Origin : Poland
Genre : Black Death Metal
Release : 1999
Album Info / Review
**Behemoth – Satanica (2018 re‑issue)**
Behemoth’s *Satanica* is the heavy‑metal equivalent of a masterclass‑level re‑recording. The 2018 edition is a polished, 41‑minute assault that restores levels, tightens tempos, and harnesses the lyrical complexity of the 2007 original while adding an exhilarating layer of production depth.
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### Sound & Production
From the first hammer blows on the intro riff, the band’s guitars are crystal‑clear. Each twang, palm‑mute, and polyrhythmic burst sits in its own audible space; the low‑end never feels buried. Mastering engineer Jacob Hellner (who handled *The Black Masses*, *Unholy* and other iconic acts) gives the album a cavernous yet audible structure. The drums—Polish heavy‑metal stalwart V.O. Musiaal’s batter—cut thick with a crisp attack. It’s a textbook illustration of how to match the song’s fury with a clean, room‑sized resonance.
Keyboards and choir elements feel integrated rather than glued on. In the middle section of “Urban Existential…” the LED panel of synths sweeps over like an ethereal storm, yet the guitar lines cut through it. The vocal tones, whether the guttural screams or the occasional high‑pitched shriek, are never layered over the instrumentation; instead, they sit front and center, akin to a battlefield announcer who refuses to be drowned out by artillery.
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### Atmosphere
Satanica is a sonic pyramid. The root is raw, considering the thrashing, blast‑drum‑laden passages that scream at the end of “The Angel and the Devil.” Above that grows a more majestic, almost operatic grandeur that unfolds during interludes and the album’s final track “Between 2 Bodies.” The atmosphere is unmistakably gothic and black‑metalish, yet there’s an undercurrent of carnival‑dark fantasy that disconcerts and enthralls at the same time.
Every track, even the most iron‑clad thrash, has a sense of space. “We are the 3rd worlders” throws you into a cityscape of sound: the city’s noise and low rumble mirrored by the thrash guitars. “The Guardian of the Shadows” delivers an overwhelming, claustrophobic mood that would fit a Twilight Zone episode marathon. The album does not merely play constant intensity; it crafts micro‑zones on each side ear of the headphone: rooms of darkness, alleyways of despair, and the far‑off realm of the synth‑driven interludes.
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### Riffs & Songwriting
Behemoth’s riffs are armour-clad in complexity and speed. The opening track, “Satanic?”, starts with a tremolo‑picked line that is flanked by sudden chugs; the writer’s hand on the scale is unmistakably mine–the riff leaves space for a tempo shift that it recurs in the middle. “Underground?” contains a galloping rhythm that sets the “motorcycle-the-soul” groove and the “sheet‑metal roar” riff, delivering a ‘classic metal engine’ effect but with unimaginable severity. “Killa Kira Riley” is a gleeful, almost tongue‑in‑cheek track that moves at a blistering pace; the riff is simple but relentless.
The more melodic portions are handled with mastery. “Urban-ish” gives a run‑down of mechanical piano‑tuned chords, blending the cunning Gothic might of the foreplay with the dissonant vocal breaks. “Wall of either” takes its time; it is a beautiful, intricate piece featuring both high tempo whiplashes and an elegant blend of heavy horns. The album’s closing track, “Between 2 Bodies,” turns into an exploration that nearly turns into a slow‑melody track; a hi‑tal melody dop upbeat to stretch out for the listener.
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### Overall Impression
If you’re into progressive metal that also respects its black‑metal roots, *Satanica* will feel like an obstacle to tackle on your way to satiate your appetite. The production on this version is in another league than the original but still retains the iron‑clad spirit of the original. At 21 minutes, the “interlude” is a payoff for the frantic pump up of the about. The second half of the song leans into a more thunderous tone; the re‑recording surely hooks some of the hole‑in‑the‑head marinade for fans and new listeners alike.
Behemoth consistently showcases originality in this re‑issue. It is not a mere mass remake; it takes advantage of modern equipment to deliver a version that is fundamentally recognizable as the canonical sonic masterpiece. With foot‑thrashing interludes, lasting riffs, dizzying drumming, and relentless vocal performances, this album remains uncharted territory in the metal wilderness.
