Hellhammer Discography Overview

Our tribute to Hellhammer is more than a recognition of their historical importance. Rather, we understand the relevance of Hellhammer as one artistic, in terms of the development of the craft of metal, and as the time-less place of several of their compositions. In general, we can hear the band’s material broken in two directions: one is the temporal rock n’ roll influence, and the other a hint of madness, an intrusion of the unknown into the mind of Tom G. Warrior especially. It is the exploration of this unknown side that brought forth what makes Hellhammer the realization of underground metal as music, not simply as idea or as a ‘social’ movement or a ‘sub/counter’ culture. The latter two are temporal, and ultimately just by-products. What concerns us here is the dark side channeled, the a-/supra- temporal, the in-human and the un-humane making headway unbeknownst and not fully understood by the artists themselves.
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Thrombus – Mental Turmoil (1993)

The present album is an example of undergorund death metal that, while humble and rather representative of the genre, does an excellent job of crafting good, concise music that delivers a strong experience effectively. Mental Turmoil shows us a band that has not liberated itself and is thus at the mercy of stronger influences, such as the more pensive side of U.S. death metal meeting the aggressive side of the more melodic European flavors —and one can hear echoes of an early Obituary somewhere in here, as well as other voices. Thrombus concots its own little mixture of influences, even if there is nothing quite original in it.
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Evil Literature #1: Tony Thorne Countess Dracula (1997)

The myth of Elisabeth Bathory is known to us in its most twisted forms, filtered through years of mysoginistic prejudice and augmented further by gothic sensibility for horror that fascinated the minds of the 19th century. Little understood are the full cultural and historical context of the region and its political dynamics. Little is it taken into account that all records of what happened were taken under peculiar circumstances by those vested in Bathory’s demise, and that greater political forces were at work to bring her whole family down. Nor is it a neglible detail that accounts by primary servants of Bathory were extracted by the hand of a magister tortararum especially trained in the ‘art’, and that these same tortured servants were summarily executed after these ‘confessions’ were given.
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Satan’s Host

Satan’s Host was formed by USPM vocalist Harry Conklin of Jag Panzer fame. Where many bands transition from Death/Black Metal to Power Metal, Satan’s Host sought to reverse the stereotype by transitioning to Black Metal with vocalist Elixir. Eventually Conklin would return and they would attempt to find balance between modern Extreme Metal and NWOBHM in the style of Angel Witch. Though the mindset of an old dog attempting to learn new tricks is admirable, Satan’s Host never seemed to quite understand the source material that would inspire the majority of their long career.
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