Fist off, it must be said that it’s refreshing to encounter a black metal band from the Ukraine whose music is not primarily a vehicle for racist political ravings. Semargl hate, but they seem to save their resentment for the tried and true target of most black metal: God, the clergy, and all followers of the Christian faith. Semargl’s debut album, 2005’s self-produced “Attack on God” was an ambitious and decent album, but it had a little bit too much of a Dimmu Borgir sound to it, included several lengthy piano solos, and alternated between black metal, and straight forward death metal, all making it feel a tad directionless at times. “Satanogenesis”, however, is a huge improvement in just about all areas from songwriting to instrumentation, production value, sinister ambience, and purpose.

Semargl’s music on “Satanogenesis” is slightly symphonic, militant sounding black metal with minor death metal infusions, and intelligent electronic leanings. The tempos on the album vary. Some of the tracks such as the excellent “Graceful Infection by Evil”, and “Mechanical Storm” are played at a slower, rockish tempo somewhat reminiscent of Khold, and perhaps the finest track on the album: “Let the Heavens Burn” has a very “Volcano”-era Satyricon feel. Semargl, however, have done a fine job of creating a distinct sound for themselves, using a menacing “technologically evil” motif on “Satanogenesis”. The effective employment of haunting electronics conjures uneasy “cyber-satanic” ambience on the bizarre “Protonic Zone of Hell”. Perhaps most surprising are the very enjoyable and ominous drum and bass interlude “Prayer of Purifying”, and album closer “Copulation with Mechanism” which is an eerie, spacey trip-hop type instrumental. I say bravo for these courageous displays of creative bravery in a genre where such is too often scorned. “Satanogenesis” is a fantastic second album, and if Semargl continue to improve as they have, the follow up should be absolutely brilliant.