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JOHAN | 2007-08-31 >>>
  TÖRR "Kult ohně" / "Kladivo na čarodějnice"
SP (1989 Supraphon)
The first official Törr release
After the successful cult
demo "Witchhammer" from 1987, that catapulted Törr to the top of the
Czech metal scene, the band got noticed by Mr. Petr Janda of Olympic
fame and in January 1988 they entered his studio Propast, where the
three - Vlastimil Henych (bass, vocals), Otakar Hereš (guitar, vocals)
and Milan Háva (drums) recorded two songs for a single. The release
was planned in Janda's Rockmapa, but due to known accusations
published in communist newspapers the band was blacklisted in 1988.
The single came out (along with the "Rockmapa 1" LP) in the spring of
1989 and it was a sell-out item at Rockfest in March, namely its metal
subsidiary (Rockfests were in the Palace of Culture, while metalheads
were located in the nearby Sportshall).
Törr offer two songs on the standalone debut - "Kladivo na
čarodějnice"
("Witchhammer") had been well known by then, and a newer (as of 1989)
track "Kult ohně" ("Cult of Fire"). "Kladivo na
čarodějnice" starts
with a solitary guitar, while Vlasta recites the famous lines by
Brichta:
„V sobě má posedlej svět
nemíní se spokojit s málem
vybírá, pro majetek
koho obviní ze spolku s ďáblem...“
Inspiration in witch trials in Northern Morava in the second half of
the 17-th century and its coverage in the same titled book by Václav
Kaplický is obvious and those who saw the famous movie by Otakar Vávra
feel the shivers down their spines. Brichta was in top form when he
wrote the lyrics (as documented by lyrics for his very own Arakain)
and "Kladivo na čarodějnice" is one of the best ones. His own band
could hardly handle the lyrics, on the other hand the gloomy and evil
image of Törr offered a genius framework for their presentation. The
guitar is joined by the other instruments and the well known songs
goes ahead. After the second verse the two frontmen exchange
microphone and the rest of the song is sung by Ota. A relatively
simple riffing by Ota offers a unique atmosphere and you can feel the
influence of the early representatives of Black Metal - with Venom on
top. "Kult ohně" on A-side (notice the first mentioned was actually
presented as the B-side) is a different cup of tea. Music was composed
by Vlasta this time, with words written by Vlasta and Ota together.
The songs offers more complexity. All singing is done by Vlasta, he
sounds the same actually ever since and let's say unmistakable. The
last verse is more recited rather than sung. Musically there are two
levels - one with easily remembered riffs in rock´n´roll rhythm,
second dominated by Ota's soloing with high ripping tones. There are
also choruses, without actual words, that add to the atmosphere.
The recording quality is neither perfect nor poor, it's simply up to
the possibilities as of then. The Propast studio was famous then, but
hardly had any experience with such music. It can be seen by vocals
being too much in front, as well as the sound of guitar, which is
slightly backgrounded, similarly to "Armageddon", with the exception
of clean sounding solos. The cover was as the time desired, only
Citron had the privilege of having their own single cover design, so
Törr had to do with a neutral generic graphical nonsense with only the
name of the band and songs added up.
Törr had one of their dreams fulfilled, as Vlasta also mentions in an
interview published elsewhere. |
