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Armageddon (1990)
Törr was one of the earliest black metal bands to emerge from Czechoslovakia. My introduction to their music was the Witchhammer demo from 1987, which, while showing some promise, had too many flaws to be enjoyable. The vocals were especially unbearable—way too high in the mix, with levels constantly shifting and detracting from everything else. Fortunately, by the time they released their debut album, Armageddon, in 1990, they'd resolved most of those issues.
Musically, this is fairly primitive stuff. Törr shares some common ground with Master’s Hammer and Tormentor, especially in the way they blend early black metal with a strong sense of regional identity. Like Master’s Hammer, Törr stuck to their native Czech for the lyrics, which gives the songs a distinct atmosphere. Though it features some thrash riffs here and there, I wouldn't say that this element is strong enough to call this black/thrash as it is often labeled. It’s obvious this material was conceived in the late '80s as it has that era's raw, malevolent energy. Also, as can be heard on songs like "Posedlá", there is a kind of awkwardness that adds to its charm.
One thing of note is the weird hiphop intro to "Lady Madeline". This comes out of left field and is really offputting. I used to think it was some kind of ironic joke but after hearing some of the band's later material, it seems they were actually into this sort of thing. They also used some strange porn samples at the beginning of "Padlý chtíč", which just seems like an odd choice. These things definitely kill any attempt at creating a dark atmosphere.
The standout here is probably “Smlouva s peklem,” a mid-paced track that lets a truly morbid feeling creep in. The raspy vocals and sinister riffs work together to create a genuinely deathlike atmosphere. The production is clear enough for everything to be heard but still quite rough, with an almost hollow quality that makes it feel like it was recorded inside the Sedlec Ossuary that’s pictured on the cover. It suits the music well.
Armageddon is not particularly exceptional, there's nothing just mindblowing here, but it's a solid and unique release. Törr certainly made some odd choices and the result is an album that does not fully reach its potential. That said, it's well worth a listen for anyone into the old '80s black metal style, before most of the northern bands came along.
Musically, this is fairly primitive stuff. Törr shares some common ground with Master’s Hammer and Tormentor, especially in the way they blend early black metal with a strong sense of regional identity. Like Master’s Hammer, Törr stuck to their native Czech for the lyrics, which gives the songs a distinct atmosphere. Though it features some thrash riffs here and there, I wouldn't say that this element is strong enough to call this black/thrash as it is often labeled. It’s obvious this material was conceived in the late '80s as it has that era's raw, malevolent energy. Also, as can be heard on songs like "Posedlá", there is a kind of awkwardness that adds to its charm.
One thing of note is the weird hiphop intro to "Lady Madeline". This comes out of left field and is really offputting. I used to think it was some kind of ironic joke but after hearing some of the band's later material, it seems they were actually into this sort of thing. They also used some strange porn samples at the beginning of "Padlý chtíč", which just seems like an odd choice. These things definitely kill any attempt at creating a dark atmosphere.
The standout here is probably “Smlouva s peklem,” a mid-paced track that lets a truly morbid feeling creep in. The raspy vocals and sinister riffs work together to create a genuinely deathlike atmosphere. The production is clear enough for everything to be heard but still quite rough, with an almost hollow quality that makes it feel like it was recorded inside the Sedlec Ossuary that’s pictured on the cover. It suits the music well.
Armageddon is not particularly exceptional, there's nothing just mindblowing here, but it's a solid and unique release. Törr certainly made some odd choices and the result is an album that does not fully reach its potential. That said, it's well worth a listen for anyone into the old '80s black metal style, before most of the northern bands came along.
(1 May 2025)
Institut klinické smrti (1991)
Institut klinické smrti is the second full-length album from the Czechoslovakian black metal band Törr. Recorded at the end of 1990 and released the following year, this album is much in the same vein as their debut but improves upon it.
The tone here is much more serious than anything the band had done before. It's not just the absence of goofy intros and random samples. Everything from the heavier, murkier production to the songwriting and execution works together to better realize the potential they'd only hinted at in the past. There's a darkness and morbidity to Institut klinické smrti that Törr never reached again.
As with Armageddon, vocal duties are shared, but the tracks featuring Šakal stand out by far. His voice sounds more primal and sinister, especially on slower, more ominous tracks like “Seru krev,” “Libreto smrti (Fantom opery),” and “Pán snů (Noční můra na ulici Elm).” That last one is easily the highlight of the album—an epic, mid-paced descent into the abyss, with a slow, haunting solo that pushes it over the edge and deepens the atmosphere.
The other vocalists hold their own, and the faster, thrashier parts bring some welcome variation and energy. The intense riffs and hellish solos of "Sebevražda" serve as a great way to end the album. If you’re only going to pick up one Törr release, Institut klinické smrti is the one to get. This is essential listening for anyone into the raw black metal sound of the late '80s.
The tone here is much more serious than anything the band had done before. It's not just the absence of goofy intros and random samples. Everything from the heavier, murkier production to the songwriting and execution works together to better realize the potential they'd only hinted at in the past. There's a darkness and morbidity to Institut klinické smrti that Törr never reached again.
As with Armageddon, vocal duties are shared, but the tracks featuring Šakal stand out by far. His voice sounds more primal and sinister, especially on slower, more ominous tracks like “Seru krev,” “Libreto smrti (Fantom opery),” and “Pán snů (Noční můra na ulici Elm).” That last one is easily the highlight of the album—an epic, mid-paced descent into the abyss, with a slow, haunting solo that pushes it over the edge and deepens the atmosphere.
The other vocalists hold their own, and the faster, thrashier parts bring some welcome variation and energy. The intense riffs and hellish solos of "Sebevražda" serve as a great way to end the album. If you’re only going to pick up one Törr release, Institut klinické smrti is the one to get. This is essential listening for anyone into the raw black metal sound of the late '80s.
(1 May 2025)
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