angebracht war. 🫣

Bild & Ton grottenschlecht. Dafür kvlt. 🤘
Ich sollte es mir mal wieder anschauen.

#Metal4Life
#BlackMetal
#Behemoth
#Svartsyn
#Desaster

Blindead 23 – Deuterium Review

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the …
#NewsBeep #News #Music #2026 #3.0 #AmiaVeneraLandscape #Apr26 #Behemoth #BlackSheepWall #Blindead #Blindead23 #CA #Canada #DeathMetal #Decapitated #Deuterium #Dirge #Entertainment #hardcore #Katatonia #Knut #MouthoftheArchitect #neurosis #PeacevilleRecords #PolishMetal #Post-Metal #review #reviews #rosetta #SludgeMetal #Vader #Vltimas
https://www.newsbeep.com/ca/691132/

https://www.europesays.com/ie/500676/ Blindead 23 – Deuterium Review #2026 #30 #AmiaVeneraLandscape #Apr26 #Behemoth #BlackSheepWall #Blindead #Blindead23 #DeathMetal #Decapitated #Deuterium #Dirge #Éire #Entertainment #Hardcore #IE #Ireland #Katatonia #Knut #MouthOfTheArchitect #Music #Neurosis #PeacevilleRecords #PolishMetal #PostMetal #Review #Reviews #Rosetta #SludgeMetal #Vader #Vltimas

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

https://www.europesays.com/es/558080/ Lanzamiento especial de BEHEMOTH. Nuevos vídeos de TESLA y FROZEN CROWN. #BEHEMOTH #Entertainment #Entretenimiento #ES #España #FROZENCROWN #Music #Música #Spain #Tesla

Behemoth has been playing their new cover of Bathory's "The Return of Darkness and Evil" on their North American tour. Rotting Christ has been supporting, alongside Immolation and Deicide.

At the Toronto show, Immolation and Rotting Christ were delayed due to their bus breaking down on the way to Canada. They arrived during the Behemoth set, and Sakis Tolis joined Behemoth to sing. It was a fantastic moment as part of a killer show.

#music #metal #behemoth #rottingchrist #video

https://www.youtube.com/watch?v=KeKeLqErfqE

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

The Godless IV Tour tore through New York with Behemoth, Rotting Christ, Deicide, and Immolation, marking one of the strongest tour packages of the spring, packed with extreme metal veterans.
Details: https://metalinsider.net/photos/photos-review-behemoth-bring-the-godless-iv-tour-to-ny-with-deicide-rotting-christ-immolation-5-2-2026

#Behemoth #Deicide #RottingChrist #Immolation #DeathMetal #BlackMetal #LiveReview

The Godless IV Tour tore through New York with Behemoth, Rotting Christ, Deicide, and Immolation, marking one of the strongest tour packages of the spring, packed with extreme metal veterans.
Details: https://metalinsider.net/photos/photos-review-behemoth-bring-the-godless-iv-tour-to-ny-with-deicide-rotting-christ-immolation-5-2-2026

#Behemoth #Deicide #RottingChrist #Immolation #DeathMetal #BlackMetal #LiveReview

#BostonWeekend Fri METAL out in #WorcesterMA at the Palladium, #BEHEMOTH plays https://www.tixr.com/groups/thepalladium/events/behemoth-the-godless-iv-2026-171587 #Boston #Worcester #BostonMetal #BostonMusic #Metal

#BostonWeekend Fri METAL out in #WorcesterMA at the Palladium, #BEHEMOTH plays https://www.tixr.com/groups/thepalladium/events/behemoth-the-godless-iv-2026-171587 #Boston #Worcester #BostonMetal #BostonMusic #Metal

#BostonWeekend Fri METAL out in #WorcesterMA at the Palladium, #BEHEMOTH plays https://www.tixr.com/groups/thepalladium/events/behemoth-the-godless-iv-2026-171587 #Boston #Worcester #BostonMetal #BostonMusic #Metal

#BostonWeekend Fri METAL out in #WorcesterMA at the Palladium, #BEHEMOTH plays https://www.tixr.com/groups/thepalladium/events/behemoth-the-godless-iv-2026-171587 #Boston #Worcester #BostonMetal #BostonMusic #Metal

#BostonWeekend Fri METAL out in #WorcesterMA at the Palladium, #BEHEMOTH plays https://www.tixr.com/groups/thepalladium/events/behemoth-the-godless-iv-2026-171587 #Boston #Worcester #BostonMetal #BostonMusic #Metal

It’s @betheymoth.bsky.social , in only the finest of high-PHR vinyls. Almost like squeezing a doubled-up cloudbuster balloon, but with teeth.

“Do not overinflate” is just tempting people to test how well those lap seams were welded…

#inflatable #behemoth #behemay #monster #furryart #wip

It’s @betheymoth.bsky.social , in only the finest of high-PHR vinyls. Almost like squeezing a doubled-up cloudbuster balloon, but with teeth.

“Do not overinflate” is just tempting people to test how well those lap seams were welded…

#inflatable #behemoth #behemay #monster #furryart #wip

It’s @betheymoth.bsky.social , in only the finest of high-PHR vinyls. Almost like squeezing a doubled-up cloudbuster balloon, but with teeth.

“Do not overinflate” is just tempting people to test how well those lap seams were welded…

#inflatable #behemoth #behemay #monster #furryart #wip

A fire ritual where every riff opens portals and every drum hit resonates like the echo of an inevitable apocalypse.🤘🏽🤘🏽🎸😈

Un ritual de fuego donde cada riff abre portales y cada golpe de batería resuena como el eco de un apocalipsis inevitable.🤘🏽🤘🏽😈🎸
#heavymetal #behemoth #metal #music #vinyl

Never realised that #Behemoth had done this.... "When we heard Deep Creek went into liquidation, we wanted to help. We hired two of their staff, we also bought all of their 750ml Barrel Aged Beers from the liquidators, intending to use the proceeds to support the Deep Creek staff who missed out on their wages and holiday pay."

So was just in time to snag the last bottle of
Deep Creek Hamish Blake Gus 🍻 plus some Behemoth brews.

#CraftBeer #Flanders #Sour #Stout

Never realised that #Behemoth had done this.... "When we heard Deep Creek went into liquidation, we wanted to help. We hired two of their staff, we also bought all of their 750ml Barrel Aged Beers from the liquidators, intending to use the proceeds to support the Deep Creek staff who missed out on their wages and holiday pay."

So was just in time to snag the last bottle of
Deep Creek Hamish Blake Gus 🍻 plus some Behemoth brews.

#CraftBeer #Flanders #Sour #Stout

Never realised that #Behemoth had done this.... "When we heard Deep Creek went into liquidation, we wanted to help. We hired two of their staff, we also bought all of their 750ml Barrel Aged Beers from the liquidators, intending to use the proceeds to support the Deep Creek staff who missed out on their wages and holiday pay."

So was just in time to snag the last bottle of
Deep Creek Hamish Blake Gus 🍻 plus some Behemoth brews.

#CraftBeer #Flanders #Sour #Stout

Never realised that #Behemoth had done this.... "When we heard Deep Creek went into liquidation, we wanted to help. We hired two of their staff, we also bought all of their 750ml Barrel Aged Beers from the liquidators, intending to use the proceeds to support the Deep Creek staff who missed out on their wages and holiday pay."

So was just in time to snag the last bottle of
Deep Creek Hamish Blake Gus 🍻 plus some Behemoth brews.

#CraftBeer #Flanders #Sour #Stout

Never realised that #Behemoth had done this.... "When we heard Deep Creek went into liquidation, we wanted to help. We hired two of their staff, we also bought all of their 750ml Barrel Aged Beers from the liquidators, intending to use the proceeds to support the Deep Creek staff who missed out on their wages and holiday pay."

So was just in time to snag the last bottle of
Deep Creek Hamish Blake Gus 🍻 plus some Behemoth brews.

#CraftBeer #Flanders #Sour #Stout

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

This year has been shit beyond shit.. but it has also had some glorious high points. This is absolutely one of them: getting to join the mighty Behemoth on stage to sing one of my favorite songs ever.

#behemoth #metal #music

https://www.youtube.com/watch?v=XXJdZeo6kQg

You don’t need filters when you’re already pure blasphemy with style. 🤘🏽🤘🏽🤘🏽😈😈. No necesitas filtros cuando ya eres pura blasfemia con estilo.😈😈🤘🏽🤘🏽🤘🏽 #behemoth #heavymetal #vinyl #metal #music

https://music.apple.com/es/album/the-shit-ov-god/1787026571?i=1787026924
Walking AirPods #behemoth #music #heavymetal #metal

The best way to start the week 🤘🏽🤘🏽🤘🏽🎸La mejor manera de empezar la semana #behemoth #metal #heavymetal #vinyl #music

#Netanjahu ist #Behemoth

https://www.europesays.com/es/489082/ BEHEMOTH estrenan versión de BATHORY. DARK ANGEL sin sello. Single de Stephen Pearcy. #BATHORY #BEHEMOTH #DARKANGEL #Entertainment #Entretenimiento #ES #España #Music #Música #Spain #STEPHENPEARCY

https://www.europesays.com/nl/179205/ Towering – The Oblation Of Man #2026 #Amusement #azarath #behemoth #death #DeathMetal #DeathspellOmega #DoloremRecords #Dutch #Entertainment #france #Frankrijk #hate #ImperialTriumphant #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #SvartCrown #TheOblationOfMan #towering #uiv #ulcerate #ZwareMetalen

https://www.europesays.com/be-nl/39894/ Towering – The Oblation Of Man #2026 #Amusement #azarath #BE #behemoth #België #Belgium #death #DeathMetal #DeathspellOmega #DoloremRecords #Entertainment #france #Frankrijk #hate #ImperialTriumphant #Music #Muziek #recensie #SvartCrown #TheOblationOfMan #towering #uiv #ulcerate #ZwareMetalen

Behemoths are the most powerful super mutants by far, towering above any player, at around 13 feet (4 m) tall, almost as large as a mirelurk queen. They do not speak, producing only monstrous roars. They carry a fire hydrant pipe, and throw boulders at their enemies.

#Fallout #SuperMutant #Behemoth

Ja, @syn_rst - der herausragende SPD - Wirtschaftsjurist Franz Neumann (1900 - 1954) erkannte schon während des 2. Weltkrieges die Öl-Obsession der Nationalsozialisten.

Doch heute kennen zwar viele Hobbes „Leviathan“, aber kaum noch jemand Neumanns aktuell sehr relevanten „Behemoth“!

@Carsten_O

#Neumann #FranzNeumann #SPD #Fossilismus #Faschismus #Nationalsozialismus #Behemoth https://scilogs.spektrum.de/natur-des-glaubens/franz-neumann-1900-1954-und-die-oel-obsession-der-nationalsozialisten/

Ja, @syn_rst - der herausragende SPD - Wirtschaftsjurist Franz Neumann (1900 - 1954) erkannte schon während des 2. Weltkrieges die Öl-Obsession der Nationalsozialisten.

Doch heute kennen zwar viele Hobbes „Leviathan“, aber kaum noch jemand Neumanns aktuell sehr relevanten „Behemoth“!

@Carsten_O

#Neumann #FranzNeumann #SPD #Fossilismus #Faschismus #Nationalsozialismus #Behemoth https://scilogs.spektrum.de/natur-des-glaubens/franz-neumann-1900-1954-und-die-oel-obsession-der-nationalsozialisten/

Ja, @syn_rst - der herausragende SPD - Wirtschaftsjurist Franz Neumann (1900 - 1954) erkannte schon während des 2. Weltkrieges die Öl-Obsession der Nationalsozialisten.

Doch heute kennen zwar viele Hobbes „Leviathan“, aber kaum noch jemand Neumanns aktuell sehr relevanten „Behemoth“!

@Carsten_O

#Neumann #FranzNeumann #SPD #Fossilismus #Faschismus #Nationalsozialismus #Behemoth https://scilogs.spektrum.de/natur-des-glaubens/franz-neumann-1900-1954-und-die-oel-obsession-der-nationalsozialisten/

Ja, @syn_rst - der herausragende SPD - Wirtschaftsjurist Franz Neumann (1900 - 1954) erkannte schon während des 2. Weltkrieges die Öl-Obsession der Nationalsozialisten.

Doch heute kennen zwar viele Hobbes „Leviathan“, aber kaum noch jemand Neumanns aktuell sehr relevanten „Behemoth“!

@Carsten_O

#Neumann #FranzNeumann #SPD #Fossilismus #Faschismus #Nationalsozialismus #Behemoth https://scilogs.spektrum.de/natur-des-glaubens/franz-neumann-1900-1954-und-die-oel-obsession-der-nationalsozialisten/

Ja, @syn_rst - der herausragende SPD - Wirtschaftsjurist Franz Neumann (1900 - 1954) erkannte schon während des 2. Weltkrieges die Öl-Obsession der Nationalsozialisten.

Doch heute kennen zwar viele Hobbes „Leviathan“, aber kaum noch jemand Neumanns aktuell sehr relevanten „Behemoth“!

@Carsten_O

#Neumann #FranzNeumann #SPD #Fossilismus #Faschismus #Nationalsozialismus #Behemoth https://scilogs.spektrum.de/natur-des-glaubens/franz-neumann-1900-1954-und-die-oel-obsession-der-nationalsozialisten/

Für unsere nächsten Veranstaltungen müsst ihr euch rechtzeitig anmelden, wenn ihr dabei sein wollt: Am 18. und 19. April bietet Moritz Zeiler ein Wochenendseminar zu Franz Neumanns #Behemoth an, einer frühen Analyse der Herrschaft des #Nationalsozialismus. Genauere Infos gibt es unter https://talpe.org/18-19-04-2026/

@FarOutMagazine @far-out-music-FarOutMagazine

#Behemoth are anti-antifa NAZIS

A Leviathan, a Behemoth, and a Ziz are these epic, massive creatures from Jewish mythology that represent the wild forces of the sea, land, and sky.

https://assemblybethesda.com/chaos-tamed-leviathan-behemoth-and-ziz-await-the-final-feast/

#JewishMythology #BiblicalBeasts #Leviathan #Behemoth #Ziz

Adam Rose Sets Three Pics: ‘Behemoth!’, ‘Goodbye Girl’ & ‘My New Friend Jim’
#News #AdamRose #Behemoth #GoodbyeGirl #MyNewFriendJim

https://deadline.com/2026/02/adam-rose-sets-three-pics-behemoth-goodbye-girl-my-new-friend-jim-1236738154/

https://www.europesays.com/ie/342658/ Shine – Wrathcult Review | Angry Metal Guy #2026 #35 #AtTheGates #Behemoth #BlackMetal #BlackenedDeathMetal #DarkDescentRecords #DeathMetal #Decapitated #Éire #Entertainment #Hate #Hazael #IE #Ireland #Jan26 #Music #OldMan'sChild #PolishMetal #Review #Reviews #shine #Vader #Wrathcult

Something must be in the water over in Poland, because the country churns out quality death metal like few others. The phrase ‘Polish death metal’ always grabs my attention, whether it’s technical like early Decapitated, thrashy à la Vader, or as blackened as Behemoth. Such was the case when I espied Shine’s Wrathcult lying unclaimed in the promo bin. The invention of guitarist Tomasz Dobrzeniecki (ex-Hazael), Shine unleashes a Polished debut of blackened death, eliciting prompt comparisons to compatriots Hate and Behemoth. While both provide apt reference points, there’s an acerbic tunefulness that evokes At the Gates and Old Man’s Child, as well. Given the glamor of these benchmarks, does Wrathcult let a light Shine down on Poland’s latest blackened death metal opus?

If you give me a word to sum up Polish metal, I’ll say ‘conviction,’ which Wrathcult oozes with calculated rabidity. Whether brandishing steady chugs, rapid-fire trems, or slinky, groove-infested crawls, Shine feels focused and frothing with finely-tuned fire. Dobrzeniecki’s description of the music and lyrics pins the overarching inspiration of Wrathcult on pre-Christian beliefs and the arcane powers of primeval mysticism, specifically calling out the intersection of ‘Germanic, Norse, and Slavic mythology.’1 While it’s not a theme I would’ve divined on my own, this context adds helpful color once Shine shows me where to look. In particular, the clean singing (“The Lamb Against the Wolf”) and chanting (“The Horror of the Night”) sprinkled throughout Wrathcult often give proceedings a ritualistic zest, culminating in one of my favorite tracks, “The Necklace with Runes.” The clean drawl at the beginning is underscored by finely crafted, deeper vocal layers, and while I’m generally unmoved by rhythmic spoken word, singer Marek Krajcer’s performance reads as a ceremonial incantation, reinforcing Wrathcult’s primordial basis.2

Wrathcult by Shine

Musically, Shine exhibits a cunning understanding of the crossroads between death metal, black metal, and melody. Besides the cleans, Krajcer projects a deathly growl that’s at once confident, scathing, and commandingly effective throughout Wrathcult. Guitarists Tomasz Dobrzeniecki and Mateusz Waśkiewicz supply equal doses of second-wave fervor and dulcet leads that are as barbed as they are captivating. Mid-album song “Oddajcie co moje” sports not only the hookiest melody of the bunch, but also contains one of the best bass grooves. Though subtle, Wojciech Gąsiorowski’s ambling bass-lines burble and thump with delightful heft, solidifying a resonant dimension on tracks “The Lamb Against the Wolf” and “Wrath of the Hammer.” With the high caliber of musicianship featuring on strings, an anemic drum performance could dull the entire showing. Thankfully, Paweł Duda seizes the opportunity with gusto, lashing his kit with precision strikes. Overall, Shine lays me on the ground with meaty, well-executed performances that belie Wrathcult’s debut status.

While many moments on Wrathcult fly me in the sky, a few aspects creep in and dim the power of Shine’s light. The production bolsters strong performances across the album, allowing proper room for each instrument to gleam—especially the bass. The forty-six-minute runtime keeps Wrathcult digestible, although riff repetition presents an opportunity to trim thirty-to-sixty seconds from several tracks for a tighter experience. And while Shine serves up several great jams on Wrathcult, a few weaker cuts create dips between the peaks of its strongest material. To be clear, there are no bad or inessential songs that I skip,3 but I do find myself waiting out some moments to get to better ones. Still, there’s variety in the songwriting that keeps affairs engaging and blood pumping through Shine’s blackened heart.

Shine’s Wrathcult should garner its fair share of devotees, living up to the high expectations of Polish blackened death. It’s taken many spins to unlock Wrathcult’s otherworldly secrets, and I’m of a mind that there are even more treasures to unearth. Anyone looking for melodious fury and a band with possibilities on the horizon should be paying attention. When I snatched Shine’s debut, I asked myself, ‘What will I find? Will love be there?’ While I can’t guarantee the same results for you, my answer is a resounding, ‘Yeah.’

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Something must be in the water over in Poland, because the country churns out quality death metal like few others. The phrase ‘Polish death metal’ always grabs my attention, whether it’s technical like early Decapitated, thrashy à la Vader, or as blackened as Behemoth. Such was the case when I espied Shine’s Wrathcult lying unclaimed in the promo bin. The invention of guitarist Tomasz Dobrzeniecki (ex-Hazael), Shine unleashes a Polished debut of blackened death, eliciting prompt comparisons to compatriots Hate and Behemoth. While both provide apt reference points, there’s an acerbic tunefulness that evokes At the Gates and Old Man’s Child, as well. Given the glamor of these benchmarks, does Wrathcult let a light Shine down on Poland’s latest blackened death metal opus?

If you give me a word to sum up Polish metal, I’ll say ‘conviction,’ which Wrathcult oozes with calculated rabidity. Whether brandishing steady chugs, rapid-fire trems, or slinky, groove-infested crawls, Shine feels focused and frothing with finely-tuned fire. Dobrzeniecki’s description of the music and lyrics pins the overarching inspiration of Wrathcult on pre-Christian beliefs and the arcane powers of primeval mysticism, specifically calling out the intersection of ‘Germanic, Norse, and Slavic mythology.’1 While it’s not a theme I would’ve divined on my own, this context adds helpful color once Shine shows me where to look. In particular, the clean singing (“The Lamb Against the Wolf”) and chanting (“The Horror of the Night”) sprinkled throughout Wrathcult often give proceedings a ritualistic zest, culminating in one of my favorite tracks, “The Necklace with Runes.” The clean drawl at the beginning is underscored by finely crafted, deeper vocal layers, and while I’m generally unmoved by rhythmic spoken word, singer Marek Krajcer’s performance reads as a ceremonial incantation, reinforcing Wrathcult’s primordial basis.2

Wrathcult by Shine

Musically, Shine exhibits a cunning understanding of the crossroads between death metal, black metal, and melody. Besides the cleans, Krajcer projects a deathly growl that’s at once confident, scathing, and commandingly effective throughout Wrathcult. Guitarists Tomasz Dobrzeniecki and Mateusz Waśkiewicz supply equal doses of second-wave fervor and dulcet leads that are as barbed as they are captivating. Mid-album song “Oddajcie co moje” sports not only the hookiest melody of the bunch, but also contains one of the best bass grooves. Though subtle, Wojciech Gąsiorowski’s ambling bass-lines burble and thump with delightful heft, solidifying a resonant dimension on tracks “The Lamb Against the Wolf” and “Wrath of the Hammer.” With the high caliber of musicianship featuring on strings, an anemic drum performance could dull the entire showing. Thankfully, Paweł Duda seizes the opportunity with gusto, lashing his kit with precision strikes. Overall, Shine lays me on the ground with meaty, well-executed performances that belie Wrathcult’s debut status.

While many moments on Wrathcult fly me in the sky, a few aspects creep in and dim the power of Shine’s light. The production bolsters strong performances across the album, allowing proper room for each instrument to gleam—especially the bass. The forty-six-minute runtime keeps Wrathcult digestible, although riff repetition presents an opportunity to trim thirty-to-sixty seconds from several tracks for a tighter experience. And while Shine serves up several great jams on Wrathcult, a few weaker cuts create dips between the peaks of its strongest material. To be clear, there are no bad or inessential songs that I skip,3 but I do find myself waiting out some moments to get to better ones. Still, there’s variety in the songwriting that keeps affairs engaging and blood pumping through Shine’s blackened heart.

Shine’s Wrathcult should garner its fair share of devotees, living up to the high expectations of Polish blackened death. It’s taken many spins to unlock Wrathcult’s otherworldly secrets, and I’m of a mind that there are even more treasures to unearth. Anyone looking for melodious fury and a band with possibilities on the horizon should be paying attention. When I snatched Shine’s debut, I asked myself, ‘What will I find? Will love be there?’ While I can’t guarantee the same results for you, my answer is a resounding, ‘Yeah.’

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026