'Apocalyptic Raids'
(First released on
Noise records in 1984, then reissued in 1990 by Noise records, and
again on mediabook CD by Noise/BMG Sanctuary
records in 2020 )
MARK:
95/100
Prologue
A turbulent youth, fraught with problems and hardships, is a common trait among many who have found themselves exposed to heavy music in some way. In the Swiss village of Nürensdorf near Zürich's airport, however, the situation of little Thomas Gabriel Fischer is one that is hard to imagine: his parents' separation at an early age forces the boy to divide his time between the few visits to his father, owner of a car repair shop, and the difficult life with his mother, who is often away from home for long periods as she is busy making ends meet by trafficking watches in Africa. Add to all this the precarious hygienic conditions of the old house where Thomas lives, inhabited by a huge number of cats, with all the filth that comes with it. It's no surprise, then, that the future lord of UGH! was the laughing stock of the village and worked hard to find someone to share an outlet with as soon as possible. 1981 thus marks the birth of Grave Hill, a youth group dedicated to emulating the NWOBHM which catalyses the meeting between Tom and his first, true companion, Steve “Savage Damage” Warrior (aka Urs Sprenger). The classic Damascus-like epiphany for the Swiss teenager is a visit to the famous HMV on Oxford Street, London: Fischer is impressed by the vast assortment of records and tapes, but especially by the iconic "In League With Satan / Live Like An Angel", Venom's debut EP. The return to their home village with this new obsession, however, is all but idyllic: Fischer and Sprenger's desire to veer toward more aggressive sounds is not shared by the rest of Grave Hill, who, between rehearsals in a nuclear bunker, find themselves losing members along the way, until they finally decide to start over with a new band still without a name.
After the collapse of Grave Hill, Hammerhead were finally formed in Zurich in 1982 but quickly changed their monicker to Hellhammer, which was soon to become a pioneer of Extreme Metal (Black Metal in particular, but also Death, Doom/Death and Thrash/Death, even if such definitions didn't exist at the time). Following several line-up changes, 3 demos that were generally badly received by magazines and fanzines (mostly the first "Death Fiend" demo, self-released on Prowlin' Death records, a cassette with 9 harsh tracks whose titles were for example "Bloody Pussies" and "Ready for Slaughter" where Tom and Steve Warrior and Jörg Neubart known as Bruce Day were well aware of their limits), the Swiss band incorporated Martin Eric Ain for his management capacities and interest for the occult and Stephen Priestley in the place of Steve Warrior and Bruce Day, then inked a 5-album deal with Noise records. Actually it was Martin's and Bruce Day's parents to sign it, and the deal was only advantageous for the label as every right would go to them.
Anyway, Noise records previously heard the second demo "Triumph of Death" and the third, "Satanic Rites", where Priestley didn't show up for the recording because he instead went shopping with his mom, so Tom had to somehow play his bass parts. As a consequence, Martin Eric Ain entered the band as official bassist.
Noise records released the EP "Apocalyptic Raids", which remained their only studio release for a long time: not only was it re-released with a new artwork by then bassist Martin Ain and 2 more songs in 1990 which originally appeared on the 1984 "Death Metal" compilation , but in 2016 a 3000-unit limited single called "Blood Insanity" finally came out with 2 more unreleased tracks that were originally recorded on 1983 demos after the "Satanic Rites" demo.
When 2020 came it was finally time for a mediabook CD painstakingly conceived by Thomas Gabriel Fischer full of photos, information and curiosities that those who missed the 2010 book "Only Death Is Real" can now find here condensed.
Although Hellhammer spent more time taking pictures and bestializing their nicknames rather than composing, the few tunes that they crafted show how bold, determined and uncompromising they were musically, lyrically and artwork-wise, far more than the standard young Metal musicians of those years.
Package version and other versions available
I own a first-pressing vinyl copy I found in London in my youth because in the 90s you couldn't find one in Italy. Maybe you could find one in Germany in some specialized shops or vinyl fairs, but it was easier to look for a copy in the UK's capital and that's what I did. It's the original EP with 4 tracks, while the next reissues also contain the 2 tracks from the above-cited compilation.
The mediabook CD includes the same 6 tracks but it is amply worth the purchase as it has been really well-contrived and produced.
There also exists a 2020 deluxe vinyl version with 2 posters and a gatefold EP version, all by Noise records.
The mediabook is made of 30 pages even if the official statement speaks of 24.
Visual aspect
The mediabook has a rigid front cover and back cover.
The front cover shows a slightly different cover artwork in comparison with the original one, whereas the back cover includes 3 of the 4 photos of the 1984 vinyl.
The drawing and motto are above between the track list. On the mediabook back cover the thankslist doesn't appear, having been moved elsewhere in the booklet.
The 35-page black-based booklet begins with a page with a pentacle, three 6's and more esoteric signs on a black background.
The 2nd page and the third are completely black, while the 4th shows the EP front cover.
Page 5 and 6 disclose unreleased photos of the band in their proto-corpse paint era shot between the end of '83 and start of '84 with a description attached, as well as the lyrics of the first 2 songs.
Page 7 and 8 comprise 2 more photographs and the lyrics of another 2 songs.
The 9th page instead features the front cover artwork of the EP re-released on CD in '90 designed by Martin Eric Ain, illustrated by Jose Guadalupe Posada in the vein of early Nuclear Death's artworks.
The 10th displays 2 pictures regarding the recording sessions in Berlin.
The next page offers 2 colour shots of the recording in the studio, whereas the 12th is a group colour photo where the Hellhammer members sit or stand together with friends attending the Venom/Metallica "7 Dates of Hell" tour at Volkshaus in Zurich.
On the 13th and 14th pages we can enjoy one large black and white snapshot portraying the band in their rehearsal room, while on the next two of the mediabook there are 2 more photos to appreciate, taken at the Grave Hill Bunker rehearsal space.
The situation changes at page 17 and 18: here a biography can be found of those years written by Tom G. Warrior in 2019 and titles 'Hell Reigned on Earth'.
I find page 19 and page 20 to be particularly precious since thei consist of outtakes from the only photo session ever conducted by Shizo, Martin Eric Ain's pre-Hellhammer combo that also had drummer Stephen Priestley for some time.
The 21st encompasses another photo in black and white of Hellhammer in early '84, whilst the 22nd comprehends a drawing relized by Martin Eric Ain, which is the draft cover he submitted to Noise records but was rejected. It's pornographic and ingenious at the same time: the winged demon-goat has 4 legs and its chest looks like a face; the flowery whip used as a torturing weapon is tied to the demon's penis, penetrates the girl's vagina and comes out of her anus.
Next on the 23rd page we can read the 1984 and 2020 version credits, and on the following one we find the last 2 lyrics and the drawing of another winged devilish being.
Page 25 exhibits Tomas Gabriel Warrior's drawing for the cover he had made; this was also rejected by Noise records. There is a crucifixed female fiend presenting a crucifix upside down, a pentacle surrounding her head and several needles piercing her body.
Two more photos of drummer Bruce Day appear on page 26, and the 27th presents the original back cover of the EP.
Page 28 illustrates the sheet inside the vinyl for those who didn't own it, page 29 is completely black, and page 30 reveals the band's symbol dedicated to Martin Eric Ain. This is also the one enriched with a pocket for the disk.
The only flaw in this mediabook is that it consists in having some lyrics and pictures not all visible because the inside of the pages can be opened only to a certain extent for fear of damaging it.
(Death Fiend demotape)
(Triumph of Death demo)
(Satanic Rites demo)
One horn is missing and one claw is almost entirely detached. It holds a sceptre ending with a sharp edge on one side, 2 flight organs and a winged helmet on the other.
Its whole body is pierced by several needles, including its left eye. Most of its body is filled with bleeding wounds.
It also has a necklace terminated by a non-inverted crucifix!
The thrne's lining contains a few drawings: a skull, a reversed triangle finishing with a devilish tail, and three 6's upside down composing an overturned triangle.
The front side of the arm rests of the throne culminate with 2 wicked faces.
Please note that the whole drawing was rendered clearer and whiter on the mediabook version. The original on the vinyl version is made of dark grey and it looks eviler but at the same time some details are not so easy to be seen.
On the printed side of the disc we see the symbols and the band's logo again.
(Death Metal split - 1984)
(Apocalyptic Raids CD)
(Apocalyptic Raids 1990 A.D.)
Trivia
1) Having no budget or connection, Hellhammer had to draw the draft cover art for their debut EP.
Martin's submission, "The Nameless Goat", was an interpretation of esotericist Eliphas Levi's "Baphomet", while Tom Warrior's proposal was named "The Sitting Death", and that was chosen after a long studied comparison on Tom's bedroom wall.
Martin designed an emblem inspired by occultist Aleister Crowley which combined the Babalon heptagram (Crowley's seal for the Whore of Babylon), with a pentagram denoted by daggers. The centre of the heptagram was dominated by a skull, a representation of Memento Mori, accompanied by the popular sentence for the band "Only Death Is Real".
2) Hellhammer left Zurich for West Berlin with an overnight train ride in a late winter afternoon (March 1st, 1984). They occupied a cheap single room at a hotel paid by Noise Records. In the meantime their amps and instruments arrived by road after a 1,000 km trip that 2 close friends enterprised as band's roadies.
3) Noise Records recommended producer Horst Müller, a veteran German sound engineer, but Hellhammer snottily insisted they produce the sessions themselves. The result was so flawed and muffled that the record company called the musicians to warn them they would never accept another record of such a deficient standard.
The contemporary press agreed and Metal Forces rated "Apocalyptic Raids" with the lowest grade. Kerrang! slammed it, too. Yet, Kerrang! featured ads by London's iconic Shades Records store describing the EP as "makes Venom sound like Journey".
After 2 years the underground was ready to applaude the EP and the band's monicker was often cited.
4) Hellhammer hired a fourth member, a guitar player and wished to get more technically proficient, so for 3 weeks they acted as a four-piece. But on the night of May 31st, 1984, Hellhammer was suppressed.
The musicians formed a new band with the intention to expand their music and lyrical ambitions (Celtic Frost).
Hellhammer, the unholy bastard child of Black Sabbath, Motorhead, Venom, G.B.H. and Discharge disappeared after only 2 unruly years and without even playing a single concert!
5) There exists a fake live tape of Hellhammer titled "Live Nurendorf Germany" (12-16-1983), but it's only songs with crowd sounds added and a 1981 rehearsal.
6) Hellhammer had 3 short-time bassists time has since forgotten in 1983.
7) Despite the nickname, Tom and Steve Warrior were unrelated. Steve was a roadie for Tom's previous band.
8) Although Tom was blown away by Discharge's first 2 albums, he wasn't into Punk at all and it was uncool to like Punk back then if you were a headbanger.
9) The demo "Triumph of Death" was recorded with a budget of $70.
10) The track "Messiah" was covered by many bands such as Napalm Death and Sepultura. Apollyon Sun, Tom's post-Celtic Frost band also reworked that song.
11) Tarot and Grave Hill were the very first bands where Tom was before Hammerhead in 1981 but they didn't record a thing.
12) Hammerhead became Hellhammer because Tom wasn't satisfied with it. It wasn't dark enough and he wanted to top Venom.
13) Tom placed an ad in the personal section of Kerrang mag to get solicitations from witches mentioning the existence of the occult Black metal trio Hellhammer.
14) Steve was fired from the band after the recording of "Triumph of Death" which stated that Steve's miserable singing and playing could be heard on that tape, and that he never believed in the band or worked for the band like the other members.
He was into Punk and formed his own band Kötzen.
15) In october 1983 drummer Bruce Day quit the band because he joined a motorcycle club.
16) The song title "Phallic Tantrum" became a song on Celtic Frost's "Vanity/Nemesis" album.
17) HELLHAMMER existed as a fourpiece shortly before they called it quits. Martin Eric Ain announced the split-up, in which he complained about the lack of dedication of two members… and that didn’t include Tom… Hellhammer had at the last minute added a second guitarist named Vince Caretti aka Dei Infernal. Although they first wanted to bestow that title on Oliver Amberg who at that time played in an earlier incarnation of Coroner, but Oli did not really go for it. Oli later joined Tom on "Cold Lake" where he performed not so well to Martin Eric Ain's ears!). And Vince did not really do that much good either, since he just failed to show up to rehearsals.
18) Tom G. Warrior received a Swiss Music Prize in 2021 and in receiveing it he said:
"Although I was very fortunate to be granted a loyal audience already early on in my career, not least in my native country of Switzerland, the local Swiss music industry and cultural institutions either ignored me or expressed derision for my music, and sometimes they even obstructed it. In their perception, it simply didn’t conform and wasn't commercial enough. And indeed, my music was dark, experimental, and obstinate. But exactly due to these qualities, it was noticed abroad," began Warrior in his acceptance speech (edited transcript also provided through Triptykon's Facebook page).
He continued, "I do, of course, understand that receiving this prize is an honor, and I do feel grateful for it. But given that an inconceivable 40 years have passed since I first became a musician, this prize is also quite irrelevant to me by now. I have pursued my path regardless, without subordinating myself to any of the customary inbreeding rituals of the Swiss music scene, and without ever applying for any kind of cultural funding from the Swiss state or the relevant institutions." "The support granted to me throughout the years by the following individuals was absolutely essential, however, and my gratitude to them is limitless," added Warrior, who went on to name the following directly: Antje Lange, Vanja Slajh, Alois Wendelin, Urs Sprenger, Maya Ghirardello, Martin Eric Ain, Michelle Fischer, H.R. Giger and Carmen Giger, Jörg Michael, Ian Christe, Denise Mathieu, Corinne Kühne, Kathy Lenze. "And there are many more," the Swiss icon noted and concluded, "Moreover, I would also like to express gratitude to those who do not kill animals, do not enslave them, and do not mistreat them, but instead respect and protect them. I bow to you." Read More: Celtic Frost's Tom G. Warrior Receives 'Swiss Music Prize 2021' | https://loudwire.com/celtic-frost-tom-g-warrior-swiss-music-prize-2021/?utm_source=tsmclip&utm_medium=referral
Lyrical content
The lyrics touch themes such as depressive, fateful doom, the occult,
and being buried alive.
Engineering and sound quality
Recorded and mixed at Caet Studios in West Berlin, from 2nd till 7th of March, 1984 by Horst Müller, including the 2 tracks of the "Death Metal" compilation, 13 weeks after the "Satanic Rites" demo and 8 after the 2nd demo "Triumph of Death".
All tracks were remastered by W. Santura at Woodshed studio in Landshut, Germany, in November 2019, and so they are all clearer and easier to understand and follow, but at the same time the original diabolic atmosphere is partly missing. The raw and imperfect shape has remained, as well as the muddy and devoid-of-punch production. The drums sound like coffins being slammed and the guitar sounds are probably obtained by a tube-screamer with loads of gain.
Nobody expected that the 1984 would unintentionally become a standard for early Black Metal productions. At that time it was hated by the band, sound engineer, record company and press with few exceptions.
Track-by-track musical analysis
The fact that all the tracks are quick to get stuck in our brains is a confirmation that Hellhammer were able to compose catchy aggressive tracks even if they had started playing their instruments only a few months before.
Granted, the formula might seem easy and to some minimalistic, but it works ever so well that I just cannot grasp the negative reviews that this EP received in 1984 and is receiving today sometimes.
"The Third of the Storms (Evoked Damnation)" begins with a morbid riff, followed by a chunk of dirty Thrash/Death Metal completed by sandpaper vocals. A hell ride where the main riff returns goes on until a fast guitar solo in crescendo arrives to hand out verve to the composition.
The lead guitar comes back accompanied by some Ughs and a roll beating time till the predominant riff and verse reappear, ensued by a prolonged guitar sound shattered by 2 cymbal hits.
After a few slaps on our face, "Massacra" continues faster than the previous track and unveils a memorable refrain that conquers us immediately. There are no slowdowns, nor pauses until the first 'ugh' followed by a rapid drum roll and an assault that Kreator are going to use often in their debut album.
The 2 buzzsaw power chords of the numberare repeated until the end when all the instruments are precisely stopped and muted.
While the other 5 songs are in the vein of Punk and Thrash Metal, "Triumph of Death" is closer to Doom Metal. Over 9 minutes, the track is opened in a threatening and dark atmosphere with heavy use of tremolo piercing guitars even delivering some tapping. It is actually a very original choice preceding a racking scream (the first of many) reminding us of someone being tortured, desperate, wounded and suffering at the same time.
All of a sudden a granitic riff pops out that is going to influence Obituary and the likes, associated to tribal drumming and other agonizing vocals. The singing is not only painful but also stuttering and extremely theatrical, occasionally vomited, and some final reverberated screams in the distance make us understand the vicitim is breathing one's last.
Then, a mid-tempo riff starts along with further vocals by someone who is in the throes of death, really perfect for this context. The riff becomes penetrating, persisting and is alternated with a few guitar squeals.
The slow portion we heard before comes back together with ritualistic drums and soul-ejecting screams until a new riff modifies the plot. Here comes the refrain, replaced by incisive licks and later on by the most important riff.
The howling vocals turn more focussed, making room soon for the slow riff and ritual drumming, and the most rotten vocals listened to so far matched with hysterical laughs, and finally some whispered vocals pronounced with the very last energies left before the decease.
You definitely have to be a GENIUS to conceive such a hypnotic and grotesque composition in '83/'84!
Superheavy drumming reminiscent of the one played during a battle march is what one finds at the beginning of "Horus/Aggressor". It is performed numerous times and successively faded out, while a guitar passes by swiftly.
Now is time for speedy drumwork and a sick riff, and a fter them a refrain fot to be sung along with Tom.
All of these elements are reiterated or alternated with one another a few times, while the skinbeater hastens to craft frequent drum rolls.
Deadly is the acceleration enriched by 2 'Ahu's', just before the initial riff shows again, and the refrain concludes this song.
A song fundamental for the spread and the shaping of a large slice of Thrash Metal.
"Revelations of Doom" first attacks us with 2 heavy riffs and plenty of timing changes which confirm us what Obituary were listening to before being established. There is also a brief interruption, yet besides that the track prosecutes its quick pace inviting us to unmastered headbanging. This in turn is put aside by a repetitive break in the closing.
The first instants of "Messiah" recur to a massive riff, whilst slightly echoed vocals do their duty in the next seconds until the refrain takes the spotlight.
Excellent is the contrast between the ensueing riff and a guitar layer placed in the background in order to make the composition more lively and interesting.
More verses and the refrain appear, embellished by 'ahu's' and 'deaoh's'.
This closing track is decidedly one of those that makes your foot beat rhythmically and is probably the highlight of the EP.
Value
The
imperfections, the lack of skill on the intruments due to the fact that
they had started playing only few months before the recording (Tom
began 6 months before to
be precise) are what keeps many away from this album's appreciation.
Yes, detractors simply say this is a poorly recorded Thrash Metal
record.
But if you listen to it 3 times carefully you will get to understand
how well the themes blend with the music and
vocals, as well as the imagery. You are going to see these 6 pieces are
truly bliss: evil, entertaining, raw, primitive unmatched
tunes of great value that not many were able to grasp back then. A
vanguard masterpiece!
Conclusion
"Apocalyptic Raids" was to 95% of people in the Metal industry under all aspects at the level of a demo, looked a bit cheesy and sounded amateur at times, however nobody predicted that even rawer and more low-produced albums would see the light in the coming years within the various genres sitting under the umbrella of Extreme Metal. This EP is pure gold because of its concept and riffs: dark, morbid, cruel, twisted, filthy, dirty, grimy, nasty but also catchy and groovy like Extreme Metal bands rarely are.
The downtuned guitars make it dangerous in a cool way and the slightly sloppy, out of time drumming is no problem at all. On the contrary, it gives a spontaneous feeling derived from passion that no AI music will ever produce, even the most sophisticated. It happened with the debut albums of several Metal bands and they are often the tastiest ones to listen to and relisten to decades later. Do you want D-Beat Punk-influenced early Black Metal that never gets old? You can't be wrong with Hellhammer.
Tracklist:
1. The Third of the Storms (Evoked Damnation)
2. Massacra
3. Triumph of Death
4. Horus / Aggressor
5. Revelations of Doom
6. Messiah
Discography:
-Death Fiend (demo - 1983)
-Triumph of Death (demo - 1983)
-Satanic Rites (demo - 1983)
-Apocalyptic Raids (EP - 1984)
-Death Metal (split - 1984)
-Apocalyptic Raids 1990 A.D. (EP - 1990)
-Are You Morbid (split - 2003)
-Demon Entrails (compilation - 2008)
-Blood Insanity (single - 2016)
-Apocalyptic Raids (CD mediabook - 2020)
Line-up on this album:
Denial Fiend - d. (ex-Moorhead)
Satanic Slaughter - v., g. (ex-Tarot, ex-Nyrith, ex-Grave Hill,
ex-Celtic Frost, ex-Apollyon Sun, also in Triumph of Death, Tryptikon)
Slayed Necros - b., backing v. (ex-Schizo, ex-Soul Dawn, ex-Celtic
Frost, ex-Tar Pond - RIP in 2017)
Contacts:
Nürensdorf, Zürich- CH
E-mail:
Official website homepage:
http://www.hellhammer.org/
Official main links:
Facebook
Spotify
Deezer
Myspace
Tidal
Soundcloud
DON'T MISS THIS ALBUM'S VIDEO REVIEWS IN ENGLISH AND
ITALIAN:
English video review:
Italian video review:
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