In autumn of 2006, the band announced that Beseech would be put to rest for good: "We have grown apart from each other as persons and we have different views of how we want Beseech to work as a band."
In 2007, Beseech's Web site announced that their members had formed two new bands: The Mary Major, which contains 6 out of the 7 band members, and Those We Don't Speak Of, with the remaining band member.
A NEW BEGINNING (2014-)
This year 2013, is the ten years anniversary when the “old” era of Beseech was put to rest. Klas Bohlin, one of the founding members of Beseech decides to leave the band to focus on other musical challenges. Still good friends through the years, Klas Bohlin and Robert Vintervind the original composers in Beseech started to talk about playing music together in some way. After some successful jams their new material sounded more Beseech than ever, back to its roots with delivering the same characteristic melancholic feeling, but in a new mature way. Shortly after, Manne Engström (guitar) re-joined the band and Beseech entered the “classic Beseech studio”, StudioMega/Fascination Street during the fall of 2012 to figure out the new direction of the band.
DEVELOPING THE GOTHIC SOUND (1992-1995)
The history of Beseech begins in 1992, in the band´s hometown of Borås (near Gothenburg), Sweden. Klas Bohlin (guitar), Jörgen Sjöberg (vocals) and Morgan Gredåker (drums), three hungry teenagers with ambitions, founded a band called Beseech. In November 1992 their first demo “A lesser kind of evil” was recorded, which also became an introduction of the band to the Swedish underground scene. Soon thereafter some members left and Robert Vintervind (guitar) and Andreas Wiik (bass) joined the band. From that day Klas and Robert started to develop a special co-writing relation, which became a solid ground in the development of Beseech’s gothic sound. In 1994 Beseech’s second demo “Last Chapter” was released. At that time the band had become more ambitious and deeply involved in the underground scene, participating in various compilation CD´s, making lots of interviews and received many positive reviews in fanzines worldwide. Later on Anna Andersson (vocals & keyboard), with a voice like an angel joined the band. At this point of time, not so many bands had yet started to experiment with harmonies for both male and female vocals. In 1995 Beseech began to hang out at StudioMega with the producer Christian Silver, who became to be an important person close to the band for many years. Together they developed the Beseech sound into a quite unique semi-acoustic doom/progressive format, using classical instruments such as cello, violin, flute and piano. After a successful recording session, Beseech came up with their success demo “Tears”, which led to a publishing contract with Swedish Misty Music, but most important, lots and lots of attention in the underground scene worldwide. With several offers from record labels and bookings outside Sweden, the future for Beseech looked bright. Another band who also happened to be at StudioMega from time to time, was Fatal Embrace featuring Manne Engström (guitar), who came to play an important role in the future for Beseech.
FROM A BLEEDING HEART (1996-1999)
In 1996 Beseech signed their first record deal with We Bite/Corrosion Records, runned by the editor Frank Schenk at Chaos Mag. Soon after, Beseech entered StudioMega to record their debut album “…from a bleeding heart”. Unfortunately, the label suffered a major economic setback and was unable to release the album. Not until 1998, after Beseech was released from its contract with We Bite/Corrosion Records and secured a deal with Metalblade, did “from a bleeding heart” see the light of day. During these two years some necessary changes in the lineup were made and Mikael Back (keyboards) and Daniel Elofsson (bass) joined the band, but sadly Anna Andersson decided to leave the band to focus on her solo carrier.
BLACK EMOTIONS & THE TOUR (2000-2001)
In 1999, Beseech signed a worldwide record deal with Pavement Music and Klas, Jörgen and Robert began to write songs for their 2nd album “Black emotions”. This time the music took a different direction from the doom/progressive-oriented sound found on the first album. Beseech experimented with going deeper into the gothic style and the vocals got more clean, but with the same atmosphere and spirit of Beseech. Two new members joining the band during the writing process was Jonas Strömberg (drums) and Lotta Höglin (vocals). With Lotta in the band we found the perfect match for backing up Jörgen’s powerful voice. “Black Emotions” was released in mid-2000 and the response was tremendous – receiving outstanding reviews and much airtime. Beseech promoted the album by joining forces with Theatre of Tragedy and Lacuna Coil during their 2001 European tour. Shortly after the tour, Jörgen Sjöberg (vocals) got burned out, and was forced to leave the band and Beseech braced for a new era. Due to the unstable economic outlook of Pavement Music, Beseech parted ways with the label in 2001. By then, the latest addition to the Beseech lineup, Erik Molarin (vocals), was in place. His majestic voice complimented Lotta Höglin’s beautiful vocal lines perfectly.
MOVIE SOUNDTRACK (2002)
In 2002, a Canadian film company, Brimstone Productions, approached Beseech to feature three songs from the “Black Emotions” album (Manmade Dreams, Neon Ocean and Lunar Eclipse) on the soundtrack (with bands such as Entombed) to the B horror movie “Alien Agenda 5 – Alien Conspiracy”. The movie was released in 2002.
SOULS HIGHWAY AND NAPALM RECORDS (2002)
In 2001 Beseech presented their new material for the record labels, and new offers from labels started to come in. Beseech finally decided to sign a worldwide record deal with Napalm Records. Later on the writing process for “Souls Highway” began. Another important co-writer for this album was Mikael Back (keyboard). Souls Highway was released in 2002 and received euphoric raves by critics and fans worldwide. By the end of 2002 a music video for the track “Between the lines” was released via the Internet and downloaded by hundreds of thousands all over the world. In 2003, long time member and songwriter Klas Bohlin decided to leave the band, to continue with his late 60′s sounding and psychedelic experiment Depressive Art. Also for this band Klas decided to make the recordings at StudioMega, but this time working with a new young talented guy, Johan Örnborg (bass) behind the mixing controls, whom today is also a member of Beseech.
DRAMA (2004)
“Drama” reflects life, human thoughts and the darker side of mind. This fourth release in many ways was a natural follow-up to “Souls Highway” , but without Klas in the band, a new creative process developed and the new approach affected the music on “Drama” – the compositions became more experimental, groovier, presented a heavier sound, and both music and lyrics reflected more attitude than ever before. On “Drama” Manne Engström was part of the creative process for the first time and is listed as a co-producer on the album. With this album the band took the touring to another level and played many festivals and gigs around Europe.
SUNLESS DAYS (2005)
This album was another step towards an even more heavy and modern style of metal/rock music, but still with the great variations in the songs. Beseech did about a year and a half of touring on Sunless Days before they decided to put the band to rest because of internal band issues. Robert needed a break from the music, and the other members that hadn’t gotten so much creative attention in Beseech started writing music for their new band Mary Major.
MORE BESEECH THAN EVER
It just happened… After years of silence, the creators of the Beseech sound, Robert and Klas started writing material for their next music project. Somehow the results turned out to sound more Beseech than ever, like a continuation to the highly critically acclaimed album Souls Highway, but with a more vintage oriented twist. Due to the new sound it was also necessary with some lineup changes. The first guy to re-join the Beseech was Manne Engström (guitar) that besides creative guitar playing contributes with both engineering and producing. The new members are; Johan Örnborg (bass), producer/mixer at Fascination Street Studios. Angelina Sahlgren Söder (vocals) with experience from both theatre and musicals. Håkan Carlsson (drums), is rounding up the new lineup with a more intense drum playing. The most important change was to make space for the third generation of singers. With Klas and Angelina behind the microphones Beseech has developed a more country influenced way of singing with more space for harmony vocals.
Current line-up:
Klas Bohlin - Male Vocals
Angelina Sahlgren Söder - Female Vocals
Robert Vintervind - Guitars, Programming
Johan Örnborg - Bass
Mikael Back - Keyboards
Håkan Carlsson - Drums
Manne Engsttröm - Guitars (Cemetary 1213, Fatal Embrace, Sundown)
Devil's Plaything
Beseech Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A devil's thing
A violent storm
About to be born
Just look in these eyes
See all the lies
All the things you see
You cannot deny
And this flame
That burns inside
If you get too close
Burn you alive
Just look in these eyes
And see if they lie
All these words I speak
You cannot deny
Got a light
Shines on me
Gentle light
It will never be
See the flame
In my hand
If you're playing with fire
You're playing in Hell
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
Burns inside
If you don't wanna burn
Just walk on by
And the pain
You're feeling now
Is nothing compared
To the pleasures I hide
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'Cause if you're on my path
You're better off dead
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Then Come unto me
The lyrics of Beseech's song Devil's Plaything might seem quite straightforward, but it is a song about the seductive and dangerous nature of love. The song describes love as a flame, a devil's thing, and a violent storm that is about to be born. The singer challenges the listeners to look into his eyes and see the lies that he is telling, the pleasurably painful nature of his love. The singer warns that if one ventures too close, they risk being burned alive, but for those who dare to touch the flames, the singer beckons them to come to him. He entices his listeners' with the 'light' that shines on him, but warns them that if they're not careful, they'll be a mere plaything in his hands.
The lyrics of the song are quite potent, and they're a warning for the listener to beware of the dangers of love. The theme of love being similar to flames and storm is not new; it's a common metaphor that's been used throughout history. But with "Devil's Plaything," Beseech puts a spin on it that makes it unique, which might remind us of the saying, "playing with fire," or the idea of the self-destructive nature of love.
Line by Line Meaning
Love is a flame
Love is something that can burn brightly and intensely, but it can also have dangerous consequences.
A devil's thing
Love can be associated with the devil or evil due to its potential to lead people to make harmful or destructive choices.
A violent storm
Love can feel like a powerful force that can be overwhelming and destructive if not handled carefully.
About to be born
Love can feel like something new and exciting that is just beginning to take shape.
Just look in these eyes
The artist is inviting the listener to take a closer look and see the truth.
See all the lies
The singer is warning that there may be hidden deceit behind love or other tempting things.
All the things you see
The singer is reminding the listener that what they see may not be the whole truth.
You cannot deny
The artist believes that the truth is clear and that the listener cannot ignore it.
And this flame
The artist is referring to the same idea of love as a dangerous or powerful force.
That burns inside
The artist is emphasizing the intensity of the feeling of love.
If you get too close
The singer is warning about the danger of getting too involved in love or temptation.
Burn you alive
The artist is suggesting that getting too involved in love can be emotionally destructive or even lethal.
And see if they lie
The singer is challenging the listener to examine their words and actions for any deceit or hidden motives.
All these words I speak
The singer is referring to their own words and stating that they are truthful.
Got a light
The singer is using a metaphorical image of a light to represent their personal power or influence.
Shines on me
The artist is stating that they are the one in control or have the power in the situation.
Gentle light
Despite the previous warning of danger, the artist is suggesting that their power or influence can also be gentle or seductive.
It will never be
The singer is suggesting that despite the allure of their power, it will ultimately lead to pain or destruction.
See the flame
The singer is again using the metaphor of a flame to represent their power.
In my hand
The artist is emphasizing their control over this power.
If you're playing with fire
The artist is warning that getting involved with them is potentially dangerous or damaging.
You're playing in Hell
The artist is suggesting that their influence or power can lead to metaphorical hell or a state of emotional pain.
Devil's plaything
The singer is equating their personal power or influence with something associated with the devil or evil.
If you don't want pain
The artist is making clear that there will be negative consequences to getting involved with them.
You don't understand
The singer is suggesting that the listener does not fully comprehend the danger or power involved.
Got a flame
The singer is reiterating that they have this powerful, dangerous influence.
Burns inside
The singer is again emphasizing the intensity of the feeling they represent.
Just walk on by
The artist is suggesting that it is better to avoid them altogether.
And the pain
The artist is admitting that getting involved with them will lead to emotional pain or turmoil.
You're feeling now
The singer is acknowledging that the listener may already be experiencing negative emotional consequences.
Is nothing compared
The singer is suggesting that the listener has not yet experienced the full extent of the damage that can be caused.
To the pleasures I hide
The artist is admitting that there may be enjoyable or alluring aspects to the relationship, despite the negative consequences.
In my hands
The artist is reiterating their control or power over the situation.
Step out of my light
The artist is telling the listener to essentially leave them alone and not get involved.
Just look away
The singer is once again suggesting that it is better to avoid them altogether.
'Cause if you're on my path
The artist is warning that if the listener continues to get involved with them, they are essentially choosing a path of danger and pain.
You're better off dead
The singer is suggesting that the danger and pain involved in their relationship is so severe that it would be better to not be involved at all, even at the cost of one's life.
If you wanna touch flames
The singer is acknowledging that despite the danger, some may still be drawn to their power or influence.
Then come unto me
The singer is essentially inviting the listener to get involved in the destructive relationship despite the warning signs.
Lyrics © Universal Music Publishing Group
Written by: GLEN DANZIG
Lyrics Licensed & Provided by LyricFind
Campânula
Bem que melhor que a original.
Love is a flame
A devil's thing
A violent storm
About to be born
Just look in these eyes
See all the lies
All the things you see
You cannot deny
And this flame
That burns inside
If you get too close
Burn you alive
Just look in these eyes
And see if they lie
All these words I speak
You cannot deny
Got a light
Shines on me
Gentle light
It will never be
See the flame
In my hand
If you're playing with fire
You're playing in Hell
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
Burns inside
If you don't wanna burn
Just walk on by
And the pain
You're feeling now
Is nothing compared
To the pleasures I hide
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'Cause if you're on my path
You're better off dead
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Then Come unto me
Voldemar4162
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'cause if you're on my path
You're better off dead
Насколько классное исполнение.
Gabrielle Jameson
Always loved Beseech, as well as this cover. Of course it isn't Danzig or an exact attempt to copy the original - it's a really awesome interpretation, which is what a cover should be. If you want the original, listen to the original.
Campânula
Bem que melhor que a original.
Love is a flame
A devil's thing
A violent storm
About to be born
Just look in these eyes
See all the lies
All the things you see
You cannot deny
And this flame
That burns inside
If you get too close
Burn you alive
Just look in these eyes
And see if they lie
All these words I speak
You cannot deny
Got a light
Shines on me
Gentle light
It will never be
See the flame
In my hand
If you're playing with fire
You're playing in Hell
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
Burns inside
If you don't wanna burn
Just walk on by
And the pain
You're feeling now
Is nothing compared
To the pleasures I hide
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Come unto me
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'Cause if you're on my path
You're better off dead
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you wanna touch flames
Then Come unto me
Nicole G. Mullen
I like it. And I'm a huge DANZIG fan. I really like it. Has a dreary Type O feel to it.
Tony G
WOW! I am one of the biggest Danzig fans, since '87, and I gotta say, this is truly amazing. Beautiful interpretation! Me thinks Mr. Glenn Danzig would be flattered.... Word, T
Voldemar4162
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'cause if you're on my path
You're better off dead
Насколько классное исполнение.
PyroNeko
Love this version and Danzig's.
OchrismongrelO
I like it. Very unique take on the song. Great song to cover, too.
Legion Astaroth
you know,even though this cover has this mainstream side to it,it's actually pretty good.
LamuPrincess
OMGGGGGGGGGGGGG I LOVE IT!!!!MY SONGGGGGGGGGGGGGGGGGGGG!!i still prefer the original but this is KICKASS!!!!!
theZodiacDigital
i love danzig's version and melissa's version is good too, but i think this is a rather well done cover.