Begat the Nephalim are an extreme metal act who over their relatively short journey have shared the stage with metal giants such as Suffocation, Dying Fetus, The Red Chord, Job for a Cowboy and The Dillinger Escape Plan.

Begat The Nephalim is Tyler Smith providing the intense, inexplicable extensive vocals, Cam Dupere and T.J. Gramolini delivering the huge crushing guitars, Josh Richardson crushing the intense drums and Brendan Seigel on providing the thriving Bass sounds.

Begat the Nephalim’s talents are obvious throughout the first listen of their awe-inspiring debut album ‘The Surreptitious Prophecy/Mother of the Blasphemy’. The album tone is created by the obscure atmospheric track with its brooding tones and dark ominous sounds that lead into an aggressive fast-paced onslaught of the melo-death and extreme metal genres that follow throughout the album. With tracks that possess so many different options from a Mozart inspired starter leading into aggressive fast technical guitar work. Vocals are intense with a diverse range from pig squeal to straight guttural death spitting layered lyrics from vocalist Tyler Smith.

However, a metal album is not complete without solid drumming and Josh Richardson really holds the fort for the band with every track providing reams of heavy metal highlights from rolling double kicks, blast beats and applying the amazing heavy groove for the band to build on.

Particular tracks throughout the album demonstrate the storyline the album provides with a modest interlude track filled with a classic piano piece and guitars that interweave into beautiful medleys of chaos and calm. But seemingly before you get the chance to relax the band go straight back to brutality building on previous tracks moving into a keyboard inspired track, demonstrating a huge kick drum mid-section. With so many layers, it is hard to pin the band in just the traditional inspired black metal sounds of many of the big names in the genre as they carry the torch well for such a young band.

Then when you think the band can’t possibly bring much more to the table they bring out an epic length track, a near eight minute journey among some others crushing track that lasts the distance and doesn’t trail off into trying to ‘stretch it out’. Within this track is a surprising style, which explores the acoustic guitar, a pleasant change and the following guitar sequences step away from the brutality, leaving a huge technical presence over the track. Reminiscent of huge guitar sounds of eras gone by, the album covers the metal vocal styles with the iconic pig squeal sounds and death growl vocals mixed throughout and across the album.

Josh Richardson’s huge drumming presence controls many tracks with an almost automatic gunfire that leads into the bands ominous huge riffs from guitarists Cam Dupere, T.J. Gramolini, and Brendan Seigel on bass guitar. Siegel’s bass guitar solo is a cool addition in the track Apotheosis Of The Apocalypse Pt1: In The Shadow Of The Nephilim (A Cold Wind Stirs The Midnight Air). This then transitions almost flawlessly into the closing track Apotheosis Of The Apocalypse Pt. 2: Dawn Of The Nephilim  (A Warm Wind Breathes A New Despair), a track ended with a piano closing that disappears leaving the listener wanting more. What this album embraces is their united multilayered musicianship. No section of the band is a weak link, intense drum lines support strong guitars, all buried beneath the colossal vocals of Tyler Smith.

While the album did not sink its teeth into this listener, I can understand why it will for many. For any fan of the melo-death and extreme metal genres there is a lot to explore, to discover and to enjoy as there doesn’t seem to be any significant negatives against the album in my humble opinion.