For over three decades, Poland’s Behemoth have stood as titans of extreme metal, evolving from their raw, blackened roots in the early ’90s to a global force that blends the ferocity of death metal with the theatrics and atmosphere of black metal. Led by the charismatic and polarizing Adam “Nergal” Darski, the band has built a legacy on unrelenting intensity, provocative lyricism, and an uncompromising anti-religious stance rooted in their Catholic-dominated homeland. Their 13th studio album, The Shit Ov God, released on May 9, 2025, via Nuclear Blast Records, is a bold and divisive chapter in their career. Coming in at 38 minutes across eight tracks, this album is a fiery, blasphemous tome that aims to recapture the band’s mid-2000s ferocity while pushing their sound into more accessible, hook-driven territory. However, while it delivers moments of undeniable brilliance, The Shit Ov God in some ways tries a bit too hard lyrically, making it a polarizing addition to Behemoth’s discography.

Evolution and Expectation

Behemoth’s journey from the raw black metal of Grom (1996) to their genre-defining magnum opus The Satanist (2014) is one of relentless ambition earning near universal praise. It is my personal favorite of theirs! The subsequent album, I Loved You at Your Darkest (2018), divided fans with its polished production and being more accessible, while Opvs Contra Natvram (2022) was criticized for feeling uninspired and overly formulaic. Cue 2025, Behemoth faced immense pressure to deliver a record that could assuage doubt and reaffirm their dominance in extreme metal.

The Shit Ov God arrives with a clear mission: to combine the raw aggression of Demigod (2004) and Evangelion (2009) with the anthemic, stadium-ready sensibilities of their later work. Recorded at Fascination Street Studios with producer Jens Bogren (Amon Amarth, Opeth), the album boasts a colossal sound that exemplifies the band’s strengths while exposing their weaknesses. Its title, a deliberate middle finger to religious orthodoxy, sets the tone for an album that refuses subtlety, for better or worse.

Bridging the Gap Between Old Form and the Modern

Musically, The Shit Ov God is Behemoth at their most focused since The Satanist. The album’s lean runtime ensures no track overstays its welcome. The production is a masterclass in balancing brutality and clarity, with every instrument cutting through the mix like a well-honed blade. Inferno’s drumming, as always, is a highlight, blending technical precision with primal fury, while Orion’s bass provides a seismic foundation that anchors the album’s heaviest moments. Seth’s guitar work weaves intricate, blackened riffs with brilliant solos, and Nergal’s vocals, alternating between guttural roars, anguished shrieks, and chilling spoken-word passages, remain a defining force.

The album opens with The Shadow Elite, a six-minute epic that sets the tone with a haunting, atmospheric intro incorporating tolling bells, distant chants, and a slow-burning riff that erupts into a blackened death metal assault. Inferno’s blast beats and Nergal’s delivery drive the track, while its towering chorus: “We are the shadow elite / Born to burn the sacred creed” is absolutely perfect for live performances. The song’s dynamic shifts, from frantic speed to crushing groove sections, showcase Behemoth’s ability to craft compositions that are both brutal and memorable.

Lvciferaeon follows as a standout, channeling the blackened majesty of Zos Kia Cultus (2002) with its spiraling riffs and ritualistic atmosphere. The track’s midsection features a hypnotic, tribal drum pattern layered with eerie choral vocals, evoking the grandeur of Rotting Christ or Septicflesh. Similarly, To Drown The Svn In Wine showcases brilliance in dynamics, blending blast beats with melodic runs and a haunting female vocal outro that adds a touch of gothic theatricality. These tracks demonstrate Behemoth’s knack for balancing their extreme metal roots with a modern, accessible edge, making them instant classics in the band’s catalog.

However, not every track hits the mark. Sowing Salt and the title track, The Shit Ov God, lean heavily on mid-tempo grooves and catchy refrains that feel reminiscent of I Loved You at Your Darkest. While competently executed, they lack the innovation of the album’s stronger moments, relying on familiar Behemoth tropes: chugging riffs, gang vocals, and predictable structures. O Venvs, Come! aims for epic grandeur with its orchestral flourishes and soaring guitar leads but loses momentum in its bloated midsection, while the closer, Avgvr (The Dread Vvltvre), starts strong with a ferocious riff but does admittedly have a semi repetitive outro that feels like filler. I still like the song though! The unfortunate thing is that Behemoth made The Satanist and Evangelion which are near perfect albums, so there is always going to be comparisons. The high bar will always be there.

Lyrically Provocative, But Sometimes Forced

The album’s title, The Shit Ov God, is a deliberate provocation, and Nergal has been unapologetic about its intent. In a recent interview with Kerrang!, he stated, “We chose this provocative title deliberately, rejecting subtlety in favor of a direct and polarizing statement. It’s about dismantling the divine and embracing the human.” This ethos permeates the album’s lyrics, which are steeped in Behemoth’s signature blend of blasphemy, existentialism, and rebellion. However, where The Satanist wove poetic themes of self-empowerment and defiance, The Shit Ov God often descends into being overly provocative which undermines its impact.

The title track is the roughest, opening with a spoken-word chant: “Eat my flesh! Drink my blood! I am the shit of God!”, that feels more like a shock tactic than a profound statement. Its chorus spells out “JESUS” in an acronymic tirade: “I for ingrate / E to eradicate / S for the scorn / U for useless / S for the shame.” The absence of longtime collaborator Krzysztof Azarewicz, whose poetic touch elevated albums like The Satanist, is keenly felt here. Tracks like Nomen Barbarvm and Lvciferaeon fare better, with lyrics that evoke mythic imagery and existential defiance, but they’re overshadowed by the title track’s heavy-handedness.

Behemoth’s blasphemy has always been a cornerstone of their identity, rooted in Poland’s oppressive Catholic culture and Nergal’s personal battles, including his 2010 leukemia diagnosis and legal clashes over religious offenses (Poland still has blasphemy laws). However, The Shit Ov God often feels like provocation for provocation’s sake, lacking the philosophical depth that made their earlier work resonate.

Badass, Yet Flawed

The Shit Ov God is Behemoth at their most unapologetic, a blistering return to form that recaptures the ferocity of their mid-2000s peak while embracing a modern, hook-driven sensibility. Tracks like The Shadow Elite, Lvciferaeon, and To Drown The Svn In Wine rank among the band’s finest, blending relentless aggression with anthemic melodies that will undoubtedly ignite live audiences. Bogren’s production elevates the album to new sonic heights, and the band’s musicianship remains unparalleled in extreme metal.

However, the album’s provocative title and juvenile lyrics, particularly on the title track, risk alienating listeners who expect the philosophical depth of The Satanist. While Behemoth’s blasphemy has always been a core tenet, The Shit Ov God often feels like a caricature of their earlier defiance, lacking the nuance that made their best work transcendent. Tracks like Sowing Salt and Avgvr (The Dread Vvltvre) drag the album down with their repetitive structures.

Ultimately, The Shit Ov God is a solid, if uneven, addition to Behemoth’s discography. It’s a record that will thrill fans craving the band’s signature blend of savagery and theatricality, but its reliance on familiar tropes and lyrical missteps keeps it from rivaling their greatest achievements. For those willing to embrace its unapologetic attitude and overlook its flaws, it’s a hellish, headbanging ride that proves Behemoth still have fire in their veins.