GosT- Behemoth

By Chris Dahlberg

Published on Sunday, April 19, 2015

Horror synth/electro artist GosT has been releasing material on a regular basis since 2013, mainly in the form of EP’s on a wide variety of record labels. Like some of the better known artists that go for this type of sound, GosT has made an impression on listeners with darker electronics that are able to channel that classic horror movie aesthetic and a bit of a cyberpunk and 80s sci-fi vibe wrapped up in driving dance beats. This year he has put out his full length debut Behemoth, which offers eleven tracks worth of heavy hitting and eerie synths and bass lines that are sure to hook quite a few listeners right from the start. Like Perturbator and other electronic artists oriented towards darker melodies and grimier aesthetics, there’s a lot to like about this effort and GosT is sure to appeal to a fairly wide audience that may not always approach these genres on a regular basis.

Electronic music is an area that I tend to explore every now and then, as it takes a particular type of instrumentation to really pull me in. Behemoth offered this specific combination right from the beginning, as GosT has composed tracks with driving beats that are then layered with edgy and darker sounding synthesizers that bring to mind both John Carpenter horror soundtracks and cyberpunk/sci-fi aesthetics that wouldn’t be out of place in Blade Runner. Although the base of each song consists of similar beats, what this album does extremely well is to build changing atmospherics and grooves on each one that makes them distinguishable. Behemoth can either be absorbed as a whole body of work or in bits and pieces, as each song perfectly flows into the next without any gaps but there are also numbers like “Tongue” and the title track that I’ve found myself wanting to immediately give repeat listens. GosT does an incredible job of building up the tension in these tracks slowly but still providing an immediate hook, as quite often they begin with an eerier synth that grabs you before completely opening up into an explosion of pounding electronic drums and fuller soundscapes.

What helps to differentiate Behemoth from some of the other albums that go for this similar horror/sci-fi feel is the variation between how the synths are used. Rather than sticking with the same exact tone for the entire release, there is a noticeable shift from extremely dense, heavier synthesizer work and melodic electronics that still maintain that eerie, ominous sound. GosT does incorporate some vocal samples on occasion and even adds in a guest vocalist on “Without a Trace” that helps to break up the album a bit and provide a slightly more traditional club track in the middle of the moodier waves of electronics, but compared to some of the other releases out there this is largely an instrumental only affair. My only complaint would be that some of the shorter cuts such as “Reign in Hell” and “Sacrament” that serve more as interludes as full songs, but feel like they could’ve been built up to be longer numbers.

This is one of those albums that sinks its hooks in fairly early and once you’ve made your way through the first time you’ll likely keep coming back again and again. Even if you’re not usually the type that has explored a lot of different electronic styles, if vintage horror movie soundtracks or music that evokes a darker sci-fi aesthetic sounds like your type of thing Behemoth is a mandatory listen. GosT has definitely made a strong impression with his first full length, and if this along with his previously released EP’s is a sign of what’s still to come there may still be a lot to look forward to. Throw this one on, crank the volume up, and prepare to get lost in the layers of synths and darker tones.


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