Venom - Nightmare (1985)

The Nightmare E.P. is interesting as it seemed to spark some controversy. The cover artwork was deemed too graphic, so it was pulled. A different version was then released in October 1985, featuring the band members on the cover. This is the Nightmare single, containing one less song that the initial E.P. After a short time, the original version was re-released, with the three songs that it initially contained, plus a live song added on. As for the music, it was recorded in the same studio as the rest, Impulse, and engineered by the same Keith Nichol that handled all of the material up to this point.

Side A begins with "Nightmare". This song starts with a somber acoustic part before really kicking in. It is pretty mid-paced and even the lyrics are kind of subdued. They deal with more realistic horror, rather than taking the Satanic approach that the band was known for. The vocals come across with conviction and feeling, while the guitar riffs have the feeling of a cool autumn night. And make no mistake; this music is made for a nocturnal setting. It serves to create a dark atmosphere, in an entirely different manner than previously used. This song is unique and memorable; definitely one of Venom's best.

Side B features "Satanarchist". This song is introduced by some eerie feedback and demonic voices. A faster pace dominates the track, providing a good sense of balance with the other tune. It isn't exactly groundbreaking, but it is a good, straight-forward Venom song. It's short and memorable, featuring some decent Black/Thrash riffs.

This is one of my favorite Venom singles, mainly due to "Nightmare" being such a killer song. As mentioned in the reviews of other singles, it really seems counterproductive that they released so many singles and yet never bothered to use them for an L.P. In all reality, these were some of the band's strongest songs and would have made a Hell of an impact if put together as a full-length album. At any rate, it is recommended that you track this down, in some form or another. If you can't find the original, pick up The Singles: 80-96 or The Seven Gates Of Hell - Singles 1980-1985 , which was released a bit more recently.

Bathory - Bathory (1984)

Bathory was formed in Stockholm in 1983. Founder Quorthon, a seventeen-year-old guitarist, was joined by members that wouldn't last long. The band name was inspired by a trip to the wax museum in London, where Quorthon saw a display dedicated to the Blood Countess, Erzsebet Bathory. After doing some research, he realized that the name 'Bathory' would perfectly suit the themes that the band would cover. Contrary to popular rumours, the band was never named anything else (such as Nosferatu, then Natas, Mephisto, Elizabeth Bathory and Countess Bathory). Their first recording deal came that same year, when Quorthon managed to secure a spot for the Scandinavian Metal Attack compilation, from Tyfon Records. The songs "Sacrifice" and "The Return of the Darkness and Evil" gained unexpected attention by fans. Soon afterward, Quorthon was asked to record an L.P.The problem was that, for all intents and purposes, the band had ceased to be. He would have to recruit new members if Bathory was to become something more serious.

In June 1984, Quorthon was joined by Rickard Bergman on bass and Stefan Larsson on drums as they entered Heavenshore Studio in Stockholm, Sweden. The album, which was planned to be titled Pentagrammaton, was produced by Quorthon and Boss. Influenced by Black Sabbath, Motorhead and punk rock, Bathory's self-titled album, released in October 1984, took the established Black Metal sound of Venom (which Quorthon later admitted) and refined it. In this case, they made it uglier, faster and used the low-fi production to their advantage, as it added to the feeling of the record.

Side Darkness begins with the intro, "Storm of Damnation", a whirlwind of torturous sounds. Through the dismal moans and screaming winds, one can hear the sound of a funeral bell chiming in the distance. This does well to set the tone for the album as it creates a dark atmosphere.

This intro leads into the opening guitar riffs of "Hades", which aren't so far removed from the early albums of Metallica and Slayer. The thing that really sets this apart is the inhuman manner in which the vocals are delivered. The sound is primitive and minimalist, yet there are more riffs here than one would expect.

The next song is "Reaper". This shows obvious Motorhead influences and is pretty similar to what Megadeth were working on around this time. This is another fast-paced track, with a definite NWOBHM feeling to the guitar melody. The guitar solos fit in very well, though the don't cut through the fuzzy production as well as on later albums. Quorthon was definitely one of the first vocalists to master this style of vocals, sounding very demonic.

"Necromancy" is one of the more memorable tunes on the record. The pace isn't quite as fast as on the first two songs, though this allows for the evil atmosphere to permeate the riffs a little better. The lyrics are in the vein of the early releases of Venom, Slayer and Mercyful Fate.

"Hail satanic majesty

tonight we sacrifice

We drink our own blood and blasphemy while

the moon is our only light"

The vocal delivery is more possessed than on the first two songs, while the lead solos are more thought-out. The old school drum beat that accompanies the closing solo is a nice touch. Definitely one of the best songs on here.

The next song is pure Motorhead. With a title such as "Sacrifice", it is a little difficult to believe the early claims that Quorthon had not heard of Venom. The chorus section of this song features the best riffs, though the verses aren't bad, at all. This one is pretty fast. It's not up to the speed of Slayer, though it races past Venom and Hellhammer, with ease. The lead solo, near the end, suits the song and adds more depth.

Side Evil starts out with "In Conspiracy With Satan". Again, it's a little difficult not to laugh at the claims that this wasn't inspired by Venom's "In League With Satan". The fast tremolo riff and the blasting drums join together with the demonic vocals to create the blueprint for the Second Wave of Black Metal. This one is short, fast and to the point.

"Armageddon" rages forth from the abyss, at full speed. This is another fast-paced and primitive-sounding song that never relents. There's a brief section where it appears that something else is going to happen, yet the main riff returns and crushes this thought. This song is, somewhat, overshadowed by the one that follows it.

The most memorable song on the album is "Raise the Dead". This is, oddly enough for someone that claimed ignorance of Venom, the second song that uses the same title as a song previously released on Black Metal. Funeral bells and a slow heartbeat introduce this morbid track. The opening to this song is a slow build that creates the most hellish atmosphere on the record. The first vocals from Quorthon actually sound a lot like Dave Mustaine, as he yells, "Dust to dust". As for the rest, it is nothing but cold and evil Black Metal. The guitar solo is perfectly timed and suits the song very well. This is the highlight of the album. The lyrics are straight from Venom's Black Metal album, adapted from "Buried Alive" and "Raise the Dead".

"I gasp for air

I scream for sight

and fight against torment and dread

Calling the vengeance

I tear at the lid and

promise to raise from the dead"

This isn't to say that there is anything wrong with showing one's influences, but it is simply more proof that Quorthon lied about not hearing Venom until after this album had already been released. I can understand why he might have felt it necessary to deny this, but there is no shame in being inspired by someone. Many would say that Bathory took what Venom created and perfected it, myself included. At any rate, this is one of the most memorable songs on the album.

The L.P. concludes with "War". This intense song owes a lot to Motorhead, regarding the riffs. As on the rest of the album, the guitars are sharp, yet fuzzy. Quorthon's screams of "WAR!" have a lot of power and energy. The feeling is accentuated by the well-timed guitar solo. This song closes the album out with speed and fury, before an eerie outro fades in and then back into the obscure shadows.

The first Bathory album set the standard for those that followed. Taking the influences from Black Sabbath, Motorhead, punk rock and Venom, Bathory was the beginning of Black Metal's evolution into something colder and more harsh. It would go on to be far more influential to later Black Metal bands than the likes of Venom or Sodom. This is an essential release.

Hellhammer - Apocalyptic Raids (1984)

Apocalyptic Raids was the first, and only, official Hellhammer release. As Martin Eric Ain joined the band, right after the recording of Satanic Rites, the sound of Hellhammer was expanded and became more sophisticated. Recorded during the first week of March 1984, at Caet Studio in Berlin, this E.P. was produced by the band and engineered by Horst Müller. After discovering the band through "Crucifixion", featured on Metal Massacre III, I sought out the Satanic Rites album but found this instead.

The opening moments of "The Third of the Storms (Evoked Damnation)" were a little bit of a disappointment for me, when I first heard this. I was expecting something with more of a raw edge to it. I'd later learn that the previous version of this song was more of what I was seeking. The sound here is a little too smooth and 'polished'. It has rather poor production (which doesn't bother me), but the sound is rather flat. The good thing is that Tom Warrior / Gabriel Fischer / Satanic Slaughter / whatever-the-Hell-his-name-is does a better job with the vocals. They are fairly low in the mix and remain somewhat indecipherable, which really works for him. The song is short and fast-paced, but it's not very energetic.

Next up is "Massacra", which is fast-paced but, once again, lacks that extra something. There is no dark atmosphere and it feels more like Punk than Metal, reminding me of GBH moreso than Venom. This is nothing more than a few minutes of mediocre songwriting.

Here is the moment where Hellhammer redeemed themselves and made their mark on Black Metal. "Triumph of Death" is the most epic composition to come from this trio and it is filled with a dark and tortured atmosphere. From the twisting guitar riffs that begin the song with an ominous tone to the absolutely tortured screams, this is a masterpiece. The screams and moans are, quite possibly, the sickest thing caught on tape at that point. The song continues to build up, with pounding drums that are heavy enough to crush your skull. The first verse conveys the grim feeling of this morbid track.

"When you have been down in your grave...alive

Your mind decays and you're the coffin's slave

And when at midnight an uncanny bell tolls...

Terrible noises, the dark graveyard calls"

The vocal delivery is sick and tormented. The riff that follows this is very familiar, as it is later recycled on Morbid Tales. Earlier versions of this song utilized this riff at a faster pace, closer to how it was used by Celtic Frost. Another riff change is accompanied by distant moaning. As the song slows down, once again, another chilling scream murders your soul. This agonizing sound is enough to freeze your blood. The familiar riff returns, sounding a little out of place, but it works. The music is drenched in a feeling of doom and mortal despair and the vocal contributions of Mr. Fischer deserve a lot of credit for making this song as dark and morbid as it is. The song ends with the first verse being repeated as the vocals sound almost more insane than tormented, at this point. You feel the urge to take a razor and slice your veins until all you see is stained with crimson. Words cannot do justice to this classic song. Just the fact that Hellhammer was so intimidated by what they created here, to the point where they laid the band to rest, should say something for it. They knew that they could never again match the intensity or the dark feeling captured, here, so they gave up rather than try.

The last song of the Apocalyptic Raids E.P. is "Horus/Aggressor". This one begins with a repetitive drum beat as the guitars fade in from the abyss. This brief intro fades back into nothingness as a new riff takes over. This is rather mid-paced, despite the rumbling double-bass, but has a little more energy than the first two songs. The pace picks up in the final minute or so, though it is nothing compared to the fury delivered by their contemporaries, such as Slayer or Bathory. This isn't a bad song. It's far more memorable than the first two, while not coming close to the dark epic that preceded it.

Later versions of Apocalyptic Raids feature two songs from the Death Metal compilation, from Noise Records. The first is "Revelations of Doom", which kills most of the material on this E.P. It's faster, more energetic and has more of a Metal feeling. This must have seemed pretty extreme on a compilation that also featured Helloween and Running Wild. It's not as raw as the version found on Satanic Rites, but none of the re-recorded songs are.

The last offering is a re-recorded version of "Messiah". The opening moments give the feeling if impending doom, before the song explodes. All of these songs were recorded in the same session, so it doesn't make a lot of sense that these last two were left off the official release. Both should have been present and, really, this song should have led off the album. Again, this isn't as raw as the version on Satanic Rites but it is, easily, the most energetic and Metal song on this album. It holds pretty true to the original, and the few differences are made up for in some improvements in vocal delivery. Outside of "Triumph of Death", this is about as evil as Mr. Fischer ever managed to sound.

Despite some of the songs falling flat due to songwriting, execution or production, Apocalyptic Raids is well worth your time just for the epic masterpiece "Triumph of Death", alone. It is even more worthwhile if you get the Brazilian version of the L.P. or the later CD re-issues as those include two more songs.

Venom - Warhead (1984)

Warhead is the second of the singles put out after At War With Satan. This one was recorded at Impulse Studios in Newcastle and produced by Venom, with assistance from longtime engineer Keith Nichol. It was released on Neat Records in late January 1984 and it featured three different covers, each positioning a different band member at the forefront. It appeared in both 7" and 12" forms. The former contained only two songs while the latter had three, as well as an extended version of the title track. The single debuted on number 3 in the HM chart and stayed in the top 30 for 15 weeks. This release led to a monumental episode in the history of Radio One, when Tommy Vance conspired (by offering to pay sum of money to charity) to get the not-very-radio-friendly A-side played during daytime programming, to the distress and bewilderment of many sensitive souls.

"Warhead" begins with the faint pounding of drums and distant screaming. The music slowly builds and rises in volume until an explosion kicks the song into gear. There is a very primitive feeling on this one. The thrash section retains a subdued feeling, while the slow doom riffs dominate the sound. This is a very powerful song that should have been included on Possessed. Supposedly, many of those tracks were in existence as far back as the recording session for Black Metal anyway.

Side B features "Lady Lust", revisiting a common theme. For one reason or another, Venom likes to pay tribute to the ladies of the night as often as possible and this single is no exception. The song begins with a thrash riff and Abaddon's pulsing drums. Later on, Cronos gets a few moments to play with his bass before Mantas returns with a shrieking guitar riff. This song is fairly generic, not doing a whole lot for me.

Thankfully, the 12" version features a third song, "The Seven Gates of Hell". This is the best song presented here, as well as one of the best Venom tracks ever recorded. This one begins with an eerie intro, as the music slowly rises up from the murky depths. The song features a morbid pace, evil lyrics and incredible execution by all three band members. This one possesses somewhat of an epic nature, as well as very memorable riffs and vocal lines. The middle section features sparse guitars, mostly carried by drums and bass with some demonic vocals.

"When the flame of life grows cold

We chime the silent bell

And the unborn child is old

The seven gates of Hell"

After this verse, there is a very nice lead solo, maintaining a creepy feeling as it slowly winds its way through the mist. A sense of tension seems to be building after this point, as the pace quickens for a bit, faster and faster, before settling down once more. "The Seven Gates of Hell" is a true Venom classic. The reason why this song wasn't featured, prominently, on an L.P. remains a mystery.

Warhead is a very essential release, provided that you obtain the 12" that includes all three songs. The second track is kind of a letdown, but the others are prime examples of why Venom was so great.

Slayer - Hell Awaits (1985)

Hell Awaits is Slayer's second full-length album, released in September 1985. It was their fourth effort on Metal Blade Records, expanding on the darkness of Haunting the Chapel. Much like Venom's At War With Satan, this record featured longer and more complex song structures, making this Slayer's most progressive offering. This masterpiece of Black Metal was financed by Brian Slagel, rather than making the band pay for the recording as with Show No Mercy. This bloody offering of seven Satanic rituals is the best aural depiction of Hell ever put to tape.

Already well acquainted with the first few releases, I thought I had a good idea of what was to come when I purchased Hell Awaits and took it home, on that cold January night. The lights were turned off and the candles were lit. This wasn't done for effect, it was simply how my room was, most of the time. I wasn't sure if I should expect more blackened NWOBHM (of which there remained only faint traces) or the vicious assault found on the previous E.P. In a sense, I got neither. As soon as I put the album on, something strange began to happen. It was as if my room had been transformed into a dungeon or a forgotten crypt, no longer of this realm. I was about to go beyond the point of no return.

The album begins with hellish, twisted sounds of feedback, demonic voices and tortured guitar solos, squealing in the distance. As it becomes clearer, one can barely detect the wailing of tormented souls. It all grows louder and louder, building a sense of tension and creating an atmosphere of doom. The backmasked voices are urging you to join them. This continues building until an indecipherable growl, saying "Welcome back" backwards. At this moment, the feedback ceases with a thunderous crash of drums. Slow, mid-paced riffs build the tension and dread, layer upon layer, accompanied by the rumbling drums. Despite the murky production, the guitars are sharp as razors and the drums are crisp and lethal. Suddenly, a lone guitar erupts, followed by the rest of the band. The vocals are spewed forth at a pace as frenetic as the guitar playing. They are far too fast to comprehend. What can be clearly understood is the demonic voice, chanting "Hell Awaits". The frenzied solos is enough to make your ears bleed. The only downside to this song are the frantic attempts of Tom Araya to keep up, during the verses. In this sense, a little feeling is lost by the fact that the lyrics are going by too fast to have any lasting effect.

There is but a brief pause before "Kill Again" continues the vicious assault. As the song opens, the drums take on the feeling of a war march alternating with the tremolo-picked riffs that add a sense of urgency. After another riff change, the murderous vocals chime in with a sinister echo. This song is incredibly intense and Tom's vocal approach seems to be even more dark and aggressive than before. The solos attack from both sides, still containing some sense of melody, bleeding into a high-pitched wail from the diabolical frontman, who sounds absolutely deranged by the closing moments of the song.

Dark and evil harmonics introduce the next song. "At Dawn They Sleep". This song tells a story of vampires in the service of Satan. They are not only satisfying an insatiable bloodlust, they are serving the master of Hell. This song is fairly mid-paced, though it speeds up a little bit for the bridge. The lyrics are morbid and evil, and the vocal delivery adds a great deal to this sinister atmosphere.

"Unveil the hidden coffin

Lift the lid of terror

Feel the deadly cold

Freeze you from inside"

The bass is quite audible as the song slows down the rhythm changes to unleash a heavy onslaught of mid-paced thrash. Tom sounds completely possessed as the background voices, repeatedly, chant "Kill". Building to a bloody climax, the song then resumes a faster pace. As the final verse concludes, a perfect slide introduces the solo. Once this is finished, there is nice interplay between the two riffs as the less melodic one fills up the space between its counterpart, but this space is gradually closed shorter and shorter at each interval, building the tension until everything stops for an explosive drum solo. After this, the main riff returns to finish the song out.

"Praise of Death" then erupts at full speed, offering you no time to recuperate. Tom's bass is a bit more prominent in the mix, doing well to keep up with Kerry and Jeff. After the first chorus, there is a nice drum roll that leads into the second verse. This may be the most straight-forward song on the album. While it does feature some complexity in structure, the pace rarely wavers. The blistering guitar solos are aggressive as they howl through the darkness. A little past the midway point, the pace slows down by half as more solos pierce your brain. Everything then ceases, leaving only hellish feedback that seems as if the guitars are screaming from the eternal flames, before everything picks up again. The vocals are filled with unholy passion as the chorus is, maniacally, scream one last time.

"Stricken to live, Hell on earth

Shackled and bound we lie

Praise of death, life's a dream

We're only living to die"

The next song is "Necrophiliac". This begins with a very distinctive and evil riff. The pace is fast and frenzied, though going through a rather intricate chord progression. The vocals join this hellish sound, creating a very morbid feeling. Alternating between thrash and tremolo riffs, the song is carried forth by the pounding drums. After Tom screams, "The bastard now must die", his voice seems to trail a bit as the tempo shifts to something darker, calling from the black abyss. The atmosphere could not be more evil than this. What you hear now is pure Hell.

"...Lucifer takes my dark soul

Down to the fiery pits of Hell

Down to the fiery pits of... HEEELLL!!!"

As that last line echoes through the abyss of torment and flames, a chill goes up your spine as you see what lies ahead. As the pace speeds back up and more insane solos are unleashed until the song abruptly ends, you are left in a state of awe and terror.

"Crypts of Eternity" slowly rises from the darkness, creating a morbid and gloomy atmosphere. A slow build erupts into screaming lead solos that have come to rape what is left of your tormented soul. By this point, there isn't much left. Hell Awaits was the most evil album released by this time. Others may have been faster or more brutal, but nothing touches this in terms of pure evil. This epic masterpiece utilizes a variety of changes before the first verse, maintaining a more relaxed pace than the previous song. The chorus is very memorable and blasphemous at the same time.

"I have seen the darkened depths of Hell

Sorcery beyond the witch's spell

Robbed the crypts of death's eternity

Killed the priest and cursed him, endlessly"

This displays a wicked sense of melody, particularly the dual guitar harmonies heard before the eerie lead solo, around the four minute mark. The lead then gives way to a very tense build-up of instruments and shrieking vocals before Tom devastates the listener with an inhuman scream. The final verses are interrupted by searing solos that incinerate your flesh. Again, this is one of those songs that really needs to be heard and experienced to be comprehended fully.

The final song is "Hardening of the Arteries". Lyrically, this is a very nihilistic piece that carries a somber tone. The guitar tone still maintains the same dark and evil feeling throughout this fast-paced and straight-forward assault of Black/Thrash. A few more intense solos precede more dismal lyrics delivered in a hateful and aggressive manner before the song shifts gears and returns to the same theme that began the album. This adds a sense of musical symmetry, as Hell Awaits fades out with the same sounds that faded in at the beginning, minus the chanting. This only serves to add to the epic feeling of this nightmarishly haunting record.

It's safe to say that Hell Awaits is the most evil and twisted Slayer album. It may be the most wicked and vile thing ever recorded. This is about as graphic of a representation of Hell that one can find without losing your soul. The sounds contained on this record go well with the cover art; an image of demons torturing pathetic mortals in the fiery pits of the Kingdom Below. Hell Awaits stands as the most complex and mature release from the band. The fuzzy and echoed production is reminiscent of their earlier works and only adds to the dark atmosphere, giving it room to breathe. This is the highlight of Slayer's career, being vastly superior to what came after it. It is a shame that they didn't continue down this path, further exploring and pushing their boundaries. Worship this or with cloven hooves begone.

Slayer - Live Undead (1984)

After the release of Haunting the Chapel, Slayer made its live European debut at the Heavy Sounds Festival in Belgium. before returning to the US to begin the Haunting The West Coast tour. Following this, Kerry King temporarily left Slayer to join Dave Mustaine's new band Megadeth. Jeff Hanneman indicated that the band would find a new guitar player and continue on. While Mustaine wanted King to stay on a permanent basis, King rejoined Slayer after five shows, stating Megadeth was taking up too much of his time. Following his return, the band embarked on the 1984 Combat Tour, with Venom and Exodus, and released a live album titled Live Undead in mid-November.

I got my hands on this album within a few months of getting Haunting the Chapel. Of course, there were no new songs to be found on Live Undead, but I was obsessed with getting any Slayer album that I could. The horrific cover featured the band members depicted as rotting corpses thrashing out in a foggy graveyard, surrounded by an eerie mist, beneath the full moon. This was a very fitting image for the band. Initially, I believed this to be a recording of some club gig that they had done. As it turns out, the album was recorded live, in the studio, in front of about 50 of their closest friends. They ran through a few different sets, that night, playing nine different songs. Only the best versions were kept for this release. Though this was done in a studio, it may as well be considered the same as a club gig. There's an intimate setting with a small and energetic crowd. Live Undead pretty much captures the feeling of those early shows, even down to Tom's humorous intros to some of the songs.

The album begins with a very frenzied crowd going insane as "Black Magic" builds up. They never settle down, throughout the entire song. Musically, the song is executed flawlessly. The atmosphere isn't quite as evil, just for the fact that there are several (probably drunk) people, screaming like rabid animals.

This flows, seamlessly, into "Die By the Sword", as Tom says, "They say the pen is mightier than the sword. Well, I say fuck the pen, 'cause you can die by the sword!" Great stuff. This live album does well to display the raw energy of not only the band, but their audience. Slayer's following has always been very devoted and obsessed, even in these early days. The band's playing is very tight, yet not an exact replication of what is heard on Show No Mercy or Haunting the Chapel. Speaking of the latter, the next song is the only one from that E.P. to be featured on here.

"Captor of Sin" begins as Tom makes a pleasant dedication. Possessing much the same atmosphere as Venom, this song doesn't seem to be too affected by the live crowd. Their insane screams actually compliment the aura, to a degree. The band truly seems to be feeding from the energy of the crowd and vice versa.

While some albums are much better appreciated when alone, this is the type that is perfectly suited for hanging out with a friend or two, throwing it on after watching a few old horror movies, like The Evil Dead or Phantasm. "The Antichrist" is just as intense, here, as on the L.P. Even the high-pitched vocals are retained. The most interesting part is near the end, however, as the crowd all seem completely possessed, screaming as if they are being dragged into the flames of Hell.

The silence ends as "Evil Has No Boundaries" erupts from the abyss, complete with screaming and wicked leads. This version seems to be a little faster than the L.P. version and the crowd serves as the back-up for the chorus. By this point, Tom's throat sounds shredded. Kerry and Jeff trade off lethal solos as Dave keeps up a maniacal pace on the drums.

Not bothering to take a breather or to address the crowd, the band immediately follows this up with "Show No Mercy". Again, this sounds a little faster than the studio version. At some points, the crowd seems louder than the band, especially with regard to the vocals. The last thirty seconds features them chanting 'Slayer' as the song winds down.

The final song is "Aggressive Perfector", which is also faster and more intense, sounding less out of place than the version that appeared on Metal Massacre III. Tom's vocal performance on this one is awesome. This is actually the most interesting song on Live Undead, as they really bring it to life. I like the original version just fine, but this is a little more in tune with their established sound.

All in all, this live album is not as essential as their other Metal Blade releases, but it is still a worthy addition to anyone's collection, especially die-hard Slayer fans. Despite the circumstances around the recording, it offers a rare glimpse into the past.

Slayer - Haunting the Chapel (1984)

Slayer's debut album, Show No Mercy, had sold over 40,000 copies worldwide and the band were performing some new songs live, which made producer Brian Slagel want to release an E.P. The album was recorded in Hollywood with sound engineer Bill Metoyer. Slagel was acting as executive producer. Metoyer, a filthy Christian, was not bothered by the lyrics to Show No Mercy; however, he was so terrified by what he heard, while recording Haunting the Chapel, that he thought he would go to Hell for contributing to this blasphemous creation. Since the studio had no carpet, Dave Lombardo set his drum kit on the concrete and it went 'all over the place' while playing. Gene Hoglan was given the task of holding the kit together and was given some credit for coaching Lombardo with regard to double-bass. Unleashed from the fiery depths in August 1984, this completely destroyed anything being released by their so-called peers. It annihilated At War With Satan, slaughtered Apocalyptic Raids and massacred Ride the Lightning, which was released a week or so later.

After becoming very familiar with the classic Show No Mercy (listening to it, over and over, every night), I still had an insatiable thirst for more. My best friend and I had a weekly ritual of hanging out, on Friday nights. After walking through the cold streets, in the dead of winter, we went back to his house. His parents were gone to a party or something, meaning that the good stereo was at our disposal. Sitting in a broken chair in the middle of the room, surrounded by several large floor speakers, he handed me his latest musical acquisition. The cover featured simple artwork; the familiar image of the Slayer logo in the middle of a pentagram made of swords (minus one) with the title of the album written across the top, in blood. It was simple yet effective. Despite being obsessed with this band, for quite some time already, I was not prepared for what was about to happen. I remember looking up with wide eyes and seeing my best friend saying something, but the volume was all the way up and I was unable to hear him. Chances are, I wouldn't have comprehended what was being said, anyway, as I was blown away by the aural assault. Surrounded by the blasting speakers, I could feel the music battering my skull. Suddenly, I was no longer feeling the cold chill of winter on my face; rather, I was burning in the flames of Hell.

Haunting the Chapel opens with "Chemical Warfare". The song begins with very intense thrash riffs and the rumbling drums, building a sense of tension, before exploding with hellish vengeance. Tom Araya's vocals are far more evil and sinister than anything heard on the previous album. The lethal attack of Kerry King and Jeff Hanneman is backed by the furious drumming of Dave Lombardo. This is incredibly violent, yet it possesses a deceptive sense of melody. As the song shifts gears, into the somewhat mid-paced part, Tom's voice can be heard screaming in the distance. The production may not be top notch, but it perfectly compliments the music and adds a dark quality to it. Listening to this, you can almost smell the flames rising all around you. The guitar solos attack you from all sides, shredding through your feeble brain and leaving you defenseless as Tom's demonic laughter almost mocks your pathetic condition. While the lyrics deal with war, they are done so in a different manner than what would come later. It is still approached from the Satanic perspective.

"Falsified spirits, farther they fall

Soon they will join us in Hell

See the sky burning, the gates are ablaze

Satan waits eager to merge"

This one song was all it took for Slayer to completely decimate anything that had come before, in terms of speed, aggression and pure evil. After hearing this for the first time, I felt like my heart had nearly exploded. It was an intense experience that got the adrenaline flowing and the blood boiling, yet it wasn't over.

"Captor of Sin" begins with a slightly more relaxed pace, bursting forth with a scream and an explosive lead. The immediate feeling is reminiscent of Venom, yet as the intro bleeds into the main riff, you realize that this is more vile and unholy. Tom's vocals, in particular, are far more venomous and possessed than even the previous song. The music on this E.P. seems to build upon the foundation created by "Black Magic", leaving behind most of the NWOBHM influences to create something beyond evil. The sounds of this record drag you down into the pits of Hell, to a place of eternal torment. Of course, this was their intent all along, as Tom goes so far as to scream this in an ominous tone.

"I'll take you down into the fire"

This incredible collection of early Black/Thrash concludes with "Haunting the Chapel". Something must be said of the production on this E.P. as opposed to the later albums. This sounds less up front and in your face, while being even more lethal. Part of the beauty is that there is a little breathing room in here, as if the band is surrounded by dismal fog and raging flames. The production and songwriting go a long way to create an atmosphere of pure evil. The opening guitar riffs eviscerate the listener as the pounding drums crush your bones into dust. The lyrics tell the tale of a dark ritual, raising the dead and sending them to attack the church. This is another masterpiece of early Black Metal.

"Ghosts from Hell invade this feeble shrine

Heaven's holy house will fall in time

Satan's morbid soldiers chant in lust

Destruction of the church we'll burn the cross"

The vocal delivery, once again, is filled with hatred and scorn. Tom's tormented screams are absolutely inhuman. Musically, there is nothing up-tempo about this. As the song increases in speed and intensity, your heart bursts from your chest as you burn in the fiery depths. Your charred corpse further violated by the wicked lead solos, dismembering your blackened remains.

With Haunting the Chapel, Slayer declared war on the underground. This tore through anything and everything that existed at that time, obliterating Venom and even rendering the first Bathory album obsolete before it was ever released. This had a lasting impact on Thrash and Death Metal, though bands like Kreator, Possessed and Death never managed to touch this in terms of evil or intensity. This is essential listening for any fan of Black, Death or Thrash Metal. The last two lines of the E.P. say it all.

"Haunting the chapel, Hell's demons prevail

Death has come, the house of god has failed"

Get this or die.