Celtic Frost’s Tom G. Warrior Pens Foreword For New Book “USBM: A Revolution Of Identity In American Black Metal”

Celtic Frost’s Tom G. Warrior has penned the foreword for a new black metal book titled “USBM: A Revolution Of Identity In American Black Metal.” The book, which can be pre-ordered HERE, is expected to be released in late November. Here’s a description of it:

“Over three years in the making, USBM: A Revolution of Identity in American Black Metal is a 544-page hardcover book chronicling the stateside black metal movement via first-hand accounts from genre progenitors Von, Profanatica and Absu through revolutionary acts like Leviathan, Weakling and Xasthur to present day progressives Panopticon, Deafheaven and Wolves in the Throne Room, along with dozens more black metal musicians. Including hundreds of rare and never-before seen photos and a special foreword from extreme metal godfather Tom Gabriel Warrior (Hellhammer/Celtic Frost), USBM is a thorough and definitive tome from longtime Decibel contributor Daniel Lake.”

Tom G. Warrior Fires Back At Mia Wallace For Recent Comments Regarding Niryth

As previously reported, Mia Wallace (ex-Triumph Of Death, etc.) recently called out Thomas Gabriel Fischer, aka Tom G. Warrior (Triumph Of Death, Triptykon, etc.), after taking issue with comments he made about their Niryth project. Now, Fisher has fired back with a lengthy blog post.

Fisher said the following:

“Mia Wallace, on Blabbermouth, today [paraphrased]: Niryth’s songs are all mine, they reflect more than 20 years of my ideas.

Also Wallace, in the very same statement on Blabbermouth [paraphrased]: Niryth’s songwriting credits have been registered by Fischer and me with GEMA as 50% Wallace/50% Fischer (music) and 100% Fischer (lyrics).”

So which is it? Is Niryth all Wallace’s music, written “in more than 20 years”, or is it really a collaboration in which I ‒ according to her very own statement, not least! ‒ have written half of the music and all of the lyrics? A collaboration, whose actual songwriting shares, as listed above, have been properly and truthfully registered with GEMA and the band’s music publisher in Berlin by Wallace herself, me, and Niryth’s manager?

Well, in reality not only did I write all of the lyrics, I also co-wrote all of the songs (some of them are primarily mine, some primarily hers). At the time, mainly in 2018, we seemingly worked in creative harmony, and Wallace’s contributions were indeed extremely valid and strong. In fact, this was exactly why I ended up playing in two bands with her! In addition to the songs for which she wrote the majority of the riffs (for example, Covenant or Wounds I Bear), she also created some truly exceptional harmony lines. But the very same applies reciprocally to the songs for which I provided the majority of the composition (for example, Violently Sleeping or The Spell), and which reflect 39 years of my ideas. And nobody here ever denied this or had the slightest intention to do so in the future.

I co-founded Niryth with Wallace in a restaurant near Milano Malpensa airport in northern Italy, on the evening of August 27, 2017. The idea of a band with multiple basses, as I had it in my first band Grave Hill in 1982, was mine, for example. The project arose from shared thoughts about a new band for Wallace. After discussing a number of possible concepts, I asked to be a full part of it from the very beginning. The name of the band, incidentally, was created some time later, by one of Wallace’s friends, a young woman by the name of Giulia Dulio, in Arona, Italy, late on Saturday, November 18, 2017.

Most of the first handful of songwriting sessions in Italy were conducted at the home of Triumph Of Death drummer Alessandro Comerio, who was an early member of Niryth and recorded these initial sessions. I provided for Niryth’s songwriting locations situated in Switzerland as well as for the rehearsal space in Zurich, Switzerland, and I gave Wallace numerous valuable instruments and guitar/bass effects as gifts; these were subsequently not only used for the songwriting and rehearsals but also for Wallace’s other projects, until today. I did most of the arrangement work on our songs, converting them from charmingly disordered demos to recordable material. In fact, such arrangement work would continue until the final vocal recording sessions.

Drummer Pidi Leuenberger, the successor of Alessandro Comerio, joined Niryth on Sunday, June 3, 2018.

Prowling Death Records Ltd., the UK-based record company I run with my manager, Antje Lange, financed the entire Niryth recording session from August 20, 2018, to February 22, 2019, and also paid for the mixing, mastering, and the associated expenses of all participants. As her boyfriend and band member, I had already frequently paid from my own pocket for Wallace’s travel (from and to Italy) and other expenses during the songwriting period, and I also provided for her accommodation.

I organized the studio recording sessions in Germany, I recorded approximately half of the music (approximately the other half was recorded as competently by Wallace) for all of these songs in the studio, I was present during every single recording session (from the drum recordings to the final mixing) while Wallace was only present for two full sessions (she also attended the drum recordings for one song), I co-produced the entire Niryth recording session from start to finish with Triptykon’s V. Santura (with Wallace co-producing whenever she was present). And V. Santura can corroborate all of these facts independently.

I provided the music industry contacts, I got Niryth a management, and together with Niryth’s management I got Niryth a licensing agreement with a renown label and with industry people I got interested in the project and have known for decades. Prowling Death Records also arranged and financed the flights, hotels, and listening sessions in Germany that led to this licensing agreement.

Prowling Death Records further arranged and financed three photo sessions for Niryth, including a major international one for the first Niryth release. Moreover, Prowling Death Records arranged for and financed the concept, art direction, and graphic designer for that first release.

And finally, I designed both Niryth’s logo and symbol and personally financed the graphic designer who converted my designs into professional print files.

But in spite all of these attestable facts, Niryth remains to be claimed solely as Wallace’s project!

Niryth started as a beautiful and possibly naively idealistic extension of the relationship Wallace and I shared during the time we were a couple. We knew, of course, that our romantic affiliation could end, and we felt that the music we created together in Niryth was so important to us that we agreed to continue the project on a professional level should this ever happen. And that’s what was attempted when we actually did split up. There are numerous successful examples for this in our scene, from Fleetwood Mac to Dead Can Dance. Unfortunately, by the end of the year, we had reached the end of the road, for a great many reasons (related and unrelated to our common private past), most of which can readily be corroborated by numerous witnesses.

In my letter of dissociation, dated December 11, 2019, I informed Wallace that we in Triumph Of Death unanimously and irrevocably felt we needed to continue the band with a different line-up, and Wallace was thus dismissed. But with regard to Niryth, I left the choice ‒ of whom of us would continue the project ‒ entirely to her. After a lengthy period of deliberation, Wallace decided to continue Niryth, and drummer Pidi Leuenberger and me left the project. We intended to form our own, different version of the band. Not to be in competition with Niryth, but because all three of us Niryth members had invested so much work, time, and money into this music (see above), and we felt a very strong attachment and confidence with regard to these songs.

The situation reminded me of the Sisters Of Mercy split in 1985, which resulted in the projects Sisterhood, The Mission, and The Sisters Of Mercy.

In 39 years as a member of the music industry, I have lived through many episodes that could be labelled implausible ‒ some of them pathetically caused by none other than me. But this is a first even for me: to be accused of stealing songs, a project. Songs of which every single one is fully co-written by Wallace and me. A project, not least, I co-founded from the very first minute.

In the aforementioned letter of dissociation, I proposed to Wallace that we remain professional and take the high road, refraining from any personal or derogatory public statements that would only serve to quickly take this to a despicable and defiled tabloid level. I have adhered to this proposal, and the content of this post is solely designed to provide some apparently indispensable information as to the inner workings of Niryth.”

[via Blabbermouth]

Mia Wallace Calls Out Tom G. Warrior For Recent Comments Regarding Niryth

Mia Wallace (ex-Triumph Of Death, etc.) has called out Thomas Gabriel Fischer, aka Tom G. Warrior (Triumph Of Death, Triptykon, etc.), for recent comments he made about their Niryth project. Fisher said that him and the band’s drummer Pidi Leuenberger both stepped away from the project for the same reasons that led to his decision to “dismiss” someone, apparently Wallace, from Triumph Of Death and that he is planning to release the material he wrote for it under a new new name. Wallace has since responded by saying that Fisher is trying to “create gossip by throwing mud at [her] person.”

Wallace said the following:

“I write these lines to point out some of the statements that have been made recently and that I am involved in many interviews, not least in Metal Wani, appeared on BLABBERMOUTH.NET.

“After my departure from the band TRIUMPH OF DEATH, in a few months I continued my musical career in a very serene way, joining the band NERVOSA of the talented Prika Amaral, with great joy and enthusiasm I am working with her on the new album and we have planned numerous tours around the world; I have been collaborating with KIRLIAN CAMERA for years now, of which I am now a permanent member and I am working with them on the release of the upcoming album; the friendship between Abbath and me is always strong and has never stopped, I have admiration for him and him for me; I also have important collaborations with great artists who are not yet publicly official but who will be very soon. I’ve been building and running THE TRUE ENDLESS band for over 20 years in complete harmony and deep friendship until by a tragic fatality that took away my best friend’s life, the band has melted.

“In light of this, I was really surprised to read the statements made in the last interview made by Tom G. Fischer for Metal Wani appeared on BLABBERMOUTH.NET, where I am labeled as a negative person whom he had to free himself to restore positivity; it makes me smile that an important character like him needs to create gossip by throwing mud at my person with vague references to ‘very, very important reasons, crucial reasons that there was no way around it’, also involving drummer Pidi Leuenberger, with whom I have never had any kind of problem. About this, I hope that I will never have to find myself in a position to make public the reasons for breaking cooperation with TRIUMPH OF DEATH and consequently the removal of the two components of NIRYTH, which would make Mr. Fischer absolutely embarrassed and less than favourite.

“Having said that, I express my total astonishment at the very fact that there is a desperate and constant need to create rumors from Mr. Fischer, instead of working on behalf of his projects serenely, but stating that he owns totally the music created by ME for NIRYTH of is a big fat lie: we both have evidence that the project was initially born as MY personal project, originally thought to be totally composed of women; the music created is the result of more than 20 years of my ideas that had not yet come to life because I played in a band (THE TRUE ENDLESS) dedicated mainly to Black Metal with a very primitive and aggressive style. These songs of mine instead were born from a feeling of love and female rebirth that I have always tried to achieve.

“When I subjected to Mr. Fischer my pieces, he recognized the value of them, and after a few months he proposed to sing on my music. Since then we have met almost I find myself constantly traveling between Italy and Switzerland, almost once a week, to carry on the project, with great economic expense from me. When the songs have been completed, drummer Pidi Leuenberger was called to record the drums on the pieces recorded predominantly by me in Victor Sanctura’s studio, and last, Mr. Fischer’s voices were added. The songs are recorded in proportions of 50% and 50% (Fischer/Wallace) regularly in Gema, mr. Fischer owns the 100% of the lirycs. Now I wonder how they will be ‘transformed’ or modified to erase my motherhood into a project that was born from my heart, and that is the result of years of pain and passion put into music.

“My NIRYTH project is close to publication, with important and amazing collaborations of talented artists, with new and totally irresistible material.

“I hope that this statement of mine will be sufficient to put out these defamations permanently, which give a completely distorted and unrealistic view of the facts, as well as being nonprofessional and disrespectful to me.”

[via Blabbermouth]

Tom G. Warrior (Triptykon, Etc.) Working On “Dark,” “Groovy,” And “Psychedelic” New Project

During a recent interview with Metal Wani, Tom G. Warrior (Triptykon, etc.) revealed that he is working on a new project. According to him, the band’s music will be “dark,” “groovy,” and “psychedelic.”

Warrior said the following:

“I used to be in a project called NIRYTH, but me and the drummer, for the same reason that we had to dismiss one person from TRIUMPH OF DEATH — and those are very, very important reasons, crucial reasons, that there was no way around it — and for the same reasons me and the drummer, Pidi Leuenberger, left NIRYTH. But, of course, we have worked for one and a half years on that material. We have recorded it, and we recorded with my own label — we financed that — so I own that material, and it’s very strong material, I believe; it’s some of the best material I’ve ever written. Actually, today we had a major conference call with Nuclear Blast, and we’re gonna change the material slightly and add three new songs and then release it as an album later this year. I feel very strong about this.”

“We left NIRYTH, and we left it to that person for what it’s worth. We wanted to have a clean start; we didn’t wanna have any bad feelings attached to it. So we formed a new band, and all the details will be made public very soon.”

“We would have done this already and we would have been in the studio already if there hadn’t been a lockdown. We were supposed to have a major recording session in Germany one and a half months ago, and also a photo session. So everything had to be canceled, because everything is international and there was no traveling. So that’s the impact of COVID-19. But we have rescheduled everything, so let’s see.”

He also added the following about the musical direction:

“It’s very dark music, but it’s not heavy metal. It’s not doom metal or something like that. It’s difficult to describe. It is heavy at times, it’s very groovy, it’s very psychedelic. Sometimes it’s floating almost, like PINK FLOYD. But it is very dark, very melodic, very mesmerizing and hypnotic.”

[via Blabbermouth]

Tom G. Warrior Slams Metallica For Their Celtic Frost Covers: “It Was Humiliating”

As you may recall, Metallica’s Robert Trujillo and Kirk Hammett previously performed Celtic Frost’s “The Usurper” and “Procreation Of The Wicked” as part of their nightly “doodle” segment. However, during a recent interview with Rolling Stone, Celtic Frost’s Tom G. Warrior slammed the band for the covers, saying they were “humiliating.”

Warrior said the following:

“They butchered it, and it was humiliating. Why don’t they leave their millionaire fingers off it? They’ve long lost the ability to play true metal in my opinion. Maybe I should go onstage and do a really miserable version of ‘Hit The Lights’ with, like, 200 mistakes to set the balance.”

He also went on to slam James Hetfield for his interest in hunting:

“This is completely personal, and I know probably the majority of your readers will not share this feeling, but even if they had done a fantastic job, I could puke all over it because I don’t support people who go hunting bears for a hobby. I cannot respect a person like that, even if it’s a genius musician.”

Tom G. Warrior’s Hellhammer Tribute Band Triumph Of Death Announce Debut Live Shows

Tom G. Warrior has announced Triumph Of Death’s debut live shows. That project finds him performing music from his pre-Celtic Frost band Hellhammer. Here’s the dates:

06/19 Frankfurt, GER – Nachtleben
06/20 Essen, GER – Zeche Carl
06/21 Clisson, FRA – Hellfest
06/23 Varniai, LIT – Kilkim Zaibu Festival
08/01 Wacken, GER – Wacken Open Air
08/08 Obermehler-Schlotheim, GER – Party.San Festival
08/09 Jaromer, CZE – Brutal Assault Festival
08/17 Las Vegas, NV – Psycho Las Vegas

[via The PRP]

Tom G. Warrior To Perform Hellhammer Music Live With Triumph Of Death

Tom G. Warrior has announced the formation of Triumph Of Death, a new project that will see him performing music from his pre-Celtic Frost band Hellhammer. The group, which also features Mia Wallace (Niryth, The True Endless), Michael Zech (Secrets Of The Moon, Odem Arcarum) and Alessandro Comerio (Forgotten Tomb, The True Endless), are currently scheduled to perform at Hellfest Open Air in Clisson, France on June 21. Warrior commented:

“Hellhammer” will never return and will never be reformed. It is absolutely impossible to reform a band so closely linked to a very specific and unique period in time. I never considered it, no matter how substantial the offers that were pitched to me over the years. But Hellhammer‘s music exists, and it is an extremely important part of my life’s path. And I would like to play it onstage before my demise.”

Manowar, KISS, Tool, Etc. Set For 2019 Hellfest Open Air

The lineup has been revealed for the 2019 Hellfest Open Air festival. The event will be held in Clisson, France on June 21-23 and Manowar, KISS, and Tool will headline.

Here’s the daily lineups:

June 21:

Dropkick Murphys
Dream Theater
Demons & Wizards
Sonata Arctica
Last Temptation
Mass Hysteria
Ultra Vomit
No One Is Innocent
Tremplin Voice Of Hell
King Diamond
Hellhammer (performed by Tom G. Warrior‘s ‘Triumph Of Death‘)
Venom Inc.
Impaled Nazarene
Diamond Head
Power Trip
Sublime Cadaveric Decomposition
Cult Leader
Sum 41
Me First At The Gimmie Gimmies
No Fun At All
Hank Von Hell
The Interrupters
The Dwarves
The Rumjacks
Fu Manchu
Uncle Acid And The Deadbeats
All Them Witches
My Sleeping Karma
Radio Moscow
Valley Of The Sun
The Necromancers

June 22:

Def Leppard
Deadland Ritual
Richie Kotzen
ZZ Top
Within Temptation
Bohse Onkelz
Eagles Of Death Metal
Fever 333
Like A Storm
The Sisters Of Mercy
Cradle Of Filth
Mykur: Folkesange
Carach Angren
Punish Yourself
Dark Tranquillity
Dawn Of Disease
The Addicts
Le Bal Des Enrages
Les Wampas
The Living End
Mad Sin
The Creep Show
Banane Metalik
Cult Of Luna
The Ocean
Cave In
Will Haven

June 23:

Lynyrd Skynyrd
Slash feat. Myles Kennedy And The Conspirators
Stone Temple Pilots
Blackberry Smoke
Nova Twins
Slayer (final French show)
Lamb Of God
Death Angel
Municipal Waste
Insanity Alert
Alien Weaponry
Carpathian Forest
Lucifer’s Child
Bliss Of Flesh
Cannibal Corpse
Embryonic Cells
Enter Shikari
Cancer Bats
Morning Again
Employed To Serve
The Amsterdam Red Light District
Philip H. Anselmo & The Illegals
The Obsessed
Emma Ruth Rundle