For thirty years, under the guiding claw of Adam “Nergal” Darski, Behemoth have traced a dark path, maintaining a fine line between extremity and ambition. In many ways, In Absentia Dei is the culmination of the band’s many successes. From the impressively cinematic clips, with which the band have promoted their music (certainly since the epic Evangelion), to the increasingly progressive undercurrent that has run through the band’s two most recent releases, Behemoth have never been afraid to present their music in the most imaginative manner possible – earning them a support slot on Slipknot’s last tour in the process – underscoring the fact that it is possible, with a deft mix of absolute determination and utter indifference as to prevailing opinion, to take extreme metal to the masses.
Equal parts provocative and purposeful, In Absentia Dei was first broadcast as a live stream during the global lockdown of 2020 and it finds Behemoth in residence in an abandoned church (obviously). A unique outing from an equally unique band, the film mixes stunning cinematography with a perfectly adorned stage set and cinematic clips that further enhance the experience. The band bill it as an immersive experience and there’s no doubt that Grupa 13 (the production team behind the film) rose to the challenge, providing the band with the arresting visuals their incredibly tight performance deserves.
As with any special release of this nature, the album is available in a number of desirable formats, including double CD / blu ray and gorgeous, coloured vinyl. The double CD / Blu Ray is arguably the superior format (and oh how I wish more labels would pair vinyl with a visual component for releases of this sort), although the vinyl edition does boast a “craft your own church” set, for those who fancy a little burning. Nergal may treat his music seriously, but there’s no doubting the malicious twinkle in his eye with that particular bonus item!
As for the film, well, it is astonishing. Fans of Behemoth (or even the mildly curious) should watch this as a case study in how to bring the extreme above ground. Opening with a slow-motion scene worthy of Lord of the Rings, In Absentia Dei immediately carves out a unique sense of atmosphere that sets it apart from so much that has been released in the live-stream realm (itself a fledgling industry), offering more in common with Metallica’s Through The Never project, albeit rather more coherent, than the more typical band-in-a-rehearsal-space approach that has been common up to now.
The quality extends to both the performance and the mix. Without the baying hoards in attendance, and with plenty of space to soundcheck effectively, the band sound devastating and opening number Evoe is truly awe inspiring. The band’s ever-evolving sound is brilliantly served here, while Zbigniew “Inferno” Prominski’s searing performance behind the kit is a thing of wonder in and of itself. No less impressive is the neo-symphonic horror of Wolves Of Siberia, a track delivered with glacial calm by Nergal who, in the baroque surroundings of the Church, takes on the trappings of a dark preacher conducting an unholy ritual on hallowed soil. Darker and harder Prometherion may be, but it still maintains a sense of grandeur that few other bands can match, something further emphasised in the way the camera explores the vaulted ceiling of the church.
An impressive segue opens Act II as a dark fire dance gives way to Blow Your Trumpets Gabriel, a modern classic given greater weight by the furious conflagration with which the filmmakers have choreographed the performance. Further darkness is invoked with the unholy hoop performance that greets the stuttering Antichrist Phenomenon, before it’s back to the underrated Demigod for Conquer All, delivered here with unnerving authority. The first act ends with Lucifer, the band’s increasingly sinister take on extreme progressive given full reign via a mid-tempo nightmare with choral undertones.
As Act III opens, the imagery becomes ever more unsettling and, as we progress into Ora Pro Nubis Lucifer, the lines between live performance and performance art blur in a manner not seen since Nine Inch Nails’ infamous Broken video. Be warned, as impressive as it is, this is not for the faint of heart, and there’s a sense that the band are, once again, pushing boundaries with this measured desecration. Another highlight is Evangelion mainstay Ov Fire And The Void, which has arguably never seemed more imposing than it does here, lit by fire and swathed in smoke. It’s followed by what can only be described as a Satanic rally, in the form of Chwala Mordercom Wojciecha – not so much a musical piece as a call to arms, it stands in stark contrast to a crushing As Above So below, which is all the more brutal thanks to its no-frills performance. The band’s well-thumbed back catalogue is further explored through Slaves Shall Serve and Chant For Ezkaton (2000 E.V.), both delivered with fire and fury and, if Nergal does rather enjoy mugging for the camera a little more than at the time these pieces were composed, the sense of soaring ambition is still present in their construction.
Having successfully trepanned the audience, a brief, cinematic interlude bridges the gap before the final act takes a winding route to the set’s conclusion. Demigod’s Sculpting The Throne OV Seth remains an awkwardly angular blast of icy extremity, for all the fire the band deploy as their backdrop. In opposition to that, the eerily melodic Bartzabel (complete with flaming Timpani) feels ever more like an invocation. A raging Decade Ov Therion brings things close to a head before the band conclude with a mesmerising O Father O Satan O Sun! Bringing together much of the fire and flame that has preceded it, O Father O Satan O Sun! sees the Church and its surroundings swathed in flame, creating a none more hellish backdrop for the band’s final proclamation.
Exceptionally proficient musicians and ambitious performers, Behemoth have never skimped on the visual elements of their art and In Absentia Dei is no exception. This monumental piece was a considerable risk for the band, given the obvious resources required to pull off something so aesthetically imposing. The results are a triumph. While previous live releases have impressed with the crisp cinematography and crushing sound, this rather artier take on Behemoth’s ouvre is something truly special to behold. The rise of the live stream has been a necessary evil of late, and no one would pretend that it is preferable to seeing the band in the flesh. However, in opting for a true, one-off performance piece, Behemoth have proven themselves ahead of the curve once again and, in so doing, have set the standard for livestream performances. 9/10
