An official video recap of BEHEMOTH‘s November 24 concert at the Wiltern in Los Angeles, California can be seen below.

BEHEMOTH‘s latest album, “I Loved You At Your Darkest”, was released on October 5 via Metal Blade Records in North America and Nuclear Blast in Europe.

Unlike “The Satanist”, which was primarily recorded in one studio, “I Loved You At Your Darkest” saw its production spread across Poland and the United States. It was produced by the bandmembers themselves, with drum co-production by Daniel Bergstrand (MESHUGGAH, IN FLAMES), mixing by Matt Hyde (SLAYER, CHILDREN OF BODOM) and mastering by Tom Baker (NINE INCH NAILS, MARILYN MANSON). Which is to say nothing of the 17-piece Polish orchestra arranged by Jan Stoklosa and engineered by Tomasz Budkiewicz.

BEHEMOTH frontman Adam “Nergal” Darski told RockSverige about the “I Loved You At Your Darkest” title: “It came straight from the Bible, a quote from Jesus Christ. It started with me thinking that there was no way I could top ‘The Satanist’ and the genius of it. I mean, speaking of the title. It was this one-word, super-strong and a powerful statement and nothing can really compete with that. In order to follow that, I must come up with something completely different, so we said we would bring something revolutionary within our own subgenre. This title is refreshing and new and redefining and that’s what it’s meant to be. I’m super happy that it grew on me because I’ve had it in my head for a year and I wasn’t entirely sure. I was, like, ‘Hmmm, maybe it’s risky.’ But then I was also, like, ‘It’s risky. Let’s go for it!’ You know, we’ve got a saying in Poland, ‘If you don’t risk it, you never drink champagne.’ So let’s hope for at least a little glass afterwards. I just thought that… let’s make a long story short… let’s go to the source of all evil and steal this sentence and twist it around and redefine it and give it our own meaning and then just throw it back at our opponents and see how they react. Or maybe they don’t. I don’t give a fuck. By doing that, it’s a very sophisticated blasphemy, so to say, because, obviously, I’m quite the opposite to your regular Catholic friend or whatever. I’m anti this and I’m not following their rules; I follow my own rules. I’ve always been about this and played with it, these black-and-white, yin-and-yang kind of meanings and symbols and these contradictions and opposites poles and extremes and when you confront them together, that’s what triggers the most interesting effect. To me, when you go through the album and you listen to ‘God = Dog’, you get these kids versus this extreme heavy music and the kids are singing pretty controversial verses for many people. To me, that’s the point. You confront the innocence of a child with a grown-up’s aware statement, an anti-religious statement and that’s what I find fascinating.”