Beggars Banquet is at the center of a flurry of attention right now-- the label seems to have become a stomping ground for the living dead. With remixes and covers of Gary Numan tracks and reissues of his discography, not to mention the new Bauhaus compilation, it's easy for the Fields of the Nephilim to feel overshadowed. But tucked away amongst those more successful bands lies the Nephilim, complete with their own set of Beggars Banquet reissues and rumors of a reunion tour.

The Nephilim, the second full- length release from Fields of the Nephilim, is a more flowing expression of the band themselves. Recorded after a period of obvious experimentation (during which they discovered "their sound"), The Nephilim comes across as a much more considered step into the band's mark in musical history.

"Endemoniada," the discs opening number, starts off as a lurid introduction to the land where the Nephilim rule, before kicking into a rowdier, more upbeat picture of where giants roam. It's imagery that continues for the majority of The Nephilim, until the record very melancholically closes with the ever uplifting "Love Under Will" and "Last Exit for the Lost," two songs that amazingly enough, haven't yet been blamed for teen suicides. With lyrics like "When I'm gone wait here/ Discover all of life's surprises/ When I'm gone wait here/ I'll send my child my last good smile," it becomes clear that the band is beyond just making music to accompany Dungeons and Dragons night, and the tone quickly changes to the pangs of loneliness and tears of pain.

Overall, the album expresses itself as the next step towards maturity of a band knotted by their emotional realities. A little strong on the treble side, yet quite listenable, The Nephilim is another chapter in the history of a underrated band.

-Skaht Hansen