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Damn The Machine - The Story Of Noise Records
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babylon777



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PostPosted: Mon Mar 27, 2017 1:54 pm    Post subject: Damn The Machine - The Story Of Noise Records Reply with quote

http://www.blabbermouth.net/news/read-celtic-frost-chapter-from-damn-the-machine-the-story-of-noise-records-book/

https://noisey.vice.com/en_us/article/the-infamous-story-of-noise-records-comes-to-life-in-a-revealing-new-book

https://deliberationpress.com/books/
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drterror666



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PostPosted: Mon Mar 27, 2017 2:07 pm    Post subject: Reply with quote

Already have this downloaded on my tablet; it's really cheap if you get the digital version. Can't wait to read it.
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Knucklehead



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PostPosted: Mon Mar 27, 2017 5:27 pm    Post subject: Reply with quote

Since the cat is out of the bag, I wonder if this will change BMG's stance on the re-release liner notes.
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Ramon1969



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PostPosted: Wed Mar 29, 2017 9:48 am    Post subject: Reply with quote

I have "extracted" Chapter 12 from this Book.
Quote:
Chapter 12
Danced To Death
Celtic Frost versus Noise Records

"Partially, I have to blame myself. This failure —I'm part of the set-up. I didn't have the balls to confront Tom in such a way."

Digger's 1986 Stronger than Ever was the first career-killing album of its kind to be released by Noise. Celtic Frost's 1988 Cold Lake, however, is the ultimate. Widely considered to be the most infamous shark-jumping effort of the modern metal era, Cold Lake was the rapid deconstruction of an avant-garde metal force that chased the hair spray-doused carrot of Americanized glam metal, only to quickly learn it was a mistake of epic proportions. Cold Lake's accompanying promo materials said it all: teased hair, unzipped pants on the part of bassist Curt Victor Bryant, and a thoroughly bland album cover. It was an immediate shock to punters who came to value Celtic Frost's unwavering quality control over its image.

Just a year prior, Celtic Frost released their watershed Into the Pandemonium, which proved to be the band's most ambitious production to date. Whereas its predecessors were fundamentally based upon Thomas Gabriel Fischer's simplistic but bruising riffing, driven by a heads-down, propulsive backbeat, Into the Pandemonium featured a litany of orchestration and innovative elements previously not heard in the world of metal. Unabashedly brave, the album represents the biggest leap into unchartered territory for a metal band.

Cuts such as 'Inner Sanctum', 'Babylon Fell', and 'Caress into Oblivion' gave Into the Pandemonium its foundation, allowing exploratory numbers like 'Mesmerized' (a song British doom lords Anathema would pattern themselves after on their The Silent Enigma album), the drum and bass, NASA-loving 'One in Their Pride', and the commercially friendly, female vocal adorned 'I Won't Dance' to demonstrate the full gravitas of how far out on a limb the band was willing to go. It didn't stop there. A cover of Wall of Voodoo's 'Mexican Radio' opens the album —an unfathomable move that goes against virtually every industry norm. Frost made it work, although one has to wonder how many eyebrows were raised upon hearing Fischer yelp, "A barbecued iguana."

Taken as a whole, Into the Pandemonium may be just as influential as its predecessors, Morbid Tales and To Mega Therion, albums that are credited with helping launch black and death metal respectively. Into the Pandemonium's flagrant use of operatic female vocals, industrial tinges, and symphonic flourishes would later be adopted by a new crop of gothic-flavored bands to emerge in the Nineties. And in an area where the duo of Fischer and Martin Eric Ain don't get enough credit, their lyrics were elegant, introspective prose, delving deep into the heart of the reality of being, mortality, and heartache.

Yet the entire process of actually creating Into the Pandemonium was an immense struggle for Fischer and team. Fischer says he and the Noise brass were at odds over who would produce the album (the band's first choice of Michael Wagener turned Celtic Frost down after hearing a haphazard rehearsal room demo), how much it would cost to actually make the album (Walterbach was reluctant to extend the budget to accommodate for such things as real orchestra players, opera singers, et al), and its outside-of-the-box approach. Because the songs were so adventurous, Walterbach never understood them, thus beginning a daily string of phone calls to Horus Sound Studio in Hannover where he often threatened to pull the plug on the entire production if Celtic Frost didn't get back on the thrash straight-and-narrow.

As a last-ditch effort, Fischer asked Horus Sound owner Frank Bornemann to take on the role of producer, but it was determined the band were far too along in tracking. So because an actual producer wasn't chosen to oversee the sessions, Ain and Fischer were given production credits, but weren't actually paid for it. That money went to engineer Jan Nemec, who proved to be competent in his role, but certainly had neither the stature nor the knowledge the band was looking for.

Furthermore, Celtic Frost —against their wishes— were booked on a quick run of support dates for Anthrax smack-dab in the middle of album recordings. Had the band objected to these dates, they would have been put on ice. "We were three-quarters of the way through working on, for us, an extremely complex album," says Fischer. "It required classical musicians and a whole string of guests. These were complex recording sessions in the time before the computer existed. We worked with samples and I don't know how many tracks. We put all of our efforts into it. We hadn't played our live set in forever. We weren't such a proficient live band yet where we could go out on stage unprepared and hammer it out. We said 'No thanks. It sounds like a good tour, but we can't do it.' Karl calls a few days later and says, 'You're on the tour.'"

"As a matter of principle I don't interfere with live dates when a band is in the studio," says Walterbach. "The tour was offered, I passed the info on to Tom and I never pushed it. Why would I? The timing was wrong. I was not the band's manager. I did not have any control and say about this."

As basic as it sounds, Celtic Frost were vulnerable because they didn't have a proper manager. Andy Siegrist, a close friend of the band, manned the position for a short period of time, only to throw in the towel because he couldn't deal with Noise's power structure. Walterbach blames Celtic Frost's poor financial situation on exactly that: the lack of a strong manager during that point in the band's career. To him, he wasn't responsible for the financial well-being of any of his bands, let alone Celtic Frost. "I do a contract where I give comparable terms, which were usually between fourteen and eighteen percentage points on the net retail selling price," he says. "Those numbers were pretty common and standard. They were nothing unethical. After three albums, we usually improved those terms when the performance was promising, and gave them a better deal. Then, they ended up with between sixteen and eighteen points. With these deals, they were in a situation where they were handling their own fate."


Freshly inserted American guitarist Ron Marks (who didn't play on the album, but was asked to join in 1987 to beef up the band's live sound) recalls a time when a noticeably agitated and penniless Fischer returned home from a trip to the grocery store with a few cans of tuna...and a copy of a popular metal magazine with the band splashed across the cover. The dichotomy was almost too much to bear.

"Karl was giving us per diems to live on," says Marks. "He quit sending them, and we're dying. We're starving. I remember Tom gets on the phone, calls Noise: 'Hey, this thing is two weeks past. We're starving. Send the money.' They hung up on him. That's where the relationship was. Karl literally didn't care if we starved to death, and my thought was, 'Hey, this isn't about rock and roll or music. This is about people.' It was ridiculous."


The issues would spill over into Noise's Berlin office. By then, Walterbach was purposely shuttering himself away from members of Celtic Frost, particularly Fischer, who, as noted by several members of the Berlin Noise staff, wasn't afraid to storm into the office demanding to see the label head, only to find him boxed off in his own corner office, presumably on a call. To Fischer's dismay, Walterbach often didn't return his calls. He wasn't having any of Fischer's demands, no matter how basic they were.

Antje Lange, who was barely a few months into her job at Noise, recalls the fear and anxiousness when it was announced that Fischer would be visiting Berlin to confront Walterbach. "Karl didn't pay him the per diems for the studio, and he was basically letting them starve. Tom was getting furious. Absolutely furious. He went into the office, and I was hiding, like, 'Oh shit, something is going to happen.' I think they were close to having a fist-fight. Tom was extremely angry about that because the bad thing about Karl is that he wants to control other people, telling them what to do and what not to do. He was a bit greedy at that time, and he wasn't the only record company executive to be like that. I think Tom was not feeling the respect he deserved as an artist."

Unlike Kreator, who often laughed and secretly poked fun at Walterbach while also being light in the wallet, Fischer couldn't let such issues subside. It went beyond the 'It's not personal, it's business' adage. The relationship between the authoritative and inflexible Walterbach and Fischer became adversarial. "By that time, Karl had become our enemy in so many ways," says Fischer. "By then Noise was no longer the springboard that it was and could have remained, but Noise had become the hinderer, the threat to the band, as it would happen, that same year, 1987, when they did destroy the band."


Video clip requests for Into the Pandemonium, in particular, 'Mexican Radio', were turned down by Walterbach, who, admittedly, was reluctant to commit such kind of resources to an album he deemed "too left-field." Walterbach further infuriated Fischer during the album's listening party at SPV's office, where he made a backhand comment to the effect of, "Why don't you try to sound more like Exodus and Slayer?" Since Walterbach was convinced the album wouldn't sell, Into the Pandemonium received scant promotion. Only when the press starting hailing it as the groundbreaking release it was did the album start to sell. Sure enough, Celtic Frost now wanted off of Noise and started to look into their legal options.

"I'm very proud we were likely the first Noise band to take action," says Fischer. "Nobody can ever take that from Celtic Frost, even if it had disastrous results later. The pressure destroyed the band. We had nothing to look forward to. For the longest time, it looked like we would never come out of it. But it completely destroyed us, and any motivation we had... all of the internal friendships we had. We lived day-to-day under pressure with bad news and negative phone calls. The U.S. tour ended in disaster. There was no money to borrow anymore. We were the first band to defend ourselves against the bad business practices of what could have been a sensational band/label relationship."

Walterbach had other ideas. Concerned that letting Celtic Frost out of their contract would set a bad precedent for other Noise bands to follow suit, he saw no reason to let Celtic Frost go. The band would subsequently bring aboard prominent New York entertainment lawyer Bob Donnelly to finagle their way out of their Noise deal, while Reed St. Mark's friend Christopher Bruckner agreed to become the band's temporary manager and assist the band with their debts. The legal wrangling would persist for the remainder of 1987.

In spite of all this, Noise did end up funding tour support for Into the Pandemonium (whose sales, as estimated by Walterbach, would eventually reach 120,000 units total), bringing Celtic Frost in front of bigger audiences than before, and including a prized opening slot on Anthrax's Among the Living hockey barn tour with Exodus in tow. The addition of Marks furthered what was already a formidable live unit, with the lead guitarist describing the shows as "otherworldly" and "like standing in front of a jet engine," crediting his bandmates with being able to put aside their struggles with Noise for the benefit of playing live. "Say we had a rough day with Tom on the phone, and Martin's on the phone —always a bunch of bullshit and politics," notes Marks. "Five minutes before we hit the stage, Tom would go, 'I know we had a tough day today, but we're still going to do a good show.' I said, 'Tom, I only play one way.' And Tom would smile. It was just us onstage; nobody could touch us when we were onstage. None of the politics and none of the industry bullshit was there for that period of time."

The shows in support of Into the Pandemonium might have been some of the band's best, but eventually, the members of Celtic Frost were beginning to lose their ability to fight against the tide of the music business. Neither drummer Reed St. Mark nor Marks had signed contracts with Noise. They were free of the band's debts to the label, meaning they could jump ship at any time without repercussions. Resentment soon started to form within the band.

"I was really homesick," says St. Mark. "I'm an American. Those guys are Swiss. Ron was from Pennsylvania He's a country guy. I'm from New York —you know, 'Go fuck yourself.' I was overconfident, and I had no right to be. Tom is always on the verge of being in a really horrible mood, and it's contagious— quick. If he's miserable, he makes sure everyone around him is. It's a combination of Tom and myself; we were barely talking to each other. Which is not what we were; we were close. We were roommates. It was stressful from the business end, and I had to take my share of the blame. I was probably difficult to get along with. I was aloof. Overconfident. I wasn't loud confident. I was quiet confident."

"We were so hammered mentally and just beaten like dogs at that point," adds Marks. "By the end of the tour, it was pretty rough. Nobody took it out on each other. Even if you felt like doing it, you walked away. Nobody got in my face; I didn't get in anybody's face. By that time, nobody was thinking of the next album. I had two quarters in my pocket and a plane ticket to Pittsburgh. I was thinking about eating and sleeping and taking a shower and being a human being again. It's not like I quit or anybody quit. We owed money on the bus, and they were getting up our ass about that. Reed took his girlfriend and went to New York and did his thing. My departure wasn't abrupt. Tom, Martin, and I sat on the tour bus before I left to go home, so it wasn't like I left on bad terms. Everybody was just looking at the floor going, 'Holy fuck.'"

"By the end of the U.S. tour in Dallas I said, 'This is the last Celtic Frost show,'" says Fischer. "There was no band to speak of. We went onstage acting like there was still a band. There was depression and negativity, and pressure and nervousness. We all agreed, this is the end of the line. We all went our separate ways after the tour. Martin and I were left with impounded instruments because we couldn't pay the crew for the last couple of days so they impounded our instruments, which took months to release in America. Martin and I flew home, and that was the end of it."
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drterror666



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PostPosted: Wed Mar 29, 2017 1:06 pm    Post subject: Reply with quote

It just shows how Walterbach had no idea about the type of band he had in his possession. I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen. If only Walterbach could have seen that and pushed the band to create more avant-garde classics.

The bands time with Noise sounds like it was utter hell!
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The holy man, hanged by nobility.
Into the crypt of rays!
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Ramon1969



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PostPosted: Fri Mar 31, 2017 7:56 am    Post subject: Reply with quote

Physical versions available at the HRR webshop.

English version: DAMN THE MACHINE - The Story of Noise Records
http://www.hrrshop.de/DAMN-THE-MACHINE-The-Story-of-Noise-Records-BOOK_1

German version: SYSTEMSTÖRUNG - Die Geschichte von Noise Records
http://www.hrrshop.de/SYSTEMSTOERUNG-Die-Geschichte-von-Noise-Records-BOOK
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spiral architect 67



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PostPosted: Fri Mar 31, 2017 10:20 am    Post subject: Reply with quote

[quote="drterror666"]It just shows how Walterbach had no idea about the type of band he had in his possession. I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen. If only Walterbach could have seen that and pushed the band to create more avant-garde classics.

I bought it the day it came out too and I totally agree with you
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Ramon1969



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PostPosted: Fri Mar 31, 2017 10:49 am    Post subject: Reply with quote

drterror666 wrote:
I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen.

I bought it also at the day when it came out. But to be honest, it took me a while until I had correctly recognized what Celtic Frost thereby created. I was 18 years old at the time and expected To Mega Therion part 2...
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drterror666



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PostPosted: Fri Mar 31, 2017 11:48 am    Post subject: Reply with quote

Ramon1969 wrote:
drterror666 wrote:
I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen.

I bought it also at the day when it came out. But to be honest, it took me a while until I had correctly recognized what Celtic Frost thereby created. I was 18 years old at the time and expected To Mega Therion part 2...


I can completely see that after Morbid Tales and To Mega Therion, some of CF's fans must have had a bit of a shock. There are shades of Into The Pandemonium on To Mega Therion though, especially on the track 'Necromantical Screams'.
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Knucklehead



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PostPosted: Fri Mar 31, 2017 1:13 pm    Post subject: Reply with quote

drterror666 wrote:
Ramon1969 wrote:
drterror666 wrote:
I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen.

I bought it also at the day when it came out. But to be honest, it took me a while until I had correctly recognized what Celtic Frost thereby created. I was 18 years old at the time and expected To Mega Therion part 2...


I can completely see that after Morbid Tales and To Mega Therion, some of CF's fans must have had a bit of a shock.

In truth, the shock came with the next album.

But, yes, ITP was a bit of a head-scratcher after MT and TMT. I happened to be in London the week of its release and had to wait until I got back home before I could listen to it. (I bought the vinyl, because records were much cheaper than CD's in those days). Two weeks with all that massive art and no hint of what the music sounded like. As a result, I think I developed a misconception of what the record would be, which took a long time to set aside. A heretical position, maybe: I appreciate ITP for the artistic gambles taken and the doors opened, but MT and TMT still speak much more loudly to me, perhaps as a result.
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Ramon1969



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PostPosted: Fri Mar 31, 2017 1:20 pm    Post subject: Reply with quote

drterror666 wrote:
I can completely see that after Morbid Tales and To Mega Therion, some of CF's fans must have had a bit of a shock. There are shades of Into The Pandemonium on To Mega Therion though, especially on the track 'Necromantical Screams'.

Unfortunately, I can not agree. 'Necromantic Screams' existed almost on Hellhammer days. The track was called 'Buried and Forgotten'. (You know that, I know Wink) If there are similarities to Into the Pandemonium then they are found at the very end of the song. As I would rather refer to 'Innocence and Wrath'.
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drterror666



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PostPosted: Fri Mar 31, 2017 1:39 pm    Post subject: Reply with quote

Ramon1969 wrote:
drterror666 wrote:
I can completely see that after Morbid Tales and To Mega Therion, some of CF's fans must have had a bit of a shock. There are shades of Into The Pandemonium on To Mega Therion though, especially on the track 'Necromantical Screams'.

Unfortunately, I can not agree. 'Necromantic Screams' existed almost on Hellhammer days. The track was called 'Buried and Forgotten'. (You know that, I know Wink) If there are similarities to Into the Pandemonium then they are found at the very end of the song. As I would rather refer to 'Innocence and Wrath'.


Yes, I know it was from the Hellhammer days. It's just that bombastic intro and the way the music flows; sometimes, I start to see 'Babylon Fell' in there. Maybe it's just me, though Wink
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MEGIDDO



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PostPosted: Fri Mar 31, 2017 2:09 pm    Post subject: Reply with quote

Ramon1969 wrote:
drterror666 wrote:
I bought Into The Pandemonium the day it came out and thought it was amazing; it just got better and better with every listen.

I bought it also at the day when it came out. But to be honest, it took me a while until I had correctly recognized what Celtic Frost thereby created. I was 18 years old at the time and expected To Mega Therion part 2...


My point exactly.
I was 19 years old. ITP was a deep disappointment. First of all, the artwork. I was at light years from appreciate the talent of Bosch at this time of my life. I bought an awful french noise single cover edition. Reed and Martin's names were reversed on the pics I hated that. The nasa's jacket of Tom ... - - Later , I rebought a gatefold edition in a Geneve store during summer holidays - Then, after 1st listening, several things destabilized me: Tom's gothic voice on Mesmerized (!!!!!), One In Their Pride (?????) Rex Irae (Requiem)?!?!? ! Who's Andreas Dobler?
I saw few weeks later the EP 'I won't Dance' , with this unknown guy as fourth member . No , it couldn't be possible ... I was so sad. I have it for two years now .Fortunately, things change with age. I appreciate it much more today, like an good wine .

The fatal injection will come a year later. I even can feel sequelles .... this opened pant. This feeling of having been abandoned was heavy.

Thanx to Monotheist to erase this bitter taste.
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Ramon1969



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PostPosted: Fri Mar 31, 2017 2:11 pm    Post subject: Reply with quote

drterror666 wrote:
Ramon1969 wrote:
drterror666 wrote:
I can completely see that after Morbid Tales and To Mega Therion, some of CF's fans must have had a bit of a shock. There are shades of Into The Pandemonium on To Mega Therion though, especially on the track 'Necromantical Screams'.

Unfortunately, I can not agree. 'Necromantic Screams' existed almost on Hellhammer days. The track was called 'Buried and Forgotten'. (You know that, I know Wink) If there are similarities to Into the Pandemonium then they are found at the very end of the song. As I would rather refer to 'Innocence and Wrath'.


Yes, I know it was from the Hellhammer days. It's just that bombastic intro and the way the music flows; sometimes, I start to see 'Babylon Fell' in there. Maybe it's just me, though Wink


You are talking about Inter-musical references in Celtic Frost's backcatalogue
There is an old threat regarding this topic. Enjoy!
http://www.triptykon.net/forum/viewtopic.php?t=726
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drterror666



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PostPosted: Wed Apr 12, 2017 10:51 am    Post subject: Reply with quote

This book is great, although I'm only about 20% of the way through it at the moment. There's a lot of information on Hellhammer / Celtic Frost. I'll say more about it once I've finished it.
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