⛧
Morbid Tales (1984)
In 1984, after a brief existence, Hellhammer was laid to rest and Celtic Frost was born out of its ashes. It was said that nothing more could be accomplished within the limited framework of Hellhammer's sound, especially after the monumental song "Triumph of Death" was unleashed. The truth is that Morbid Tales could, easily, have been released under the Hellhammer name. It sounds a little more professional and polished, but there is no more difference between it and Apocalyptic Raids than is found between Kill 'Em All and Ride the Lightning, for example.
The true reason behind the demise of Hellhammer is likely a complicated one which may not be easily understood. The band members seemed to shun the project for so many years. It could be that even they struggled to come to grips with this creation and only realized its impact and legacy in later years. Whatever the case, this band was no more and Celtic Frost was in its place, releasing the Morbid Tales E.P.
"Into the Crypts of Rays" begins with the screaming of damned souls as they descend into the abyss. This brief intro ends, abruptly, as the song erupts at full speed. This album, typically, gets a lot of praise for being a huge influence on black and death metal, which it was, for the most part. However, it doesn't really hold up to similar releases such as The Return, Endless Pain or even Apocalyptic Raids, which was spawned by the same band that composed this slightly more mature, yet less exciting release.
The next song is "Visions of Mortality". This one begins in a fairly slow manner, being a little sloppy and relaxed. Absent is the murky guitar tone of Hellhammer, replaced by a much crunchier sound. The drumming is more professional, and helps to hold everything together. As for the vocals, they are certainly unique but they lack conviction, at times. The Cronos influence is present, but they do not really possess a dark or evil feeling to them. As this song continues, the pace speeds up and the listener is assaulted by many riffs and lead solos.
The next song has been covered a million times and is one of Celtic Frost's better known works. "Procreation (Of the Wicked)" is a mid-paced song that is surrounded by an aura of doom. The vocals are a little better suited for the music on this song, though still not holding a candle to Cronos, Tom Araya, Angelripper, Quorthon, etc. All in all, it works. The demonic voice in the background adds a nice effect to the song as well. This was actually done by Horst Müller. This song never speeds up or changes in pace, at all. It crawls across the murky landscape, leaving a trail of sludge behind it, devouring all in its path.
"Return to the Eve" is next, opening with more typical Celtic Frost riffs. You would almost think that you have already heard this riff, and you're probably right. This song is pretty mid-paced, but still features a few riff changes. This is one of the more interesting songs of the album, until the last minute or so when the brief spoken word part (done by a female) intrudes and kills the feeling, to an extent. Surely, this was inspired by Venom's "Welcome to Hell" and it wasn't much appreciated there, either.
The album nears its conclusion with the very eerie instrumental, "Danse Macabre". This may not sound like much if you're listening to this while at a party or driving down some crowded street, but try immersing yourself in this alone, in the middle of the night. This is like something pulled straight from a nightmare. This actually would have been a very appropriate way to end the album, but perhaps they wanted to pull the listener back from the edge of the abyss before leaving them alone in the darkness.
Unfortunately, "Nocturnal Fear" does nothing to capitalize on the horrific feeling created by the previous song. It rages forward at a high speed, actually sounding very similar to the first song, "Into the Crypts of Rays". As it slows down, it recycles more riffs found elsewhere on the album, particularly from the title track. This isn't terrible, but it seems a bit uninspired. However, after the brilliant instrumental, they get a pass to do whatever they wish to close the album out.
All in all, Morbid Tales is a good E.P., though a definite step down from Satanic Rites and Apocalyptic Raids. Despite its shortcomings, it has earned its place in metal history. While it lacks the aggression and dark atmosphere found on early albums from Slayer, Bathory and Kreator, it maintains an identity of its own and managed to influence many bands that came later.
The true reason behind the demise of Hellhammer is likely a complicated one which may not be easily understood. The band members seemed to shun the project for so many years. It could be that even they struggled to come to grips with this creation and only realized its impact and legacy in later years. Whatever the case, this band was no more and Celtic Frost was in its place, releasing the Morbid Tales E.P.
"Into the Crypts of Rays" begins with the screaming of damned souls as they descend into the abyss. This brief intro ends, abruptly, as the song erupts at full speed. This album, typically, gets a lot of praise for being a huge influence on black and death metal, which it was, for the most part. However, it doesn't really hold up to similar releases such as The Return, Endless Pain or even Apocalyptic Raids, which was spawned by the same band that composed this slightly more mature, yet less exciting release.
The next song is "Visions of Mortality". This one begins in a fairly slow manner, being a little sloppy and relaxed. Absent is the murky guitar tone of Hellhammer, replaced by a much crunchier sound. The drumming is more professional, and helps to hold everything together. As for the vocals, they are certainly unique but they lack conviction, at times. The Cronos influence is present, but they do not really possess a dark or evil feeling to them. As this song continues, the pace speeds up and the listener is assaulted by many riffs and lead solos.
The next song has been covered a million times and is one of Celtic Frost's better known works. "Procreation (Of the Wicked)" is a mid-paced song that is surrounded by an aura of doom. The vocals are a little better suited for the music on this song, though still not holding a candle to Cronos, Tom Araya, Angelripper, Quorthon, etc. All in all, it works. The demonic voice in the background adds a nice effect to the song as well. This was actually done by Horst Müller. This song never speeds up or changes in pace, at all. It crawls across the murky landscape, leaving a trail of sludge behind it, devouring all in its path.
"Return to the Eve" is next, opening with more typical Celtic Frost riffs. You would almost think that you have already heard this riff, and you're probably right. This song is pretty mid-paced, but still features a few riff changes. This is one of the more interesting songs of the album, until the last minute or so when the brief spoken word part (done by a female) intrudes and kills the feeling, to an extent. Surely, this was inspired by Venom's "Welcome to Hell" and it wasn't much appreciated there, either.
The album nears its conclusion with the very eerie instrumental, "Danse Macabre". This may not sound like much if you're listening to this while at a party or driving down some crowded street, but try immersing yourself in this alone, in the middle of the night. This is like something pulled straight from a nightmare. This actually would have been a very appropriate way to end the album, but perhaps they wanted to pull the listener back from the edge of the abyss before leaving them alone in the darkness.
Unfortunately, "Nocturnal Fear" does nothing to capitalize on the horrific feeling created by the previous song. It rages forward at a high speed, actually sounding very similar to the first song, "Into the Crypts of Rays". As it slows down, it recycles more riffs found elsewhere on the album, particularly from the title track. This isn't terrible, but it seems a bit uninspired. However, after the brilliant instrumental, they get a pass to do whatever they wish to close the album out.
All in all, Morbid Tales is a good E.P., though a definite step down from Satanic Rites and Apocalyptic Raids. Despite its shortcomings, it has earned its place in metal history. While it lacks the aggression and dark atmosphere found on early albums from Slayer, Bathory and Kreator, it maintains an identity of its own and managed to influence many bands that came later.
(4 Apr. 2009)
Emperor's Return (1985)
Following the success of the Morbid Tales E.P. and their very first tour, Celtic Frost entered Line In Recording Studio, in Zurich, during the second week of April 1985. The result was the Emperor's Return E.P. which was produced by the band. It was released in mid-August 1985 and featured new drummer, Reed St. Mark.
"Dethroned Emperor" begins with more slow, thrash riffs. Really, you hear this riff all over Morbid Tales and Emperor's Return, in different forms, as there isn't a whole lot of true variety here. This isn't necessarily a bad thing, but it does take something away from the music. This song manages to create a dark atmosphere with the slow, doom riffs. The solos are nothing special, really, though they add to the eerie feeling being slow and demented. On this song, Tom's groans of death fit in the best, though the scream of "ow!" doesn't suit the aura of darkness.
The next song is one of Celtic Frost's best-known. "Circle of the Tyrants" features a fairly fast pace and some raw thrash riffs that wouldn't have been so out of place on Satanic Rites. There isn't really any sort of dark or evil atmosphere to speak or, but this is a pretty good song to listen to for thrashing out or driving down the highway at high speeds. The middle of the song slows down, considerably, featuring some vocal effects in the background that are intended to sound evil. Actually, the darkest sound on this one is the distant screaming that follows the lead solo.
As "Morbid Tales" starts, it has much more of a rock and roll feeling, sounding like something from Shout At the Devil. There is certainly nothing morbid about this, as it lacks any kind of dark atmosphere. This was something that was also apparent on the earliest Hellhammer demos, as there is often a less serious Rock feeling, showing the roots of the band aren't merely limited to Venom.
The E.P. continues with "Suicidal Winds", which opens with more of the twisted riffing that was made famous on the Hellhammer recordings. There is a certain groove that is found on this song that makes it seem like a leftover track from Apocalyptic Raids or something. The drumming is pretty standard, here, and it makes one wonder why it was so hard for them to find someone. There are faster sections, but the band insisted on keeping the catchy vibe, putting an end to the speed. The drums get a bit more interesting, right before the final lead break. During these sections, the song appears to be building energy yet it keeps returning to the mid-paced riff. There is a lot of potential, here, but it doesn't seem as if it is ever realized. The song ends with some feedback and semi-chaotic sounds, but it pales in comparison to what Slayer was doing around this time.
The final song is "Visual Aggression". This one begins much like "The Third of the Storms". Thankfully, they learned a little bit since then and managed to put a little more energy into this track. The guitar riffs are a lot better, sounding more metal and less punk. Still, the influence doesn't seem completely lost.
It really doesn't seem that this material is not so far removed from Hellhammer as to warrant changing the name and trying to distance themselves from that project. It doesn't appear they did that much to differentiate the newer material, as it could have been released under the Hellhammer name and no one would have thought twice about it. The Emperor's Return E.P. is as essential as Morbid Tales, for Celtic Frost fans and marks the end of this meaningful period of the band's existence.
"Dethroned Emperor" begins with more slow, thrash riffs. Really, you hear this riff all over Morbid Tales and Emperor's Return, in different forms, as there isn't a whole lot of true variety here. This isn't necessarily a bad thing, but it does take something away from the music. This song manages to create a dark atmosphere with the slow, doom riffs. The solos are nothing special, really, though they add to the eerie feeling being slow and demented. On this song, Tom's groans of death fit in the best, though the scream of "ow!" doesn't suit the aura of darkness.
The next song is one of Celtic Frost's best-known. "Circle of the Tyrants" features a fairly fast pace and some raw thrash riffs that wouldn't have been so out of place on Satanic Rites. There isn't really any sort of dark or evil atmosphere to speak or, but this is a pretty good song to listen to for thrashing out or driving down the highway at high speeds. The middle of the song slows down, considerably, featuring some vocal effects in the background that are intended to sound evil. Actually, the darkest sound on this one is the distant screaming that follows the lead solo.
As "Morbid Tales" starts, it has much more of a rock and roll feeling, sounding like something from Shout At the Devil. There is certainly nothing morbid about this, as it lacks any kind of dark atmosphere. This was something that was also apparent on the earliest Hellhammer demos, as there is often a less serious Rock feeling, showing the roots of the band aren't merely limited to Venom.
The E.P. continues with "Suicidal Winds", which opens with more of the twisted riffing that was made famous on the Hellhammer recordings. There is a certain groove that is found on this song that makes it seem like a leftover track from Apocalyptic Raids or something. The drumming is pretty standard, here, and it makes one wonder why it was so hard for them to find someone. There are faster sections, but the band insisted on keeping the catchy vibe, putting an end to the speed. The drums get a bit more interesting, right before the final lead break. During these sections, the song appears to be building energy yet it keeps returning to the mid-paced riff. There is a lot of potential, here, but it doesn't seem as if it is ever realized. The song ends with some feedback and semi-chaotic sounds, but it pales in comparison to what Slayer was doing around this time.
The final song is "Visual Aggression". This one begins much like "The Third of the Storms". Thankfully, they learned a little bit since then and managed to put a little more energy into this track. The guitar riffs are a lot better, sounding more metal and less punk. Still, the influence doesn't seem completely lost.
It really doesn't seem that this material is not so far removed from Hellhammer as to warrant changing the name and trying to distance themselves from that project. It doesn't appear they did that much to differentiate the newer material, as it could have been released under the Hellhammer name and no one would have thought twice about it. The Emperor's Return E.P. is as essential as Morbid Tales, for Celtic Frost fans and marks the end of this meaningful period of the band's existence.
(18 Apr. 2009)
To Mega Therion (1985)
Misfortune befell Celtic Frost when Martin Eric Ain exited the band just as they were preparing to record their debut L.P. He was replaced by Dominic Steiner. In the second half of September 1985, the band entered Casablanca Studio in Berlin to record To Mega Therion. Once again, Horst Müller took on production duties. This album brought the concept that had been germinating in Hellhammer to its conclusion. As indicated by the ridiculous band photos, their trajectory after this release would lean more toward the mainstream and 'experimental,' blending both at the same time. It’s amusing to see one band member looking like he just walked out of The Cure, while the other two seem like they stumbled off a Motley Crue set. Thankfully, the cover artwork redeems them aesthetically, as they were allowed to use H.R. Giger's "Satan, I".
The album begins with the intro "Innocence and Wrath." This doom-laden piece features timpani and a French horn. It’s not bad, but it could’ve been more effective without the extra instrumentation. The rawness that defined much of the earlier work would have suited this better. Still, it does a decent job of setting the mood. Unfortunately, the following track does little to build on this.
"The Usurper" kicks off with the typical uptempo thrash riffs found in Hellhammer and early Celtic Frost. But the vocals kill the dark atmosphere, especially with the "hey!" part thrown in. For me, it totally undermines any sense of darkness. The female vocals are also pointless and don’t add anything. This could have been a solid thrash track, but too many elements derail it.
"Jewel Throne" opens with a mid-paced thrash riff, and some interesting guitar work adds depth to the sound, though it disappears too soon. The vocals are the main issue here, as they create a feeling that doesn't match the music. It's not just the lack of harshness but also the way he raises his voice at certain points, which makes the song feel lighter than it should. At the midpoint, the tempo picks up a bit. When the vocals step back, it’s an energetic burst, and the quickened pace before the lead solo is enjoyable. Clearly, Mr. Warrior shines more as a guitarist than a vocalist.
"Dawn of Meggido" might be the best track on To Mega Therion. It’s slow to mid-paced, exuding a strong sense of doom. While it features the same added effects from the intro, they aren't really necessary. The vocals, as with the rest of the album, are at odds with the music, feeling out of tune with the atmosphere. The guitar riffs are familiar, reminiscent of Morbid Tales and Emperor's Return. The tempo picks up halfway through but is soon crushed by the main doom riff. The song finally breaks free, speeding up just enough to carry the lead solo. Despite some shortcomings, this track has a palpable oppressive atmosphere and is easily the darkest on the record. It could have been a classic if they'd dropped the extra instruments and kept the raw, primal feeling from Hellhammer. A vocal approach like the one in "Triumph of Death" could have made this track stand out even more.
Next up is the mid-paced opener of "Eternal Summer." The song picks up speed, but it feels like something we’ve heard on Morbid Tales before. Despite the somewhat uninspiring title and the familiar feeling, it’s a high-energy track—one of the best on the album so far.
The re-recorded version of "Circle of the Tyrants" is well done, especially the vocal effects that add a little depth and darkness to the track. Unfortunately, it's tainted by an entirely unnecessary section featuring female vocals. It’s brief, but it ruins the atmosphere for me. It’s a step down from the version on Emperor's Return.
"(Beyond the) North Winds" follows with mid-paced riffs that are slightly altered from earlier in the album. The vocals still don't quite hit the mark, but this isn’t a bad song. The recycled riffs are better executed here, and the song carries a vibe reminiscent of Apocalyptic Raids. The only issue is the vocal approach, which would’ve been out of place in that context.
"Fainted Eyes" is another typical Celtic Frost track. It’s fast-paced, but nothing about it stands out. It’s just a solid example of the band's occasional lack of creativity. Honestly, they might have been better off releasing a couple of EPs instead of a full-length. The lead solo in the middle adds a nice touch, and the pace slows toward the end. You can hear the influence this track had on later bands like Obituary, whose debut demonstrated how this style could sound when executed properly. Overall, it's not bad, but not particularly engaging either.
"Tears in a Prophet's Dream" is a brief instrumental, reminiscent of "Danse Macabre". It works well to conjure nightmarish imagery that lingers in your mind, creating a sense of creeping unease.
The final track, "Necromantical Screams," suffers from the same pointless female vocals that marred the previous songs. Despite this flaw, it’s one of the stronger tracks on the album. This is essentially a revamped version of "Buried and Forgotten" from Satanic Rites. They stripped down the original, but added less suitable elements, like the aforementioned female vocals. The song feels like the last gasp of Hellhammer, resurrecting old ideas one final time.
The experimental elements of To Mega Therion foreshadow the direction Celtic Frost would follow in the coming years. While the first two mini-albums were close to Hellhammer, this album marks the most significant departure, though many similarities remain. It’s not a terrible album, but it doesn’t stand up under scrutiny. There were plenty of missed opportunities where good songs could’ve been great or where the vocal choices diminished the music’s impact. In the end, it’s not essential, especially when compared to their earlier efforts and certainly not when measured against their peers.
The album begins with the intro "Innocence and Wrath." This doom-laden piece features timpani and a French horn. It’s not bad, but it could’ve been more effective without the extra instrumentation. The rawness that defined much of the earlier work would have suited this better. Still, it does a decent job of setting the mood. Unfortunately, the following track does little to build on this.
"The Usurper" kicks off with the typical uptempo thrash riffs found in Hellhammer and early Celtic Frost. But the vocals kill the dark atmosphere, especially with the "hey!" part thrown in. For me, it totally undermines any sense of darkness. The female vocals are also pointless and don’t add anything. This could have been a solid thrash track, but too many elements derail it.
"Jewel Throne" opens with a mid-paced thrash riff, and some interesting guitar work adds depth to the sound, though it disappears too soon. The vocals are the main issue here, as they create a feeling that doesn't match the music. It's not just the lack of harshness but also the way he raises his voice at certain points, which makes the song feel lighter than it should. At the midpoint, the tempo picks up a bit. When the vocals step back, it’s an energetic burst, and the quickened pace before the lead solo is enjoyable. Clearly, Mr. Warrior shines more as a guitarist than a vocalist.
"Dawn of Meggido" might be the best track on To Mega Therion. It’s slow to mid-paced, exuding a strong sense of doom. While it features the same added effects from the intro, they aren't really necessary. The vocals, as with the rest of the album, are at odds with the music, feeling out of tune with the atmosphere. The guitar riffs are familiar, reminiscent of Morbid Tales and Emperor's Return. The tempo picks up halfway through but is soon crushed by the main doom riff. The song finally breaks free, speeding up just enough to carry the lead solo. Despite some shortcomings, this track has a palpable oppressive atmosphere and is easily the darkest on the record. It could have been a classic if they'd dropped the extra instruments and kept the raw, primal feeling from Hellhammer. A vocal approach like the one in "Triumph of Death" could have made this track stand out even more.
Next up is the mid-paced opener of "Eternal Summer." The song picks up speed, but it feels like something we’ve heard on Morbid Tales before. Despite the somewhat uninspiring title and the familiar feeling, it’s a high-energy track—one of the best on the album so far.
The re-recorded version of "Circle of the Tyrants" is well done, especially the vocal effects that add a little depth and darkness to the track. Unfortunately, it's tainted by an entirely unnecessary section featuring female vocals. It’s brief, but it ruins the atmosphere for me. It’s a step down from the version on Emperor's Return.
"(Beyond the) North Winds" follows with mid-paced riffs that are slightly altered from earlier in the album. The vocals still don't quite hit the mark, but this isn’t a bad song. The recycled riffs are better executed here, and the song carries a vibe reminiscent of Apocalyptic Raids. The only issue is the vocal approach, which would’ve been out of place in that context.
"Fainted Eyes" is another typical Celtic Frost track. It’s fast-paced, but nothing about it stands out. It’s just a solid example of the band's occasional lack of creativity. Honestly, they might have been better off releasing a couple of EPs instead of a full-length. The lead solo in the middle adds a nice touch, and the pace slows toward the end. You can hear the influence this track had on later bands like Obituary, whose debut demonstrated how this style could sound when executed properly. Overall, it's not bad, but not particularly engaging either.
"Tears in a Prophet's Dream" is a brief instrumental, reminiscent of "Danse Macabre". It works well to conjure nightmarish imagery that lingers in your mind, creating a sense of creeping unease.
The final track, "Necromantical Screams," suffers from the same pointless female vocals that marred the previous songs. Despite this flaw, it’s one of the stronger tracks on the album. This is essentially a revamped version of "Buried and Forgotten" from Satanic Rites. They stripped down the original, but added less suitable elements, like the aforementioned female vocals. The song feels like the last gasp of Hellhammer, resurrecting old ideas one final time.
The experimental elements of To Mega Therion foreshadow the direction Celtic Frost would follow in the coming years. While the first two mini-albums were close to Hellhammer, this album marks the most significant departure, though many similarities remain. It’s not a terrible album, but it doesn’t stand up under scrutiny. There were plenty of missed opportunities where good songs could’ve been great or where the vocal choices diminished the music’s impact. In the end, it’s not essential, especially when compared to their earlier efforts and certainly not when measured against their peers.
(20 Apr. 2009)
Into the Pandemonium (1987)
Into the Pandemonium is the second L.P. from Celtic Frost, released by Noise Records in November 1987. While some consider this a part of the band's "classic era", the truth is that this is the point where the band became completely worthless. To Mega Therion had its problems, but the good outweighed the bad, for the most part. However, one must really struggle to find any redeeming qualities about Into the Pandemonium. It's called "avant-garde", by those who support this abomination. In reality, it represents a total lack of direction or motivation.
The album begins on a negative note, which is kind of appropriate as it lets the listener know what to expect. In this case, it serves as a warning to turn this off and toss it in the nearest garbage can. "Mexican Radio" is a terrible song and shouldn't have been covered, but the fact that they insisted on starting the record out with this abomination, rather than burying it somewhere on Side B, is the first of many mistakes.
The next largest complaint would have to be the atrocious vocal delivery of Tom Warrior. Songs like "Mesmerized" have half-decent riffs ruined by his bloody awful attempts to sing. His vocals were always one of the low points of Hellhammer and early Celtic Frost, not really being dark or evil enough to suit the music, but here it defies all logic. He sounds like a whore being anally raped in a back alley somewhere. He couldn't sound any weaker if he tried. He doesn't utilize this style the entire time, but far too much. One has to wonder what the hell he was thinking.
As for the music, there are some brief flashes of the old Celtic Frost, though still seeming tame and easier to digest for all of the goth kids that they were, obviously, trying to appeal to at the time. Songs like "Inner Sanctum" seem good, compared to the horrid filth that they're mixed in with; however, even the best songs on this record would be singled out as the weakest ones, had they appeared on Morbid Tales or Emperor's Return. Listening to "Sorrows of the Moon", I have to think to myself that, if they had sought out a new vocalist, maybe this 'artistic vision' would have been better realized. But, of course, Tom's vocals give the mental image of someone sitting in a dark corner, crying and applying eyeliner while listening to The Cure. "Babylon Fell" sounds like a rejected track from To Mega Therion, more or less. And, naturally, it features more of Tom's whining vocals. However, this isn't the worst offense presented here.
Somehow, one of the forefathers of black and death metal decided that it was appropriate to use dance beats, in the middle of the record. "One in Their Pride" is completely useless and only goes to show that the members of this band were completely out of touch with their roots; no more Venom or Black Sabbath, it appears. As for "I Won't Dance"... nothing can be said to convey how horrible this is, though some irony can be pointed out regarding the title of this song and the sound of the previous one.
Into the Pandemonium is offensive to the ears, and it marks the moment where Celtic Frost lost all credibility. For anyone that was surprised by the pure feces released on the Cold Lake album, they must not have heard this one first, since the drop in quality was already quite evident. If you are a fan of Celtic Frost (or just someone with good taste, in general), and you have been fortunate enough to not have heard this yet, do yourself a favour and avoid this at all costs. It is utterly worthless and you're better off to just flush your money straight down the toilet. While there are a few passable riffs, you are better off listening to an album that is actually good.
The album begins on a negative note, which is kind of appropriate as it lets the listener know what to expect. In this case, it serves as a warning to turn this off and toss it in the nearest garbage can. "Mexican Radio" is a terrible song and shouldn't have been covered, but the fact that they insisted on starting the record out with this abomination, rather than burying it somewhere on Side B, is the first of many mistakes.
The next largest complaint would have to be the atrocious vocal delivery of Tom Warrior. Songs like "Mesmerized" have half-decent riffs ruined by his bloody awful attempts to sing. His vocals were always one of the low points of Hellhammer and early Celtic Frost, not really being dark or evil enough to suit the music, but here it defies all logic. He sounds like a whore being anally raped in a back alley somewhere. He couldn't sound any weaker if he tried. He doesn't utilize this style the entire time, but far too much. One has to wonder what the hell he was thinking.
As for the music, there are some brief flashes of the old Celtic Frost, though still seeming tame and easier to digest for all of the goth kids that they were, obviously, trying to appeal to at the time. Songs like "Inner Sanctum" seem good, compared to the horrid filth that they're mixed in with; however, even the best songs on this record would be singled out as the weakest ones, had they appeared on Morbid Tales or Emperor's Return. Listening to "Sorrows of the Moon", I have to think to myself that, if they had sought out a new vocalist, maybe this 'artistic vision' would have been better realized. But, of course, Tom's vocals give the mental image of someone sitting in a dark corner, crying and applying eyeliner while listening to The Cure. "Babylon Fell" sounds like a rejected track from To Mega Therion, more or less. And, naturally, it features more of Tom's whining vocals. However, this isn't the worst offense presented here.
Somehow, one of the forefathers of black and death metal decided that it was appropriate to use dance beats, in the middle of the record. "One in Their Pride" is completely useless and only goes to show that the members of this band were completely out of touch with their roots; no more Venom or Black Sabbath, it appears. As for "I Won't Dance"... nothing can be said to convey how horrible this is, though some irony can be pointed out regarding the title of this song and the sound of the previous one.
Into the Pandemonium is offensive to the ears, and it marks the moment where Celtic Frost lost all credibility. For anyone that was surprised by the pure feces released on the Cold Lake album, they must not have heard this one first, since the drop in quality was already quite evident. If you are a fan of Celtic Frost (or just someone with good taste, in general), and you have been fortunate enough to not have heard this yet, do yourself a favour and avoid this at all costs. It is utterly worthless and you're better off to just flush your money straight down the toilet. While there are a few passable riffs, you are better off listening to an album that is actually good.
(10 August 2010)
Cold Lake (1988)
Cold Lake is the third full-length from the 'legendary' Celtic Frost. By this point, they had already defecated all over their legacy with the horrid trash known as Into the Pandemonium. With that album, fans witnessed the total pussification of this band, or so they thought. In 1988, Tom and Co. returned to finish the job. Remember, at this point, he was still completely disowning the Hellhammer material, and seemed even to dislike the early Celtic Frost stuff as well. Somehow, he got the idea that he could jump on the cock rock bandwagon, and cash in. In the end, he learned a hard lesson; when a metal band tries to sell out, nine times out of ten, they only succeed in alienating their true fanbase and rarely, if ever, achieve the results that they had in mind.
The production of the album is even softer and easier to digest than the previous record, and the songwriting suits this pretty well. It's weak and uninspired, for the most part. Sadly, a few decent riffs manage to sneak onto the album, and the songwriting actually seems more consistent than on Into the Pandemonium. Of course, it's consistently bad, but consistent, nonetheless. Of course, upon closer inspection, one can detect that some of the riffs have been 'borrowed' from other bands. The latter part of "Petty Obsession" sounds familiar and the main riff of "(Once) They Were Eagles" is ripped off from King Diamond's "Twilight Symphony", released several months earlier on "Them".
One of the problems with this album is that some of the riffs are still too metal for the crowd that they were trying to appeal to. The songwriting is tame and the production is weak, which goes along with the wretchedly awful vocals. However, this still might have been too heavy for the Poison and Cinderella fans (or whoever the hell they were hoping would buy the album and line their pockets with cash). This means that, at certain points, it is very clear that the music and vocals don't fit together very well. Actually, I cannot fathom what sort of 'music' Tom's homosexual mating calls were meant for, but it has no place in rock or metal. Some people simply cannot sing and are better served to stick with a style that hides this fact.
It is laughable that this is the album that the band seems to want to keep hidden away, as it hasn't been reissued along with the others. The one before this was just as bad, just in a different way, yet they still seem proud of that one. At any rate, regarding Cold Lake, this is one of those times when an album is completely torn apart and ridiculed for good reason. The following album, Vanity/Nemesis, is often called a comeback album. By comparison, it seems a little heavier and more metal-based (especially with the stolen Megadeth riffs from "In My Darkest Hour", on "The Name of My Bride"), but it is more of the same. Avoid anything from this band, after 1985.
The production of the album is even softer and easier to digest than the previous record, and the songwriting suits this pretty well. It's weak and uninspired, for the most part. Sadly, a few decent riffs manage to sneak onto the album, and the songwriting actually seems more consistent than on Into the Pandemonium. Of course, it's consistently bad, but consistent, nonetheless. Of course, upon closer inspection, one can detect that some of the riffs have been 'borrowed' from other bands. The latter part of "Petty Obsession" sounds familiar and the main riff of "(Once) They Were Eagles" is ripped off from King Diamond's "Twilight Symphony", released several months earlier on "Them".
One of the problems with this album is that some of the riffs are still too metal for the crowd that they were trying to appeal to. The songwriting is tame and the production is weak, which goes along with the wretchedly awful vocals. However, this still might have been too heavy for the Poison and Cinderella fans (or whoever the hell they were hoping would buy the album and line their pockets with cash). This means that, at certain points, it is very clear that the music and vocals don't fit together very well. Actually, I cannot fathom what sort of 'music' Tom's homosexual mating calls were meant for, but it has no place in rock or metal. Some people simply cannot sing and are better served to stick with a style that hides this fact.
It is laughable that this is the album that the band seems to want to keep hidden away, as it hasn't been reissued along with the others. The one before this was just as bad, just in a different way, yet they still seem proud of that one. At any rate, regarding Cold Lake, this is one of those times when an album is completely torn apart and ridiculed for good reason. The following album, Vanity/Nemesis, is often called a comeback album. By comparison, it seems a little heavier and more metal-based (especially with the stolen Megadeth riffs from "In My Darkest Hour", on "The Name of My Bride"), but it is more of the same. Avoid anything from this band, after 1985.
(10 August 2010)
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