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The Mass (1989)
Released in December 1989, The Mass is the third demo from the Czechoslovakian black metal band Master's Hammer. Those familiar with their debut full-length will already know some of these songs. The rougher sound here actually suits the material better than Ritual’s cleaner production, which is sterile by comparison.
While the playing remains tight overall, the drumming feels slightly sloppy when compared to the later versions, which may be why he was replaced before the next demo. Honestly, that is only in comparison to the later versions of the songs, otherwise, I never would have thought twice about his skills. The vocals are still a weak point, as they often were with this band. Czech is a weird language anyway, but his style in particular just borders on ridiculous at times.
The material is largely riff-oriented, with a fair amount of thrash and other '80s influences mixed into the sound. Among the highlights are "Signum Diabolis" and "The Mass" (especially the first part). However, the very best song on here is the raw and epic "Kolem kotle...", which is much slower and atmospheric. This is the most evil this band has ever sounded, especially the hellish screams. The track is fairly repetitive, though some additional melodies cut through the darkness near the end to add a subtle, epic touch. It's almost a good thing that they didn't re-record this for the L.P., as the murky, dismal feeling would have been lost more than likely.
The Mass is a very good black metal demo from the old days. It’s far darker and more relevant than most things released in the last three decades, so be sure to give it a listen.
While the playing remains tight overall, the drumming feels slightly sloppy when compared to the later versions, which may be why he was replaced before the next demo. Honestly, that is only in comparison to the later versions of the songs, otherwise, I never would have thought twice about his skills. The vocals are still a weak point, as they often were with this band. Czech is a weird language anyway, but his style in particular just borders on ridiculous at times.
The material is largely riff-oriented, with a fair amount of thrash and other '80s influences mixed into the sound. Among the highlights are "Signum Diabolis" and "The Mass" (especially the first part). However, the very best song on here is the raw and epic "Kolem kotle...", which is much slower and atmospheric. This is the most evil this band has ever sounded, especially the hellish screams. The track is fairly repetitive, though some additional melodies cut through the darkness near the end to add a subtle, epic touch. It's almost a good thing that they didn't re-record this for the L.P., as the murky, dismal feeling would have been lost more than likely.
The Mass is a very good black metal demo from the old days. It’s far darker and more relevant than most things released in the last three decades, so be sure to give it a listen.
(4 May 2025)
Ritual (1991)
Released in 1991, Ritual is the first full-length album from Czechoslovakian band Master's Hammer, though they had already spent several years refining their sound through a series of demos. The result is one of the most distinctive black metal albums of the early '90s, combining epic songwriting, memorable thrash riffs and a dark atmosphere into something entirely its own.
Musically, this is black metal built on a solid foundation of '80s thrash and heavy metal. In some ways, it is like a darker, more intense version of Törr's Institut klinické smrti. This L.P. consists of memorable thrash riffs, tremolo melodies and frantic vocals and an epic sense of songwriting. The musicianship feels even tighter and more intricate than their Czech brethren. Tracks like "Pád Modly" and "Černá svatozář" are great examples of the vicious, old school riffing that dominates most of this record. There is a gloominess that permeates much of the material. At times, such as on the title track, the songs almost have an epic feeling reminiscent of Mercyful Fate. As well, there are killer solos throughout the record, a bit more complex than might be expected at first. Master's Hammer manages to sound evil as hell without a grim or minimalist approach to songwriting. Every song feels distinct, with virtually no filler, culminating in the masterpiece "Útok", a morbid epic with some of the best melodies on the album and a sense of real desperation that brings it all to a fitting climax.
The production is not as raw as their previous demos, with the overall mix focused on a slightly clearer, more powerful sound. The guitars have a thin, gritty tone that adds to the sharpness of the riffs. The keyboards remain faint throughout the album, serving only to accentuate the atmosphere rather than create it. The vocals are completely different from anything else in black metal, maintaining a very distinct style that is mostly due to their bizarre language. There is such power and feeling in the performance, ranging from frantic and manic to anguished and almost insane by the end of the record.
In the end, Ritual is a very strong release. Despite being released in 1991, it feels more connected to its '80s roots and is the best that Master's Hammer ever recorded. For anyone into the early works of Törr, Samael, Tormentor, etc. this is highly recommended.
Musically, this is black metal built on a solid foundation of '80s thrash and heavy metal. In some ways, it is like a darker, more intense version of Törr's Institut klinické smrti. This L.P. consists of memorable thrash riffs, tremolo melodies and frantic vocals and an epic sense of songwriting. The musicianship feels even tighter and more intricate than their Czech brethren. Tracks like "Pád Modly" and "Černá svatozář" are great examples of the vicious, old school riffing that dominates most of this record. There is a gloominess that permeates much of the material. At times, such as on the title track, the songs almost have an epic feeling reminiscent of Mercyful Fate. As well, there are killer solos throughout the record, a bit more complex than might be expected at first. Master's Hammer manages to sound evil as hell without a grim or minimalist approach to songwriting. Every song feels distinct, with virtually no filler, culminating in the masterpiece "Útok", a morbid epic with some of the best melodies on the album and a sense of real desperation that brings it all to a fitting climax.
The production is not as raw as their previous demos, with the overall mix focused on a slightly clearer, more powerful sound. The guitars have a thin, gritty tone that adds to the sharpness of the riffs. The keyboards remain faint throughout the album, serving only to accentuate the atmosphere rather than create it. The vocals are completely different from anything else in black metal, maintaining a very distinct style that is mostly due to their bizarre language. There is such power and feeling in the performance, ranging from frantic and manic to anguished and almost insane by the end of the record.
In the end, Ritual is a very strong release. Despite being released in 1991, it feels more connected to its '80s roots and is the best that Master's Hammer ever recorded. For anyone into the early works of Törr, Samael, Tormentor, etc. this is highly recommended.
(6 Nov. 2008)
