Sabbat – History Of A Time To Come [1988] [Expanded Version]
Reviewed by: Denis Bridger
Review Score: 9.5
Before we get into the nitty-gritty of this mighty release from 1988, I would like to say how much of an honor it is to have the opportunity to tackle such an epic piece of work. Sabbat is one of my favorite thrash bands from the 80s, especially being from the UK and only having few thrash bands on our shores. I am fortunate to have seen them a couple of times, with the first time in May ’89 at a small venue, and then later the same year with Testament and another great UK thrash band, Toranaga (check them out).
BACKGROUND
In 1986, Sabbat recorded a four-track demo, Fragments Of A Faith Forgotten, which cost a whole ten English pounds. The demo was picked up by Berlin based Noise Records, and also by the metal conduit of 80s radio, Mr. Tommy Vance, who, at that time, had the only rock/metal radio show on the BBC’s Friday Rock Show. This program was very important for us metal fans as it introduced us to thrash and all the massive US bands in the rock and metal world. As everyone did back then, I would record the radio show on cassette. Tommy Vance was kind enough to ask Sabbat to record three songs for the Friday Rock Show (Metal Hammer also ran a piece on Sabbat). The stage was then set for great things. The guys had a ton of support from those who could make a difference (metal had little support in the 80s, as we know).
As a result, Noise records offered Sabbat a contract in 1987, but they had to wait until later that summer to record as Andy Sneap was not yet eighteen. Prior to this, White Dwarf magazine (which was a Games Workshop Dungeons & Dragons role play magazine) released the song ‘Blood For A Blood God‘ on a floppy disc (for a record player, not a computer!). Unfortunately, as I can attest to, the thing would never play as it was too floppy. I would imagine, if you still have one of these, it could be worth a few quid!
TRACK-BY-TRACK
‘Intro’
First, we have the scary intro at a full two minutes and five seconds, which sets the tone for what is to come. This included some very ominous, nightmarish bells and weird voices and angelic choral voices. This builds into what becomes a very scary-sounding man uttering ‘so, it is done!’. From here on out it is metal thrashing mad all the way!
‘A Cautionary Tale‘
This track was on the original demo and is one of the oldest songs. It tells the story of Faust and his deal with the devil’s mate Mephistopheles, who allows Faust to reap the wealth of power but in return has to give up his soul and be eternally damned. I’m not sure if he was also in the 27 club like Robert Johnson, Amy Winehouse, Brian Jones, Hendrix, Morrison etc. It seems the cautionary tale hasn’t yet been heeded!
The song is a banger of an opener, with a monster riff and Martin Walkyier’s vocals that come in biting and tearing with deep growling in places and some very scary effects and crunching riffs. It really gives the feeling of being deep in the depths of hell, which is certainly not a good place to be. Martin’s vocals are very distinctive as he seems to hang on to the last syllable and stretches it to some very evil effect. I think it is Martin’s vocals that make Sabbat so unique. ‘A Cautionary Tale’ is a massive tune and I’m quite certain it stands tall as a fan-favorite even today.
‘Hosanna In Excelsis‘
Here we have another crowd-pleaser with driving guitars and memorable riffs that was also on the original demo. Martin’s voice manages to dig holes in your ears, whilst telling the story of the last fight in hell as told in The Book Of Revelations. Martin has a way of delivering his vocals in such a way that his style is very unique and comes across as more than a man simply telling a story. It seems he takes on the characters and is able to paint a vivid picture of the story and all the dark complications. You really can’t help but sing-along.
‘Behind The Crooked Cross’
This is the first track not off of the demo (written later) and continues Sabbat’s theme of mythology and the occult. It references Gerald Suster’s book Hitler And The Age Of Horus. If you know anything about Hitler and his fellow Nazis, you would know that many of them had obsessions with the occult and Aleister Crowley. The Nazis used a lot of powerful symbolism, like the Crooked Cross (Swastika), which, in fact, is the Hindu symbol of well being. Much nicer!
There is another story to be told and Martin delivers it in a way that can’t be denied. ‘Behind The Crooked Cross’ is a slower track but it doesn’t stop building. There are some classic riffs and the solo is just messy genius with the scariest riff in the background… I can even hear some bass on this track (more about the production later).
‘Horned Is The Hunter‘
The song starts off in an ancient woodland, with some nice distorted guitar. If you have seen a picture of Sabbat, you will know that their look was of the Medieval period, when mythology was rife and folk believed what a shaman told them and the forest was constantly misty with evil lurking around every tree. The theme of this song is the Pagan life, pre-Christianity and the Horned man-goat, Pan. I don’t know what it is about Sabbat, but their style of music and vocals and the delivery of everything just makes you want to go run in a medieval forest and slay some beasts.
‘I for An Eye‘
This is the story of Lucifer. More driving riffs and evil story telling. This track is a little funky in places. A banger of a track with some heavy drumming and just some great thrash metal music that makes your head bounce. The end of the track is a melodic outro that contrasts the rest of the track perfectly.
‘For Those Who Died‘
The final song from their infamous demo and was also on the BBC’s Friday Rock Show session and has more of a classic heavy metal feel and slightly more melodic but still hammers those riffs and is still thrash all the way. The track opens with a guy being accused of heresy in a big, boomy, scary voice. It tells the story of the inquisitions during the Middle Ages, much like the Salem witch hunts… everything you would expect from Sabbat! It could be said that this track has a catchy chorus and the guitar solo is a bit reminiscent of a more traditional metal solo, with some dive-bombs just for good measure. For me, it is Martin’s vocal delivery that makes Sabbat special. He really has a way with words.
‘A Dead Mans’ Robe‘
You can feel that the end is coming. This penultimate track starts off with rain, non-distorted, clean guitar, and a scary voice. It then shifts to a doomy Candlemass-like affair. As an instrumental, it gives Martin’s voice a break.
‘The Church Bizarre‘
Frazer Craske (former bassist) said that he and Walkyier were at one of evangelist Billy Graham’s sermons and thought Graham was a very dangerous man, making vast amounts of money from selling religion and that everything was money centric, rather than spiritual. Just more Sabbat to be honest, but a great finale to a great record. I still believe that this is one of the most underrated albums of the genre, even after many years. I remember it just as I first heard it way back when. A great record.
CONCLUSION
And there we have it. Sabbat’s debut. Now, before I round up, the version of the album that I listened to is the expanded version, which has some bonus live songs that were recorded in East Berlin in 1990. It’s worth checking out that version to see how they sounded live at the time. The mixing and production of this album is not of the best quality (sounds a bit harsh). It can be difficult to pinpoint the bass, and the drums sound like they were in a different room.
Generally speaking, the mix and production could be better, but that takes nothing away from the genius of this record and the band. We also need to remember that it was recorded in 1990 in East Berlin, which is awesome as Berlin has always been cool. In fact, the Berlin Wall had only just come down, but we can imagine that the studios in East Berlin at that time weren’t so hi-tech. Regardless, Sabbat kill it, even with just one guitarist. I like the sound of the record as it was, and I think it has a certain je ne sais quoi about it.
If you are aware of the name Andy Sneap then you will know he has worked with some very big names such as Opeth, Killswitch Engage, Accept, Dream Theater, Saxon, Amon Amarth, Kreator, Testament, Megadeth, to name just a few. On a side note, Andy played guitar for Judas Priest as well as producing, which includes Priest’s latest release Invincible Shield and was also involved with the Big Four DVD for Megadeth.
After Sabbat, Martin Walkyier went on to form Skyclad. I highly recommend Skyclad (just as good as Sabbat… maybe). Sabbat released two more albums, Dreamweaver and Mourning Has Broken and both should be sourced if you like History Of A Time To Come.
Sabbat were:
Martin Walkyier – Vocals
Andy Sneap – guitar
Frazer Craske – Bass
Simon Negus – Drums