Tom G. Warrior gave an interview to Zero Tolerance magazine where he shed light on why Celtic Frost and most other death and black metal bands do not own the rights to their own music, his problems with Noise Records, what was changed for the 2017 reissues that BMG recently put out, and why he eventually pulled his liner notes and endorsement.
What sets these reissues apart?
“We remastered everything, including all the bonus tracks. I also submitted a lost mix of the song ‘Visual Agression’ from the 1985 period of the band, something which had been lost but we managed to track it down. I also furnished them with a ton of rehearsal tracks from the Morbid Tales period, of which we selected the best ones. I did this along with V. Santura of Triptykon at his studio – he’s a fantastic engineer, of course. We were very respectful with this material, we didn’t push it to the wall, we didn’t change anything. What we did was take the sound and get the most out of it with today’s technology. We also fixed some of the problems arising from the age of the tapes. I personally believe that the remasters of the tracks are the best versions that have ever existed.
I furnished also tonnes of memorabilia and photos from my archive that I have amassed. And I also gave them liner notes that Noise had discarded in the ’80s because they thought they weren’t worthy. I dug those up again, and then of course I wrote new liner notes. Plus I furnished them with a multi-page concept of the reissues from the remastering, layout, additional tracks – every detail right up to the promotion of the albums. They didn’t really have to do anything. Because we’d wanted to do this for many years, I had a PDF booklet on my computer about of the albums and they were able to proceed using this.
Read the entire enterview at Zero Tolerance Magazine’s website.
Tags: bmg, celtic frost, censorship, interview, news, noise records, reissues, remaster, tom g. warrior, zero tolerance magazine
7 thoughts on “Tom Warrior Sheds Light on BMG’s Celtic Frost Remasters”
Thanks for pointing to that interview.
NOW I get it, I understand why COLD LAKE was made. By reading between the lines – Tom was angry enough at Noise Records for fucking over Celtic Frost so much that he took revenge with what was his joke on them, Cold Lake ?
good to know that at least the sound on these remasters is not shit
Cold Lake isn’t a joke you fucking faggot, it’s a shitty album made by abunch of faggots, I think Celtic Frost who were good on accident, because after To Mega Therion everything Tom G Warrior has been involved with has been completely fucking shitty, KFC monkeyaids shit, grueling down the legs.
I really hate how he tries to make all of his shit “elegant” with his choice of fonts and presentation, as he got good and dolling up the imagery (like a fucking woman) the music turned into faggot assrapes inside of your own ear, with the soundwaves cutting your brain into the shape of a spearchucker with unseen laser technology. And that fucking beanie to cover up his bald spot, I’ve never seen him take that beanie off, he wants to look like late 90s Hot Topic.
Ihdeed, and Triptykon is nu-metal.
Do you feel better now, venting your rage, after you obviously didn’t read the interview? That Celtic Frost hired lawyers to get away from Noise?
yes, Tom decides to make a Hollywood-type heavy metal album after Into The Pandemonium because to simpleton fans, that makes great sense. That is the logical progression he was pursuing.
ITP was expanding the band’s scope. To Mega Therion already showed the Christian Death / goth rock influences, and since you and many others liked that album, why wouldn’t the band experiment further ?
One way to get a label to break its contract with you, is to purposely deliver garbage that doesn’t sell, which is what Tom Warrior appeared to want done with Cold Lake.
Vanity/Nemesis, and Monotheist were okay albums, not great, but not shitty either.
Nah, they were pretty shitty.
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