And with the band’s 13th album that’s what you get- some pretty cool shit as the album continues the bands solid run of albums over the last decade plus years starting with 2010s Erebos, (where they started to embrace the Behemoth hues fully), 2013s SolarFlesh, and certainly their last two excellent albums in 2019s Auric Gates of Veles and 2021s Rugia (for some reason I have not heard 2017s Tremendum or 2015s Crvsade:Zero.

Bellum Regiis (‘King’s War/War of Kings’) does nothing different from the last few albums. It’s big, beefy, Polish-inspired death/black metal with a clear and obvious influence that they wear proudly on their sleeve. Adam the First Sinner still has one of my favorite death metal voices around with a commanding, but understandable bellow (I understand he 100% sounds like mid-era Nergal), and musically, the band strides confidently across black and death metal.

As with the last few albums, there’s a superb mix of blistering, black-ish metal that delivers blast beats and hefty tremolo-picked riffs, with a wide array of militant, authoritative marches, which is where Hate shines a little more, but everything is top notch, including the mastering effort from Tony Lindgren (Aborted, Abysmal Dawn, Borknagar, Dimmu Borgir, etc), which makes everything cystal clear but still plenty heavy.

All 9 tracks from the opening title track to the closer “Ageless Harp of Devilry” deliver the goods and stay to a pretty rigid formula that Hate has perfected over 30 or so years, though the current sound is only about 15 years old (the early albums were straight up Floridian death metal and a few cyber elements here and there). But certainly tracks like the more controlled “Iphigenia” and “A Ghost of Lost Delight” (both with some subtle female chants), or searing blacker standouts, “The Vanguard”,  “Alfa Inferi Goddess of War”  and superb closer “Ageless Harp of Devilry” show Hate at their most confident and varied. But the unmistakable Behemoth influence arises plenty, as in “Prophet of Arkhan” for example.

13 albums in, and Hate are still a model of Polish consistency. They may not be truly elite or groundbreaking at anything, but man, have they locked into an enjoyable, solid style of black/death metal for several albums now.

Well folks, truthfully it’s not.  It actually happens to be the front man Adam the First Sinner (props for the cool nickname by the way), lead singer of fellow Polish band Hate, and this is their 8^th full length album.  Hailing from the same country as the death/black metal master themselves, the influences have always been there, but not quite this obvious.  As mentioned previously ATF Sinner has a hollow yell that’s a carbon copy of Nergal’s, and even the song structures and elements have become similar to their fellow countrymen.  It’s not a total ape-job, but Hate definitely cheated off Behemoth while they were both taking their latest test in Metal History 101.

That aside, the musicianship that was on display on their last killer album, Erebos, is back again.  Hexen is back behind the kit, and his slick fills and double bass work will surely remind listeners of Inferno (that’s by no means a negative).  Destroyer handles the leads, with ATF Sinner backing him up with additional guitar work, as well as synths that give a nice melodic backbone to the more punishing elements of their music.

Going into a track by track analysis is almost pointless, as any fan of the aforementioned bands will already know what they’re getting here.  No song really jumps out, as a mid to upper-tempo pace mixed in with some faster parts is pretty much the recipe on this one.  Fans of Vader will also feel right at home here, and notice further commonalities.  It’s often said that Hate doesn’t get the recognition that those other 2 bands get, but with such a similar style they’re at a point where they’ll need to break the mold a little bit and try to forge their own sound.  They have the talent to do so; it’s just a matter of if they want to make the choice to.

While Drew Bledsoe, Trent Green and Joe Montana might beg to differ, here comes Poland’s Hate to ably replace Behemoth while Nergal recovers from his recently diagnosed leukemia (get well soon!). Long waiting in the shadows of the likes of Behemoth, Decapitated and Vader, lifelong backups Hate are the Kurt Warner of death metal, and now they have their chance.

Further dropping some of their early US death metal influences and industrial/cyber elements that surfaced on 2005’s watershed Anaclasis and 2008’s Morphosis (replaced with more esoteric and mysterious elements), and now even presenting the same robed and face painted aesthetic as Nergal and co., Hate appear to have finally found a sound: The band has risen from their underrated status and delivered an album that should elevate them into the next level.

It’s hard not to think of Behemoth when listening to Erebos (even that title is Behemoth-y); more down tuned guitars, a thick more robust rhythm section, Adam the First Sinner’s deep, processed sounding vocals and more of an emphasis on vaguely militant and Middle Eastern riffs with a far more pummeling, controlled lumbering marches amid the swathe of technicality. It’s not a vast difference from the more mechanical and clinical Vader and Decapitated worship of the bands early efforts, but it’s subtly and tangibly different and pretty damn good regardless.

Of course fans of Behemoth will cry afoul of the bands obvious new digs, but why not embrace it while Nergal recovers? The nine tracks and one intro contained on Erebos all deliver stern death metal with that undeniable Polish hue that pounds and rumbles with chest beating confidence, skill and just enough sneaky melody to make it memorable.  Just sit back and enjoy the likes of the stellar title track, personal favorite “Hero Cults”, monstrous lurch of “Transsubstance”, blistering “”Hexagony”, sturdy chunk of “Wrists” and outstanding closer  “Luminous Horizons” which deliver some of 2011’s first great death metal.

Is it original? Not by a long shot, as anyone that’s heard any of their peers mentioned above can attest to. Is it a neck snapping, razor sharp display of Polish excellence that will satiate fans of Behemoth? Fuck yes.

„The Litanies of Satan” is their live album featuring a recording of a supreme death metal performance from February 2004. The tracklist contains mainly songs from their album “Awakening of the Liar” plus some older, classic compositions. Metal Mind Production will release the album on 8th June in Europe and 14th July in USA (via MVD). Digipak edition is limited to 1000 copies.

Hate
“The Litanies Of Satan”

Label: Metal Mind Records
Cat. No.: MMP CD 0667 DG
Barcode: 5907785034822
Format: CD DG (limited edition)
Genre: death metal
Release date: 08.06.2009 Europe / 14.07.2009 USA

Tracklist:

1. Hex
2. Immolate The Pope
3. The Shroud
4. The Scrolls
5 Anti-God Extremity
6. Demigod
7. Close To The Nephilim
8. The Sin Becomes
9. The Kill
10. Postmortem
11. Awakening Of The Liar
12. Spirit Of Gospa
13. Flagellation
14. No Life After Death
15. Sectarian Murder

Bio
Elements of four combative forces joined together in a distinctive array of musical elation with merging from death metal intensity creating a wicked art form known as HATE. Twisting into formation in 1990 by vocal guitarist ATF Sinner who brought forth an energy unmatched by others in Poland’s extreme scene raising interest to those seeking diabolical resurrection. Creating a being completely their own HATE’s first three demos released in the early 90’s Abhorrence, Evil Art and The Unwritten Law stirred critical acclaim by the underground scene gaining new fan victims as well as forming the ‘Polish death metal phenomenon’. Taking a serious turn in their musical outlook the band recorded their first album Daemon Qui Fecit Terram (1996) by Loud Out Records setting the course for two other releases Lord is Avenger (1998) and an EP Victims (1999) by Metal Minds Productions. Establishing themselves as a proven act caught the attention of America’s Dwell Records signing the group adding their version of Slayer’s Postmortem included on compilation Gateways To Hell: Tribute To Slayer, Vol 2. (2000). Serious events took form in HATE’s career leading them to sign with French based label Listenable Records launching severity with Awakening of the Liar (2004) bringing the band to the forefront in metal. Acknowledged as one of the hardest bands in death metal their album captivated fans increasing their likeness among European audiences. Kicking off their first European tour (Feb. 2005) with Decapitated, Crionics and Dies Irae, they completed shooting video material for a DVD called The Litanies of Satan (2004) which Metal Mind Productions showcased later. Introducing a new level of musical intensity the group proved an unstopped force this time with their second album Anaclasis-A Haunting Gospel of Malice & Hatred (2005) taking the sound above and beyond. Combining industrial sampling with compositional changes the group redefined their presentation with lyrical depth touching dark thought provoking content. Describing Anaclasis as originality as it’s best by metal music critics the band received outstanding reviews land-marking them as one of the best upcoming talents. Shortly after the hateful four hit the European tour road with Carpathian Forest and Keep of Klassin also appearing on two festivals Party.San Open Air (July 2006) and Czech Rep. Winter Assault (Dec. 2006). Bringing on another touring gig HATE was accompanied once more by Decapitated sharing twenty show dates in Feb. 2007. Venturing groundbreaking shows in Russia the group headlined ‘Metal Spirit Resurrection Tour Vol. 4 (April 2007) that had the band stage twelve major city concerts some of which the band was a first performance from outside that country. Spring 2007 bestowed their ‘Rebel Angels’ tour in Poland following Vh1’s Music Channel debating subject matter on Satanism which the group shared views due to being on Poland’s blacklisted artists of being banned. Nevertheless the group persisted on despite political differences that were expressed by one of Poland’s politicians and others did not diminish HATE’s musical course. July of 2007 sparked musical vengeance preparing the group to enter Hertz Studio again with creating another sinister effort titled Morphosis released worldwide on February 8th, 2008

Not only buried under the prestige of their own country mates, but also 2008’s slew of killer death metal, comes Hate’s 6th full length album, and as with their previous albums it delivers a damn solid, if not elite delivery of slightly cybernetically tinged death metal that pulls elements from all the above mentioned bands, but namely Behemoth and Vader meets Crionics.

With a few minimal whirrs and beeps given the album its minimal cyber gloss, that’s never as present as Crionics, the base of Hate’s assault is drummer Hexen who is machine like in his blistering performance, getting right to the savage salvo of “Threnody”, “Immum Coeli” and “Catharsis”, which while on the surface reach furious, singular levels of Crionics styled similarity and pacing, have far more depth and skillful pacing swirling underneath the blast beats by virtue of subtle melodies and pace shifts. “Resurrection Machine” stops the album from careening into runaway train territory by slowing things down. And thusly, unlike Crionics, Hate manages to break up the relentless pace of the album with well placed and menacing slower songs and segments.

Slow, sturdy burners like “The Evangelistic Pain” and closer “Erased” offset the albums savage opening few tracks and the intro to the otherwise vitriolic standout “Omega” delivers a short moment of relief. Throw is a stout Hertz Studio/Wieslawski Bros. (Decapitated, Severe Torture, Hermh, Elysium), production and forcefully gruff but not guttural vocals and the end result is a super tight death metal album worthy of the attention of their country mates and peers.