Those with even surface level knowledge of the 90s metal underground will be familiar with Osmose Productions. The French boutique label was responsible for putting out such classic releases as Samael’s Worship Him (1991), Necromantia’s Crossing the Fiery Path (1993), and Enslaved’s Frost (1994). Although they haven’t been nearly as high profile as Metal Blade, Roadrunner, or other underground labels, they’ve never ceased operation. If anything, they’ve retreated even further into the underground, catering to only the trvest of diehard metal maniacs. If an album reads “Osmose Productions”, it isn’t just its record label; it’s a stamp of approval.
It’s in this super elitist and self admittedly pretentious spirit that I present to you today’s review of Terrörhammer’s sophomore full length, Gateways to Hades. Hailing from the faraway land of Serbia, Terrörhammer proudly continues eastern Europe’s tradition of producing raw and uncompromising black metal; a rich tradition that dates back to the mid 80s with bands like Kat, Master’s Hammer, Root, Tormentor…I could go on for days. Although Gateways doesn’t have much in common with any of these bands. If anything, it owes more to the Teutonic and Scandinavian scenes of the era than eastern Europe, at least from a musical standpoint.
Like 99% of first wave black metal worship albums, Gateways adheres to a rather orthodox and straightforward ethos, while simultaneously checking off the boxes one would expect to when listening to a release of this nature. The majority of the album can be classified as blackened thrash in the vein of early Sodom and Bathory’s debut. These influences are more than apparent on cuts like “At Dawn We Attack”, “The Interceptor”, and the diabolical “Inside the Nuclear Tomb”; an explosive rager with one hell of a mosh breakdown thrown in for good measure.
At other times, Terrörhammer sounds less 80s and more “90s trying to sound 80s”, if you catch my drift. Think bands like Nifelheim, Aura Noir, and so on. It’s hard to think otherwise on “Blizzard of Blood” and “Tronized Goat Master”, both of which utilize unrelenting blast beats and chaotic riffing, while still leaning against the first wave framework, albeit by a thread. And of course, this album wouldn’t be complete without the obligatory nods to the “black metal gods” themselves, Venom. “Transylvanian Whore” is quite the sleazy black n’ roller, although I’m sure you figured that out just by reading the song title. Meanwhile, “Midnight Patrol” is a nasty slab of blackened metalpunk, with an emphasis on “punk”!
Gateways to Hades does it all without coming close to reinventing the black metal wheel, and I’m sure that’s how Terrörhammer intended it. The production and musicianship are competent, but not polished enough to the point where the album would lose its edge. The songwriting is undoubtedly reminiscent of any number of 80s pioneers, without reaching the point of full blown plagiarism. Yeah, this is about what I expected and I totally dig it. I’m sure all you readers with a penchant for leather, spikes, and speed will as well!
7 out of 10
Label: Osmose Productions
Genre: Black/Thrash Metal
For fans of: Sodom, Bathory, Venom