![]() It has perhaps aged poorly to some, but at the time, this was the metal equivalent of Marty McFly’s shred guitar solo in the first Back to the Future. ![]() Have a listen, and remember that this album came out in 1987. Call it hubris, call it genius, but without Into The Pandemonium, I contend that bands as diverse in style and quality as Sigh, Therion, and Cradle of Filth simply would not exist in the same form. Look no further than the Swiss first wave black metal legends dabbling in an instrumental rap-meets-industrial song about the moon landing, or their cover of New Wave group Wall of Voodoo’s 1983 pop hit “Mexican Radio” to open the album. I cite Celtic Frost’s love-it-or-hate-it 1987 experimental album Into The Pandemonium as the inspiration for post-black metal, as it employs nearly all its main building blocks, namely exotic instrumentation (violins, cellos, French horns, sampling), layered harsh and clean vocals (of particular note is the female operatic singer, belting it out in French no less) unconventional or seemingly non-existent song structures, flirtations with pop and dance music, and an overwhelmingly flippant disregard for the usual sensibilities of your average metalhead.
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