UK Kultrocker HELL nehmen Stellung zum ...
Verfasst: Mai 20, 2011
Nach 24 Jahren ernten HELL in diesen Tagen die verdienten Lorbeeren, die längst überfällig waren. Das Album verkauft sich hervorragend und die Pressebewertungen schlagen alles bisher dagewesene. Dies macht HUMAN REMAINS“ zum wichtigsten Metal-Debüt-Album des Jahres 2011 weltweit. HELL gehört zu den außergewöhnlichsten Acts unserer Zeit, eine unfassbare Bandgeschichte, ein Album, welches in seiner Art einmalig ist und eine globale Medien-Wirbel, der seines gleichen sucht. HELL`s Gitarrist Kevin Bower nimmt dies zum Anlass und gibt uns einen Einblick in HELL`s Gedanken zum Meisterwerk „Human Remains“. TRACK NOTES – ‘HELL – HUMAN REMAINS’ 1 OVERTURE: THEMES FROM 'DEATHSQUAD' This began life as a rocking instrumental which originally appeared as the B-side of HELL's self-financed and now extremely rare 1983 7" vinyl single – subsequently bootlegged, but with the original now selling for absolutely ludicrous money on Ebay. For the introduction to this album, Kev Bower has taken some of the principal themes and orchestrated them in full-on Wagner 'Sturm und Drang' style using digitally-sampled orchestra and choir. 2 ON EARTH AS IT IS IN HELL The intro section to this song is strangely notable for having been written by Tony Speakman whilst he was sat playing his bass on the toilet (bog metal?) with the remainder consisting of typically 'agent provocateur' religion-questioning lyrics over slabs of furious riffing. Live performances of this would always see Dave donning a full vicar's garb complete with the band’s now-infamous pyrotechnic exploding bible. This caused outrage amongst the local clergy at the time - it was literally front-page headline stuff in the local papers… 3 PLAGUE AND FYRE A true moment of inspiration, written about the Bubonic Plague and the Great Fire of London. This song featured Dave lurching round the stage, enveloped in smoke, dressed in a hooded cloak ringing a plague caller's handbell. The new intro features a chilling 1665 'Black Death' soundscape - again put together using a digital sampler – but which amazingly features Dave's voice, which Andy Sneap has somehow managed to lift and reprocess from a 25-year-old live gig cassette-tape recording. The song is historically significant, as it was the penultimate one Dave and Kev ever wrote as a HELL composition. 4 THE OPPRESSORS A bludgeoning adaptation of a Race Against Time song which was a hugely popular feature of the HELL set for many years. The song is about an alien abduction, and the consequent refusal of those in authority to believe the story told by the victim. 5 BLASPHEMY AND THE MASTER A great favourite of both fans and band alike, and a dire warning about the consequences of selling your soul to the wrong deity..……. The intro and outro of this song are based around haunting sets of synthesizer drones which were Kev’s first foray into keyboards back in the day – using a vintage Moog analogue machine which would drift hopelessly out of tune mid-way through the set as it warmed up under the lighting rig. The song has been updated with a new Latin chant in the middle section beefed up with Gregorian choirs and a massive digitally sampled church organ. 6 LET BATTLE COMMENCE This song opened the show from the very beginning of HELL's previous existence almost until the end, with Dave performing an intense, lunatic front-man show. Although the song was already fairly quick, the lethal combination of pre-show nerves (no beta-blockers back then……..) coupled with immense adrenaline, a baying crowd, Dave's 'anything-goes' antics and the band’s collective over-abundance of youthful testosterone, meant that it was usually played at breakneck speed, with somewhat unpredictable and sometimes amusing results. It would also feature the unleashing of massive quantities of fire and pyrotechnics, which generated so much smoke in smaller venues that the band were usually rendered totally invisible to the audience for at least the first