Hellhammer was a band that had a profound impact on extreme metal, despite its short-lived existence of only two years. Formed in the early 1980s, it was Tom Gabriel Fischer‘s (also known as Tom G Warrior) first band, which garnered significant attention, although not always for the right reasons.
In their native Switzerland, traditional heavy metal dominated the scene, and Hellhammer was largely shunned by record labels, critics, and promoters. As a result, the band never had the opportunity to perform live during its existence.
In recent years, Tom G Warrior has formed a tribute band called Triumph Of Death, which pays homage to the original Hellhammer songs. The band has performed at several festivals and has finally gained significant support, over 40 years after Hellhammer‘s formation.
Triumph Of Death is set to release its first live album, Resurrection of the Flesh, which was recorded at three festivals in 2023. We had the chance to talk to Tom G Warrior about Hellhammer and the legacy of Triumph Of Death.
Can you tell us about the bands that influenced the sound of Hellhammer in the early eighties?
Bands like Angel Witch, Discharge, and Venom were huge influences on us. We were drawn to the New Wave of British heavy metal, which was a game-changer in our scene at the time. It was a transformation from 1970s hard rock to something more aggressive and modern. We were fascinated by these bands, which were the prototypes for later extreme metal.
How did you discover these heavier bands in Switzerland, where there wasn’t much of a heavy or aggressive music scene?
It was challenging to find this type of music in Switzerland. We would often hear about these bands from friends who had traveled to the UK and brought back singles. There were a few record stores with connections to the UK that would import some of these singles, and if we were lucky, we’d stumble upon them. We also relied on tape trading, where people would share lists of bands and demos, and we’d have to guess which ones were worth listening to based on the band’s name and description.
I remember finding Venom‘s first single, In League with Satan, and being drawn to it because of the extreme image on the cover. We had to trust our instincts and take chances on music that looked or sounded cool, without being able to listen to it first.
What inspired you and the other members to start playing music and form Hellhammer?
We were all music fanatics, and music was our life. The people who were crucial to Hellhammer‘s existence, like Steve Warrior and Martin Eric Ain, shared a problematic background and had a lot of frustration, pain, and aggression inside us. When we found each other, we were able to channel these emotions into music. We wrote songs about our feelings and put our aggression and heaviness into them.
Was there a specific reason why you couldn’t play live back in the early eighties?
There were two main reasons. First, there wasn’t a real extreme metal scene at the time, and our music wasn’t considered “music” by many people. The most popular band at the time was AC/DC, and many other bands tried to emulate Ronnie James Dio‘s vocal style. Bands like Venom and us were seen as too extreme and didn’t fit into the mainstream scene.
Second, Switzerland was a very provincial country at the time, and the biggest band was Krokus, who had just released Metal Rendezvous. Everyone in Switzerland worshiped Krokus, and all the bands tried to copy their sound. Promoters were only looking for bands that sounded like Krokus, and nobody wanted to give us a chance.
Now, of course, everyone wants to see Triumph Of Death. Things are very different now, right?
(laughs) Yes, I’ve had to be patient for 40 years, but it’s fine.
Can you tell us a little bit about the transition from Hellhammer to Celtic Frost?
We were self-critical and wanted to improve as musicians. We loved extreme music, but we also appreciated sophisticated heavy metal. We worked hard to become better, and after two years of Hellhammer, I wrote the song “Visions of Mortality”, which was the last song we wrote as Hellhammer. Martin and I listened to it and thought it didn’t sound like Hellhammer anymore. It was heavier and more sophisticated, and we decided to start a new band, Celtic Frost, with a clean slate.
How did you come together with the other musicians on this live record?
When I formed Tryptikon and later Triumph Of Death, I was careful to find people who were not only good musicians but also had a certain level of human maturity and were in it for the right reasons – their passion for music. I wanted people I could trust on every level, and I’m extremely happy with the lineup we have now.
Are there any places you’d love to see Triumph Of Death perform?
We’ve been given a huge gift by the audience, and I’m infinitely grateful. We’ve played in South America, North America, Australia, and all over Europe. Japan is one place we haven’t played yet, and it’s a country that every musician loves to perform in. However, I don’t want to be insatiable; I’m grateful for what we have, and I’m letting things happen as they happen.
What’s next for you? Will you be working on more Triumph Of Death projects or another Triptykon record?
Triumph Of Death is an ongoing side project, and it’s a lot of fun. The big focus for us now is the new Triptykon studio album. We’re not accepting any other projects or making any other plans until this album is done. Once it’s complete, we’ll talk about further things.
Have you been working on anything with the HR Giger estate?
Yes, I’m still the co-director of the Museum and involved with the Giger Foundation, which aims to safeguard his body of work for the future. I’m still heavily involved with the Giger Estate, which is a huge honor and a way for me to repay what Giger gave us when he became our mentor.
Resurrection Of The Flesh will be released on November 10 and can be pre-ordered here.
