Heavy Metal Tribune

The Beast of the Apocalypse [Netherlands]
Henosis
2011
Full Length
Transcendental Creations
Black Metal
8.0/10

Dutch black metal duo The Beast of the Apocalypse returns this year with their third full length album, Henosis, continuing to spread their brand of ritualistic extremity after 2 critically acclaimed albums in 2009. Being the first album of the band that I encounter, it would be interesting to see how the band has managed to garner such a following with just 2 members behind the madness and chaos.

The opening track One might trick listeners into thinking that this is going to be yet another ambient black metal project, but not so once the insanely distorted guitar riffs begin on the track. Slow, doom-paced and ominous, it brings a sense of unease to the listener, feeling almost as if the end is nigh, and there is nothing that can be done to ensure one's survival. Yet, this is merely the beginning of the end, as The Beast of the Apocalypse crushes anyone in its path, and ensures that nothing is left standing with the remaining 35 minutes of the album.

Vision of the Twelve Priests Before the Altar presents a sharp contrast to One, with duo H.T. Mozes and S. Serpentijn going into breakneck speed without any warning at all, yet constantly keeping the heavily distorted guitar tone. The shared vocal duties provides a good effect, with each of them having different vocal styles, alternating undecipherable guttural, gurgling growls (who cares for what they say exactly, since death and destruction have no language barrier?) and inhuman shrieks, punctuated by whispers at the background at times, sounding almost as if witches were discussing about and deciding what curse to place unto mankind. The layering of the different vocal styles are prominent on tracks such as I Am Not Worthy to Utter Thy Name, an example of how the band has managed to utilise the variety of vocal stylings to their advantage.

The music is not without variation as the band at times go into seemingly random softer sections, but these moments are merely the calm before the storm as the band breaks into insanity once more in no time. The influences from various other black metal bands are evident. For example, the riffs on title track Henosis almost reminds the listener of Behexen's Mouth of Leviathan, with the heavily trem picked riffing. The song sounds almost like a cross between the aforementioned Behexen and Satanic Warmaster, only made dirtier and more blasphemous. The brilliant usage of keyboards also add to the ambience of the music, such as on An Enlightened Aeon, where the haunting keyboards add a sense of discomfort in the listener. Yaldabaoth provides some sort of closure with a somewhat more melodic progression of the song, with keyboards this time more prominent in the mix, and just as suddenly it started, the song disappears into silence, seemingly marking the end of everything.

Dissidents may argue and complain about how the repetitive guitar riffs and the extremely raw and dirty production that the band has chosen to utilise has caused the album to falter, but isn't this what black metal is all about anyway? The dirty production ensures that the weak and uninterested are kept out, and is definitely suitable and complements music as chaotic as such.

The Beast of the Apocalypse's Henosis is one of the ugliest and most abrasive records that I have encountered thus far in recent times, and it certainly is shocking how a duo can come up with something as twisted as such, pushing the limits of normality. Not recommended for the weak. Or rather, recommended for the weak and faint-hearted to ensure their elimination from the gene pool.

The Beast of the Apocalypse on the internet:
MySpace
Transcendental Creations

©2011 Heavy Metal Tribune | Hong Rui