Good work Peaceville, this is exactly how archival releases should be handled.
This special, double disc set from Mortem, features newly recorded versions of the band’s classic, Slow Death demo, originally recorded back in 1989, as well as a copy of the original demo on a second disc. Perhaps it seems unimportant but separating the releases in this way allows them to be heard as originally intended and shows far greater respect for both the material and the fans than simply lumping everything all on one disc, despite there being plenty of space to allow for such an approach. Beyond this, the release also features a typically well put together booklet, containing period images, the artwork for the original demo and extensive liner notes. It’s a compelling package that allows newcomers and veterans alike to explore the new material, without losing sight of the original.
To begin at the beginning, disc two features the band’s classic 1989 demo. Featuring six tracks – totalling fourteen minutes of music – it is a rough demo, that sounds suspicioulsy like it was recorded in a kettle (it was actually recorded at Creative Studios, Kolbotn). However, as with its black metal peers, it possesses a sense of atmosphere that owes as much to Hammer Horror as it does to heavy metal, and you soon adapt to its fog-laden charms. It begins with an intro. A short, horror-themed piece that sounds like early Pink Floyd doing a Goblin cover, it soon gives way to Mutilated Coprse. Initially a funereal dirge, powered by the inimitable Hellhammer’s drums and performed with macabre glee, it suddenly gets turned on its head, as Marius’ vocals emerge in a welter of distortion. Even in these cynical times, the decision to obliterate the vocals feels shocking, and it’s amazing to feel so impacted by a demo that’s been around for some thirty years. With deadly conviction, the band plough into Milena, a ferocious piece that has lost none of its power in the intervening years. Moving from deadly groove to inchoate thrash assault and back again, it’s the sound of a band testing the limits of its ability, and it ends long before you tire of the central riff. No such subtlety may be found on Slow Death, a tormented cacophony that only occasionally coalesces into recognisable music. As the vocals (if so they may be called) practically disintegrate into percussive barks, it’s a tough listen, and it highlights the fact that Mortem were as experimental and as brutal as any of their peers. As if to balance things, the greasy riff of Agonised to Suicide cleaves closer to the early thrashings of pre-Reign In Blood slayer, although the vocals remain very much in death territory. And then it’s all over with Nightmare, a punishing, doom-laden piece that is well named and the perfect conclusion to a demo that somehow feels almost double its actual length.
Featuring the original line up, with Tor Seidmann Stavenes on bass, the new version of Slow Death was recorded as tour prep in various locations between Jan ’19 and Dec ’20. Form the outset, you notice the much darker tone, prominent keyboards and clearer vocals. It’s still ferocious, but the difference is astounding, trading the grimy, exploitative atmosphere of the original for something more sinister and controlled. Eschewing the primitive rumble of the intro, this new version starts with the creeping guitar line of Mutilated Corpse. The synths add a new dimension, while the tempo shifts are executed with considerably more precision than the original. It’s still recognisably the same material, but there are so many more layers on display here, and it says much for the strength of the original compositions that they can withstand such an overhaul. Milena similarly gains more clarity from its HD upgrade. With synths unpinning the chugging riffs, the track has taken on an early-Dimmu lurch that is unexpected, but well done.
Arguably the biggest change is the title track. Where the original was a tsunami of youthful fury, this version maintains the original’s pace, but strips away the noise, filling the space with layer upon layer of synth orchestra. Honestly, this is the least successful of the updates, evolving a melody that neuters much of the original’s power, leaving the listener somewhat cold in the process. In contrast, Agonised To Suicide benefits the most from the update, with the band achieving the perfect balance of dark synths and scything riffs. It’s pretty much a flawless display of the band’s current potential, and it leaves the listener breathless. The re-recording of the original demo concludes with Nightmare, which is delivered here with appropriate gravitas.
This new version also features a pair of additional tracks. The first of these, Satanas was slated for recording in Sarpsborg, with incoming drummer Stig. As history records, the studio was not ready, the band fell out, and the track has languished, unrecorded ever since. Not long after, events conspired to change black metal forever, and the band morphed into Arcturus, leaving behind only the Slow Death demo for future generations. Now resurrected, Satanas proves to be a strong track with a hint of Celtic Frost’s experimental approach and, perhaps, just a touch of Darkthrone. It is a worthy bonus. As is Likferd, which is a cover of Mayhem’s Funeral Fog. Given that Funeral Fog borrowed a riff from Mortem (with permission) in the first place, there’s a sense of the band reclaiming their shared heritage, and it is a fitting conclusion to this new set of recordings.
If only all bands cared enough to pay tribute to their legacy in this way, and if only all labels cared enough to allow them the space in which to do it. This is how such packages should be put together and it is the perfect opportunity for Mortem fans to once again bask in the dank atmosphere of a genre classic. Well packaged, with informative liner notes and two very different interpretations of the same songs, this is a superlative set and a must for fans of primitive blackened death metal. 9.5/10
