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Artist: Beherit Album: Drawing Down the Moon Released: 13 January 1993 Genre: Black metal, Blackened death metal Country: Finland - Rovaniemi (early), Helsinki (later) Label: Spinefarm Records Producer: Nuclear Holocausto Format: CD Duration: 00:39:28 Codec: FLAC image + cue Channels: 2 stereo Bits per sample: 16 bits Sample Rate: 44.1 KHz Average bitrate: 798 Kbps Compression Ratio: 0,565
image 1. Intro (Tireheb) - 0:44 2. Salomon's Gate - 3:42 3. Nocturnal Evil - 2:53 4. Sadomatic Rites - 4:07 5. Black Arts - 3:33 6. The Gate Of Nanna - 4:15 7. Nuclear Girl - 1:32 8. Unholy Pagan Fire - 3:53 9. Down There... - 2:36 10. Summerlands - 3:20 11. Werewolf, Semen And Blood - 3:08 12. Thou Angel Of The Gods - 2:22 13. Lord Of Shadows And Goldenwood - 3:23
Band members: Nuclear Holocausto Vengeance Guitars, Vocals, Songwriting, Lyrics Black Jesus Bass Necroperversor Drums
Lyrical themes: Satanism, Blasphemy, Occult, Darkness, Mysticism
Here we have an artist that took the basic building blocks of primitive extreme metal as it was in the early 1990s, and produced music not of this earth. Black metal of this era will forever be mired in the actions and words of individuals within the scene. Setting aside the weel documented black metal controversies for now; if there are as many interpretations of art as there are consumers of art then so be it, even if some of the interpretations are straight up wrong. Beherit, the mastermind of one Nuclear Holocausto Vengeance, was largely distanced from the noise coming from down south in Norway.
Fully committed to Finland’s legacy of producing uniquely weird extreme metal artists, their first full length ‘Drawing Down the Moon’ released in 1993 is a testament to the importance of the right kind of lo-fi production values. I call this his first full length as ‘The Oath of Black Blood’ released in 1991 was really a collection of demos (half an hour of unbearable noise). Entry level discussions usually mention that while the early works of Bathory were poorly produced by necessity, many of the foundational works in the second wave of black metal were poorly produced by choice. Such an analysis is accurate enough. But it misses the real import of this. Foundational second wave black metal is as much about the experience as it is about composition. If you lift the riffs of Darkthrone’s ‘Transylvanian Hunger’ out of their raw black metal context, they may come across as bland; see Gorgoroth’s higher fidelity cover of ‘Slottet i det fjerne’. Unless particular attention is taken to reproduce this experience, it will not translate live. More riff based black metal in the vain of Rotting Christ suffers less from this issue, but the atmosphere is sometimes sacrificed on their recorded works as a result.
It is for this reason that Beherit’s ‘Drawing Down the Moon’ is such a curiosity. The riffs feel familiar. Many are of the standard dark thrash fair that made up black metal of the late 1980s. Beherit is the direct descendant of Sarcofago and Blasphemy, sure there’s harmony and even melody at play, but primitive powerchord riffs make up the bulk of this music. But the guitars are recorded in such a way as to make them sound distant, understated, like a menace heard a few miles yonder, into the forest. The music itself should be aggressive, but because the elements that would usually make this sound aggressive (vocals and guitars) are so supressed in the mix, it is more a chronically haunted dream than a punch in the face. The vocals are ghoulish, a mid-range rasp that are mixed in such a way as to sound like a hoarse whisper. The music permeates through every pore from a great distance.
Drums tap along in the background, ranging from a slow blast beat to simple 4/4 rhythms; their purpose is simply providing texture, occasional urgency, and a familiar anchor for this otherworldly music. There is no doubt that this album was designed to be listened to at night. In different hands it could have sounded aggressive. But in these hands it is ritualistic, dark, atmospheric, like an extreme metal band playing dark ambient. The ‘metal’ passages are occasionally broken up by simple harmonies, dark ambience, and spoken word passages.
Beherit were something of a black sheep within black metal. They were both a throwback to its primitive beginnings in the 1980s, but also a uniquely alien and atmospheric take on music that already boasted its fair share of these elements. Follow up albums would shift to ambient and electronic music for want of a band, but the talent for creating bizarre music from the depths of humanity’s unconscious dream-states would not be lost.
Originally published for: Hate Meditations
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