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. Another above average track is Blasphemer, which borrows a riff from Slayer's Chemical Warfare (or did slayer borrow it from them? "Witching Metal", one of the band's earliest tunes, having appeared on both demos prior to this EP, is possibly my least favorite of its contents, sounding heavily like a sloppy, charging Venom track with a swift kick in the ribs, but I do enjoy the lead sequence and I find it hard to fault lyrics like 'Metal War Sodom, Wildfire Sodom, Bloodlust Sodom, Witching Metal!' "Outbreak of Evil", one of the band's most enduring songs, still being performed in their regular stage rotation, is a fine example of how they integrate some wailing, spooky leads, and then bludgeon through a pair of minimal effort, punk fueled rhythms while Tom's younger, retching vocals corrupt the surface. The production overall is not bad considering but it doesn't help the potential some of these songs have. Pure hellish atmosphere. Sodom on ensimmäinen thrash metal -yhtye, jonka albumi on päässyt myyntilistoille. The production is very reverb filled with good amounts of treble, so there is a underproduced sound to this. This is not so much about impressing the listener with the music, but showing just how far metal was capable of going in 1984, and though its speed would be surpassed, it remains a landmark in Germany's speed/thrash history (not to mention black metal on the world stage), and still sounds pretty good by today's standards, when compared to all the retro underground acts who trip over themselves to achieve the same archaic appeal. 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. 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.). death stands behind the door, Ten Black Years. 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. Upper picture from L to R: Tom Angelripper, Frank Blackfire, Chris Witchhunter. This song has weird vocal effects on Angel Rippers voice to make him sound more evil but it just makes him sound sillier than anything. Good thing it's an EP, if it was a full length album in this style I think I would get bored relatively quickly. Each of the three most well known German Thrash bands - Sodom, Kreator and Destruction in case you're curious - undeniably have their own sound; and Sodom's role in the gang is the simple, almost punkish but always heavy sound, tweaked regularly throughout their career. If you enjoy first wave black metal such as Bathory or Venom, then this EP should be quite enjoyable. Their tenure within this style was relatively short, as on their first full length they were headed towards something closer to a pure thrash style, but along with the “Victims Of Death” demo, this little EP is about as good as it gets if your looking for something that really captures the darkened intensity of the early scene. It’s like listening to Venom on speed. Imagine the zombies joining the SS and getting Angelripper as their commander. Albums include Agent Orange, Persecution Mania, and In the Sign of Evil. Nah, just let it compliment the evil of it all. Not to be confused with the power metal band Sodom from Munich. The result? Lyrics...about evil, war and Satan (black metal only existed back then as an album title and song, not really as a style. Tom Angelripper's vocals are the blueprint for what many black metal bands would copy, and Witchhunter's drums, while sloppy, are full of energy and honesty. 1-16 of 24 results for CDs & Vinyl: Metal: Black Metal: Sodom. One, maybe two Saxon albums blow by along with possibly an oddball Samson album, perhaps Michael Schenker Group and some Scorpions, Krokus, Y&T, Sabbath, Billy Squier (groan), and probably, oh I don't know, Status Quo and Ratt. 2013 Epitome of Torture. Although the songs do not provide progressive or innovative structures, they seem to break with any form of convention. You want brutal? Very primitive, immature lyrics, but I cut them some slack for not having a firm grasp on the english language yet. And then, the EP is over. Released: 2 December 1996; Label: Steamhammer "As was the case with their very uneven career, Sodom's two-disc 'greatest-hits' set, Ten Black Years, is not the sort of collection one can easily appreciate when heard from start to finish." Nonetheless, along with the Hellhammer recordings and the Bathory debut, this is about as extreme as it gets for the early days of thrash. They have the thrash attitude, with punk influences and blackened atmosphere. Uno de los grandes pilares de la escena alemana metalera y una banda esencial dentro del Thrash Metal Teoutónico. 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. The gods that put out Slayer's records, Metal Blade, put this out as well. A song that awkwardly transitions into follow-up “Sodom & Gomorrah.” So, that’s my first beef with Genesis XIX. I can say that this is my favorite EP from the 80's behind Haunting the Chapel, so anyone who enjoys real metal that would rip your carpet up at home should give this a spin. My username is cronosmantas proving how much of a Venom fan I am. 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. One of these was Germany’s Sodom, who stepped up to the plate with their spiked bat ready to take on all comers. If these Venom lads can bathe in fortune and glory playing like that, so can we! Germany Black/Speed Metal (early), Thrash Metal (later) 1984 In The Sign Of Evil (EP) 1986 Obsessed By Cruelty. It therefore comes as no surprise that this special elixir brings strange moments to light. 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. 'The Sin of Sodom is the Sign of Evil' is the back cover tag line. Its highlights, the two tracks mentioned above, are essential study for any musician wishing to explore this field, and the album as a whole has aged better than other Sodom releases, but its state of incompleteness - halfway to a new vision its authors clearly are unwilling to adopt, and reliance on older forms they can only partially stomach, producing anomie of musical development - makes it at best an occasional listen. Artist: Sodom Album: Genesis XIX Country: Germany Genre: Black, Speed Metal (early); Thrash Metal (later) Quality: Mp3, CBR 320 kbps (CD-Rip) + Scans / FLAC (img.cue.log) + HQ-Scans / FLAC 24-44 Info Tracklist: CD 01: 01. “In The Sign of Evil” is proof that you don’t need an extravagant production budget or anything more than adequate musical talent to create an exemplary heavy metal record. Euthanasia (03:54) 04. Nowadays I listen to so much thrash, death and black metal stuff, and I still think that “In the Sign of Evil” is the absolute, unchallenged peak of what is commonly defined as “proto-black metal”... or, to be more precise, I’d even define it as the absolute zenith of the whole “evil/occult extreme metal” current (though being not the peak of thrash and extreme metal in general, a title that belongs to “Persecution Mania”). The first sign that this EP is complete Venom worship is that the band is a 3 piece outfit (just like Venom) and that they took shocking (and somewhat silly) stage names. You quickly realize this is quite the chaotic endeavor, and initial track "Outbreak of Evil" is the most timid tune on the disk, but you are woefully unaware of that yet. But In the Sign of Evil is nowhere near as good as Sodom's future output, and suffers from tedium by the end. 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. Alot of the riffs reflect what Bathory was doing at the same time, such as the evil riffs in "Outbreak Of Evil", or "Burst Command Til War". My opinion is that Sodom during their career, passed through different kinds of thrash metal. 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. As those tendrils grew and enveloped the world, new appendages began to grow from the dirty, terrifying entity that was just burgeoning into what we now call extreme metal. spit at the church, evil I get... Outbreak of Evil starts this mini album off with some evil sounds and a finger tapped section before launching into a 4 and a half minute speed fest. Sodom je thrashmetalová hudební skupina z německého Gelsenkirchenu, založená v roce 1981.. Spolu se skupinami Kreator, Destruction a Tankard jsou Sodom považováni za velkou čtyřku německého thrash metalu (tzv. Sodom evidently had a very bad understanding of english at this point. Not as twisted and devious as “Apocalyptic Raids”, and not as deliberately malicious as Bathory’s first, this little effort rightfully finds its place among the first extreme metal recordings. So, after three minutes of pure barbaric mayhem, the song ends with a final, enormous explosion. 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. Available with an Apple Music subscription. First of all I should prove my knowledge on the group Venom and how I can validate comparing Sodom to them. This is pretty much what you would expect from an underground thrash metal band that's just starting out. 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. Skip to main search results Amazon Prime. 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.) 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. Sodom - Obsessed By Cruelty (Metal Blade, 1986) To some extent, the 80s was about discovering the black within metal and like many of the entries on this list, one could interpret a lot of early Sodom as simply evil-sounding thrash. This infernal blackened thrasher reminds us how without Sodom, there’d be no Toxic Holocaust, Hellripper, etc. -Left Hand of Dog 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. Hell, what is it, about five bucks? This and "Obsessed By Cruelty" is what got me into Sodom. The highest instrument in the mix for a reason, the drums are powerful, incredibly fast, and incredibly frantic all at once. But, the band makes up for it with “Sodom & Gomorrah.” It’s a fun piece, written by the wilder side of Sodom. Customer Review. The guitars are heavy, fast and unmelodic. It really gets annoying when you rip or play this CD to your computer as it mislabels all the tracks and leaves the final three tracks with "unknown" titles. The first few vocal lines of Witching Metal sound very much like Deathstrike's "The Truth" (it may be that Deathstrike ganked the passage, given that Witching Metal was a demo in '81 or so). thrown during a gig in Frankfurt in 1984, and the die was cast. The production helps attain an evil atmosphere so necessary for black metal. Department. Even beating the mighty Slayer to the punch, they followed Venom’s blackened stylings quite closely on their early demos. They are puked rasps, through which a voice occassionally cracks through. When I first got into Sodom I always thought it was a weird name for a hardcore thrash metal band that mostly sang on the subject of war. ”My life begins at midnight twelve... No instrument stands over another one. 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. You don’t see a heck of a lot of bands trying to explore this approach again to see if some new ideas could come out of it nowadays, and it’s a bit of a shame because many of the 2nd wave of black metal have either gone defunct or gone in different directions, and the 3rd wave doesn’t sound a thing like this. The bass is present, and because of the lack of a rhythm guitar it is more or less its own instrument and does playing different from the guitars. This song is a true occult masterpiece. In the beginning, there was Venom. Millions of young budding metallers are eager to participate in this exciting campaign more fully, not just as concert goers and vinyl purchasers. Shit happens!) For 1984, this was the fastest album around, except possibly for a few Dirty Rotten Imbecile albums that preceded it. There are only five songs here but this record clocks in at over eighteen minutes. Now comes Witching Metal. “Sepulchral Voice” begins with a slow, gloomy guitar intro, which shows all the genius of the band about creating spine-chilling, infernal atmospheres without being very technical. 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. In the freakishly slight chance you may find them, you fondly hold position on one of the two Slayer records out if you had heard them, 'cos you're still trying to find your equilibrium after "Chemical Warfare" melted your Walkman earphones. "Burst Command Til War" has very demonic vocals and the song itself appears to be war oriented. which seem forward and compelling enough. All of these were essential contributions that have since been expanded upon to flesh out the language of underground metal, and if you listen here between jubilantly syncopated choruses and warmed-over heavy metal riffs, they are used to great effect, in the advantage of retrospect eclipsing the formula-proven elements of this album. "Sepulchral Voices" and "Burst Command Til War" are just as brute, but the latter is pretty charming for its echoing chamber of voices and the sloppy but memorable construction of the chorus. The more the critics hated the albums "In the Sign of Evil" and "Obsessed by Cruelty", the more they were loved by their defiant target group. The result is a totally demonic track. “Sepulchral Voice” tends towards a sort of bi-polar mix of doom breakdowns and this wicked speed metal section that sounds like a twisted, faster and earlier version of an Agent Steel riff. The timing is not perfect, the songs lack of compactness and 90 percent of the riffs are painfully simple. The version I have has the "In the Sign of Evil" EP and the Obsessed by Cruelty LP on the same disc. More controlled bash comes pouring out of “Witching Metal”, the obligatory nod to the pioneers Venom without whom this whole enterprise wouldn’t have existed; before “Burst Command til War” wraps it on with headbanging vigour to spare, a one-dimensional but inspired hammering that nicely gets the message through, “We’re here, finally, and we mean business! November 27, 2020, 2 months ago (eOne / SPV) Rich Catino. “In The Sign of Evil” was recently re-issued as a value priced double pack (two EPs and two LPs for the price of one full length album), so there is now no excuse for not owning this extreme metal archetype. And then, we have the real boss, Tom Angelripper: his vocal performance on this EP is way sicker than any other one you’ll ever find in black and death metal. In addition to the overall more black metallish atmosphere, there is a very punkish element through the constant use of power chords, and the general sloppiness. The up tempo parts on “Burst Command ‘Till War" are awesome and really nasty, while the refrain is pure violence with screams and an orgy of riffs. This is a very important release for 1984. Pretty essential. The chorus of "Burst Command Til War" is gruesome and fascinating at the same time ("burst commaaand til ... ooooaaaarrrr"). There’s only one small obstacle on the way: the don’t really know how to play. “Witching Metal” goes back towards the proto-black thrash formula, but with more of a Venom flavor to the riffs. ”It’s time to die, It even has its own bass solo towards the end in "Sepulchural Voice". 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. The drums are the tightest aspect of this album. My particular favourite has to be Burst Command Til War, for some backwards reason. Finishing with stripped down and re-arranged versions of older songs, "Persecution Mania" is on the whole mid-paced and often lukewarm owing to its lack of clear vision, both aesthetically and musically, yet can be a fertile ground of study for those who are curious as to the prototypical state of death and black metal. Lesen Sie Rezensionen und informieren Sie sich über beteiligte Personen. “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. http://reaperdivision.blogspot.com/, Almost as an autoimmune response to the filth peddled by infamous British bastards Venom, Sodom was formed quite early on in metal's germination towards extremity. 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. And Motley Crue. While wholeheartedly wicked, the lyrics (when decipherable) are truly laughable, consisting of classic lines like “masturbate to kill myself!” But generally speaking, the campy lyrics aren’t even noticeable because they aren’t printed in the booklet, and the listener will be too busy thrashing around incoherently screaming “AARGGHHHH!” “WAARRRRRRAGH!” etc. How'd half of this shit find cover in the metal section? and still manages to be a three and a half minute head-banging monster. All of these songs are fast and there are many similarities, but I'll try to point out some of their distinguishable characteristics. Though this EP has thrash metal tendencies it is pure Black Metal. With "Genesis XIX", SODOM has upped the ante, producing one of its most well-rounded albums, referencing and synthesizing the act's early exploration of evil black metal, its mid-career's jet-fueled thrash metal attack, and the more recent focus upon dynamic and developed songwriting. Since they are one of my all-time favorite bands is safe to say I am also VERY familiar with their sound. http://www.fromthedustreturned.com. Once more, an incredibly basic tune here, given character largely due to Witchhunters incessant storming and the bouncing of the vocals as if some sociopath were conversing with himself in a padded cell. Sodom discography - List of the top rated albums by Sodom. Anyone that knows anything about Venom will know that the bands original demonic trio took the stage names Cronos, Mantas, and Abaddon. Oh well. Next comes another intro track that sounds very reminiscent to the Venom tour intro tapes that they used in the early 80's. During the 90’s they had a more punk influences while in the new millennium they turned to a pure thrash again. “Sepulchral Voice” is a perfect combination of thrash/speed riffage and fucking gloom atmosphere. Sodom is a blackened speed metal band formed in 1981 by Onkel Tom Angelripper. "...I love to drink my own blood, my sin is my life in a war with God..." Black Metal News. After 18 seconds it's a full Venom clone. 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”. 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. 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. In the very last song (Burst Command 'til War) Sodom foreshadow their later approach to things - battle-thrash, while maintaining the instrumental atmosphere that is also present in the more deliberate Outbreak of Evil. 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. big teutonic four). 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. This leads up to a song called Burst Command Till War. In hindsight, I realize that Sodom offer the whole range of features you need in order to become a legend. And there are definitely more parts that convey this mixture, inter alia the hellish - and pretty weird - intro. Grave Violator’s riffs are extremely simple to play even for a beginner thrash guitarist, yet they’re absolutely genial for that time and deliver unique, intense demonic atmospheres that no one else was able to create in 1984 (not even Celtic Frost); Chris Witchhunter’s drumming is still sloppy and unformed, but, despite his limited skills, the guy shows to be very exalted, grinding out headache-inducer fast tempos which are often very inaccurate with the actual paces of the songs (but, well... this just helps in terms of rawness! Angelripper's vocals are screamed and true bestial, very evil; so forget the ones of the last period or even the ones on 1987-1990 period. So, well, they are not only my favourite thrash metal band (with “Persecution Mania” and “Agent Orange”), but, thanks to their earliest releases, they’re also the peak of that kind of extreme metal I described in the first paragraph. Good bass work. Thus, the crude cocktail of black and thrash metal was not a disrespectful persiflage, it was the sound of the imaginary underground metal street. The drum-sound is pretty “over-the-top”, while the guitars sound very, very muffled and confused, at the point that sometimes you can’t even distinguish the palm-muted riffing, and you have the doubt that they were being played in a punkier way, rather than the common thrashy style of the band. En sus comienzos estaban bastante alejados de la escena Thrash, estaban orientados al Black/Speed Metal fruto de la influencia como podría ser la obvia Venom. About & FAQ. Somewhere between the impish mutterings and rabid dog barks, the constant speed/thrash beats and the reverb heavy production, a strange sense of poetry emerges from the darkened ether. Their fingers itch, their hearts thump, they even have ideas of how they want to sound like… the more aggressive the better (of course!). 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