CELTIC FROST — Into the Pandemonium

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CELTIC FROST - Into the Pandemonium cover
3.80 | 37 ratings | 4 reviews
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Album · 1987


1. Mexican Radio (3:29)
2. Mesmerized (3:24)
3. Inner Sanctum (5:15)
4. Tristesses de la lune (2:59)
5. Babylon Fell (Jade Serpent) (4:19)
6. Caress into Oblivion (Jade Serpent II) (5:14)
7. One in Their Pride (porthole mix) (2:51)
8. I Won't Dance (The Elders' Orient) (4:32)
9. Sorrows of the Moon (3:04)
10. Rex Irae (Requiem) (5:58)
11. Oriental Masquerade (1:15)
12. One in Their Pride (re-entry mix) (5:56)
13. In the Chapel, in the Moonlight (2:04)
14. The Inevitable Factor (4:38)
15. The Inevitable Factor (alternate vox) (4:38)

Total Time: 59:43


- Tom Gabriel Fischer / guitars, vocals
- Martin Eric Ain / bass
- Reed St. Mark / drums

- Thomas Berter / backing vocals (track 1)
- Claudia-Maria Mokri / backing vocals (tracks 2, 5, 10)
- Manü Moan / vocals (track 4)
- Malgorzata Blaiejewska Woller / violin (tracks 4, 10, 11)
- Eva Cieslinski / violin (tracks 4, 10, 11)
- Wulf Ebert: Cello (tracks 4, 10, 11)
- Jürgen Paul Mann / viola (tracks 4, 10, 11)
- Lothar Krist / conductor (tracks 4, 10, 11)
- Jan Nemec / sample editing (track 7)
- H.C. 1922 / backing vocals (track 8)
- Andreas Dobler / guitars (track 9, 10, 14)
- Anton Schreiber / French horn (tracks 10, 11)
- Marchain Regee Rotschy / backing vocals (track 13)

About this release

Noise, June 1, 1987.

Thanks to Time Signature, Unitron for the updates


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Celtic Frost were always a strange band as far as Metal went back in the day, but with Into the Pandemonium, they crafted the first album bizarre and eclectic enough to comfortably sit in the Avant-Garde Metal territory still 30 years after it’s creation. There are a couple songs on here with the same Blackened metal approach as Into Megatherion, but I personally wouldn’t call anything on here straight Thrash. There are also multiple interlude pieces, one of which being a sample driven drumbeat, scattered female vocals and symphonic elements, doomy gothic elements, and even poppy hooks, at least half of which are still growled.

Band leader Tom Warrior adopts a new style of singing here, something reminiscent of a whining, moaning cry. It’s very hammy but also sorrowful and pained, so YMMV on whether it’s good or not that this vocal style had a big impact on Gothic and Doom metal in the coming decade. The variety and filler make this indisputably weaker than the debut album, but it is still a unique treasure with a lot to offer.
Celtic Frost basically invented metal. Period

Ok, that might be a bit of an overstatement, but it does hold a lot of truth. Having listened to this band over and over again, with each of there albums being a different and new experiment, it's funny to hear other bands make a living out of one style or sound that Celtic Frost. While listening to this album, I automatically could hear bands like My Dying Bride and Therion's sound coming into view. It's funny how small glimpses from this band where able to be the sounds that some bands would build careers on.

This album is a bit different to its predecessor, and thankfully is a lot different to what was to become of Celtic Frost (I don't even need to describe Cold Lake, it's critically and universally panned). After grabbing the attention of the metal underworld with the early Hellhammer demos, and the first album being a metal classic, Celtic Frost could have played it safe and wrote the “Ride The Lightening” that would follow the “Kill Em All”, but instead, Celtic Frost went even further than that. So far that it nearly destroyed the band. But luckily enough, metal audiences took to the band, which made the album a success and a metal classic.

Personally, I prefer To Mega Therion, mainly because it has some of my favourite Celtic Frost songs, but to be honest, everything bare Cold Lake in my opinion are metal classics, including this album.

The album, which has a lot of experimental moments, with the use of female vocals, orchestration, electronics, cheesy pop covers and a lot of stuff that will keep you interested throughout. There still is the odd jump back to the thrashier sounds on To Mega Therion, but the album does show a very different and more avante garde approach to Celtic Frost's music. Lyrically the album is a lot more poetic, taking some lyrics even from some poetry. The album, like To Mega Therion seems to be a concept album, with lyrical and musical themes coming up now and again. The vocal approach is also rather different, with Tom actually singing some bits, rather than having his traditional gruff vocals. Production wise, the album is a lot better sounding as well.

The version of the album that I have is the remastered version with bonus tracks. Usually bonus tracks don't do it for me, but on this one, there is some songs that I'm surprised didn't make the album. In fact, if these songs where in the album, this would probably be my favourite Celtic Frost album, so instead I will just say how much I love these bonus tracks.

1. Mexican Radio – An odd cover to do, but it is rather funny, and they put there own spin on it. I do prefer the Dean Martin cover a little bit more, but this is a rather good cover. Especially when you compare it to the original. 9/10

2. Mesmerized – The first ever Gothic doom song. There probably was more before this, but all I could think of in this song was “this sounds like My Dying Bride”. I like Tom's almost spoken word bits on the song as well. 8/10

3. Inner Sanctum – The first time I heard this song was on Grand Theft Auto 4, oddly enough. A harken back to there early sounds, with thrashy riffs, twists and turns. Tom also shows off some amazing guitar playing on this song. 8/10

4. Tristesses De La Lune – I'm guessing the band got bored, and wanted to write a song in French, and have it sung by a woman. A rather dark and sexy song. It's very weird, especially for a Celtic Frost song, but meh, it's enjoyable nonetheless. 8/10

5. Babylon Fell (Jade Serpent) – One of the songs with some of the most kick ass riffs. One of the best choruses on the album too. 8/10

6. Caress Into Oblivion – A long version of the song Mesmerized. One of Celtic Frosts better lyrical moments. Doomy, gloomy and metal as hell. 8/10

7. One In Their Pride – An electronic experiment inspired by space and stuff. It works...for some reason, but it does feel rather out of place. The remix found in the bonus tracks does have better sounds, but is a bit too long for me. 7/10

8. I Won't Dance (The Elder's Orient) – This is a very odd song. But it works so right. It's almost like Pop Thrash Metal. I would think this was almost an experiment that wouldn't work, but it so does. I love the use of female vocals on the song as well. 10/10

Bonus Tracks that I like:

Rex Irae (Requiem) – Why wasn't this song put on the album? This is probably the first ever symphonic metal song. It almost sounds like Therion just stole this sound, and made a living off of it. Very progressive in nature, it does sound very bombastic and over the top, but I think its one of there crowing achievements. 10/10

Oriental Masquerade – A short and bombastic instrumental. Very epic and a bit over the top. Its a bit too short as well, because its so kick ass. Shame its just and interlude though. 10/10

In The Chapel, In The Moonlight – How they took a Dean Martin song and made it metal, I'll never know. But they did, and its kick ass. Should have replaced Mexican Radio in my opinion. Even the title of the song is rather “metal”.

CONCLUSION: Not there best in my opinion, but definitely a crowning achievement. Celtic Frost are one of the most underlooked bands in metal. They get a good bit of attention, but they don't get enough. They are true pioneers, and even though this album is rather aged and the band have broken up, the influence of there greatness carries on. Long live the Frost!

An avant-thrash curiosity from the ever inventive Celtic Frost, Into the Pandemonium sees the band - on the more conventional tracks - moving in a vaguely thrash metal direction as opposed to the proto-death/black metal of To Mega Therion. But then again, when said "conventional" tracks include a metal cover of Wall of Voodoo's Mexican Radio, you know you're in for one strange trip indeed. On some of the tracks the emotionally overwrought vocals bring to mind then-current trends in goth rock, whilst pieces such as the French poetry recital of Tristesses de la Lune or the NASA-occult dance music of One in Their Pride exist even further outside of the metal mainstream.

Take Mexican Radio out of context and you might be fooled into seeing Into the Pandemonium as the start of the drift into commercial territory which led to the hair metal horrors of Cold Lake, but take the album as a whole and it's clear that it's a much, much stranger proposition than that. It's grown a lot on me over the years, and whilst I wouldn't say it's their best work - the musical styles involves are so incredibly diverse that it's nigh-certain there'll be at least a few tracks that just don't appeal to you unless you have incredibly broad musical tastes - it's certainly one of their more important ones.
Time Signature
I won't dance (but I'll gladly bang my head)

Genre: avant-metal / thrash metal

One of the most influential, yet generally very underrated, avant-garde metal albums, "Into Pandemonium" is really something else. First off, it starts out with a cover track and contains a Motown-funk-meets-metal tracks in "I Won't Dance". Secondly, there is the proto-industrial metal track "One In Their Pride" which makes use of electronic drum beats and samples. Thirdly, there's the classical peace with spoken French language lyrics "Tristesses De La Lune". Fourthly, there are Tom Fischer's moaning vocals on the melancholic "Mesmerized", "Sorrows of the Moon" (given its name, there must be some conceptual connection between this track and "Tristesses De La Lune"), and "Caress Into Oblivion (Jade Serpent II)" and the use of percussion in the sections ("Caress Into Oblivion" eventually morphs into a more straight metal tune ... with some spacey effects though). Fifthly, there's the use of timpani, violin and female operatic vocals on the dark and doomy "Rex Irae (Reqiuem)" which also features Tom Fischer's more mournful vocals. "Oriental Masquerade" is stylistically similar, making use of a dark classical ensemble. There are also the more all out metal tracks like "Inner Sanctum", "Babylon Fell (Jade Serpent)" and "In the Chapel, In the Moonlight", "The Inevitable Factor" (which does feature some spacey effects, though).

This album is not for everyone. It took me a loooong time to be able to appreciate it, because its dark avant-garde nature was something I simply wasn't prepared for back then. But once, it gets under one's skin, it becomes obvious that "Into the Pandemonium" is an early avant-garde metal masterpiece.

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