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Glorious Times: A Pictorial of the Death Metal Scene (1984-1991)

Some readers may have noticed the recent addition of a side bar promoting “Glorious Times -A Pictorial of the Death Metal scene (1981-1991)” and this inclusion is not without good reason. Laid out like the highly evolved Heavy Metal magazine we all wish we would see at the nearest news-stand, “Glorious Times” in true discriminatory fashion includes amongst its pages bands actually worth discovering and rediscovering, and although the layout is consciously rooted in the DIY mentality of early fanzines, this highly professional document provides a genuine glimpse into the workings of the early and mainly North American Death metal phenomenon.

Providing a visual assault via rare and intriguing photos that both neophyte and seasoned veteran alike will find delightful, “Glorious Times” also includes entertaining and enlightening anecdotes by and about many of the foundational North American death metal acts. Although some of the accounts are funny, juvenile and downright adolescent, they remain above all inspiring, standing as a testament to the devoted individuals who were dedicated to an art form that for them was the last bastion of truthful expression in the time of “The Great Lie”.

Given the “glory” of the documented time era we read thus with a slight sense of melancholy and loss, the release of a text such as this proving that these times have passed. With some misgivings we witness within ourselves a nostalgic longing for the mutual respect that those participatory individuals had for one another by virtue of their commitment to a common goal. We marvel additionally at the perseverance and DIY mentality of these restless and visionary artists, and commend their youthful and innocent intensity. We look fondly upon the early exuberance and the inherent excitement that permeated a movement that was giving birth to new and truthful forms of expression, but above all we witness and thus long for a genuine spirit of brotherhood and camaraderie such that now seems lost, although not dead, on the Hessian community.

However, the potent power of a document such as this, its capacity to inspire, rally and excite may yet prove itself invaluable in infusing the Hessian community with the spirit with which it was once animated. The seeds are laid – Onward!

Tom Gabriel Fischer – Only Death is Real: An Illustrated History of Hellhammer and Early Celtic Frost 1981-1985

As death approaches, documentation increases. As a circle closes, individuals are given an oppurtunity to reflect on, track and document the meandering course that a society, individual or movement took and assess and re-evaluate this course to determine both its moments of strength and those of weakness. One consequence of this tracking and documentation is that the diligent and astute student of life is provided with an opportunity to discover those behavioural patterns that have been forged in the fires of history and are therefore conducive to success. The intelligent will reflect upon these lessons and apply them to their own worldview, life, ideology or movement and increase the quality, although not necessarily quantity of those lives. Therefore, we serious Hessians take the outpouring of heavy metal documentation rather serious, as it contains for the discerning, the lessons upon which the ideological, and perhaps spiritual foundation of a new spring, a new dawn and a new beginning for our culture may rest.

Heavy metal documentation has progressively reached new heights in this age of mass media as rabid fans, bands, and sociologists alike are taking it upon themselves to exploit available media outlets in order to document the rise and fall of extreme metal, an alienated cultural phenomenon, that unsurprisingly late is being treated with respect outside of the insular metal community. Along with the ideological documentation of Black Metal in the excellent documentary, Until the Light Takes Us, and the chronological presentation and thus preservation of the history of Swedish Death Metal in Daniel Ekeroth’s book of the same name, Hessians world wide are now being treated to an outpouring of band and album documentation in the form of DVD’s and texts exclusively dealing with important bands such as Asphyx and At the Gates, and seminal albums such as Reign in Blood.

To date, “Only Death is Real” by Tom Gabriel Fischer represents the apex of extreme metal texts. Appropriately prefaced, most notably by Darkthrone’s Nocturno Culto, this near-perfectly laid out, hardcover text book, is full of historical relevance for the aspiring and established Hessian and includes a bounty of interesting photos that shed light on the enigmatic and sometimes adolescently awkward manifestations of both Hellhammer and early Celtic Frost. The strategically arranged photos, intriguing and aptly chosen, are unsurprisingly monochromatic, and this combined with the enclosed paper quality, reveals a sense of aesthetic class and attention to detail becoming of the fastidious and perhaps benevolently pedantic, eccentric and inspiring personality of the authour. Additionally, the book contains a plethora of interviews with previous members of Hellhammer and Celtic Frost, which at various junctures provide strange as well as enlightening anecdotes that augment the history of the band(s), and provide an otherwise unattainable depth to Fischer’s account. Given this, it seems somewhat surprising that this history reads as well as it does, as Fischer’s narrative, although periodically interrupted to include these interviews, remains clear.

As for the historical documentation itself, “Only Death is Real” retains a genuinely human tone that while undeniably revelatory does not diminish the mystical aura that surrounds both Hellhammer and Celtic Frost. In fact, throughout the text one senses an undeniable theme of mythic struggle as Fischer recounts the vast amount of turmoil, characteristically determined by some unforeseen variable, which plagued the establishment and development of both Hellhammer and Celtic Frost. We read with growing interest as the seeming omnipotent forces of dissolution strive to subdue and shackle the steely will of Fischer and his desire to create. Perhaps slightly melodramatic, the testaments of Fischer and others remain inspiring in the face of what Hellhammer and Celtic Frost would undoubtedly accomplish.

“Only Death is Real” is consequently rich in history and provides a level of historical depth perhaps unmatched in extreme metal literature. Developing chronologically from an account of Fischer’s childhood and his musical inspirations, to the establishment of his first band Grave Hill and beyond, readers are also provided with enlightening expositions on a variety of pertinent subjects. Such subjects include but are not limited to, the realities of Hessian life in Switzerland during the early 80’s, the meaning and inspiration for the name Celtic Frost and the conceptual considerations that went into the development of the band, Fischer and Eric Ain’s relationship with the works of H.R. Giger, and the critical and undeniable influence of Martin Eric Ain in the development and maturation of Hellhammer and Celtic Frost.

Fans are also provided with a chronologically precise account of the sometimes dizzying array of Hellhammer and early Celtic Frost releases, including exact track listings, facsimile demo and EP sleeves, the intriguing history surrounding the development of each release, and verbatim and oft-times hilariously slanderous copies of reviews of these releases. Obsessive fans can also rejoice as Fischer has included a complete visual account of the evolution of both the Celtic Frost and Helllhammer moniker, including copies of hand drawn rejections completed by band members themselves.

Overall, this history proves itself essential reading for anyone who takes extreme metal seriously. Fans can rejoice as we are provided with a comprehensive history of two bands that became cornerstones in the development of extreme metal. Any Hessian neophyte would do well to take this text seriously as it provides a great introduction to the personalities and music of a band whose clarity of vision, will and capacity to inspire, has left an indelible mark on countless bands and individuals. Perhaps now, in the midst of what appears to be a bourgeoning extreme metal renaissance, fans and musicians would do well to look back, find inspiration in, and relentlessly devour the lessons of our forefathers. In so doing we may overcome the progressive deterioration of extreme metal, usher in a new epoch and raise the flag of Hessiandom to new and unparalleled heights.

Onwards to a decade of dominance

Death Metal is neither an outdated form of immature musical expression nor one commercially produced alternative product for consumers who would pretend to be real individuals. It is a way of seeing the world, always has been and always shall be. Regardless religious, scientific or political orientation I assume we can agree that death, as concept, is universal and encompassing, since no king nor magician nor soldier nor businessman is exempt from its eventual icy touch.

It is the first New Year since we reformatted this site to bring you vital, non-obvious and hopefully inspiring information, news and discussion about Death Metal and related topics. Appropriately, it is also the turn of the decade and we are at the threshold of new ideas, innovations and intents. To celebrate the endless possibilities given to us by the Universe for our brief lives upon the Earth and to thank all the people who have worked with us, gotten in touch or read us, last but not least the brave musicians who throughout the years have brought us all these dimensional deconstructions, we have a massive update for you to peruse and guide you in making the right New Year’s promises such as: to listen to more Death Metal.

Everyone knows bands like Amorphis, Demilich and Sentenced devastated worldwide audiences with their darkspawned conjurations in 1993 but very few know what’s good in the new millennium Finnish Death Metal. To correct this state of things we discussed with chosen bands such as Lie in Ruins, Slugathor, Hooded Menace, Deathspawned Destroyer, Sepulchral Aura, Ascended and Devilry about their mysterious ways. The article “Ascension of Sepulchral Echoes: A Finnish Death Metal Revival” is now online here at Deathmetal.Org.

Before there were metal websites and reference tools such as the Metal-Archives for one to easily access every tidbit of information, there were underground metal zines produced non-profit by maniacs who had basically the same purpose as we do: to tell you about good metal, new vistas and infernal heresies. A large exhibit “Morbid Scriptorium: A Museum of Metal Zines” of some of the best zines we have come across has been gathered here and on the side, a long exploration featuring craftsmen who brought to you the verbal abominations of Buttface zine, Chainsaw Abortions zine, Hammer of Damnation zine, Fallen Pages zine and Pure Fucking Hell zine is published here in the articles section: “Pages of Pure Fucking Damnation: Zines in the Death Metal Underground”. And if that’s not enough reading for you to get you through the dark days when the winter storms lock you inside your cabin, check out the eclectic “road book” by ex-Metal Maniacs writer Ryan Bartek, “The Big Shiny Prison”, spanning from black metal to raves, Stalaggh to Barack Obama here as a free PDF directly from the author.

We hope you enjoy the materials and the rest of the winter.

Morbid New Years’ hails to the devotees from the entire Deathmetal.Org staff!