Celtic Frost

   
Artist: Celtic Frost

   Genre(s): 
Metal: Doom
   Other
   Rock: Thrash
   Rock
   Metal: Heavy
   

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Discography:


   
 Monotheist

   Year: 2006   
Tracks: 11


   
 Vanity/Nemesis

   Year: 1990   
Tracks: 11


   
 Cold Lake

   Year: 1988   
Tracks: 13


   
 Into The Pandemonium

   Year: 1987   
Tracks: 12


   
 To Mega Therion

   Year: 1985   
Tracks: 11


   
 Emperor's Return

   Year: 1985   
Tracks: 5


   
 Morbid Tales - Emperor's Return

   Year: 1984   
Tracks: 11


   
 Parched With Thirst Am I and Dying

   Year:    
Tracks: 18

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Celtic Frost's wallop on the organic evolution of European heavy metal cannot be overdone. Along with power metal kings Helloween (and to a lesser degree, the sometimes cartoonish Mercyful Fate), Frost's long-suffering influence on Europe's heavy metal landscape is arguably comparable to Metallica's standing in America. Labeled by critics as "new wave" for their radical fusion of violent black metallic element and elements of authoritative music, the band delineated a distinctly European metal linear perspective. But their history was turbulent, their output uneven to pronounce the least, and their shameful death scarce fitting of their important bequest.Saint Thomas Gabriel Fischer was the product of a rugged home and a less than financially secure upbringing -- a rarified quandary in his native Switzerland, just nonpareil that instilled in him the electrocution ambition and pariah mindset unremarkably required in the formative days of a rock candy star. Fresh out of high school, the teenager was already in love with the New Wave of British Heavy Metal, and particularly high-power trios like bleak metallic element pioneers Venom and proto-thrashers Raven. Inspired by that movement's D.I.Y. creed, Fischer renamed himself Tom Warrior, and along with bassist Steve Warrior and drummer Bruce Day, formed his starting time band, Hellhammer, in the precipitate of 1982. Less than a year later, and though still in the buff beyond description, the band's demos -- now featuring bassist Martin Eric Ain and drummer Stephen Priestly -- had become surprisingly popular within the underground tape-trading community. In late 1983, startup German label Noise Records signed them to a compact and included two of their tracks on its first release, a compiling of rising German metallic element bands fittingly called Death Metal. But Warrior and Ain felt that Hellhammer had already run its course and that the group's extreme nature was excessively limiting for their progressively mature compositions. Thus, with their gothic, pseudo-satanic ikon already coming into focus, in May 1984 they evolved into Celtic Frost.By October, the three was in Berlin recording its starting time album, Morbid Tales, which cemented the group's status as unitary of Europe's most promising metallic element acts thanks to its placid comparatively straightforward -- only all the same fantabulous -- thrash metallic element onset. The sudden expiration of Priestly too proven to be a blessing in camouflage, as his replacement, American drummer Reed St. Mark, brought a assurance and musicianship that the group sorely needed. Amazingly, Celtic Frost had so far to bet their first concert, so subsequently putt the finishing touches on the Emperor's Return EP, in April 1985 they performed a individual limber up exhibit in their hometown of Zurich, then set verboten to circuit across Germany and Austria.


Now development from forte to speciality, Warrior distinct to replace the increasingly unmotivated Ain with bassist Dominic Steiner for their second record album, To Mega Therion. But he soon had second thoughts, and Ain returned subsequently the album's pass completion that hang. Its cover graced by original artwork from acclaimed Swiss artist H.R. Giger (of Stranger fame), the album expanded Celtic Frost's songwriting palette, furthered their development repute, and was followed by their first North American execution at the World War Three metal festival in Montreal. After the tone ending of the Tragic Serenades EP in the summer of 1986, the band embarked upon its most extensive tour up to now -- first-class honours degree through Europe (including their number one inflict to England) with Helloween and Grave Digger, and then across America with Voivod and Running Wild. By the terminal of the year, Celtic Frost were poised to satisfy their seemingly bound anticipate with a groundbreaking ceremony third movement. On To Mega Therion, Warrior had begun experimenting with different musical styles (especially classical music and electronica), ahead certain journalists to identify the band's instruction as "vanguard" metal. Released in 1987, Into the Pandemonium would actualize these claims and then some, introducing an unconventional collision of death metal barbarism and symphonious overtones on its way to comely one of the definitive extreme metallic element albums of all fourth dimension. Frost's to the highest degree shaping and influential make, it paved the room for the organic evolution of European death metallic element as a fully fledged subway phenomenon over the next 10. American guitar player Ron Marks was brought in to flesh out Celtic Frost's live assault, and their subsequent U.K. circuit was a resonating success on all fronts.


Now at the peak of their powers, Frost headed for America to take in charge their biggest go always, but trouble was right around the corner. First the band's high spirits were promptly dampened by personality clashes with modern member Marks and, secondly, the go itself became mired in organizational and fiscal difficulties nearly from day one. By the time it finally over in New York City (where the route crew was forced to adjudge the group's gear surety in order to catch paid by Noise Records), the band was on its net legs. Furious at their record company and completely burnt out from the farsighted months of arduous roadwork, they had had enough: Celtic Frost effectively ceased to exist.6 months would overhaul earlier Warrior got over his disillusionment and was confident to upraise Celtic Frost by Swiss guitarist Oliver Amberg. After drafting bassist Curt Victor Bryant and delivery endorse instauration drummer Stephen Priestly, the revamped unit entered Berlin's Sky Trak studios in the summer of 1988 with producer Tony Platt to begin roger Huntington Sessions for the now notorious Cold Lake album. Warrior's tarriance numbness and want of allegiance to the contrive allowed Amberg and Platt's commercial tendencies to melt down wild. In what has since been viewed as one of the virtually misguided changes in artistic direction in heavy metal history, the dyad subverted Frost's ferocious extreme metal roar into a candied pop-metal whimper. If this weren't bad enough, the chemical group so signed their possess death time by adopting a glam rock image, finish with titillated hair, makeup, and colorful outfits to cope with! The repercussions were instantaneous and crushing; press and consumers alike burned the band in image as an utter sellout, and what was expected to be a victorious earthly concern tour sour into a prolonged, embarrassing suffering for all convoluted. Following this unmitigated disaster, Tom Gabriel Fischer (as he'd once once more been vocation himself after retiring his Warrior-like qualities) began backpedaling as fast as he could. Assuming control of the group erstwhile again, he discharged Amberg and lured guitar player Ron Marks back up to the folding for 1990's back-to-basics Vanity/Nemesis LP. Marks remained as unreliable as always, though, and would presently outlet, forcing Bryant to electric switch from bass part to guitar and opening the door for Martin Eric Ain's riposte. As for Vanity/Nemesis, it was a respectable semi-return to form that attempted to pick up where Into the Pandemonium had left off and draw believe Cold Lake had never happened, only it at last couldn't unwrap the damage through with to the band's reputation. After a turbulent European tour, Frost planned to give back to America for the first base time in trey geezerhood, just when a new recording deal with major tag EMI (which had finally cut off the band's long-troubled ties to Noise) hide through due to incarnate restructuring, Celtic Frost found themselves dropped and, still in shock, distinct to call it a day. Their last do was compilation a collection of hits and album leftovers for 1992's Sunbaked with Thirst Am I and Dying -- its flaky title taken, in typically offbeat Frost fashion, from a fourth century Roman poem. Fischer would avoid the spot completely for the following few old age before resurfacing in the late '90s with a raw band called Apollyon Sun, but when this likewise ground to a stop amid far-flung world indifference, he formerly once more connected with Martin Ain, and restfully countersink most planning Celtic Frost's resurrection. Working more often than not in seclusion and avoiding all outside intervention or funding, the twain -- plus raw drummer Franco Sesa -- lento recorded enough material for a comeback record album to be titled Monotheist, which they finally commissioned to Century Media and released to much well-deserved tucket in early 2006 -- just over 20 old age later on their debut.