I first got into Sodom by listening to albums far later in their career. 'The Sin of Sodom is the Sign of Evil' is the back cover tag line. Driven by almost-blastbeats - standard hihat/snare played as fast as possible, complete with continuous double bass and the odd fill - and a snarled, slightly gargled but semi-coherant vocal, the songs are fine examples of early extreme Metal. This approach was adopted on just about every major Darkthrone release, particularly their lesser acclaimed epic and progressive death/thrash debut “Soulside Journey”. A note must be made about the lyrics. The first thing I noticed about this EP was that it was as close to black metal (somewhere between 1st and 2nd wave) as it was to thrash. Some raw and evil black speed metal here, in the vein of the old Venom works, but with Angelripper's horrific death-croaks... he makes sense when he's barking orders, and he works here too, when he's destroying necrosluts with his blasphemic assault. Angel Ripper's vocals even sound like Cronos! I have trouble hearing the bass though. However, the amateurish production manages to increase the raw, alien and enigmatic vibe of the record, working surely much better than most of those clean bombastic productions that we often find nowadays on albums that have just nothing to say. The lyrics are a bit horrendously primitive (masturbate to kill yourself!) Add the invaluable piece of encouragement from the SPV label representative Manfred Schütz ("You guys are so bad, you will sell a lot of records!") German thrash band. This song is a true occult masterpiece. There has been this odd consensus in some quarters that the production on this is lacking, but for this style everything seems pretty well ordered. Oh well. As things progress from here, the sounds get even more twisted and strange. All of these songs are fast and there are many similarities, but I'll try to point out some of their distinguishable characteristics. All things considered, In The Sign Of Evil is a very good piece of early black/thrash and a milestone in the road to nowadays black metal. Here instead of Sodoms' awesome german Death Thrash, we have a sloppier, more evil, black metal styled sound. You're just hoping something slipped in there that's going to rip the carpet off the floor when you put it on. These were the halcyon days of the band's stage names, and the line-up consisted of band leader Angel Ripper (bass/vocals, later Tom Angelripper), Witchhunter (drums), and Grave Violator (guitar), who had replaced Aggressor from the demos, and together they volley an intense barrage of Satanic warfare which lay somewhere between the showy, viral ministrations of Cronos and crew, gravel pounding of Motörhead and perhaps the riot toned chords of Discharge. The riffs are slightly repetitive, but that adds to the chaotic atmosphere. Since the beginning, Tom’s main influences have always been British heavy/speed bands: Venom, Motorhead, Tank, Raven and similar stuff, pretty much like most thrash bands which were forming in those years. A very special brew from the land of the purity law. If they tell their parents they want money in order to become the rowdiest metalheads in town, they’ll be grounded for weeks, maybe even months, in the best-case scenario… it’s so sad, this situation, cause the youngsters know that even in their current, barely amateurish status they can still make an impact. Its as fast as Slayer, yet as sloppy as Venom...and it sounds fucking great! Sodom. The chorus of "Burst Command Til War" is gruesome and fascinating at the same time ("burst commaaand til ... ooooaaaarrrr"). The first four songs had very Venom type lyrics to "prove how evil we are" whereas this last track touches upon war/combat, a subject the band would focus on later in their career. 2013 Epitome of Torture. ... Random Album. http://www.fromthedustreturned.com. Sodom is a thrash metal band. Leafing through the record rack, you zip past the first Stryper lp and chuckle 'cuz you think of that kid in school who's totally into this band, totally religious, and totally gay. My particular favourite has to be Burst Command Til War, for some backwards reason. Everything is raw and simple, but it’s all perfectly audible, the muddy bubbling of the bass just below Grave Violator’s fast, hooky guitars, while Witch Hunter’s drums provide the shambling skeletal backbone. The galloping Stained-Class intro of Blasphemer leads into another absurdly fast passage, while the midpaced sections of Sepulchral Voice echo a more deliberate Triumph of Death. This EP now seems to be irrevocibly paired with Obsessed By Cruelty, which is highly appropriate and no problem to anyone. "...I love to drink my own blood, my sin is my life in a war with God..." Grave Violater, winner of the local "Youth Researches" competition, has found out how to draw the most scrubbing tones from his guitar while running up and down the scales and Witchhunter is obviously possessed by inner demons. On a side note some of the background laughing in this song sound just like the Voodoo black guy from the James Bond film Live and Let Die and it wouldn't surprise me if Sodom lifted it from the films soundtrack. There are also some clear hardcore punk influences, audible on the pre-chorus and the chorus, but these riffs sound surely more evil than anything ever created by Anti-Nowhere League, The Exploited, Discharge, Poison Idea or Charged G.B.H.. Tom’s vocals bring right in your ears some historical words of Sodom’s discography: Great! They have the thrash attitude, with punk influences and blackened atmosphere. "Outbreak Of Evil" and especially "Blasphemer" both start off creepy and then get intense. Perhaps my least favorite on the release. It’s not anywhere near their best, nor is it in any way amazing music, but it does exactly what it sets out to do, repeatedly stabbing you with the rusty sword of its notation while laughing maniacally all the while. We have Angel Ripper on "exploder black & red bass and bestial disaster vocals", Witchhunter on "atomic drum invasion", and Grave Violator on "dynamic power plant guitars". To some this work may not be as appealing as their later efforts (especially Agent Orange) because there aren't any overtly memorable thrash sections (Tired and Red, for example), but this is still a very effective work. Released: 25 June 2012; Label: Steamhammer This leads up to a song called Burst Command Till War. During the 90’s they had a more punk influences while in the new millennium they turned to a pure thrash again. Pretty essential. but the production is actually surprisingly good. Though this was probably much more influential on the later black metal scene than what most of what came after this was aimed at, every self-respecting thrash fan should have this in their collection as a historical proof that the thrash genre can be a lot more versatile then most give it credit for. Euthanasia (03:54) 04. Tom Angelripper is a master of guttural vocals and proves it on this EP, he sounds quite demonic and sings on the lower side. Very primitive, immature lyrics, but I cut them some slack for not having a firm grasp on the english language yet. Band Biographies. The cover art, while goofy, is very foreboding. You got it. and still manages to be a three and a half minute head-banging monster. With stage names reminiscent of Venom and Hellhammer, eye make-up ala Slayer's first lp, bullet belts and leather, you give this five-songer a shot. Well... “In the Sign of Evil” contributed to change my life, along with all the following Sodom albums. Good bass work. The production overall is not bad considering but it doesn't help the potential some of these songs have. Mid ranged mostly, though some lower pitched growls appear. The guitar playing is mostly tremolo picked power chords, with some occasional single note picking such as the slower passages in "Sepulchural Voice" or the galloping intro to "Blasphemer". ), further enriched by continuous mayhemic fills. Even Slayer's "Chemical Warfare" was not as fast as Sodom was in 1984. Albums include Agent Orange, Persecution Mania, and In the Sign of Evil. “Witching Metal” is another straight-to-the-point song: it features a single, catchy riff which sounds extremely wicked and really genial in its simplicity. All those “satanic” cliches and “evil” vibes that, in those years, were pursued by bands like Venom, Hellhammer and Bathory, are findable on this EP in the most extreme, most paroxysmal, yet most “primitive” way you could ever imagine, sounding totally “alien” in comparison to any other band of those years. This one also features the bass having a little bit more prominence and employs some distorted notes that sort of emulated, on a simpler level, what Cliff Burton brought to Metallica. The song ends with some weird sound effects before a short outro stars up with the sound of an exploding nuclear bomb. Eligible for Free Shipping. This is a rare occasion where a song runs for nearly three minutes on only two riffs...and it's class! Even Bathory’s debut (that was going to come out few months later) is a far cry from this level of rawness, which sometimes reaches even grotesque levels! They please with a certain degree of catchiness (the legendary "shrill cries, angel dies" chorus of "Outbreak of Evil" is an earworm) and the three-piece keeps an eye on variety, as far as that is possible in view of the musical limitations. With this definition, I’m practically classifying the whole 80s’ proto-black metal wave (heavy/thrash/proto-death bands with a raw/occult edge, like Venom, Celtic Frost, Hellhammer, Mercyful Fate, Sarcofago, early Sepultura, early Kreator etc.) It doesn't sound like a demo, but it's still quite dirty. I may not be the most knowledgeable person alive on the band but I do believe I have far more knowledge about them then the average metal fan. 2007 The Final Sign of Evil. Imagine the zombies joining the SS and getting Angelripper as their commander. In the Sign of Evil is a fun, street-stomping 20 minute war machine of churning malevolence and take-no-shit punk attitude, and it’s not only a highly influential album for its time period, but an infectious journey worth repeating even today, for established thrash barons and headbanging neophytes alike. They subconsciously know that the already started metal revolution needs raw unpolished teams like them… only if they weren’t so shy and so indecisive; they don’t want to become the laughing stock of the underground with their very first (un)officially released tunes… The guitars are heavy, fast and unmelodic. Review: Representing the confused mixture of styles that was metal in the 1980s, the most advanced record from Sodom combines speed metal, heavy metal and nascent death/black, but never manages to fully anchor itself in any one direction, despite producing the genre-definitive songs "Nuclear Winter" and "Persecution Mania." Though having evolved (or devolved, depending on your perspective) from existent modern archetypes of the period, most notably Motorhead, their brand of ‘black metal’ was a filthy new experiment, paving the way in shock and blood for even more savagery to follow. This EP is perhaps an overlooked influence on the black and thrash that came after it. I am speaking of a charismatic, authentic front man, their role as pioneers and, hard as it may sound, the fact that their name is closely connected with a personal tragedy (Witchhunter, R.I.P.). Department. And that was the way; put your band out there in the open first and foremost, don’t let your enthusiasm burn out, ignore all the naysayers… cause, eventually, you will learn how to play later; exposure and publicity are more important at this early stage… those were the thoughts of Thomas Such ala Angelripper, Josef Dominik aka Grave Violator, and Christian Dudek aka Witchhunter, three belligerent teenagers from Gelsenkirchen, North Rhine-Westphalia, who were making quite a bit of metallic noise in their parents’ garages, and also had a name for their joint efforts, Sodom. SODOM - Genesis XIX. And they don’t want to spend ages in studios, under the vigilant gaze of music teachers… besides, who’s going to pay for the fuckin’ guitar lessons? The riff on this one has a similar early power/speed feel as the one riff from “Sepulchral Voice”, but the context it’s presented in is so different that you hardly have time to notice. Sodom evidently had a very bad understanding of english at this point. Primeval speed, aggression and the quirky, drum-laden chorus dispel all other thoughts in your head. “Blasphemer” gets extremely close to that same profane display of perpetually fast drumming and obscured speed riffing that was regularly employed by Bathory on their debut. Sure, it cant touch Agent Orange, Persescution Mania or Tapping the Vein in terms of classic Sodom, but it sure as hell pisses all over the disaster known as "Obsessed by Cruelty" and it boasts some great catchy songs. Though they don't push any boundaries for the genre in terms of musicianship, and were arguably at least being equalled at the time in extremity (certainly surpassed now), the idea is the same then as it is now - the whole is greater than the sum of its parts. Production: Bass and treble balance for a meaty sound that is still somewhat flattened by its democratic mixing. This is the most Venom sounding song on the EP. Burst Command 'til War sounds most like later Sodom, except without the absurd thrash breaks that they would throw into their later works. Even beating the mighty Slayer to the punch, they followed Venom’s blackened stylings quite closely on their early demos. I guess a strong current of utmost despair and burning desire can prick the social consciousness harder than a combined prayer unleashed by the entire Vatican personnel… three musketeers from the Isles called Venom, would you believe, have released a full-length titled “Welcome to Hell”. Each one of these five evil numbers brings something unique to the table, though they all share in common a very morbid atmosphere. All customers get FREE Shipping on orders over $25 shipped by Amazon. Yet these are more or less exactly the lyrics that we also would have penned back in 1985, but we did not have the courage and / or stamina to buy instruments, learn how to play, write songs (or something that can almost be called songs), give concerts and neglect our bourgeois life. It's not nearly as reverb-filled as The Return or the first Possessed LP, giving a certain clarity that emphasises the interplay between insanely fast guitars, chaotic drums, and frenzied vocals. Although the songs do not provide progressive or innovative structures, they seem to break with any form of convention. They released their first full-length album Obsessed by Cruelty in 1986. Their contribution to extreme metal cannot be overestimated. At this early stage (now you can actually hear the songs - see the Witching Metal demo...) that sound was a Blackened Thrash one, god knows how long before people decided to put a label on what happens when two sub-genres that exist so naturally together get fused into a natural but nasty mass. The band's name also screams of an early black metal band. and the rawest examples of 90s’ Scandinavian-derived black metal (Mayhem, Burzum, Darkthrone and similar names, usually excluding the most “symphonic” edge of bands such as Emperor, Cradle of Filth, Dimmu Borgir or Limbonic Art). Overall it was an interesting EP (especially for a Venom fan) but I'm glad Sodom would evolve into the kick-ass thrash metal band that they became. So, don't bother trying to learn them, and especially don't bother going looking for 'depth' and 'meaning' - why do people try and do that with Thrash?! The riffing techniques (bass included) are equally minimalist, primarily consisting of single note tremolo picking, yet the sinister guitar tone and Angel Ripper’s “Bestial Disaster Vocals” (as quoted from the booklet) generate an ominous atmosphere that enhances the eerily unassuming musicianship and sets the mood for an evening of killing, raping, pillaging, and other unmentionable evils. They are full of energy, so the drums are decent. But the massive preponderance of Venom upon the other names, and the will (maybe unconscious and instinctive) of the band to expand that style in a more insane way, determined the uniqueness of Sodom’s sound. About & FAQ. A song that awkwardly transitions into follow-up “Sodom & Gomorrah.” So, that’s my first beef with Genesis XIX. Onkel Tom hasn't developed the signature croak that everyone knows and loves, and his accent is thicker than ever, which makes him almost impossible to understand. A bit hollow-sounding, with the guitars slightly low in the mix, but this sounds better than Bathory, and about as good as the Hellhammer EP. The album kicks off with a very short atmospheric intro that leads into the first song Outbreak of Evil. The band was initially formed by Tom as a desperate attempt to get out of having to work in coal mines in his home town of Gelsenkirchen. Their about as far back in the mix as the guitars, which adds to the raw nature of this EP. The ultimate Sodom album . Sodom is widely hailed as being at the forefront of the first wave of black metal, accompanied only by the likes of Hellhammer, Bathory, and Venom. After listening to the band's debut EP I was shocked on how their sound has changed over the years. Yes, they did learn to play better, much better actually, and they did abandon their overt satanic image. Pure headbanging. These are conventional Metal riffs played from fast to breakneck (for '84 I guess - see Sepulchral Voice) as opposed to conventional Master of Puppets Thrash-style riffs (and I know that album hadn't been released yet, shush) or traditional tremelo Black Metal riffs. All in all, especially the debut EP is still a prime example of awkward yet charming (anti-)music. They have very basic knowledge of how to handle the guitar and the bass, of how to bash the drums until they crack, but what comes out of their combined efforts so far is a bit more than semi-organized noise. Nonetheless, along with the Hellhammer recordings and the Bathory debut, this is about as extreme as it gets for the early days of thrash. “In the Sign of Evil” and “Obsessed by Cruelty” are the greatest examples of how to create raw, dark and hellish atmospheres, being just sloppy and poorly skilled musicians, but with a lot of passion and an insane musical concept in mind. It's an interesting release but not necessarily a "must have". The cover art is also incredibly iconic, even if it’s not all that artistic. An original middle 1980s black metal/thrash crossover that quickly became highly refined speed/black metal with albums such as "Agent Orange" and "Persecution Mania. The guitar tone isn't nearly as overtly heavy as Hellhammer, or as reliant on off-notes and insane bends, instead going for a cleaner early-thrash tone, that is also reflected in Angelripper's vocals, which is not as much a bark as that of Tom G. Warrior, or a shriek a la Quorthon. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. star of this legacy. "Blasphemer" breaks out a broken thrash melody before the drums charge forward, and I've always found it curious how similar the primary guitar rhythm in the verse feels to Slayer's "Chemical Warfare". Shit happens!) Erfahren Sie mehr über Veröffentlichungen, Rezensionen, Mitwirkenden und Lieder von Sodom - Obsessed By Cruelty auf Discogs. The production is great in my opinion. Contribute Albums. I just went nuts for that music, listening to it over and over and beginning to love thrash metal and extreme metal in general. Heads-down, no-nonsense, no-brains headbanging hell, with twisted vocal effects added for a killer touch. The vocal delivery was also likely a pretty heavy influence on both Dead and Varg, as Angelripper manages to utter some pretty twisted stuff in a really garbled tone. A tiny, then-scary intro leads into rumbling guitars backdropping animalistic snarls and a blurb of finger-tapping. Below picture from L to R: Toni Merkel, Frank Blackfire, Yorck Segatz, Tom Angelripper. (Today, I have no longer muscles and I also do not find this shirt anymore. Upper picture from L to R: Tom Angelripper, Frank Blackfire, Chris Witchhunter. Its raw, loud and abnoxious. None of those were better musicians, but they somehow got luckier in intriguing the respective recording companies a bit earlier. Very evil sounding and kick ass. AutoRip. 2018 Partisan (EP) This is the first Sodom song to deal with the topic of war (this is probably a Tank influence), which will become very soon the main topic of the band’s lyrics. With an intro that probably should've lead off the lp, "BCTW" literally erupts with pure rage and ends with an unkempt drum interval and thunderclap to close the crypt. Originally written for http://www.metalmongrel.com. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. 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