Intensely heavy, nuanced and experimental, the record was a radical musical statement of intent, a stunning synthesis of Warrior and Ain’s disparate influences. ‘Morbid Tales’ was recorded with Horst Müller in Berlin and was unlike anything else. Undeterred, and propelled by a burning urgency, Celtic Frost set out to write and record a full-length LP in a matter of a few months. That they did so in the face of adversity at almost every turn makes this story even more incredible.įrom its very inception mid-way through 1984, following Tom Gabriel Warrior and Martin Eric Ain’s decision to dissolve Hellhammer, Celtic Frost set out to give expression – both musically and aesthetically – to a uniquely extreme artistic vision which the pair delineated in forensic detail in a document which was presented to Noise Records, with whom Hellhammer had released ‘Apocalyptic Raids’, in order to demonstrate to the label that their new band was a viable project.Ĭonvinced, Noise asked Celtic Frost to record a mini-LP, even though that hadn’t formed part of Warrior and Ain’s concept document. On paper, the story of Celtic Frost’s early years is as unlikely as it is extraordinary: a tale of how teenagers from rural Switzerland, at once audaciously ambitious and ferociously uncompromising, took heavy metal into new, exciting and unquestionably extreme territory. ‘Danse Macabre’ brings together the band’s recordings from those years, capturing their boundary-pushing ambition and creative zeal. Over the course of little more than three years between 19, Celtic Frost established themselves as one of the most important bands in extreme and experimental music of that era. TO BE RELEASED ON 28th OCT IN UK/EU AND 25TH NOV IN USA/CA. SUPER DELUXE BOX-SET OF THE COMPLETE RECORDINGS: 1984 -1987 Multi-Cellular Organism: Cellgraft’s Grind is the.Indigenous is a cool enough album on its own, but StraightHate is far more interesting for its hints of what was to come with Panos and Thanos’ next endeavor. At its heart, yes, it’s another grind band playing a slow song, but “Which One of Us Dies First” smashes together Amebix crust and Neurosis atmosphere in a crust punk super collider before giving with to an acoustic halflife Closing an album with the longest, slowest song of the album, typically a half assed attempted at dirgey doom, seems to be an irresistible compulsion for grinders (seriously, what's the deal with that?), but StraightHate’s indulgence hints at the unhinged majesty that would follow four years later. It’s all very comfortable and very enjoyable, a warm, rough-edged production cradles the songs, but then there’s the nearly 12 minute, half acoustic closer “Which One of Us Dies First.” That’s where things get interesting. The screeches border on black metal’s demesne and tag out to guttural grunts. In fact, its mundane grievances about church and state are certainly familiar (but bonus points for “You’ll Never See Heaven,” which purports to relate a private conversation with “that motherfucker Jesus”), and the music slots comfortably within the mainstream of contemporary Euro-grind with flashes of the Scandi-sound (the thorny prickle of the Nasum-ish “Isolator”) and more continental fare. Indigenous is not nearly as unmoored from terrestrial concerns as Axiom. (On a somewhat related tangent, Dephosphorus have hooked up with 7 Degrees records for a vinyl pressing of the incredible Axiom EP. Prior to their involvement in Greek grindonauts Dephosphorus, vocalist Panos Agoros and guitarist Thanos Mantas were the backbone of the more traditionally grinding StraightHate. If one of you so much as whispers the name “Derrick Green” I will gut you and feast on your raw spleen. Nicking a name from a great song from the last album Sepultura ever recorded before breaking up forever is a great way to weasel your way into my good graces.
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