幸运飞行艇官方开奖历史记录 - Δευτέρα 19 Δεκεμβρίου 2023

2023 - THE BEST OF 5分钟极速预测168飞艇幸运数字-官网查询幸运飞行艇官方开奖结果历史开奖, 在线看开奖视频记录, 精准走势分析

2022 was just like the previous year: It had countless albums! Everything is easier and everyone can record an album easier. It is easy to release it also, even if many of them sell just a few hundred copies. Everyone can become a "recording artist" and the music industry has changed a lot over the past two decades. And keeps changing.  

Everything you will read below was written within a few hours or something. This is not filtered or worked within a bigger time frame of days just like other features, just the first things that come to mind.


The Top-20 list was already completed in late November since it was asked from Metal Hammer magazine in Greece (where I am also a scribe) but let me add one short comment: No one really cares of what's added in place 18 or 19. In this list or any other list. It's all about what's in and what's not, but this also can be somehow "wrong". You know why? Because almost everything that's from 10 to 20, might change in a few years and one could add something that didn't make it to the list. For example, on a second thought, I really like a lot SAVAGE MASTER's Those Who Hunt at Night and I should add it, while the song "The Pilgrimage" from SAXON's Carpe Diem is better than most of the songs in any 10 to 20 albums of that list. Go figure...

However, the Top-5 albums on that list, are really TOP-5, 9/10 albums, with the first two ones (sharing the TOP spot) being future classics, possibly 10/10 albums. These are the best of the best, albums that we will mention many times in the future, albums that will take place in future "best of" lists.

Among the rest (most of them 8/10 albums) there are albums I really enjoyed, albums I listened to countless times, albums that I am going to listen to for a long time in the future too, and of course I bought all of the albums in that Top-20 list, plus the majority of the rest that are mentioned.

Let's go to Crystal Logic's Top-20 (plus many more you should check also!)

written by Andreas Andreou



20. FRIENDS OF HELL - Friends of Hell

Looks like a dream team including Master Tas and Albert Witchfinder. The debut release of the international group, named after the classic WITCHFINDER GENERAL album, is traditional Sabbathian doom with one of the most iconic doom metal figures on vocals, that will attract fans of early CATHEDRAL, doom-y NWOBHM and PENTAGRAM.


19. ACHELOUS - The Icewind Chronicles

From the cold winds of Olympus to the flames of war, the Mediterranean epic heavy metal of ACHELOUS is praised by the underground metal hordes.


18. MIRROR - The Day Bastard Leaders Die

Master Tas strikes again with a grower that will be appreciated more in the future. MIRROR's third album is their most "metal" one, including killer songs such as "Souls of Megiddo", meeting also Arthur Rizk's approval of a great album.

Check  also: CLARENT BLADE Return Into Forever : That's a special case that starts with the best epic metal song of 2022 most people won't listen to! It's probably because of the vocals and I can't blame them for that but the songwriting here is ace. This is something that can be huge. Remember the name.


17. SAKIS TOLIS - Among the Fires of Hell

During the covid months and lockdown days, Sakis Tolis of ROTTING CHRIST wrote an album that brings in mind late '90s vibes of his main band.


16. WHITE WARD - False Light

When multi-instrumentalist, composer and guest musician in False Light Mykola Lebed was asked to describe the art of WHITE WARD in his own words, the reply was:

"I would describe it with a picture: it is like you are strolling through the woods in the mountains while the storm is becoming more intense and harsher. But all this happens inside of you. The themes of their lyrics are resonating with me very much. It can be a song about personal feelings, about the grace of nature, or also about Kateryna Handziuk – the activist from Kherson - who was killed by an acid attack."

WHITE WARD is definitely one of the most innovative bands in the wider field of black metal, mixing experimental black metal, blackgaze and dark jazz.


15. SONJA - Loud Arriver

Often mentioned as "sounds like" UNTO OTHERS (former IDLE HANDS), this is actually a zero-fucks-given heavy metal album with an all-around-mentallity filled with different moods. Strong candidate for best debut album of 2022.

Check also: SANHEDRIN Lights On

 


14. KONQUEST - Time and Tyranny

In the debut album they sounded like modern day HEAVY LOAD but now they managed to add a strong MAIDEN's somewhere-in-time guitar sound. Just listen to the majesty of "The Light that Fades Again". A beautiful and a feel-good album!


13. GARGANTUAN BLADE - Gargantuan Blade

HEAVY. EPIC. DOOM. METAL.


12. BLOOD TYRANT - Codex Cruor

The blackest and truest black metal album of 2022. The spirit of black metal dwells in those songs. Just for the few; the brave ones, the black souls.


11. CAULDRON BORN - Cold Steel for the Necromancer

Master Bentley returned after many years with new CAULDRON BORN music and maestro's sword is still sharp. Poserkiller, true US technical power metal.


10. DAEVA - Through Sheer Will and Black Magic

Evil and blackened thrash metal with CRYPT SERMON members can't go wrong.


9. LUZIFER - Iron Shackles

"Free yourself from iron shackles!" is one of the most addictive lines and songs of 2022! The German lads sound like '80s Swedish kids that moved to England.



8. PHANTOM SPELL - Immortal's Requiem

SEVEN SISTERS' Kyle McNeill heart is all over an emotional album coming from the depths of his soul. Beautiful melodies, a warm sound, excellent songwriting.

Check also: IRON GRIFFIN Storm of Magic


7. OZZY OSBOURNE - Patient Number 9

Teaming again with old friends, Ozzy recorded a few of the most emotional and best songs of the year, including "No Escape from Now" (with Lord Iommi), "One of Those Days" (with Eric Clapton) and "Mr. Darkness" (with Zakk Wylde).

Check also: A-Z A-Z, TONY MARTIN Thorns, SCORPIONS Rock Believer


6. GRAVESPAWN - Scourge of the Realm

Battles, swords, demons in the mist, the impaler and blood. The best black metal album of 2022 is probably the epic black metal release you ignored and need to listen to. Perhaps you think you listened to better black metal albums this year but you definitely didn't listen to more epic ones or more suitable guitar solos in a black metal album.

Check also: CIRKELN A Song To Sorrow, KARMANJAKA Gates of Muspel



5. THE TEMPLE - Of Solitude Triumphant

The DOOM METAL MANIFESTO of 2022. The purest, the truest, the saddest, the deeper. True Doom Metal.


4. SMITH & SWANSON - Smith & Swanson

Crystal Logic admires Phil Swanson. The iconic performer is teaming up again with his old friend from SEAMOUNT, Tim Schmidt, and they deliver a heavy Sabbathian doom metal debut album that obeys the RIFF. The most riff-driven album of 2022, a favourite one that will be revisited forever.

Check also: EARLY MOODS Early Moods, ERIC WAGNER In the Lonely Light of Mourning


3. DOOMOCRACY - Unorthodox

This is art. A deep concept and music worked in every detail. Technical power doom metal, not your REVEREND BIZARRE style of doom, but the one that's written and performed just by a few. Simply because just a few can record this kind of music that has an epic doom metal heart but it's not regressive and allows elements from US power and progressive metal filtered by the band's character creating something new. Do you want name dropping? SOLITUDE AETURNUS, MEMORY GARDEN, MEMENTO MORI, CONCEPTION playing doom, even SAVIOUR MACHINE vibes.

Check also: DISHARMONY Gods Made of Flesh



1. SUMERLANDS - Dreamkiller

There is a lengthy feature written for this album already. This is a classic, best album of 2022 part one.

Check also: SPLINTERED THRONE The Greater Good of Man


1. RIOT CITY - Electric Elite

Best album of 2022 part two. Everything is on fire here. The blood of a legendary classic metal album runs in Electric Elite. One of the most praised classic heavy metal albums of 2022, from both underground and mainstream media, a speed metal mayhem, an electric power metal vengeance. Many claim to be the next big thing but don't get fooled by false prophets. This is the real thing.

Check also: EVIL INVADERS Shattering Reflection



More heavy, trad, epic, doom, power and a bit of thrash metal too: AFTERIMAGE II: Beyond Horizons Infinite, AMKEN Passive Aggression, CANDLEMASS Sweet Evil Sun, FER DE LANCE The Hyperborean, FLAMES Resurgence, FALL OF THE IDOLS Contradictory Notes, INCURSION Blinding Force, INFINITY DREAM Memories, KNIGHT & GALLOW For Honor and Bloodshed, KREATOR Hate Uber Alles, MEGADETH The Sick, the Dying... and the Dead!, MIDAS Midas, MYTHOSPHERE Pathological, QUEENSRYCHE Digital Noise Alliance, SACRAL NIGHT Le Diademe d'Argent, SAVAGE MASTER Those Who Hunt at Night, SAXON Carpe Diem, SORDID BLADE Every Battle Has Its Glory, SPELL Tragic Magic, SPITFIRE Denial To Fall, STRAY GODS Storm the Walls, SWORD III, VALIDOR Full Triumphed, WITCHSLAYER Witchslayer, WOLF Shadowland


More black metal: AARA Triade II: Hemera, DOLDRUM The Knocking, or the Story of the Sound That Preceded Their Disappearance, GAEREA Mirage, GEVURAH Gehinnom, GLEMSEL Forfader, MIST OF MISERY Severance, NEGATIVE PLANE The Pact..., WATAIN The Agony and Ecstasy of Watain




Τρίτη 11 Οκτωβρίου 2022

Queensrÿche's "168飞艇官网查询开奖结果-官方计划开奖记录-168飞艇官网幸运飞行艇开奖历史查询": Vampiric obsessions, digital heartbeats and chemical youth - The Order behind the Rage.

RAGE is a word with an exact and specific meaning, while ORDER can be something more. And when ORDER is combined with other words, it can be even more. While there's no "Rage for Order" song in the same-titled album, this title has a deeper meaning, so let's see what lies beyond the words. Let's find out the questions that you need to answer.

Written by Andreas Andreou


 

Rage for Order was recorded and mixed by Neil Kernon under the band's full control since they weren't happy with the label's treatment to the previous album The Warning, where the record label changed the sequence of the songs and remixed it, releasing what we know, without Queensrÿche's approval.

Most of the songs and ideas of Rage for Order were written before Geoff Tate (vocals, keyboards), Chris DeGarmo (guitars), Michael Wilton (guitars), Eddie Jackson (bass) and Scott Rockenfield (drums) enter the studio after the summer of 1985 and the end of the tour supporting The Warning during 1984 - 1985, for more than 100 shows, mainly in the United States but also in the United Kingdom, Germany, Sweden and Japan, among a few others.

The world was a cold place. The world was changing and every country was something totally different from another. Everything was very different in the pre-internet world and the digital era, and the members of Queensrÿche wrote stories of the future echoing their present but always looking to the sky. They felt the eyes watching them. The digital and robotic feeling of the production is giving a futuristic vibe to the album while the coldness of the world is all over the sound of Rage for Order despite its emotional depth. The lyrics were always enigmatic and the songs seemed to be linked even if there wasn't a specific and clear concept - story behind it. Or there was?

The previous world tour was an eye-opening experience. Interacting with different people and cultures around the world, visiting the night clubs of central Europe, sleeping in London and walking through its dark and misty alleys, travelling with bullet trains in Japan and watching neon lights making the night a plasmatic day.

Queensrÿche realized very quickly that they weren't just five kids from Seattle starting living their dream; they made the dreams part of their art. But dreams are always uncertain. They echo fears, deep and unknown parts of ourselves and the world, things that can happen and things that would never be. Dreams are watching you. Until you will stop dreaming.


Starting with a relationship and an obsession, "Walk in the Shadows" introduces vampirism, the night and the shadows. "I can cure the hunger that burns in your heart, just come to me, I'll take you home. We'll walk in the shadows, by day we'll live in a dream."

Can love suck your lifeblood? Queensrÿche's approach definitely can since their view on relationships (and love) had the shades of obsession, and intense but short-lived passions. In the end, those relationships left scars you see but don't clearly remember (or don't want to remember) and memories remembered like dreams.

"Our secret's safe for one more night but when the morning comes remember, I'll be with you" [...] "By day we'll live in a dream. We'll walk in the shadows. One day you'll be with me, if only you believe..."

While "Walk in the Shadows" involves an obsession in a relationship and the observation of one you watch from the shadows, "I Dream in Infrared" continues with a relationship and the dark vibe there is in these songs, starting with, "As you awoke this morning and opened up your eyes, did you notice the tear-stains lining your face were mine", as a continuation of the vampiric relationship. Can this song be a different interpretation of someone who deep within doesn't know, or remember, who he is? Someone who can't dream anymore and gave all of his secrets to his obsession "but the time is right" to leave one night.

"The Whisper" seems to continue the previous themes and while the fear of hunger is always there, the observation is stronger and someone or something else is entering and watching. Stalking for innocent victims, a new master who whispers to new slaves that should forget what they've learned in the past. But therein, you don't listen only to whispers and voices, there are also "screams from a new love"...

Choosing Dalbello's "Gonna Get Close to You" to appear on the album as a cover song, one can't think of anything else than just how suitable are the song's lyrics with the rest of Rage for Order, while the video for this song also works nicely and the ending is open to different interpretations. Originally sung by Lisa Dal Bello (woman), then sung by Geoff Tate (man) it also means that the roles can change. And are really things just "as plain as black and white"?

"The Killing Words" sound like a song with a very clear meaning about the end of a relationship, a personal song that's probably based in a real relationship (?) There's a strong pain in this song, so one wonders about the performer's mentality connecting with such songs after years, revisiting them as memories or dreams. "Do you remember the dreams, the nightmares we shared?"

Leaving behind a song that looks very personal and emotional, "Surgical Strike" is the opposite, describing fighters "programmed" and "taught not to feel". The personal feelings, the personal ORDER now becomes something universal. It's the point where the individual forces itself to view the obsessions and the scars of the past as a memory; a dream. It's the point where if it can happen to one, it can happen to all. We can reach the point as a human race where the emotions and feelings can be removed by someone. Who that someone could be? And what's the reason for that? A cause? An act of slavery? "At master control, assessment will not be by humans."

"Neue Regel" is the German for "New Rule", and it certainly didn't come randomly. The word ORDER appears again after "it leads us to order" from "Surgical Strike", to "order of a new kind". What's this ORDER? It is not personal anymore and now it becomes political and technological. The kind of ORDER that can end all dreams and hopes while there appears "a distant wanderer". "It's time for the world to hear, Neue Regel is here."
 
"Chemical Youth (We Are Rebellion)" sounds like a rebellion to everything that proceeded, still though it needs to be "chemical". However, is this rebellion against technocracy and technological ORDER? Or is it the rebellion of the technological religion? With "the media mouth open wide", humankind can be controlled and enslaved in a digital prison.

What happened in "London", stayed in London. What happened on November 4th? Can hunger be really cured? "You're just a memory now, like all the ones before" [...] They cry remember, blood-red streaks on velvet throats at night".

In "Screaming in Digital" one can say that artificial intelligence and humans have become somehow equal in controlled emotions, controlled freedom, and controlled dreams. But who's the father and who's the good boy?  

And finally, "I Will Remember" serves as a postscript where all memories, dreams and emotions seem that in the end are watched by "distant eyes" (satellites?). What's the star that came that night and the thought that feels the mind? Do we really know what we've done? Do we really live or our lives are within a screen?

Are those vampires (not humans) who walk in the shadows and see in infrared the ones who left every feeling and dream behind becoming the new kind? Or the new kind is the programmed human race? What are really the machines that can steal each other's dreams?

Human evolution does not mean leading by degrees to something superior or going to something better. It means something different. And technology evolves alongside humankind but in the end, human evolution is all about survival while technological revolution can become a revelation.

"Freedom belongs only to those without video screens for eyes and mouth."



Released on June 20th of 1986, Rage for Order still looks relevant, enigmatic and futuristic, even decades later.


 

Πέμπτη 15 Σεπτεμβρίου 2022

When passion, talent and shining souls unite: A study on Sumerlands' "168幸运飞开艇开奖结果官网-官方开奖-开奖历史开奖记录-官方现场直播开奖, 幸运飞开艇开奖查询-开奖结果app, 手机版体彩168开奖网-正规实时在线+免费开奖查询平台网网址".

What do most musicians think nowadays when they're recording new music? There are many answers but let's put this aside for now. What do I believe Sumerlands had in mind when they recorded Dreamkiller? "Let's have a record that will stand the test of time". And so they did.

written by Andreas Andreou



You can go as far back as possible (literally many decades) and still can find things and techniques that inspired Dreamkiller's sound. Sometimes, the basic and old recording techniques can be the most important base to build up your sound. The automatic double tracking effect and chorused guitar signal, the synthesizer technology, even walking around the studio and the recording place in order to find the best sounding spot to place the drumkit and the mics. Everything is important, including of course the equipment and how you can use it. Once you have the songs, you always need the proper sound. The recordings also need air and space, they need to breathe, and modern recording technologies should not drink the blood of your art. Just like in life, there has to be a balance.

Recorded, mixed and mastered by Arthur Rizk (with additional engineering by John Powers), Rizk, the most important and talented new producer out there nowadays, produced an album that will stand the test of time in all terms. While having a skillful usage of textural sound design, Arthur is also based in a production and recording style rooted in all-things classic (rock, hard rock, heavy metal) techniques, adding a strong work ethic and discipline. Every idea and opinion is welcome and every reference can be used. Old and new methods, doubling vocals, bass coming from everywhere, synths, lots of guitar riffs (Fender guitars only!) and melodies. Nothing is weird and crazy, everything can be placed somewhere for a reason. A couple of years ago, this site hosted a feature about the future that belongs to the brave with Arthur Rizk on top of that list, foreseeing somehow the future. Brendan Radigan was also there.

When the band was working on Dreamkiller's songs, the news of the passing of best friends Riley Gale (Power Trip) and Wade Allison (Iron Age) within a few days, broke Arthur Rizk into pieces, just like all of their common friends and circle. That happened when Eternal Champion's Ravening Iron album was already completed and scheduled for release but for a while, Dreamkiller was put on hold after Riley's and Wade's passing in late August and early September of 2020. The album’s songwriting was probably already completed by the summer of 2020, but upon listening to Dreamkiller now, you can feel a strong vibe of melancholy on it.

Eternal Champion's highly acclaimed second album Ravening Iron was released on November 6th of 2020 and Sumerlands' sophomore album took its final shape, sharing a few common members with Eternal Champion besides Arthur. The recording line-up of Dreamkiller is Brendan Radigan (vocals), Justin DeTore (drums), John Powers (guitar), Brad Raub (bass) and Arthur Rizk (guitar/synth).

Brendan Radigan replaced previous (legendary) singer Phil Swanson and just like Phil, Brendan is also a veteran underground singer with a strong background and a notable history of many different bands including Magic Circle, the cult heroes Stone Dagger, the iconic Pagan Altar, Battle Ruins and more hardcore bands, often with Justin DeTore who is also known for his hardcore background and also drumming for traditional doom metal outfit Solemn Lament, fronted by... Phil Swanson! Both bassist Brad Raub and guitarist John Powers are also part of Eternal Champion.


Sumerlands' debut album of 2016 was an artistic success, one of the best albums of the 2010s according to the author and you can read a brief review written for Iron Fist UK upon its release HERE.

Six years is a long time though... September 16th of 2022 is the street date of Dreamkiller and the 35-minute album that will be released by Relapse Records in various formats is a strong candidate for Album of the Year. But let's leave aside for a while the "Album of the Year" tag. Forget also the "Top" lists you're going to see (or not going to see) including (or not including) Dreamkiller. Just listen, feel and experience that album, because it's happening NOW. This is a future classic and you don't want to ignore it NOW.

Just like 2016's debut album, the opening track "Twilight Points The Way" also starts with a guitar solo part following the main riff and when the vocals are coming in, it sounds different and yet familiar. The guitar solo part after the bridge of "fading shadows covered by the light / such memories lost from sight" sounds like a bittersweet memory of names time forgot but you're trying to preserve.

"Heavens Above" is the first song of the album that was presented in public, part of the Ageless Life single that was also released as a limited edition cassette tape by Sword Worship, including the Fleetwood Mac cover of "I'm So Afraid". The vibes from the debut album are stronger here and the first song we listened to from Dreamkiller sounds like the perfect link and continuation to 2016 while the vocal melody also brings in mind the way Phil Swanson handles his vocal lines and words. Starting also with a beautiful guitar solo part when the chorus hits, you listen to this guitar riff that brings in mind Jake E. Lee during his Ozzy Osbourne Ultimate Sin era, something that is an important inspiration for the album and Sumerlands so far.

In the third track and the first video clip of the Philly band, "Dreamkiller", they deliver an up-tempo track with a mid-section of classical Johann-Sebastian-Bach-inspired guitar harmonies, an Yngwie-Malmsteen-vibe and Ozzy-fuelled vocals. "Night Ride" that follows has the most suitable title for its music. A perfect night ride song in an empty highway with the stars above you, with a rhythmic background that could be the soundtrack of Snake Plissken's last night-time walk before escaping from New York. Brad Raub's bass line is the heartbeat of little gain and many losses, the pulse of an uncertain tomorrow. It's extraordinary how perfectly each instrument and performance is placed within the songs in order to give life to the songs and create images for every listener. Not everyone will "see" the same things but everyone can feel the life of the songs.

"Edge of the Knife" is one of the album's highlights with the Jake E. Lee riffing style (is "Bark at the Moon" the greatest heavy metal riff?) meeting George Lynch of the '80s Dokken era while they're listening to In Solitude's "To Her Darkness" after a drunken '80s Scorpions night party. Another highlight that links Dreamkiller with the debut album and besides the massive chorus power, we need to mention the incredible work Rizk and Powers have done in the guitar solo parts. Each and every song has the most suitable and inspired solo (and there are many of them!) in this masterful guitar-driven album.

"Force of a Storm" starts with synths followed by a specific aura and style that bring an AOR and '80s hard rock touch to its metal. Once again, we have a thick and rich sound, and it’s the time to praise Brendan's beautiful vocal lines and phrasing. He is also the lyricist and just like the best ones out there, he finds the exact words to fit the vocal lines and the music, something that's very important but sometimes we're missing it from many new bands. You don't have to scream all the time, cut or pull out the words... Just find the suitable ones, the words that will also be a part of the music and Brendan shines in this part. But it's not just that, beneath the lyrics of Dreamkiller, you can feel a wider idea of hopes and dreams that in the end are crushed by reality and the fact that nothing lasts forever. That song is huge. A hit that should be included in modern series like Stranger Things or Cobra Kai, the perfect soundtrack watching Maverick touching the sky, or Lieutenant Cobretti hunting villains in the streets of Los Angeles.

"The Savior's Lie" is another example that Sumerlands can add a variety in their songwriting without losing their cohesion. In that specific song I get a Ritchie Blackmore's '70s Rainbow era touch, an imaginary Perez-and-Edling jamming, and some mid '80s Tony Iommi's Seventh Star meets Eternal Idol vibes. And while I can hear the word "badlands" in the lyrics, an instant thought of Ray Gillen comes to mind, adding another connection to Jake E. Lee and a possible influence for Brendan's performance in Dreamkiller.

Closing track "Death to Mercy" is definitely one of the best songs here with its Spector Sound. That song is huge! And there is also the line, "Warlords have gathered their soldiers..." and after a while at 2:40 you can listen to a Warlord / Lordian Guard inspired passage that's Arthur's tribute to William J Tsamis, bringing shivers to those who feel it. And you can feel the songs once you will close your eyes. You will feel them touching your soul, and you will feel them moving your body. This albums moves you!

I don’t drive, so I need around an hour to get from my home to the headquarters of No Remorse Records where I am working. I get on a bus and then I change to the urban rail transport until I reach the center of Athens. And when I return home, I also need another hour. I have the album since a few weeks, so I uploaded it on my phone and I am listening to Dreamkiller four times every day for almost a month. Two times until I reach my work, and two times until I’ll return home. The perfect album to start your day and the perfect album to finish a hard-working day. This album moves me. Physically too. It makes you shake your body. It really does. And people watching me with the headphones, moving my feet and hips but I don't care. But most important though, this album is already part of my DNA and I can say that for just a handful of records released the last decade, including Sumerlands’ debut, Agatus’ The Eternalist and the albums of Eternal Champion, Atlantean Kodex and Crypt Sermon.

Dreamkiller has its own character. It's the songs but it's also the players, the sound and the production. It's not like all those same-sounding albums from bands coming even from different genres but still sound alike, with the same drumsound and the same settings that are digitally drowning.

The performance of each member is ace! It's like a team of players where everyone is pushing and pulling each other to bring their best out. They know what they can do, they know that they can do it well, but they're not stopping there. They evolve, they're on the top of their game and they're getting even better.

Finally, you can have a great singer or a virtuoso guitarist but if you don't have the songs, you have nothing. Sumerlands have the songs and Dreamkiller is an album with a monumental songwriting. Your band is not just as good as your singer or guitarist or bassist or drummer is. Your band is as good as your songs are and how good are the performers for those specific songs. And Sumerlands, is one of the best, modern heavy metal bands, releasing one of the best albums one can listen to over the last many years. And the years that will follow.

Those dreams are not killed. Listen to this album. Now.  



Photos by Jaclyn Woollard.


Δευτέρα 18 Ιουλίου 2022

Iron Maiden, the legacy of flares, Greek c#unts, rusty metal and the rebel youth.

 written by Andreas Andreou


"Α c#nt with a f#cking flare. I’m gonna sing, you f#cking cocksucker, you Greek c#nt. I’m gonna f#cking sing. F#ck you".


I am a huge fan of The Boys series and the third season that recently ended was awesome. Billy Butcher (portrayed by actor Karl Urban) is a favourite character in the sick and bloody, adult-only TV series, using strong language. The above mentioned quote could be easily one of his, if he was a singer in the show. But he is not, he is just a guy who wants to kill the supes.


That quote though came from Bruce Dickinson in the recent Iron Maiden show at Olympic Stadium in Athens, Greece (July 16, 2022). A huge football stadium with thousands of people: Heavy Metal fans, Iron Maiden fans, and people who went there just for "check-in", like thousands more in big shows no matter what the music genre is. I've done it also when Eros Ramazzotti played in Patra, Greece, in 2006. I don't even know more than 5 of his songs, I just happened to be there, and I don't really remember why and how, probably someone invited me or I was just curious? In the recent Iron Maiden show, there were also a few thousand "Eros Ramazzotti" fans, just like me, the "Iron Maiden" fan that happened to be in one of his shows. That's what's happening in huge stadium shows with brand bands and artists, no matter what the music genre is. Name them Iron Maiden, Metallica, U2, Red Hot Chili Peppers, Madonna, AC/DC, Bon Jovi, Pink Floyd, Scorpions, Bruce Springsteen, Lady Gaga, Guns N’ Roses, Adele, The Rolling Stones, whatever. Some people just want to be "there", it's not just a concert, it’s a show for everyone.



So, why did Bruce Dickinson shouted and cursed someone in the Greek audience? There were flares. Lots of them. Just like a few times in open shows, no matter what the music genre is, not only in Greece but everywhere, where the show organizers and their security don't do properly their job, and don't check the visitors and the paying customers. I've been in shows and festivals in Greece, Germany, Belgium, Italy, Bulgaria, and I've seen it sometimes here and there. I’ve been a visitor, a guest with a backstage pass, or I’ve worked in a few of them, so I guess I know it from different views. It’s not like Greece where things are more (let’s say) "loose" but I’ve seen insane things elsewhere too in Europe. They’re not just as "often" as in Greece. However, I know many people from aboard that sometimes like this "looseness" and the trip, and really enjoy local shows and festivals. But that’s another side of the coin.


There's a history with Bruce Dickinson in Greece and we know he doesn't like flares, even if the official Iron Maiden social media posted photos with flares (I guess they look impressive in photos, right?) and you can also see flares in their famous "Fear of the Dark" official live video from Donington Park, even in the same song at the En Vivo! DVD (2012), meaning it can happen anywhere, anytime, even in official Iron Maiden releases, no matter how they try to avoid these images. Sometimes, they’re just there and you can’t hide them all the time. That's not something new, that's not happening only in Greece, it can happen anywhere, where the show organizers and their security don't do properly their job. If security does properly the job, flares won't enter the venue, the arena or the stadium, no matter where it's located in the world. Well, it appears that in Greece the security is not as good as elsewhere or the Greeks have found adventurous ways to hide stuff. 



One day before (July 15, 2022) Judas Priest also performed in another location in Release Athens Festival and during "Painkiller" there were flares everywhere while Rob Halford was singing his heart out, never complained, enjoyed every minute and you could see the look of happiness and accomplishment in his face. He thanked us all and left the stage like a Metal God. If you're far away or watching a video, flares and smoke look really impressive, you can't deny that. If you're close, that could be dangerous, we all know that, too. But we also need to mention that the Release Athens Festival was nearly perfect and no one really complained. You can also find excellent gigs and festivals in Greece, just ask a few of the bands that have been here. Many of them love to be here.


If one will consider the Iron Maiden show as a fiasco (I don't, I was lucky to be in a good spot), you can blame Dickinson, you can blame the guys with the flares, but the most important thing one should blame is the lack of proper security and the organization that allowed everything within the stadium. It is funny to see people that during the economic crisis, managed to gather 80 and 90 EUR to see Iron Maiden, and they blame the kids with the flares ruining their evening. They see the tree but they missed the forest. Most of them couldn’t even see the stage because the ticket they bought didn’t match the position they paid, or the setting wasn’t good, people fainted because they were cramped in half of the stadium on the back while others were relaxed in the front, food and drinks were expensive, and security was there just not to allow people move from their area, and make sure they won’t bring beers from outside in the stadium. However, you could even bring guns within the stadium and no one would check you. But still, "the flares bothered Dickinson blah blah blah, he was right blah blah".


The Iron Maiden show of the Legacy of the Beast Tour 2022 was similar with the previous Legacy of the Beast Tour 2018. The difference is that they didn't perform "The Evil That Men Do", "The Wickerman", "For the Greater Good of God", "Where Eagles Dare" and "2 Minutes to Midnight", adding in their place "Blood Brothers" and three songs from the last studio album, Senjutsu. The 2022 setlist was: Senjutsu, Stratego, The Writing on the Wall, Revelations, Blood Brothers, Sign of the Cross, Flight of Icarus, Fear of the Dark, Hallowed Be Thy Name, The Number of the Beast, Iron Maiden, The Trooper, The Clansman, Run to the Hills, Aces High.


The beginning of the show was impressive even if the opening song that was very well performed doesn't really work as a show opener. However, "The Writing on the Wall" sounded better than the album version something that Maiden have done in the past too, with songs such as "No More Lies". Adrian Smith always had a cooler-than-your-favourite-guitarist stage presence but that day he didn’t really had it, but let me tell you that a cool solo part in a song like "The Writing on the Wall" - even if that song is one of the many non-top Maiden cuts - sounds better than the best songs of many other bands. When the three new songs ended, the "legacy" part took over and we can't really complain about the performance and the sound quality, they're professionals and know what to do, it’s an entertainment company now, while every move on stage is prepared beforehand. A few songs were played slower in favor of both frontman Bruce Dickinson (aged 63) and drummer Nicko McBrain (aged 70) but it didn't really matter because they all delivered and Dickinson is an iconic frontman, one of the greatest ever. One might say that McBrain lost a few drum fills or he just make a couple of songs simpler but I don’t think many people noticed that. The setlist lacked of faster and shorter songs with Maiden choosing a few longer numbers of their huge catalogue but it really worked with the show and the changing of the stage sets. During "Flight of Icarus", one of the highlights of the night, Dickinson appeared with a flamethrower on stage and flares also appeared in the audience. When "Fear of the Dark" followed, the whole stadium was singing and more flares appeared here and there. And when "The Number of the Beast" started, Dickinson also started," What did I see? Α cunt with a fucking flare. I’m gonna sing, you fucking cocksucker, you Greek cunt. I’m gonna fucking sing. Fuck you", leaving the stage for a while and the rest of the band tried to keep going. Of course the song was fucked up, Dickinson wasn't synchronized and kept doing gestures against that "Greek cunt". From that point on, the rest of the show was colder. Songs like "The Trooper" and "Aces High" are Everest-high classics but everything sounded cold, at least where I was standing with my friends. Dickinson kept doing a few gestures against "Greek cunts" during the rest of the set and if you were closer you could understand by the look of his face something that doesn’t fit in his status but all of the band members kept going with professionalism, even if there was a lack of passion on stage during the last songs.


So, "Greek cunt"? Imagine being in an open air festival in Germany or USA, and there is a random British band (not Iron Maiden), the security doesn't do very well the job they're paid for and a few flares will appear from hot-bloodied fans, and then, this random British band starts cursing, "you fucking German cunt", "American fucking cunt, fuck you" and all those offensive words we were using sometimes as teenagers just for the shock value. How would it sound if it wasn't Iron Maiden? Does it make any difference because it is Iron Maiden? I've seen that it does from many fanboys that don't bother but what would happen if there was any kind of riot from Greek fans that would be furious? I’ve seen people throwing bottles on stage because they didn’t like the band, imagine a professional, paying artist, starting cursing you. Can you imagine Maiden playing in Israel and Dickinson yelling "Israeli cunt"?


But there is something more with the "cunt" word and that's another issue most people seem to ignore or don’t know. This is not like "malakas" or "asshole". When it comes from a British, it is one of the most offensive and hateful words in the English language. It is pure hate, besides the strong misogynistic overtone. Words like "fuck" or "fucker" have lost their shock value while the "cunt" word is so hateful, offensive and nearly censored, that people in England who will use it in their business environment can lose their job and can be sued. This is not just an offensive word, this is more. Airbourne supported Maiden that day and singer/guitarist Joel O'Keeffe kept saying "malakas" but no one bothered because this is not about political correctness, this is about pure hate coming from the mouth of Bruce Dickinson.


You know what, anything that I am going to write here, anything negative that a random guy from Athens, Berlin, Chicago, London, wherever, will write about Iron Maiden, Judas Priest, Ozzy Osbourne and all those legends that shaped the music we're listening to, won't make any difference, won't bother them, we're just dust in the wind that will disappear after a while. Even if we're right. Their impact and history will remain and that's something they achieved but we're also a small, small part of it, with the support over the years, the money we're spending in live shows, the albums and the merchandise. Every time I am seeing Mantas of Venom live, he always mentions on stage that he is there because of us, the fans. Ronnie James Dio was always kind with the fans no matter what could happen below the stage and there are countless more examples. I think that the bands should not forget about it but that’s just my opinion.


A few weeks ago, there was a Greek hip hop artist using the stage name Lex (ΛΕΞ in Greek) where he played a stadium show and gathered 20.000 young people. That show had a cheap ticket of 8 EUR or something, while at the same period there was the show of Manowar that gathered an estimated number of 10.000 people, having of course a much more expensive ticket of 50 EUR. It was then, where another issue came up in the Greek social media comparing the two different music worlds and the audience. That was a wrong comparison since it was two events with a huge ticket price difference and two completely different worlds. That issue though, is not only about Greece but it is worldwide but let's see behind that contrast because it is very important and it is giving many specific answers combined with the Iron Maiden show.

During that contrast between Lex and Manowar, hip hop & rap music with heavy metal, I've read from many Greek metal fans comments like "watch all those young kids and teenagers at the Lex gig - in the heavy metal scene we're just old guys". Those boomers that were complaining about the lack of young people in the metal scene, and compared a Manowar show of an audience mainly 35+ years old with that hip hop event, probably didn't want to notice that in the 20.000 young people event, there were countless flares that turned the night to day. Those old metal fans that justified those kids because they're having fun are the same ones who today are screaming about the "Greek cunt" who brought a flare in a Maiden stadium show of 40.000 people and it bothered Bruce Dickinson. Is this confusion or hypocrisy? Truth to be told, those kids probably don’t give a fuck about you but if you want to complain about the lack of young people in metal live shows, maybe you should just look in the mirror. We’ll go to that later, for now here is a photo of that Lex show and its flaming youth.



Heavy metal has lost the element of danger, the fun, and the reaction against whatever the young people want. The young "Greek cunt" paid 80 and 90 EUR to watch Iron Maiden, a heavy metal band and will headbang, push, yell, enter a mosh pit, do a crowd surfing, even light up a flare in a very rare occasion. Then, the young "Greek cunt" will have an old dude pointing a finger to him because the young kid does his revolution and having fun, just like everyone did a few decades ago when they were below the stage of Black Sabbath, Metallica, Slayer, Motörhead and countless more. When shows had passion and it wasn't just dads sitting their ass on a soft chair, a venue corner or the balcony, complain if someone will go so close to them that will feel a touch...


Is it right to light up a flare in a concert show? I wouldn't do it, probably I never did it even when I was young. If someone does it next to me now, I will go to another place and if it bothers me I will let him know it and kindly ask him to stop. If he doesn't stop you never know how it will end. But I have no problem whatever will happen, nicely or badly. That's life.


Is it right for the artist to start cursing someone in the audience about a flare? I don't find it right but I definitely don't want it to affect the show I paid for. Also, the artist should expect a reply because it is always action-reaction. So, if the artist will do it, he should expect that probably it will be worst. That's life.


But never forget that it's not just the millionaire, professional singer and the "Greek cunt". If you want my humble opinion, it's all about the rules set by the organizer / promoter and the security paid to do a specific job. If you're paying a ticket to watch a specific show under certain rules and you don't follow them, it's the security's job to solve the problem. Of course it’s each individual’s responsibility as a human being to behave too but we’re not professional gig attenders and sometimes things can get out of hand. The professionals are on stage and the rest are working for the show (security included), so they should take care of such things.


Also, sometimes we tend to forget that this is heavy metal. We were also kids once and I have strong memories of great shows where I travelled many miles sleepless, I was yelling and screaming, and returned home with bruises. I don't regret, I don't forget, I don't want it to change, even if I am not doing it anymore. That's part of my youth and if it never happened to you, I am sorry, but in my opinion your relationship with Heavy Metal is blurry.


If all those things would bother the young Black Sabbath, the young Venom, the young Metallica, even the young Iron Maiden, we wouldn't be here, you wouldn't be here, you would be a Milli Vanilli fan. 

 





Do you want to know why you don't see many young kids in the heavy metal scene?


Because they're kids, and sometimes kids want to make their brief revolution against normality. You say yes, they say no. You say white, they say black. You say stop, they say fire! This is not bad, this is not a crime and you can't lock them. Unless you want them to be zombies with iPhones stucked in their hands. If Heavy Metal has become completely conservative, younger fans will find somewhere else to do their revolution, as they're doing with the recent example of Lex in Greece. Without promotion and without media, just the word of mouth. Goddamnit, I didn't know this Lex guy one month ago and suddenly he gathered 20.000 young kids in his concert! So there's a huge audience out there pointing the middle finger to dad-rockers and their dinosaur beliefs.


Because many of them can't be related with 60 and 70 year old guys running on a stage holding their breath, and having 40+ year old dudes below the stage pointing the finger to them so they will "behave" like they're in a Frank fuckin' Sinatra nightmare show.


Because many of the 40+ and 50 year old dudes keep saying "there are no good new metal bands". You can't have a new audience if there aren't new metal bands. Young people want to see young musicians too so they can relate to them; their generation. And THERE ARE excellent new metal bands but the boomer with the soft ass will never accept it because he is still living in the past. And as long as we keep saying that heavy metal will die once Iron Maiden, Judas Priest and all those legends will retire, that will happen for them too. And along with those legendary bands, the "old guard of fans" will also die and maybe then, maybe then, a young generation will be free from the boomer bullshit.


Because an "editor" in a magazine, website, whatever, will review a new band of 18-year old kids and see a photo of youngsters dressed up in leather and posing like their idols, playing whatever they want with passion, having a label supporting new blood, and that "editor" just writes whatever it takes just to project himself as a metal omniscient larger than the artists themselves. That is a failure. The boomer attitude that the "old guy" knows better and he can affect everyone's opinion. Bullshit. And that's coming from someone like me, who is 45 years old and works in the music industry.


Because metal music has been an expensive music nowadays. Records are getting expensive, live shows are sky-high expensive and young fans that don't have a work yet, can't keep asking their parents to give them 80 and 90 EUR to see Iron Maiden or 35 EUR to see Accept. They can go only to a few gigs and they can't really buy many albums.


I was not far from a company of high-school kids with flares in the Iron Maiden show. I saw them from distance having the fun of their life, like nothing else mattered. Time seemed to stop for them, they were yelling and smiling. I understand those who were annoyed and they have every right to be annoyed. But that image, for a while, it was a flame that sometimes is missing from life. And from Heavy Metal.


That was intended to be a Facebook post but a few paragraphs were expanded to a bigger feature of more than 3000 words (I did it again…), so it's added in the blog.

I can understand that a few people will disagree, that's fine and healthy, there's no problem with that. But if you believe that your opposite opinion is the correct one, the truth and the only truth, and everyone else is an idiot, then maybe you deserve a curse in a Bruce Dickinson way. Doesn't look nice, huh?




Edit: Meanwhile, a few days later in Germany...



Κυριακή 29 Μαΐου 2022

Celtic Frost's "Monotheist"... and the end.

Monotheist was released on May 29th in 2006. This is the best reunion album of extreme metal. Let's have a look in the abyss...

written by Andreas Andreou

 



Hellhammer was buried. After the triumph of death, the mysteries of perversity brought Celtic Frost from the demon entrails. Morbid Tales (1984), Emperor's Return (1985) and To Mega Therion (1985) are among the foundations of extreme metal, and Into The Pandemonium (1987) is a genre-breaking record that introduced us widely the term "avant-garde" in metal music. An experimental dark album with undeniable influence.

The overall influence of Celtic Frost was both musical, artistic and visual. Up to that point, the Swiss band was the ultimate ground-breaking metal act. Martin Eric Ain was separated from Celtic Frost during the recordings of To Mega Therion but returned very quickly and even if Tom Gabriel Warrior was the prime composer, Martin was the link that completed the gaze into the abyss with his contributions in lyrics, music and image.

Cold Lake (1988) was one of those disastrous decisions in the change of musical direction, Martin Eric Ain wasn't there and Tom G. Warrior doesn't want to listen to this record again. However, despite most cases in the music industry, Tom has no problem admitting that this album was a failure, a mistake he did misguided and should never happen. Vanity/Nemesis (1990) marks the return of Martin Ain but fans must have felt betrayed and drowned in a cold lake, so after a while, there was silence. During this silence, the impact of Celtic Frost, one of the most original and eccentric bands in metal music, was growing over and over...

After talking again and planning the reunion, it was finally in late 2001 where Tom Gabriel Fischer (Warrior) and Martin Eric Ain began to write music together again, along with Erol Unala on guitar and, from late 2002, drummer Franco Sesa joined them, as equal members. At that point, Tom and Martin wanted to offer an artistic conclusion of what Celtic Frost is. The album was recorded in different studios, starting in 2002 and completed in the end of 2005 under the title: Monotheist.

Monotheist is the true essence of Celtic Frost. This album isn't a simple reunion, this is a return to form that made their legacy stronger. "I am you. Stillborn. Into this state of being numb" are the first words of 'Progeny', the opening track and "I am hatred, seeping blood" are the first words of the second track, 'Ground', both of them starting loud and heavy, with an abyssic tone. Then, you have the third track, 'A Dying God Coming into Human Flesh' followed by 'Drown in Ashes' and all is cold; flesh, too. After diving deeply in the music and lyrics, you start feeling a misplaced reality of total darkness where there is no hope, where everything ceases to exist and some things seem unavoidable. Not cathartic, just unavoidable.

The following track 'Os Abysmi Vel Daath' is where Ain and Fischer enter the abyss, taking all of us with them in nothingness. There is sorrow, pain and loneliness in this album, a chilling gaze into the abyss, where there was never light, just the reflection of darkness. In 'Obscured' you can feel the loneliness, the empty space and oblivion, while in 'Domain of Decay' the existence is left behind. "There is no God but the one that dies with me", line from the song 'Ain Elohim' might summarize the general idea behind Monotheist. The way Tom G. Fischer pronounces words like "flesh" and "wrath" is beyond evil and Tom's performance in Monotheist is his best of all the Celtic Frost albums. He is morbid and grotesque, a true artist, not an act. The Triptych part of Monotheist starts with the unspeakable 'Totengott' followed by the 14-minute blasphemy of 'Synagoga Satanae' and completed by 'Winter', the third and final chapter of Celtic Frost's Requiem.

The album's tracklist is:
01. Progeny
02. Ground
03. A Dying God Coming into Human Flesh
04. Drown in Ashes
05. Os Abysmi Vel Daath
06. Obscured
07. Domain of Decay
08. Ain Elohim
09. Totengott
10. Synagoga Satanae     
11. Winter (Requiem, Chapter Three: Finale)

but there were two more songs in different editions of the album. 'Incantation Against You' was an additional track in the double vinyl version, and 'Temple of Depression' was a bonus track in the limited digipak CD version. Years later in 2017, 'Temple of Depression' was released as a limited edition shaped vinyl disc. You can see those versions in the picture.
 

 

Monotheist was produced by Celtic Frost, and Peter Tägtgren was employed as co-producer because they wanted the input of someone from the then contemporary scene, while they retained full decision power. Moreover, as mentioned by Fischer, they were unhappy with Tätgren's mix and later mixed the album again themselves in Switzerland. This is the version that was released, even if the album credits we know are slightly different.

Additional contributions to the album include: Simone Vollenweider (vocals) Lisa Middlehauve (vocals), Satyr (vocals), Cornelia Bruggmann (operatic voice), Carla Grundmeier (choir - soprano), Florian Lohmann (choir - tenor), Sebastian Naglatzki (choir - bass), Keno Weber (choir - baritone), Sibylle Hauf (choir - alto), Viola Hauf (choir - alto),  Ravn (backing vocals), Peter Tägtgren (death grunt), Michael Sopunov (French horn), Christoph Littmann (classical & choir arrangement, conductor). In 'Winter': May-Britt Altendorf, Laurent Plettner, Frauke Pohlmann (violin) - Katarzyna Bugala, Sandra Rehle (viola) - Jong Sung Choi (bass) - Dmitry Struchkov, Ya-Hee Yoon (cello).

Few months prior to the release of Monotheist in 2006, Martin Eric Ain, one of the main responsible persons for the visual artistic direction of the album, visited the offices of the label (Century Media) and unfurled full-color printouts of the complete layout, including final artwork for everything (both CD and vinyl) and provided detailed explanations about all symbolism, meaning and importance of what he presented.
 


Photo taken on January 16th of 2006, courtesy of Century Media Records. At that time and after the years of Noise Records with the problems and artistic limitations they had, they knew exactly what they wanted and everything was done under their control. It was the time when Celtic Frost finally presented everything the way it should be. And while there are many people that don't consider Monotheist as the "best" Celtic Frost album, this is definitely the ultimate and absolute Celtic Frost album.

Sometimes, words fail to express the feelings.

There is also something else about Monotheist. And Celtic Frost also. And Tom Gabriel Fischer's core music works too. The greatest pieces of music are not created by viewing the art of music as "mathematics". One can learn to play the guitar or follow vocal lessons but you can't teach someone talent. And you cant' teach someone how to be original. You either have it or not. Anyone can create something, and that's good, but the most unique pieces of music weren't created just by "numbers" or just because someone wanted to follow a specific plan and/or direction and sat down to write music from 9 in the morning to 3 at noon. You can write and perform great music that way and many of our favourite albums were created that way. But the greatest and most original ones will always be the ones created spontaneously. With passion and fire. And not planned to be written at a specific time.

Vangelis (Evángelos Odysséas Papathanassíou) died on May 17th of 2022 and he is known as one of the greatest musicians born in Greece. His music is spread not only in every corner of the Earth but in space too. Vangelis was self-taught, no one taught him how to write and perform music, he had his own code of creating music, and he believed that music guides the human being and not the opposite. In Vangelis' world of ideas and harmony, one can write a piece of music because one thought about it and how this piece was planned to be. But one can also write music spontaneously, without thinking of it, just like Vangelis did. Music found him, he believed.

Music is all over around us, everywhere in the world we know and understand (and the things we don't) and it's coming to you. In the '70s, some people would call it "jamming" but in reality (whatever reality is in the Theory of Forms) the artist's greatest talent is to be always available for music ideas, at any time. Then, the artist should have the fire needed to light up the creativity and expand the idea. And that's how I view Tom Gabriel Fischer and all true artists.
 

February 2006 - Photograph by Jozo Palkovits


Tom Gabriel Fischer and Martin Eric Ain had a background of sadness and their childhood years weren't easy. They had a vision in music and things they wanted to do but at the same time there were limitations in technical capabilities. But the vision and the talent was there. Both of them started reading books about different aspects of the occult, philosophy and everything else that helped them shape their own beliefs. They started creating their own imagery, symbols and ideas. Music can be found everywhere, even in darkness, nothingness, silence. Stare into the abyss, and the abyss stares back at you.

Monotheist is crushing and intense, a scary and dark album. Every lyric, every line, every note, every symbolism, every detail, everything has its meaning. And those meanings create a larger idea, larger than the album itself, larger than Celtic Frost. Monotheist is a unique experience. Abyss itself.

Flesh has failed. Os abysmi. 



2023年幸运飞行艇官方开奖历史记录 - 幸运飞行艇官方开奖历史记录手机app查询 - Everything will come to an happy ending.

On April 2, 2008, Tom Gabriel Fischer left Celtic Frost, the band that was his own life's work, the content of his existence. Celtic Frost has always been fraught with adversity from the inception to the end, a confrontational entity that doesn't fit anywhere and Tom is the soul of this entity. Not an act, but the essence and the soul. On June 16th of 2008, there was a statement by Martin Eric Ain & Franco Sesa (who was also Martin's close friend and the voice that disagreed with Tom), mentioning among others: "Tom Gabriel Fischer has left the band, but Celtic Frost is still alive, albeit in a coma of sorts. Franco and I are not going to continue recording or touring as Celtic Frost. This would be preposterous without one of its founding members, the original voice and its defining guitarist. But we are not going to officially disband Celtic Frost."

Tom's reply to Martin is known, since it was posted in his (incredible) blog Delineation II sometime ago, mentioning among others: "I explicitly think it is wrong to give fans cause for hope when there is none. There will be no reunification of Celtic Frost, at least not with me. Just how many times should we reunite and dissolve the band? [...] I cannot imagine reuniting Celtic Frost one more time, not with me and certainly not without me."

In September of 2008, Martin Eric Ain and Tom Gabriel Fischer discussed the situation and agreed that any continuation of Celtic Frost without either one of them would be absonant and decided to lay Celtic Frost to rest, with respect to their ideas and the legacy of this unique band.

It seemed though that Martin Eric Ain was already tired by touring and the "band" life in contrast with his comfortable life. "Martin lives on a different planet to the rest of us", Fischer told Iron Fist magazine, in 2014. "He runs an empire of clubs and bars in Zurich, and we're not talking about metal clubs - he runs the hipster clubs. Martin is a millionaire and that's his world now". But the lives of all those surrounding him, will never be the same without him. Tom's, also.

Tom Gabriel Fischer formed Triptykon.

There wasn't any other sign of Celtic Frost. Martin Eric Ain left the mortal world on October 21st, 2017 by heart attack.

After two triumphant studio albums (Eparistera Daimones 2010, Melana Chasmata 2014), Triptykon released Requiem (Live at Roadburn 2019) including 'Rex Irae (Requiem, Chapter One: Overture)', 'Grave Eternal (Requiem, Chapter Two: Transition)' and 'Winter (Requiem, Chapter Three: Finale)'. Celtic Frost's requiem was originally begun in autumn of 1986 and its first part, 'Rex Irae', originally appeared on Into the Pandemonium album. 'Winter' originally appeared on the Monotheist album and Fischer started writing it in 2001. It was supposed that the requiem should be concluded once Celtic Frost recorded the second part but in the end, requiem was presented in its entirety by Triptykon with the Metropole Orkest.

Then, the Triumph of Death walked upon us again.