CELTIC FROST: Vanity Nemesis LP (incl. Bryan Ferry cover). Bona fide Thrash Metal classic. Check video & samples

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Bona fide Thrash Metal classic. Vanity/Nemesis is a 1990 album by Celtic Frost. It can be seen as a return-to-form compared to the band previous album, Cold Lake. The album also includes a Bryan Ferry cover. Unlike their first 3 albums before the Cold Lake era; this album shows the band heading in a more thrash metal sound instead of the trademark proto-black metal sound that was heard on the first 3 albums. Vanity/Nemesis would be Frost last studio album before the 1st dissolution of the band in 1993.
The track “”The Heart Beneath”” was used on the manga compilation trailers on the UK & Australian released video tapes. SAMPLES: www.allmusic.com/album/vanity-nemesis-mw0000308232

1. The Heart Beneath 3:49
2. Wine in My Hand (Third from the Sun) 3:26
3.  Wings of Solitude  4:35
4.  The Name of My Bride  4:30
5.  This Island Earth”” (Bryan Ferry cover) 5:49
6.  The Restless Seas  5:40
7.  Phallic Tantrum  3:31
8. ” A Kiss or a Whisper  3:04
9.  Vanity  4:24
10.  Nemesis  7:46
Tom Gabriel Fischer “Warrior” – Guitars, Vocals Martin Eric Ain – Additional Bass Curt Victor Bryant – Bass, Guitar Stephen Priestly – Drums Ron Marks – Session Guitar.


after getting back original bassist Martin Ain, Warrior blended the two lineups and decided to get back to his roots on Vanity/Nemesis. Crafting a grinding chug that emphasized their mastery of thrash metal, the album was an ugly beast that offered a unique sound that no bands have really tried to adopt since. Whispered passages and wildly experimental guitar solos are two of the elements that carry from song to song, while the thick riffs of their pre-Cold Lake sound manage to survive the transition quite easily. This all adds up to a mean little album that spits out vicious songs that have such a strange and arty bent to them that it borders on parody at times. That isn’t to say that the songs aren’t still juggernauts, but the lyrics to tracks like “”Phallic Tantrum”” are so vague and heady that they don’t even achieve the goal of making the listener think. One track in particular stands out for being a major artistic success here: “”Wings of Solitude.”” Assisted by the delicate wail of Michele Amar on the verses, the band delivers a song that mixes the strange sensuality of goth rock with Warrior classically inspired metal to create a track that is at times sexy, brutally heavily, and oddly soulful. A mournful cover of Bryan Ferry “”This Island Earth”” is a surprising success. This is a satisfying album, offering a direction for heavy metal that no other band tried to follow up on at the time. Sadly, many critics unfairly panned it.
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Celtic Frost – Vanity/Nemesis – 97%
Celtic Frost – Vanity/Nemesis: Or How Tom Got His Groove Back.

This is probably the only overlooked CF album. Notice I said “”overlooked””. Absolutely no CF fan is able to overlook the sore thumb that was Cold Lake. Hell, not even Tom G. Warrior can, no matter how hard he tries even today. So even their worst album (and one of the most baffling moves in the history of metal) is less overlooked than this, the album that managed to concentrate the best of mid-80 CF with a slightly tame preview of the monstrous, massive Monotheist (aren’t alliterations fun?). And not only that, but it also brought forth a very compelling argument against the accepted genesis of a then-brand-new subgenre in metal. What subgenre is that, you say? Worry not; an explanation will swiftly follow.

There one word that, in my opinion, dominates the album, and that word is Groove. Now, before you spew your Mountain Dew all over your your 10-year-old Cowboys From Hell T-Shirt and scream obscenities at me, know that I am well aware that “”Groove Metal”” as it is traditionally known has its origins on the mixing of classic heavy metal and southern (U.S.) music, giving the already heavy and thick sound a jumpy, energetic/energising and almost party-approved vibe. That is Groove.

But that, also, is what this album is, essentially. So, am I saying CF are just as responsible for the birth of groove metal as Pantera is? Hell, at this stage in life labels and tags and genres/subgenres/crossovers lose meaning by the hour, so I don’t really give a bloody fuck. As far as I’m concerned Godflesh is responsible for all non-doom slower-paced types of metal that made their appearance in the late 80, like sludge, groove and even stoner, so who the fuck cares about my opinion on the genesis of a subgenre? We’re here to discuss CF most overlooked album, but I’m also taking this opportunity to conduct an experiment which is basically an excellent example of a “”what if”” situation. My hypotesis is that, had people paid as much attention to this album as they paid to CF early works, then hey, maybe an entire generation would look back on this album as seminal in the ways of groovin’ metal.

From the moment the first guitar string is picked we get a mouthful of trademark CF riffs as a main dish, but with a rather unexpected side: They seem to have taken some very subtle elements from the “”glam”” era and adapted them to make what could have just been a more polished and less energetic To Mega Terion into a fist-pounding, catchy, groovy and groundbreaking ablum, once again proving that every release Mr. Warrior creates is seminal (we could even agree that Cold Lake was the best Glam Metal album, since it such a horrendous, worthless “”subgenre””). The guitars are thick and reverbed yet well under control. This could either be a good or a bad thing whether you like feedback and amp noises in genres where it doesn’t really belong.

The bass and drums play second fiddle here, if only because of the excellent and gigantic guitar work and not because of subpar execution. The bass has a very interesting spring-like sound that would become popular throughout the 90, especially in groove, sludge and stoner bands, as well as other non-metal genres influenced by the aforementioned (*ahem*mallcore*ahem*). The drum kit chosen for this record sounds rather dull, especially the bass drum (which happens all too often in metal), but the sheer… let say cheerfulness and variation of Mr. Priestly style more than makes up for the lack of a more fitting (read: rawer, more aggressive, more… contusive) sound.

There is yet another blast from the past in the form of experimentation. This time less schizophrenic and more thought out, it comes in the form of sudden timing/mood changes and very Into-The-Pandemoniumesque sections of clean/acoustic guitars and female vocals. This time these elements work more as a cohesive tool that ultimately shapes the album into a concrete, palpable work of art, instead of the more surreal, chaotic and even ethereal approach of Into The Pandemonium (not that that was a bad thing, mind you).

Tom vocals sound basically the same as they did back in 1983, except this time the recording quality allows us to appreciate his (cleaner) tone and personality as close as we would ever be able to get. It can get a bit tiring at times, because they were mixed a bit too loud and up front. I think his (pre-Monotheist) vocals are better enjoyed with slight feedback and halfway between the drums and the guitar, but that just me.

So what do we make of this album, after all is said and done? Well, to finish up my Pantera-comparisons and groove-originators conspiracy, let think about a very odd fact: Pantera started as a shitty glam band until, one day, they decided to pump aggressiveness, heaviness and a rock-ish groove to their sound, leaving the glam wankery behind and, allegedly, single-handedly inventing groove metal. Now let look at Celtic Frost: A band that, with each release, has managed to shake, break and recreate the grounds of metal, one day decided to go glam. I don’t think I need to tell you how that turned out. So what happened after that mother of a failed experiment? Celtic Frost decided to bring back the aggressiveness, heaviness and thrashy sound of their earlier works, and add a rock-ish groove to their sound, leaving the glam wankery behind. Coincidence? I don’t even know anymore, this is just a very fun thought experiment and also a good way to ease an estranged CF fan back into the horde. As long as they like to headbang, that is.

And the other, major conclusion to this review is the following: Every Celtic Frost album (minus Cold Lake) is unique, groundbreaking and influential*. Every release has a special, unique sound, approach and quality to it that makes it stand tall amongst other albums of the same genre. What makes this particular album special and unique is that it manages to combine elements from every single one of their previous works (yes, including the only decent aspects of Cold Lake, like sound quality and guitar solos), as well as showcase (albeit in embryonic shape) elements from future albums (or rather future album period). And the most impressive part is that this amalgamation of groundbreaking elements into one album gave as a result a cohesive and sound album instead of something more resembling an inconsistent collection of b-sides.

Overall, this beast of an album is not just a “”return to form”” (I don’t know about you, but I’m rather sick of that stock phrase), and it not just an “”I’m Sorry”” gift to make up for the horrid Cold Lake. This collection of chugging, heavy, thrashy and at the same time doom-ish riffs with a strong groove, aching solos, bouncy bass, lively drums and vocals with Attitude is a testimony to the seemingly inexhaustible creativity of one Mr. Tom G. Warrior.

*even if sometimes said influence takes years to kick in
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The forgotten Celtic Frost album – 91%
Celtic Frost has gone through a myriad transformations, and up to Into the Pandemonium, everybody seems to know their works, and have a solid opinion on every album. Cold Lake, deserved or not, seems to be the retarded little brother chained in the attic among the full-lengths, and even if it still does a lot better than the average Poison or Cinderella wannabe album, it is the universally loathed unsuccessful sell-out album. Monotheist is the ruthless and musically rather successful comeback album, and for a lot of Celtic Frost fans, the only album they have personally seen and experienced upon release. The rest is too old for an eager young metalhead to remember, and as the unnoticeable follow-up to Cold Lake, Vanity/Nemesis is easy to skip and forget.

Indeed, Vanity/Nemesis is the forgotten Celtic Frost album, and it definitely needs more attention in the grand scheme of things.The music on the album is not easy to define. There are few doom or black metal elements, but simply calling it thrash or heavy metal does not work on any level, either. Perhaps slowish thrash, with the locomotive riffing underneath the rest of the music, is the closest descriptive term available, but it conveys the wrong idea on its own. There may be some Gothic ingredients in the stew, but again, simply tagging the album “”Gothic metal”” is completely wrong. Some parts have a barely perceptible touch of 80s progressive metal in them, but generally the music is almost impossible to categorize in simple terms. And that, people, is the magic of Celtic Frost.

The album is a good one. That much is obvious. The metal is driving like a train, and the guitar tone is a pleasant compromise between the old Celtic Frost dental drill and the definite 80s metal crunch. There are occasional female vocals by someone called Uta Günther, and while they may well sound extremely grating, juvenile and irritatingly punkish on the first dozen or so spins of the album, they are something worth tolerating until you get used to them; once they become a part of the music in your mind, the album wouldn’t work without them. People say that beer is an aquired taste, but there are those of us who would not want to be without it, either, and while an operatic voice would have been an easier and more obvious choice, the relatively boorish and unsophisticated voice might well have been a conscious detail of dissention, chosen on purpose.

There are whispers, a few scattered solid thrash parts, and Tom trademark vocals, and if the listener sets his ears on the regrettable “”analytic”” mode upon the first track, it simply and purely human to look for glammy parts, some contemptible carry-on luggage from the allegedly loathsome Cold Lake times. There is little of that, but it is easy to think that the sound, the easier and more comfortable listening experience than on most Celtic Frost albums, is somehow legacy from the glam abomination. Vanity/Nemesis, unlike most other Celtic Frost albums, works as background music for certain activities, and while the rest of the band discography demands attention and breaks concentration centered on other tasks, this album has a unique character: it is simply inoffensive to a higher degree than any other Celtic Frost pieces of art. Glam this isn’t, and definitely not as dissonant in nature as the average Celtic Frost album, either… that is, if there ever was an “”average”” Celtic Frost album to begin with.

In the end, the music may technically be whatever it is, but the final verdict must be based on the experience and feelings the album leaves in the mind after the final track ends. And here the almighty Celtic Frost surpasses the expectations set by the technical dissection and analytical theory of this odd album. There are undercurrents, emotions and a strange brand of grimness in the music, and the experience is certainly more than the sum of its parts… once again. This is what Celtic Frost does best, and has always done. This time, however, the tools and methods used are not simple aggression and abrasion, or reckless avant-garde reconnaissance of uncharted territories, but rather refined and even amicable metal of somewhat indeterminate brand. The precious musical steak is hidden under the combination of perfectly executed riffing, doubly crass vocals, and ingenious songwriting. There is more to this than what can be read in the guitar tabs of the songs. Vanity/Nemesis is the forgotten Celtic Frost album, and while it may be mediocre on the scale set by the band other masterpieces, it certainly has the merits for more attention than what it gets.

This is a fine album that would have plenty of renown, had it been written by some other band. Among the works of Celtic Frost, this is just the album between Cold Lake and splitting up. Unfortunately.


5.0 out of 5 stars One of my all-time favorite albums,
I have a somewhat unique experience with Celtic Frost. My first exposure to them was when I bought this album waaaay back when I was in high school. I had not heard a single song from the album — I just bought it on a whim. It one of the best musical decisions I have ever made. I love this LP. It is great from start to finish. So many great songs, but “”The Heart Beneath”” and “”Wings Of Solitude”” have always been the standouts in my mind.

Going back in time to listen to their older stuff, I always found I was more partial to this disc, which seems to be the opposite reaction from most CF fans.

I don’t know how to classify this LP or this band. They were truly unique. I guess I would just label this disc a great heavy metal album with great songwriting and catchy hooks, but just enough raw energy and production to give it a “”dirty”” feel. It not a polished metal masterpiece, but it is infinitely listenable. Just an all-around kick ass rock ‘n’ roll record.


5.0 out of 5 stars Yes, that 5 stars,
So many have avoided this simply because it came after the misfire of “”Cold Lake””. Don’t be like them. This is only a hair beneath the first three releases in terms of overall quality. The crunching angular riffs are deeply satisfying and the odd tunings are put to excellent use. Once you give it a chance you won’t want to take it out of your player for some time.


5.0 out of 5 stars one of favorite metal albums,
I have listen to and loved a lot of trash metal albums. So let be clear here : this is something slighly different. This is much more groovy and likeable than your standard trash/death album, and much more than the previous Celtic Frost albums -assume that Cold lake is erased from anybody memory-. There are a full of very good production ideas, like the use of a nice female vocal joining the lead singer growl, like the small sample from their very first album, some cinematic solos and almost classical musical parts very reminiscent of Coroner, another great Swiss group.

This is full of riffs which put a grin on your face. And because it has been utterly forgotten by more or less everyone, listening to it now feels fresh and sharp.

For me a lot of the pleasure in listening to trash metal is the interlacing of the guitar work and the vocals, both being so distorted that they become new kind of instruments. Make no mistake : there are not a lot of trash albums in which this vocal / guitar harmony of so high quality that it will make you smile ; Kill them All is one, Rust in Peace is another one, and Vanity Nemesis is for me on par with these two albums.”

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