The Nefilim’s 1996 album, Zoon, announced the rebirth of former Areas FROM THE Nephilim singer Carl McCoy. From the advent of this group’s final recording, 1990’s Elizium, McCoy was for the verge of despair, locating the older materials he was playing ‘tiresome’. The essential revulsion McCoy offers experienced during his profession, plus the different machinations regarding the end of his commercially effective former music group (who renamed themselves Rubicon), doubtless educated a number of the vitriol on Zoon. Nevertheless, McCoy also required the chance to drive his occultist and pagan affects towards the fore (earlier Fields FROM THE Nephilim material experienced thinly veiled recommendations to literary functions by H.P. Lovecraft in addition to less clearly described Sumerian mythologies). The merchandise of four years’ composing and experimentation, the recording featured a number of visitor musicians and suppliers, non-e of whom had been prominent mainstream titles, as McCoy wanted to determine the Nefilim as his personal project. The recording took its name from your Greek term for ‘beast’ or ‘pet’, but didn’t find an target audience beyond the pagan rock and roll fraternity and die-hard Nephilim followers.