Slayer - Show No Mercy (1983)

Slayer crawled from a dark and forgotten grave, in late 1981, outside of Huntington Park, CA. Kerry King, who had previously been in a band with Tom Araya, put together this black cult by recruiting Jeff Hanneman and then Dave Lombardo, before bringing Tom into the fold. Within months, Slayer had begun to play small clubs, covering songs by the likes of Judas Priest and Iron Maiden. Into 1983, the band was noticed by Brian Slagel while playing at a club called Woodstock. He had just recently started Metal Blade Records. He asked them to record a song for the upcoming compilation Metal Massacre III. They contributed the song "Aggressive Perfector", which was all Slagel needed to motivate him to sign the band to record a full-length album. Slayer entered the studio in November 1983, thanks to financial assistance from King's father and Tom Araya, himself. Within a few weeks, Show No Mercy was unleashed upon the metal underground.

Just thinking of this album leaves my mind clouded with nostalgia. This classic opened up a whole new world for me, musically speaking. The intense speed-picking that would become the backbone of Thrash Metal was not new to me. However, this was much darker than anything found on Kill 'Em All, for example, which was released just six months earlier. This kills anything released from the NWOBHM bands that inspired them, even the mighty Venom (which I had yet to discover by this point). Listening to Show No Mercy for the first time was like stumbling through the gates of Hell. I had an idea of what it would be like, but nothing could have prepared me for this. Some consider this Speed Metal while others think of it as Thrash Metal. Given the overtly Satanic content of the record, this belongs to the first wave of Black Metal as much as Venom, Mercyful Fate or Hellhammer (who were just entering a proper studio for the first time, around the time this was released in December 1983). The lyrics were already taking a deeper meaning for me, at that early age:

"...You never should have come this far..."

Entering the dark realm that laid before me, I knew that I would be forever changed. I paused, momentarily, to consider what I was about to do. In a sense, I felt like it was destiny. I was meant to experience this album at the precise time that I did. I was ready and I marched forward, awaiting the horrific sights and hellish sounds.

Show No Mercy wastes no time in going straight for the throat. One might expect a sinister intro, such as the one found on Satan's Court in the Act. However, much like Venom's debut, this album begins with full intensity. "Evil Has No Boundaries" starts with a chaotic and wicked solo, joined by Tom Araya's high-pitched screams from the pits of Hell. This song features the only time this band used a chorus of backing vocals, which included Gene Hoglan (later of Dark Angel). The fast-paced musical attack is accompanied by evil lyrics that suit the atmosphere.

"Satan our master in evil mayhem

Guides us with every first step

Our axes are growing with power and fury

Soon there'll be nothingness left"

The lyrical content was the most evil thing to be found, along with the likes of Venom and Mercyful Fate. Despite the fury of this aural assault, this possesses a great deal of melody and showcases brilliant songwriting.

"The Antichrist" begins with a very recognizable riff, before Tom's vocals rise from the fiery depths. There is a bit of Rob Halford influence, possibly, in the higher notes yet his regular style, at the time, seems to owe more to Cronos. The riffs and song structures, here, hearken back to the classic days of early heavy metal. The solos found on this song are much more thought-out and melodic than what would come later. While it is easy to make comparisons with early Venom, the main difference is that this is tighter, faster and more powerful than anything found on Welcome To Hell or Black Metal. Listening to this song, the memories return of a time when I had begun to really put a lot of thought toward questioning established religions and realizing how worthless they were. The lyrics echoed my own growing sentiment at the time.

"Searching for the answer

Christ hasn't come

Awaiting the final moment

The birth of Satan's son"

The next song is "Die By the Sword". This one is another fairly fast-paced tune, quite similar to the first two, yet possessing a clear identity of its own. After a minute or so, the song slows down a bit, allowing the hellish atmosphere to grow as the flames consume you. Tom's vocals take a much more sinister feeling, as do the guitar harmonies. The solos are a bit more conventional and melody-based on this album, such as the descending/tapping run in the ending solo of this song. Despite being just a few minutes long, this does well to create somewhat of an epic feeling.

"Fight Till Death" is one of the fastest songs on Show No Mercy. This is one of the earliest pure Speed/Thrash Metal classics, utilizing less of a traditional approach. There are a few riff changes, though the song has a clear theme. Only in the closing moments do things really slow down, as Tom's inhuman shriek makes your blood run cold.

Supposedly, the band was rushed through the recording to save on studio costs and this has been blamed for poor production. It is a good thing that they had only eight hours to get this done, as everything about the sound is perfect for this music. The next offering is the epic masterpiece "Metal Storm / Face the Slayer". Rather than unleashing the full demonic fury of Hell upon the listener, this takes you on a dark and eerie journey through the murky shadows. The guitar harmonies put Tipton and Downing to shame, as King and Hanneman work together to create something truly hellish and yet nocturnal in spirit. As the intro section bleeds into the main part of the song, the tension continues to build and this is evident not only in the guitar riffs but in the vocal delivery. Certainly, this has to be the darkest piece of the album, up to this point; something that must be experienced to truly understand. From the soul-shattering screams to the wickedly evil solos, this is like a raging beast, out for human blood. Of course, the lyrics perfectly suit the feeling of the song.

"I'll trap you in the pentagram

And seal your battered tomb

Your life is just another game

For Satan's night of doom"

As Side Two begins, you find yourself in awe of what you just experience. Now, "Black Magic" slowly rises from the depths, building up until it explodes with a bloody vengeance. This is one of the most energetic songs to be found on the album. The heightened intensity can even be heard in the vocals, which also take on a much more evil tone. Tom still utilizes the high-pitched screams (some of the best of the L.P.) but he also makes use of a deeper sound, putting Cronos to utter shame. The thrash riffs slow down a bit, near the end, but this doesn't last long. More scathing solos work carries the song to its conclusion.

"Tormentor" is the next song. This one really has an old and dark feeling. The guitar harmonies would be perfect if used for a movie trailer for the original Halloween. I'm not sure if it was because I was obsessed with the old Halloween movies around the same time that I discovered this album or if there is something more, but I can picture the girl running through the nocturnal maze, being chased by a psychotic killer. Even the lyrics go well with this imagery:

"Afraid to walk the streets

In the coldness, all alone

The blackness of the night

Engulfs your flesh and bones"

The story is simple, yet effective, and it plays on a very primal fear that has plagued humanity since the dawn of time; the fear of the dark and of the unknown. There is no way to know what lurks in the shadows, waiting to claim your life. Musically, the song is pure genius. Every melody and vocal line flows perfectly to create an atmosphere of nocturnal terror.

As the album continues with "The Final Command", it is remarkable that there is no filler to be found here. After an interesting build-up, this song unleashes still more intensity. As hard as it may be to believe, this song is even faster than those that preceded it and yet it is no less melodic and memorable.

By the time "Crionics" rears its head, the listener is near the point of exhaustion. Thankfully, the galloping pace is a little more relaxed than on previous songs. This one features a bit of a departure from the lyrical approach found elsewhere on the record. The twin guitar melodies are brilliant, though nothing less could be expected of this duo, by this point. This is dripping with an epic aura, even before the killer solos begin to take root in your brain. Forget Priest, Maiden, Satan, Raven or Metallica. This kills all of them.

This eternal classic concludes with "Show No Mercy". Just when you think you might have earned a bit of rest, having little left to offer, this one raises the intensity levels and seeks to leave nothing left but twisted, burnt remains. These are not the sounds of a mere Satanic ritual, this is the wrath of Hell being unleashed upon your feeble souls.

"Roam throughout the endless wars

Hold high his name we must

Warriors from the gates of Hell

In Lord Satan we trust"

This fast-paced assault blasts through, destroying everything in its path. Tom's vocals are filled with conviction matching the tension of the various guitar riffs, all working toward a single goal. The screaming solos foreshadow the endless agony that you will soon suffer, dragging you into the fiery depths as they fade.

What can be said about this timeless classic? This record put Slayer on the map and established them as one of the most lethal bands in the underground. With Show No Mercy, they managed to blend dark melodies with the rage and fury of Hell, creating an evil atmosphere that few, if any, could match. Obtain this at any and all cost so that you may worship at the altar of Slayer.

Venom - Die Hard (1983)

A few months after unleashing At War With Satan, Venom began releasing a lot of singles, mini-albums and compilations. The first of these was Die Hard, released by Neat Records in August 1983. Oddly enough, with the number of songs put out during this period, they could have issued them all on one full-length. It certainly would have been superior to Possessed. It wouldn't be until 1986 when they caught on to this and released The Singles: 80-86. At any rate, what we have here are two solid Venom tunes that are worthy of being in anyone's collection.

"Die Hard" begins with a dark thrash riff, a slow build of the drums and a maniacal laugh. The pace isn't necessarily fast, but it's far from slow. It's more of the 'relaxed' Venom tempo that is found on songs like "Welcome To Hell". There's some interesting bass work, in the middle, just before and during the guitar solo. It adds a certain depth to the sound. Anyone that has seen Cronos, live, knows he can really shred on the bass when given the opportunity. Of course, the lyrics reflect the band's Satanic image, right from the first lines:

"Satan, Father

Help me from this grave

Demons, Warriors

Ever be my slaves"

The next song is "Acid Queen". This one burst forth with increased speed, yet the intensity is ephemeral as the verse is more subdued. Cronos sounds out of his mind on this one, and the lyrics seem to cover drug use from an evil perspective.

"Demon controls my mind - leaves the real world behind"

The song speeds up for a bit, featuring a lethargic lead solo as the depraved vocals rage over the trademark Venom guitar sound. The best description of this would be nasty or ugly, rather than dark or evil.

The US version of this features a third song, "Bursting Out". This version begins with a somber intro, before exploding at full speed. During the verses, there are moments where the guitars stop and the vocals are only backed by drums and bass, giving it more of a rock feeling, but only for a few seconds. There are some vocal effects on sections of the song, as Cronos seems to be echoed by distant, demonic voices. The lead solo is lethal and frantic, ending in a chorus of hellish screaming and the sounds of broken glass, with a bit of feedback swirling around. This provides a nice bit of chaos and adds some darkness to the song. Unfortunately for those outside the US, this is actually the best track on here.

All in all, these songs could have been saved for an L.P. but they go well together to create an interesting release and add nicely to the stockpile of Venom tunes.

Mercyful Fate - Don't Break the Oath (1984)

After establishing themselves as one of the best new bands in the growing underground metal scene of the 80s, the Danish Black Metal band Mercyful Fate returned to Copenhagen's Easy Sound Studios in May 1984 to record the follow-up to their classic debut. Once again, they worked with producer Henrik Lund, though the band members were much more hand-on this time around. The songs maintained the majestic heaviness that the band was known for and they harnessed their multi-tempo, multi-section style of songwriting into compact epics that were still complex, yet more hard-hitting. Released in the first week of September 1984, Don't Break the Oath proved to be a worthy successor to Melissa and cemented the legacy of Mercyful Fate.

Music has always had the ability to capture the atmosphere of the time when I am first discovering it. This masterpiece of early Black Metal was initially explored during a very dark and miserable time in my existence; therefore, it retains the hellish spirit of that period. In a way, it only adds to the overall feeling of darkness on the record. I obtained this shortly after the first one, so I found myself digesting both around the same time. After hearing how King Diamond's vocals were an acquired taste, I was surprised once I actually encountered them for myself. There was nothing to 'get used to' at all. With the music that I grew up with, this seemed fairly natural and I couldn't imagine the songs sounding any other way.

"A Dangerous Meeting" begins with a riff as sharp as a sacrificial blade, dripping with fresh blood. Immediately, it is apparent that the sound here is more raw and powerful than that of the previous album. The tension is present from the first moments, and it serves to build the anticipation. By the time the song really gets underway, you are nearly ready to burst. The opening solo is pure Mercyful Fate and could never be mistaken for anyone else. The mid-paced thrash riffs, along with King's insane falsetto are enough to pierce your skull. The songwriting is brilliant, showing great refinement from the earlier versions of this song. Of course, the lyrics display the same obsession with the occult, which has not lessened in any manner.

"Tonight the circle is broken forever

Seven people dead within a trance

In here nobody is sensing the rain

Tonight seven souls are reaching Hell"

As the song continues, the pace slows to a doom-filled crawl and the atmosphere is accentuated by the chiming of funeral bells and an incredibly eerie guitar solo. This is a very strong opener which sets the tone for the rest of the album.

"Nightmare" begins with the drums and a simple bass line, before the guitars join in. This one utilizes a faster pace than the previous song, though possessing the usual tempo changes. It is said that the lyrics were inspired by a dream that King had, as a child, which is actually what triggered his interest in the occult. Near the middle, the riffs seem more reminiscent of something from the debut E.P. accompanied by very ghoulish vocals. As if this was not enough, it is followed by more classical guitar brilliance, unleashing a very haunting melody. This song seems to get better and better as it progresses, being almost inhumanly good. The overall feeling becomes more and more insane as the end draws near.

The next song begins with very heavy riffs and demonic vocals. "Desecration of Souls" displays a bit more of King's normal vocal approach and less falsetto, with the exception of the refrain. This one is more mid-paced, with more of a relaxed speed. There is more focus and direction than on the last song, and some truly amazing solo work. All in all, a very memorable piece.

"Night of the Unborn" begins with an insane solo, followed by guitar riffs that build in intensity. The song then changes pace, effortlessly. King's falsetto returns in full force, here. Again, one has to be impressed with Mercyful Fate's ability to create such memorable songs, while still maintaining the complexity. King's vocal lines have a lot to do with this, as they aren't just randomly shouted. Much like one of the instruments, he makes sure to remain in harmony with the rest and it all works very well. There is a brief burst of speed, as the song progresses, but this falls to the wayside in favor of some great lead solos.

The next song begins with a terrifyingly evil intro. This is no horror movie soundtrack. This is the audio equivalent of a black ritual, held on the night of the full moon, sacrificing virgins, in the light of torches, with rusted blades that have ended countless lives. "The Oath" is one of the most brilliant works of black art ever created. As the thunder rumbles in the distance, cold winds blow and the funeral bells toll through the sound of falling rain. As the song begins, you cannot help but be in awe of its genius. The first true verse of the song conveys a great deal of conviction.

"I deny Jesus Christ, the deceiver

And I abjure the Christian faith

Holding in contempt all of its works"

The vocals are as haunting as the guitar melodies, truly working as another instrument. In many ways, this song defines what Mercyful Fate is all about. That much is evident in the lyrics.

"In the name of Satan, the ruler of Earth

Open wide the gates of Hell and come forth from the abyss

By these names: Satan, Leviathan, Belial, Lucifer

I will kiss the goat"

In a sense, this is the musical follow-up to "Satan's Fall", though it is a bit more concise and has a definite theme. Unfortunately, it is another one of those songs that must be heard to be understood. This is something that you must experience to truly comprehend its dark Satanic majesty.

"Gypsy" follows this, beginning with a very catchy riff. This is the shortest real song on here, though it contains all of the trademark ingredients of a classic Mercyful Fate song. The complex arrangements remain, as well as King's unique vocal approach and the blistering solo work of Hank Shermann and Michael Denner. The atmosphere isn't quite as dark as what was established on the previous song, probably in the hopes of giving the listener a bit of a breather. It is best, maybe, for them to finish hearing the album before sacrificing their soul to the lord of darkness.

More heavy and powerful riffs are found at the beginning of "Welcome Princess of Hell". There is a sorrowful feeling running through this one, though not too obvious. The mid-paced thrash riffs and killer solos are easily recognizable and remain stuck in your brain long after hearing this. Also worth mention is that there seems to be an issue regarding the title of the song. It is said that the actual name of the song is "Welcome Princes Of Hell", not "Welcome Princess Of Hell". It was a title misprint, where the lyrics were correctly written in the original pressing but the title wasn't. The distinction can also be heard in the song (the prince "is" vs. prince "s"), as well as the plural connotation of the lyrics "I'm alone with my friends, We will be back, we will be back." Though this is a small matter, it does change the interpretation of the song a great deal. Reading the lyrics, it seems to work, either way. Unfortunately, there is no mention of this on the official website, so it is not clear. Whatever the case, this is an undeniable classic.

"To One Far Away" is an instrumental track that takes the minimal amount of sorrow from the previous song and expands on it. This very brief piece has a somber feeling, reminiscent of the title track from the previous album.

This classic album concludes with "Come to the Sabbath". From the first moments, it grabs you by the throat in all its Satanic glory. The opening riffs are dark and epic, as well as King's evil wailing.

"Come come to the sabbath

Down by the ruined bridge

Later on the master will join us

Called from the heart of Hell"

This masterpiece features faster parts with riffs that are near thrash as well as slower sections. The complex arrangements flow together, seamlessly. This is the climax of the whole album; truly representative of what Mercyful Fate had to offer. It's all here, in this compact epic. There is even a passing reference to Melissa to be found here. In the last minute or two, the atmosphere becomes exceptionally dismal, with King's ghastly moans echoing over haunting classical guitar melodies. Very few songs, by any band, can approach the sheer brilliance of this masterpiece. Indeed, it is rare for many albums to reach the levels of brilliance found on Don't Break the Oath or its predecessor, Melissa. The sad thing is that, just as they had really built a great deal of momentum, Mercyful Fate had, unknowingly, recorded their swansong (for the time being). Creative differences between Hank Shermann and King Diamond led to the downfall of the band, which split in 1985. While Hank went on to form an ill-fated pop band, King Diamond began a solo career, joined by Michael Denner and Timi Hansen. The legacy of Don't Break the Oath can be found on Fatal Portrait, which features a similar sound, though being different enough that it warranted laying one band to rest and beginning a new one.

Mercyful Fate - Melissa (1983)

With the success of their mini-L.P. to launch their careers, the members of Mercyful Fate wasted little time in capitalizing on this by signing with Roadrunner Records in 1983. By July, this Danish Black Metal band found themselves in Easy Sound studio, in Copenhagen, to record their debut L.P. It was produced by Henrik Lund, who did his best to capture the intense heaviness and complex arrangements that made Mercyful Fate stand out.

Melissa was one of the earliest Black Metal albums that I got my hands on. Of course, to some younger fans this might sound odd but, of course, in the 80s Black Metal was used to describe heavy music that had a very obvious Satanic theme in the lyrics and image of the band. The dark sound on this album was complimented, in a strange sense, by the fact that I obtained the record during a very bleak and dismal point in my life and this feeling was captured and amplified by the efforts of Hank Shermann, King Diamond and the rest.

The L.P. begins with "Evil", which bursts from the shadows and continues the NWOBHM-inspired sound that was prevalent on the E.P. The pace of the song isn't so intense, but the riffs and vocals work together to cloud the listener's mind with a murky fog. The ghoulish way that King's vocals fade in should be enough to send chills up the spines of many. The very first lyrics of the album do well to set the tone for what is to follow.

"I was born on the cemetery

Under the sign of the moon

Raised from my grave by the dead"

This isn't quite as raw as the E.P. but the quality of the songs makes up for that, as well as the fact that the band had time to fully realize their dark vision. King Diamond managed to develop his unique singing style, and he often goes from his normal voice to a creepy falsetto. He also overdubs falsetto voices that harmonize with the main voice. As the song progresses, it speeds up and the sound is dominated by very good solo work.

"Curse of the Pharoahs" begins with another sinister riff, maintaining the dark feeling from the previous song. To describe the sound, one would have to reference early works from Iron Maiden, such as Killers, as well as 70s hard rock and heavy metal bands like Deep Purple and, of course, Black Sabbath. Lyrical content on this one is less evil, yet still obsessed with darkness and doom.

The next song managed to make the PMRC's 'Filthy Fifteen' list, back in the 80s. "Into the Coven" begins with a classical guitar intro which is then followed by a neo-classical electric piece, creating a uniquely malevolent and foreboding atmosphere, before the Black Metal assault begins. The opening solo and mid-paced thrash riffs carry you down a river of blood toward an eternity of fire and suffering. King's falsetto approach is utilized quite a bit, throughout this song. The vocal delivery possesses as much conviction as the riffs themselves. The slower section creates a really eerie and sorrowful feeling. After this brief lull, the band increases the speed, dragging you deeper into the flames of Hell. As for the lyrics, it doesn't get more Black Metal than this:

"Suck the blood from this unholy knife

Say after me: My soul belongs to Satan"

To say that the music on this album is catchy might be a bit misleading, as that denotes some sort of insincerity on the part of the musicians, in an effort to make something that appeals to the lowest levels of human cogniscence. What can be said is that the riffs and vocal lines are extremely memorable and each song truly has a life of its own. No two songs sound alike, yet it is all unmistakably Mercyful Fate.

"At the Sound of the Demon Bell" begins with a sound that is less threatening and soul-crushing. The feeling is more reminiscent of some of the material from the E.P. in that it isn't quite as dark. Musically, this shows some influence from early Black Sabbath, and the overall feeling owes more to the 70s metal sound. The demonic choir in the background adds a lot to the aura as it darkens over the course of the song. This piece is much like a journey into the shadows, as the atmosphere becomes more hellish as it progresses. The song, effortlessly, flows from one part to the next, showcasing Mercyful Fate's ability to create mini-epics.

Side Two begins with more of an up-tempo, galloping pace. "Black Funeral", unfortunately, is the shortest song on the album. It is almost criminally short, yet that is the sign of a brilliant band; they know when enough is enough. Sometimes, less is more and this is a case where the listener is left wanting even more, which is better than the listener looking around to figure out if a song is nearly finished. Like the rest of the album, this song is pure genius and features some of my favorite vocal lines of the record. As for the lyrics, the blasphemy and Satanic rituals continue in full force:

"Open the black box on the altar

Her blood is still hot, so let it out

Oh hail Satan, yes hail Satan

Now drink it, now drink, drink, forget that whore"

This hellish song concludes with an incredibly wicked guitar solo that suits the song, perfectly. For a debut full-length, Mercyful Fate seems to possess an uncanny amount of talent when it comes to songwriting and execution.

Next is the 11,5-minute epic, "Satan's Fall". This begins with some of the most intense riffs and solos of the album, really grabbing the listener by the throat. Some of the darkest riffs and most maniacal vocals are found on this piece of blackened art. Unlike a lot of lengthy songs, this does not retain the same pace throughout. This is a very dynamic song, though there does not seem to be any overall structure or theme. "Satan's Fall" is more of a twisted journey through the abysmal depths of his grim and mournful kingdom below. Comparisons could be made to Venom's "At War With Satan", another monstrous epic that gets more hellish and sinister as it progresses. Of course, the obvious difference here would be Mercyful Fate's superior musicianship and the higher number of haunting melodies found in their music. The song builds in emotional intensity as King's voice permeates even the deepest graves with an almost sorrowful wailing:

"Oh the law of Satan

Pray and obey it forever

Oh the law of Satan"

Not long after this, the song really takes a depressing turn, possibly foreshadowing what is to come, for a brief time before the speed and intensity builds. Some of the guitar harmonies, in the closing minutes, seem reminiscent of Iron Maiden, yet blackened beyond their comprehension. Anyone attempting to describe such a masterpiece with mere words is destined to fail. This is something that truly needs to be heard and experienced. Be warned: it can be quite a draining endeavour.

This classic album concludes with a truly miserable song. The opening melody of "Melissa" reaches its icy hand into your chest and takes your withering heart into its frozen grip. Slowly, it applies more and more pressure, allowing you time to reflect on your pathetic existence. Death does not come quickly for you. No. Yours will be an agonizing death that affords you the opportunity to truly lament all that has been lost. King's mournful howling pierces what is left of your pitiful soul, stripping it from your body and leaving you empty. There is nothing uplifting about this song. Though the tempo changes a bit, it is always dark and consumed with despair. This dark tale of mourning over a dead witch is the most personal of any song found on this album. Naturally, it is something that most listeners can relate to, in some manner or another. The ultimate theme is that of loss and this is conveyed through the melancholic guitar melodies as well as the lyrics, delivered in a most haunting fashion.

"I'm kneeling in front of the altar

Satan's cross upon the wall

Strange emptiness, a crystal ball between two candles

Melissa has entered another life"

As the sorrowful sounds of this final song fade, so to does your miserable life. What else can you expect, from a journey into the depths of Hell? There is no fun to be had, watching as others burn and suffer. There is only deepest solitude and utter darkness, as you are tormented beyond the realm of sanity as your soul burns for the amusement of only one: Satan himself.

Melissa is an undisputed classic of early Black Metal. Released on 30 October 1983, this album has not lost any bit of its effectiveness, over the years. It has proven itself to be a timeless classic and should be considered required listening for all Metal fans. Refusal to worship at the altar of Mercyful Fate is a grave offense. Listen to this, or end your life.

Mercyful Fate - Mercyful Fate (1982)

In 1981, King Diamond was a young Danish musician singing in his first band, Black Rose, when he happened to meet a guitarist named Hank Shermann. Hank, also Danish and also a resident of Copenhagen, had a punk band called the Brats which had already released and album in 1980. With Black Rose not really going anywhere, King joined Hank in the Brats and began working on new material. A former Brat, guitarist Michael Denner, had started his own band and asked Hank and King to help out on the recording of a demo. Soon after, Hank, King and Michael, along with bassist Timi Grabber (Hansen), who was also in Denner's band, decided to join forces and create Mercyful Fate.

After a handful of demos, released in 1981 (including the classic Burning the Cross), Mercyful Fate delivered the most impressive non-British NWOBHM record ever heard. The band's self-titled debut laid the groundwork for their entire subsequent career and established an artistic peak that they would rarely match in the years to come. The guitar sound is a mix of classic rock and punk with general speed metal, much like the early output from Iron Maiden. The distortion is negligible and the sound is controlled and focused. The riffs also have a classic rock feel, simple, catchy, and loaded with some good chords. This probably owes a lot of King's interest in music from the 70s, such as Deep Purple and so on. The bass is fairly high in the mix so you can hear it the same, if not more in some parts than the guitars. Very NWOBHM styled and it works quite well. The drumming is dominated by a classic rock/early metal feeling. It is the basic kick drum, snare, and hi-hat combination beats that were common back then. However, there is more use of snare with crash near the same time to make it louder than what you may think at first. It also makes the music more thoughtful when it isn't just the snare being pounded wildly by itself. You hear this plenty of times in the album along with similar styles. King Diamond's unique vocals are very raw and are powerful enough to kill someone and the production compliments his vocal style. King didn't seem all too pleased with the outcome as they only had a couple days to record and mix the E.P. Much like the albums that would follow, the songs were arranged with background vocals, choirs and more guitar harmonies in mind, but they simply didn't have the time necessary for all of that. Released the same year as Venom's Black Metal and Iron Maiden's The Number of the Beast, this E.P. did a lot to get Mercyful Fate noticed and to establish them as a band to keep an eye on.

There is but one single note standing between the listener and the scorching solo that begins "A Corpse Without Soul". These riffs are pure NWOBHM. The overall sound isn't quite as dark and evil as what is found on the first two albums. This is a little more raw and stripped-down. The riffs sound absolutely hellish and King's falsetto burns into your brain. There are plenty of riff changes in this mini-epic. The lyrics venture into occult territory that had been previously explored only by Black Sabbath and Venom, yet Mercyful Fate seemed far more genuine in their approach. The solos and high-pitched screams near the end of the song are enough to melt the flesh from your face.

"Nuns Have No Fun" has a completely different feel, showcasing a lot of lead guitar-work and harmonized riffs. King's vocal approach utilizes much more of the lower, normal range and the vocals are hilarious:

"C.U.N.T. that's what you are!"

This seems kind of reminiscent of Killers-era Iron Maiden. When compared to later Mercyful Fate, this has more of a lighthearted and fun vibe to it. Nothing too serious, just a tale about raping and crucifying a nun, in the name of Satan. This is quite funny, in a morbid way.

The next song is the real highlight of this E.P. "Doomed By the Living Dead" fades in from the silence and features and opening riff and lead solo that wouldn't be too out of place on a Kreator album, if sped up just a bit. King Diamond's raw vocal performance is nothing short of brilliant. This blasphemous tune completely shifts gears for the melodic chorus. This contrast clearly demonstrates the high level of compositional genius possessed by Mercyful Fate, even at this early stage. The lyrics fit perfectly into this diabolical masterpiece, as well:

"No way to survive this evil night,

if the dead won't leave you alone

So just say goodbye to all your holy angels

You're gonna die"

Mercyful Fate are masters of creating mini-epics and this is no exception. All of the changes in tempo flow together, perfectly. To listen to this song is to take a journey through the mists of the endless graveyard, getting ever nearer to the black gates of Hell.

"Devil Eyes" brings this classic E.P. to its conclusion with more classic riffs and some unconventional rock drumming. This song is a bit more straight-forward than the previous one, but features some killer riffs and a great vocal performance by King Diamond. Again, though they had much more planned for this release, it's a good thing that it turned out the way that it did because it gives a rare glimpse of King at his rawest and most powerful. Eerie solos creep through the soundscape, burning into your brain and pulling you deeper into the flames. It doesn't get much more epic than the solos and vocals wailing that concludes this great song.

Mercyful Fate is a little heavier and rawer than the full-length that would follow it, though giving the listener a little more room to breathe and not having quite the dark and dismal atmosphere that is found on Melissa and Don't Break the Oath. With this four song E.P. the band managed to establish its legacy and, had they never recorded another song, they would still be remembered as legendary. This classic recording is one of the pinnacles of the NWOBHM style and of the First Wave of Black Metal. If you don't own this, you're better off dead.

Venom - At War With Satan (1983)

In March 1983, less than six months after the release of Black Metal, Venom released their third L.P. At War With Satan. Concept albums are like holes in the ceiling; however much you might hate what they represent, nonetheless they exist. They have to be dealt with and, occasionally, a band manages to come up with something so worthwhile they actually transcend the usual indulgent nonsense that defines the concept. Venom pulled off this, somewhat, unexpected triumph in 1983, when they unleashed At War With Satan on the eager public.

Actually, to call it a concept album is a little misleading. In actuality, the concept was firmly established in the title track alone, being somewhat of a sprawling epic that took up the whole first side of the album. It was a real risk for the trio of Cronos, Mantas and Abaddon. For the first (and last) time they stretched out allowing their imaginations to run riot on tape. The result was emphatic, hellish and violent, yet also somewhat complex. It was a departure for a band that was, up to this point, renowned for their method of full-on attack. At the time, producer Keith Nichol caught some grief for, maybe, not giving it a production job that would raise it above the rest of the albums coming out that year. However, it was actually an improvement on Venom's sound.

"At War With Satan" is an epic metal masterpiece of hellish proportions, a gore-soaked take of war between demons and angels. From the thunderous intro and gritty thrash riffs that intriduce the song, the feeling of tension begins to build. The frist scream emitted from the lungs of Cronos is like a murderous release. This is absolutely the most ambitious work ever composed by this blasphemous band. The lyrics could not be any more perfect and read like a fantastic story:

"The warriors gather slowly around

The sacred city, Hell

Satan screams a vengance

On the land as the angels fell"

The atmosphere of the song becomes even more hellish and dark as things slow down and Cronos screams in demonic fury:

"Lucifer's demonic laughter

Assist our quest, Belial prays

Free from Hell who serves the master

Sound the charge on Sabbaths day"

The song speeds up to a chaotic pace for some time, yet there is a definite structure present here that shows a band that has matured (to some degree) since Welcome To Hell. Cronos sounds absolutely possessed here and his bass is filled with doom and plague. As the song progresses, the fury of Hell is unleashed as Cronos screams, "Take to the skies!" The guitars are thrashy and unrestrained, yet with focus and determination toward a single goal: total and complete destruction. There are so many changes in riff and tempo that the song truly feels like a lengthy journey through the mists of the past. Venom really put everything that they had into this epic song and it shows. Sadly, there are a couple of brief moments where it seems like a riff is building and then never quite gets unleashed in the most satisfying way, but this is a minor concern for something so monstrous. The melodies and solos near the middle, right before the evil spoken word part, really show the NWOBHM sound at its finest, as much as Venom may have wanted to deconstruct this style. After about thirteen minutes, things get very quiet and eerie, leaving only an acoustic guitar and a bit of somber wailing in the distance before the guitars return to crush and kill all signs of life... as if, on a miserable journey through desolate wastelands, a sign of hidden beauty was found in the middle of this emptiness... You see something strange and foreign, so you gaze upon it with curiosity for a few brief moments before determining that it is utterly useless and stamping it out forever. Life, light and beauty have no place here. As the song continues, the instruments seem to be emitting random sounds as they burn at the fiery depths, while Cronos, demonically, tells the grim tale and a funeral bell chimes in the background. This is the culmination of the darkness and evil that Venom wished to convey and it is something that really has to be heard to be understood. No mere review could ever do this justice as this isn't just something to listen to; rather, it must be experienced. It cannot be unheard and the subconscious changes can never be undone.

After this epic monstrosity, there is little room to regain one's wits before "Rip Ride" tears into you. Yes, after that lengthy journey, there is still more. The second side of the album is more in keeping with what one might expect from Venom: six cuts that go for maximum impact, offering subtlety as hostage to ferocity. This song thrashes at full speed and never lets up. With wicked solos, hellish screams and great fucking riffs this piece is worthy (if anything could be) to follow up the previous song. Just when you'd imagine the band would have run out of energy, they are here to proclaim:

"Our evil always will reign"

"Genocide" rages from the pits of Hell at a bit more of a relaxed pace than the previous song, though still possessing enough lethal energy to slice your throat wide open. The refrain is very catchy and the riffs still possess a bit of epic feeling in them. It's almost difficult to believe that, just mere months after releasing the classic Black Metal, Venom still had so much creativity boiling over.

The next song is "Cry Wolf", beginning in a very strange manner for this trio. This is a good example of how the band managed to mature while maintaining their edge. This tale of lycanthropy is the longest song on the second side and features classic reference to "The Wolf Man". After another wicked guitar solo it sounds as if Cronos is making the transformation from man to wolf, on tape. The chorus isn't the greatest, but it's so brief that it really takes nothing away from the song.

"Stand Up (and Be Counted" begins with the feeling of doom in the bass-heavy riffs and in the great lyrics. The title of the song is kind of stupid and there is somewhat of a less serious feeling in the vocal delivery, but this song still features some good mid-paced thrash riffs that have enough of a dark feeling to be worthy of being on this record.

"Women, Leather and Hell" begins with a chaotic outburst. This picks the pace back up and rages along with violence and disregard. While not being as ridiculous, this song seems to follow along with "Teacher's Pet" and "Red Light Fever" in being more about useless topics rather than conveying any real sense of dread. There are still enough killer solos and riffs to keep you interested, though nothing will quite compare with Side A.

The last song isn't much of a song at all. "Aaaaaaarrghh" is pure chaos and nonsense, all at once. This might be interesting to hear once, but it loses its appeal after that first listen. It's just a couple minutes of random riffs, screaming and cursing. This probably represents what those on the outside think heavy metal sounds like. This shows a band that has run out of steam. After the epic title track, any band would have the right to be exhausted and somewhat hysterical, especially after following that with several more songs.

At War With Satan has largely been regarded as the moment when Venom should have cemented their place atop the throne, yet something seemed to be missing. There was the general impression among critics that it could have been so much more than it was - on all fronts. The band came very close to making a massive leap forward but didn't quite pull it off. It could be that the last couple of songs left a bad taste in their mouths and left people with a poor impression after the album had begun in such a glorious manner. Either way, this album provided closure on the first chapter of Venom's career and also showed a lot of people that they didn't quite have this band figured out as much as they liked to think.

Venom - Black Metal (1982)

Black Metal is the second full-length album from Venom. After releasing the mind-shattering Welcome To Hell, along with a handful of singles and demos, the unholy trio from Newcastle returned with another slab of dark and primitive metal. While their debut L.P. was like a full-on assault, their sophomore effort utilizes more sadistic methods of torture. Black Metal is actually a bit more structured than the first album, though the band - bassist/vocalist Cronos, guitarist Mantas and drummer Abaddon - elected to maintain the same formula, overall. The sound is best described as rusty nail vocals crashing up against a tirade of riffs belted out at terrifying a speed.

Wasting no time, the band opens up with both barrels on "Black Metal", the ballistics cocked very much toward nuclear activity, as Venom spread their infection far and wide. In many ways this anthem is typical of Venom - frenetic, ferocious, yet behind it all there's an undeniable structure. This isn't noise for its own sake, but a full-on representation of why Venom captured the imagination. The album begins with this terrible racket. They wanted to get a chainsaw sound, but that wasn't wild enough for them, so they cut into a studio door that had a bolt through it to give it such teeth-grinding racket. They left no gap at the front of the record so that the needle went straight into this chaotic sound. And that was just the intro. The actual song has all of the power and energy of "Witching Hour" with a bit more focus. This is fast-paced all the way and features the same horridly great sound from Welcome To Hell. It is fitting that the vocal delivery of Cronos is filled with conviction as he screams the words "black metal" as the sub-genre that Venom created (and named with this release) took this very seriously.

The next song, "To Hell and Back", begins with a great riff that is reminiscent of the more relaxed feeling found on such songs as "Bloodlust". What it lacks in intensity it makes up for with an overall dark feeling, largely due to Cronos. Mantas unleashes a killer solo that isn't so technically impressive but adds a lot to the atmosphere of blasphemy. This is very much a celebration of Satanic decadence and it comes across very well.

"Buried Alive" is an atmospheric piece reminiscent of Hammer Horror or Edgar Allen Poe; a claustrophobic song that's moody, grim and grimy. It tells the tale of someone who is, literally, buried alive and you can almost feel the earth being shoveled on top of the coffin and the panic emanating from within. It is, possibly, the darkest song recorded by Venom. The feeling is absolutely morbid and this one song epitomizes Black Metal. The guitar riffs are eerie, the vocal performance is ghastly and the drums are minimal, but effective. The desperation in the vocals and the tension in the guitar melody work together to give the listener the feeling of being buried alive, even to the point where you begin to panic and seek to claw at the lid of your own coffin. The lyrics could not be more perfect in creating a vivid mental image of this:

"As they lower me down into that hole in the ground

I scream out for help but they hear not a sound

I tear at the lid, my fingers they bleed

Is this happening to me or is it just a dream"

This dark and somber song leads directly into "Raise the Dead". This was originally recorded as part of the band's initial three-track demo; the one that got them noticed. It lacks none of the energy or ferocity of the original, yet it is a little more focused. It is a fitting counterpoint to the previous song and picks up the tempo of the album without quite reaching the frantic pace found on the opening track.

"Teacher's Pet" is kind of a follow-up to "Red Light Fever", being about smut. Even an album obsessed with the darker side of life seems to have its light-hearted moments. After such a truly dark and epic piece as "Buried Alive" and then the release of "Raise the Dead", this is almost a necessary way to end Side BLACK. As for the song itself, it is pretty fast with an oddly slow section that seems bluesy, while ending with a fairly thrashy riff. The lyrics are total perverted nonsense, but they display the humour of the band well.

Side METAL begins with the classic song "Leave Me In Hell". This begins with a pretty fast-paced thrash riff and drags the listener back into the fiery depths while also featuring some great lyrics:

"I don't want to be born

I don't want it

Leave me in hell"

This unholy tune embodies everything that was great about Venom. As the song slows down, the atmosphere becomes far more hellish and morbid. The solo is filled with dark feeling and dances around your mind like the flames of Hell. This is the glorification of all that is demonic, evil and possessed. The last, desperate line from Cronos adds a nice effect.

"Sacrifice" follows and is another typical, fast-paced tune of pentagrams, goats and Satanic majesty. This song really shows how the band has improved regarding song structure. The same feeling is present but the delivery is a little more focused. Perhaps, some people are under the impression that Black Metal is so well-known because of the title and the sub-genre that they inspired, but it truly is a masterpiece of an album.

The next song is "Heaven's On Fire" and the title is pretty self-explanatory as the lyrics tell of a Satanic war upon the heavens, turning the skies into a blazing tomb. Just when you expect some filler, this song slices through your ears like a knife. These riffs are as lethal as any other on the album and probably inspired many in the soon-to-be-born thrash scene, such as Dave Mustaine and Kerry King. Venom may be musically limited but this album shows that they truly use what talents that they possess to the fullest.

"Countess Bathory" is a song inspired by a real-life medieval noble woman who perpetrated many atrocities, not the least being the laughter of virgins, in the misguided belief that bathing in their blood preserved her youth and beauty. The story inspired a Hammer Horror movie (Countess Dracula) and inevitably attracted the attentions of Venom. This was the beginning of a lengthy fascination between metal and this Eastern European woman. This song kind of bleeds from the final riff of the previous song, keeping a relaxed pace. In a strange sense, the guitar riffs seem to hover above the rest, like a dismal black cloud. As the son gprogresses, the melodies become more menacing and sinister as Cronos screams the name of the Hungarian counterpart to Vlad Tepes.

Some of the best riffs of the album herald the coming of "Don't Burn the Witch", which is the last full song of the album. These riffs are very dark and nocturnal in nature, leading into yet another classic Venom song. This track is faster than some, but not really fast. However, it's not really mid-paced either. Whatever it is, this unholy piece of blackened thrash delivers in every possible way, musically and vocally. The lyrics could not suit this any more. The solo near the end fits in perfectly and the song fades into a preview of "At War With Satan", the first twitch of a magnum opus that waits, patiently, in the darkened shadows to be unleashed upon the unsuspecting world in the future. The ending is absolutely epic and could not have been done better.

Black Metal is every bit the classic that it is regarded as and deserves all the credit given to it and more. This is required listening for anyone claming to listen to Black Metal and if you don't own this... you deserve to be buried alive in an unmarked grave with a dagger sticking out of your chest. Suffer for eternity as the war shall soon be at hand...