Editing Into the Pandemonium

{{short description|1987 studio album by Celtic Frost}}
{{Use dmy dates|date=March 2021}}
{{Infobox album
| name       = Into the Pandemonium
| type       = studio
| artist     = [[Celtic Frost]]
| cover      = Celtic frost into pandemonium cover.jpg
| alt        =
| released   = 1 June 1987
| recorded   = January–April 1987
| venue      =
| studio     = Horus Sound Studio, [[Hannover]], Germany
| genre      = {{flatlist|
*[[Thrash metal]]<ref name="MHbestsymph"/>
*[[avant-garde metal]]<ref name="Allmusic Band Bio">{{cite web|url=http://www.allmusic.com/artist/celtic-frost-mn0000191063/biography|last=Rivadavia |first=Eduardo |title=Celtic Frost: Artist Biography |work=Allmusic |access-date=1 November 2014 |quote=On ''To Mega Therion'', Warrior had begun experimenting with different musical styles (especially classical music and electronica), leading certain journalists to describe the band's direction as 'avant-garde' metal. Released in 1987, ''Into the Pandemonium'' would substantiate these claims and then some, introducing an unconventional collision of [[death metal]] brutality and symphonic overtones on its way to becoming one of the classic [[extreme metal]] albums of all time.}}</ref>
*[[gothic metal]]<ref name="Louder Goth Metal">{{cite web |url=https://www.loudersound.com/features/10-essential-goth-metal-albums |last=Chantler |first= Chris|title=10 essential goth metal albums |work=Louder Sound |date=28 April 2020 |access-date=1 November 2020}}</ref>
*[[symphonic metal]]<ref name="MHbestsymph"/>
}}
| length     = 39:11
| label      = [[Noise Records|Noise]] <small>(Europe)</small><br />[[Combat Records|Combat]]/Noise <small>(US)</small>
| producer   = [[Celtic Frost]]
| prev_title = [[Tragic Serenades]]
| prev_year  = 1986
| next_title = [[Cold Lake (album)|Cold Lake]]
| next_year  = 1988
| misc       = {{Singles
 | name        = Into the Pandemonium
 | type        = studio
 | single1     = I Won't Dance
 | single1date = 1987
}}
}}

'''''Into the Pandemonium''''' is the third studio album by Swiss [[extreme metal]] band [[Celtic Frost]], released on 1 June 1987 through [[Noise Records]] in Europe, and through [[Combat Records]] in the US. The album marks the return of bassist and backing vocalist [[Martin Eric Ain]], who had previously appeared on 1984's ''[[Morbid Tales]]'', but not on the band's [[To Mega Therion (album)|previous album]].

The album furthers Celtic Frost's experimental bent, with unlikely [[cover version|covers]] choices ([[Wall of Voodoo]]'s "[[Mexican Radio]]"), [[industrial music|industrial]]-tinged tracks ("One In their Pride") and [[gothic rock]] tendencies. The already traditional Frost-styled orchestral flourishes with female vocals are also present. Initially met with mixed reviews, ''Into the Pandemonium'''s acceptance quickly grew and it became the band's most successful record.

The album also marked the end of their tenure with [[Noise Records]]. A costly legal battle with the label ensued, due to accusations by the band that Noise sabotaged the album's promotion.

==Production==
The rehearsals for the album started during the second half of 1986.<ref name=Fischer177>{{cite book|last=Fischer|first=Thomas Gabriel|title=Are You Morbid? Into the Pandemonium of Celtic Frost|date=2000|publisher=Sanctuary Publishing Limited|location=London|isbn=1860743102|page=177}}</ref> The band early on discarded the working titles ''Silent Excess'' and ''Monumentum'' in favor of the familiar ''Into the Pandemonium''.<ref name=Fischer176>{{cite book|last=Fischer|first=Thomas Gabriel|title=Are You Morbid? Into the Pandemonium of Celtic Frost|date=2000|publisher=Sanctuary Publishing Limited|location=London|isbn=1860743102|page=176}}</ref>

Noise label boss Karl-Ulrich Walterbach "didn't get" Celtic Frost's new material,<ref name=Gehlke246>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=246}}</ref> and threatened multiple times to defund the recording if they didn't play run-on-the-mill [[thrash metal]].<ref name=Gehlke247>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=247}}</ref> This estrangement with the band's [[Out of left field|left-field]] approach continued after the album's release. During ''Pandemonium'''s listening party at [[SPV GmbH|SPV]]'s offices Walterbach approached Warrior and asked, "Why don't you try to sound more like [[Exodus (band)|Exodus]] or [[Slayer]]?" Walterbach's sarcasm infuriated Frost's main composer.<ref name=Gehlke249>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=249}}</ref>

==Musical style==
The band had in mind the bold objective to surpass all their previous body of work.<ref name=Fischer177>{{cite book|last=Fischer|first=Thomas Gabriel|title=Are You Morbid? Into the Pandemonium of Celtic Frost|date=2000|publisher=Sanctuary Publishing Limited|location=London|isbn=1860743102|page=177}}</ref> The push came largely from being blown away by the freshness of [[New wave music|new wave]]. Every newly discovered record presented other musical vistas, a neverending supply of novel and original ideas. With this broadening of horizons, Celtic Frost were adamant that no set of rules would smother their creativity—especially those of [[extreme metal]]. "We hated these unwritten limitations in the metal scene", Warrior reminisced.<ref name="Kerrang!">{{cite web |url=https://www.kerrang.com/celtic-frost-interview-tom-gabriel-fischer-morbid-tales-to-mega-therion-into-the-pandemonium-h-r-giger-danse-macabre |last=Ruskell |first= Nick|title=Celtic Frost: "We hated these unwritten limitations in the metal scene… Music should be adventurous" |work=Kerrang! |date=22 October 2022 |access-date=5 May 2024}}</ref> [[Chuck Eddy]] deems the group to be "[[avant-garde music|avant-gardy]] opportunists" who—having recognised that both [[disco]] and heavy metal's respective percussion elements "in fact makes the phyla kissing cousins"—effectively "go disco" on the record with the presence of specifically rhythm-based songs.<ref name="Eddy">{{cite book |last1=Eddy |first1=Chuck |title=Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe |date=1991 |publisher=Harmony Books |location=New York |isbn=0517575418 |page=63}}</ref>

Both Warrior and Ain were [[post-punk]] devotees, especially of goth acts [[Bauhaus (band)|Bauhaus]], [[Christian Death]], [[Siouxsie and the Banshees]] and [[The Sisters of Mercy]].<ref name="Decibel">{{cite web |url=https://www.revolvermag.com/music/pandemonium-inside-no-limits-album-destroyed-celtic-frost |last=Wiederhorn |first= Jon|title='Into the Pandemonium': Inside "No Limits" Album That "Destroyed" Celtic Frost |work=Revolver Magazine |date=31 May 2019 |access-date=31 May 2024}}</ref><ref name="DarkSide">{{cite web |url=https://www.voicesfromthedarkside.de/interview/celtic-frost-2 |last=Willems |first= Steven|title= Celtic Frost |work=Voices From The Darkside |access-date=6 June 2024}}</ref> [[Paradise Lost (band)|Paradise Lost]] main composer and guitarist [[Gregor Mackintosh]] spotted the Christian Death influence on Warrior's new "whiny" vocal style, used throughout the album. In his opinion, it was "lifted straight" from the late [[Rozz Williams]], especially his singing on ''[[Only Theatre of Pain]]''.<ref name="MusicRadar">{{cite web |url=https://www.musicradar.com/news/paradise-lost-guitarist-greg-mackintosh-my-8-favourite-goth-albums |last=Rees |first= Adam|title=Paradise Lost guitarist Greg Mackintosh: My 8 favourite goth albums |work=Decibel Magazine |date=22 April 2020 |access-date=3 June 2024}}</ref>

One particularly controversial portion of the album was the [[dance music|dance]]-oriented "One in Their Pride", a track built around [[soundbites]] from [[NASA]]'s [[Apollo program]]. Its use of [[Sampling (music)|sampling]] and [[drum machines]] reminded Belgian [[Electronic body music|EBM]] group [[Front 242]]. [[Dan Lilker]], former [[Anthrax (American band)|Anthrax]] and [[Nuclear Assault]] bassist, confessed his enstrangement with this track. Lilker said this enstrangement was generalized throughout the scene at the time. This was an instance where Tom Warrior acknowledged that the band "went too far" on their experiments. In the long run, he considered this track a mistake.<ref name=Christie21>{{cite book|last=Christie|first=Ian|title=Sound of the Beast: The Complete Headbanging History of Heavy Metal|date=2003|edition=First|publisher=Harper Entertainment|location=London|isbn=006052362X|page=21}}</ref><ref>{{cite web|url=https://www.whosampled.com/Celtic-Frost/One-in-Their-Pride/samples/|title=Tracks Sampled in One in Their Pride by Celtic Frost|website=[[WhoSampled]] |access-date=1 May 2022}}</ref><ref name="LouderFrost">{{cite web |url=https://www.loudersound.com/features/celtic-frost-into-the-pandemonium-story-behind-the-album |last=Dome |first= Malcolm|title=Celtic Frost's Into The Pandemonium: the madness and the magic of metal's most visionary album |work=Louder |date=28 August 2020 |access-date=3 June 2024}}</ref> Eddy compares "One in Their Pride", with its pared-down bass, to [[Adrian Sherwood]]'s production work for [[Tackhead]] and [[Keith Le Blanc]].<ref name="Eddy" /> "Rex Irae", another rhythmic song, was described by Eddy as "a [[dub music|dub]]/riff mixture" that is comparable to [[Chain Gang (band)|Chain Gang]], [[Ruts DC]] and [[A.R. Kane]].<ref name="Eddy" />

==Themes==

Celtic Frost were always fascinated with the rise and fall of ancient civilizations; their own name stands for this idea. Three songs from ''Into the Pandemonium''—"Babylon Fell", "Caress into Oblivion" and "Rex Irae"—deal with the myths and history of the [[Babylonians]], especially those of king [[Nebuchadnezzar II]] and [[Marduk]], god-patron of the city of [[Babylon]], capital of the [[Persian Empire]].<ref name="ArchiveBabylon">{{cite web |url=https://www.facebook.com/celticfrostarchive/photos/a.230998588441555/253077459567001/?type=3 |title=Celtic Frost Archive|work=Facebook |date=31 December 2020 |access-date=25 June 2024}}</ref>

"I Won't Dance (The Elders' Orient)" was inspired originally by the [[Culture of Egypt|Egyptian]] ''[[Book of the Dead]]''.<ref name="ArchiveBook">{{cite web |url=https://www.facebook.com/celticfrostarchive/posts/pfbid02APFCGHw1qRoQTSjQJWuPFpdeuuFur6r3PFkhaxwbe3Ayfrrus6c6g1ZwYCDGCz5nl |title=Celtic Frost Archive|work=Facebook |date=5 February 2024 |access-date=25 June 2024}}</ref>

19th-century poetry was another source of inspiration for the lyrics. For example, significant portions of "Inner Sanctum" are directly quoted from [[Emily Brontë]] poems. Martin Ain discovered these on ''L'Homme devant la mort'' ({{cite book |title=The Hour of Our Death |url=https://archive.org/details/hourofourdeath00aris }}) by French historian [[Philippe Ariès]].<ref name="ArchiveSanctum">{{cite web |url=https://www.facebook.com/celticfrostarchive/posts/these-poems-by-emily-bronte-were-the-source-of-the-lyrics-for-the-song-inner-san/211110673763680 |title=Celtic Frost Archive|work=Facebook |date=4 October 2020 |access-date=13 June 2024}}</ref> On the other hand, the lyrics to "Tristesses de la lune" are borrowed from the poem of the same name in [[Charles Baudelaire]]'s ''[[Les Fleurs du mal]]''. The lyrics to "Sorrows of the Moon" are an English translation of the same. [[Moonspell]] vocalist [[Fernando Ribeiro]] discovered Baudelaire through this song.<ref name="MoonspellFanSite">{{cite web |url=https://moonspell.cz/en/2012/08/13/interview-with-fernando-about-duality-of-alpha-noir-and-omega-white |last=Matus |first= Dominik|title=Interview with Fernando about duality of Alpha Noir and Omega White |work=Moonspell - Fansite |date=13 August 2012 |access-date=3 June 2024}}</ref>

==Album art==
The cover image is a detail from the right (''Hell'') panel of ''[[The Garden of Earthly Delights]]'', a triptych painted in 1504 by [[Hieronymus Bosch]], part of [[Madrid]]'s [[Museo del Prado|Prado]] permanent collection. The original idea of using this painting for ''Into the Pandemonium''{{'}}s cover came through Martin Ain.<ref name=Fischer177>{{cite book|last=Fischer|first=Thomas Gabriel|title=Are You Morbid? Into the Pandemonium of Celtic Frost|date=2000|publisher=Sanctuary Publishing Limited|location=London|isbn=1860743102|page=177}}</ref> The LP's inner sleeve was the [[Les Edwards]] ''Tombworld'' (1980) painting. As to how the band's music can be linked their album art, Tom Warrior explained:<ref name=Fischer178>{{cite book|last=Fischer|first=Thomas Gabriel|title=Are You Morbid? Into the Pandemonium of Celtic Frost|date=2000|publisher=Sanctuary Publishing Limited|location=London|isbn=1860743102|page=178}}</ref>

{{Cquote|To determine what the album will look like helps us to formulate its musical content. It makes it possible to arrange and design our material according to our feelings and interpretation of the paintings. I don't know whether this is easy to understand or not. As the cover art represents the musical content of our albums, so the musical content reflects the mood of the cover.}}

==Touring and promotion==

In Warrior's recollection, three quarters into production Celtic Forst were forced, by Noise, to do some dates with Anthrax. If they didn't, the label would cut short the funding for ''Pandemonium''.<ref name=Gehlke247>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=247}}</ref> In his defense, label boss Karl-Ulrich Walterbach stated that he simply offered the tour and never pushed it. He knew the timing wasn't ideal for the band.<ref name=Gehlke248>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=248}}</ref> One of these dates was the 1987 edition of the Aardschokdag, a [[Netherlands|Dutch]] annual heavy metal festival. Frost played alongside Anthrax, [[Metal Church]], [[Crimson Glory]], [[Lȧȧz Rockit]] and headliners [[Metallica]] on February 8.<ref name="ConcertArchives">{{cite web |url=https://www.concertarchives.org/bands/celtic-frost?year=1987 |title=Celtic Frost's 1987 Concert History |work=Concert Archives |access-date=25 June 2024}}</ref>

After the album's release, American guitarist Ron Marks was invited to join the band, in part to bolster its live sound.<ref name=Gehlke248>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=248}}</ref>

Celtic Frost did a brief English tour on late October, with [[Kreator]] and Virus. They then flew to the United States, to be the opening act to the December leg of Anthrax's ''[[Among the Living]]'' tour.<ref name="ConcertArchives">{{cite web |url=https://www.concertarchives.org/bands/celtic-frost?year=1987 |title=Celtic Frost's 1987 Concert History |work=Concert Archives |access-date=25 June 2024}}</ref> Frost caught the thrash explosion in the US. In a few months, Anthrax went from playing to 500 people per show to 7,000 or 8,000 every night, without radio play or [[MTV]] exposure.<ref name="AnthraxTour">{{cite web |url=https://www.loudersound.com/features/among-the-living-anthrax-look-back-at-their-classic-album-30-years-on |last=Lawson |first= Dom|title=Among The Living: Anthrax look back at their classic album 30 years on |work=Metal Hammer |date=30 January 2017 |access-date=25 June 2024}}</ref>

After ''Into the Pandemonium'', Celtic Frost became one of Noise's bestsellers. By the end of the year, the band's third album had sold 100,000 records worldwide. Alongside the 250,000 sold by [[Running Wild (band)|Running Wild]]'s ''[[Under Jolly Roger]]'' and the 500,000 sold of [[Helloween]]'s ''[[Keeper of the Seven Keys: Part I]]'', 1987 helped usher a new era for the German label. There were a number of factors that aided this turn of events: SPV's European distribution network, [[RCA]]'s promotional push behind Helloween and an enthusiastic metal press.<ref name=Gehlke225>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=225}}</ref>

[[Thomas Gabriel Fischer]] finally performed Celtic Frost's [[requiem]] at [[Roadburn Festival|Roadburn]] 2019 with [[Triptykon]], along with the [[Metropole Orkest]]. ''Into the Pandemonium''{{'}}s "Rex Irae" is the opening part; the third, concluding part—"Winter (Requiem, Chapter Three: Finale)"—can be heard on 2006's ''[[Monotheist (album)|Monotheist]]''. The second, long-missing second part ("Grave Eternal") was never officially released until these performances. A full, live rendition of the entire piece has been released.<ref name="Triptykon">{{cite web |url=https://blabbermouth.net/news/triptykon-releases-rex-irae-video-from-requiem-live-at-roadburn-2019-cd-dvd |title=TRIPTYKON Releases 'Rex Irae' Video From 'Requiem (Live At Roadburn 2019)' CD + DVD |work=BLABBERMOUTH.NET |date=15 May 2020 |access-date=19 June 2020}}</ref>

==Legacy==
{{Music ratings
| rev1 =[[AllMusic]]
| rev1Score = {{Rating|4.5|5}}<ref>{{cite web | url = http://www.allmusic.com/album/into-the-pandemonium-r3495/review | title = Celtic Frost Into the Pandemonium review | access-date = 24 December 2011 | last = Raggett | first = Ned | work = [[AllMusic]] | publisher = [[Rovi Corporation]]}}</ref>
| rev2 = ''[[Martin Popoff|Collector's Guide to Heavy Metal]]''
| rev2Score = 7/10<ref name="martin" >{{cite book | last1 = Popoff | first1 = Martin | author-link1 = Martin Popoff | title = The Collector's Guide to Heavy Metal: Volume 2: The Eighties | publisher = [[Collector's Guide Publishing]] | date = 1 November 2005 | location = [[Burlington, Ontario]], Canada | isbn = 978-1894959315 | page= 68}}</ref>
| noprose = yes
}}
[[Malcolm Dome]] called ''Into the Pandemonium'' both "metal's most visionary album" and an "avant-garde metal masterpiece". Tom Warrior himself said that it is "the band's most important release".<ref name="LouderFrost">{{cite web |url=https://www.loudersound.com/features/celtic-frost-into-the-pandemonium-story-behind-the-album |last=Dome |first= Malcolm|title=Celtic Frost's Into The Pandemonium: the madness and the magic of metal's most visionary album |work=Louder |date=28 August 2020 |access-date=3 June 2024}}</ref> [[AllMusic]] reviewer Eduardo Rivadavia considered ''Into the Pandemonium'' "one of the classic [[extreme metal]] albums of all time".<ref name="Allmusic Band Bio"/> In 1991, Eddy ranked ''Into the Pandemonium'' at number 108 in his list of the 500 best heavy metal albums ever.<ref name="Eddy" />

''Into the Pandemonium'' had a decisive impact on the emerging [[gothic metal]] scene of the 1990s.<ref name="Louder Goth Metal" /> Paradise Lost collectively held the album in high esteem. "It made [us] what we are", said Mackintosh, "and so many other bands [...] too".<ref name="LouderPL">{{cite web |url=https://www.loudersound.com/features/the-10-records-that-saw-goth-go-metal-and-vice-versa |last=Hobson |first= Rick|title=The 10 records that saw goth go metal – and vice versa |work=Louder |date=4 November 2021 |access-date=3 June 2024}}</ref> Rhythm guitarist [[Aaron Aedy]] pointed out that ''Pandemonium''{{'}}s use of orchestration inspired their sophomore album, ''[[Gothic (Paradise Lost album)|Gothic]]''.<ref name="Gothic">{{cite web |url=https://www.decibelmagazine.com/2021/03/19/paradise-losts-gothic-turns-30-celebrate-with-our-classic-hall-of-fame-story |last=Koerber |first= Scott|title=Paradise Lost's "Gothic" Turns 30! Celebrate With Our Classic Hall of Fame Story |work=Decibel Magazine |date=19 March 2021 |access-date=3 June 2024}}</ref> [[My Dying Bride]]'s [[Andrew Craighan]] revealed that adventurous use of violins on ''Into the Pandemonium'' encouraged MDB to do the same. Craighan felt something like "we can do that if they're doing it".<ref name="HotMetal">{{cite web |url=https://hotmetalmag.com/my-dying-bride-this-mortal-coil |last=Giffin |first= Brian|title=MY DYING BRIDE: This Mortal Coil (2024) |work=Hot Metal |date=20 April 2024 |access-date=5 July 2024}}</ref> Moonspell's Ribeiro found ''Pandemonium'' "groundbreaking and inspiring". He preferred Celtic Frost's unorthodox approach to [[heavy metal music|heavy metal]] "than to be bound to an unwritten book of [[Underground music|Underground]] laws to please others instead of our artistic hunger".<ref name="MoonspellFanSite">{{cite web |url=https://moonspell.cz/en/2012/08/13/interview-with-fernando-about-duality-of-alpha-noir-and-omega-white |last=Matus |first= Dominik|title=Interview with Fernando about duality of Alpha Noir and Omega White |work=Moonspell - Fansite |date=13 August 2012 |access-date=3 June 2024}}</ref> This particular record made them deepen the connection with their [[Middle Eastern music|Middle Eastern]] and [[Music of Africa|African]] musical heritage, a big part of the folk music from their native [[Portugal]].<ref name="MetalBite">{{cite web |url=https://metalbite.com/interviews/2708/moonspell-with-fernando-ribeiro-vocals |author=Michael |title=Interview: Moonspell with Fernando Ribeiro (vocals) |work=MetalBite |date=23 May 2024 |access-date=3 June 2024}}</ref>

Warrior's "goth" crooning on ''Pandemonium'' also prove influential to gothic metal pioneers. Paradise Lost singer [[Nick Holmes]] said "Mesmerized" was his second favorite Celtic Frost song, partly because of how Warrior sang on it.<ref name="LouderTop10">{{cite web |url=https://www.loudersound.com/features/the-10-best-celtic-frost-songs-by-paradise-lost-s-nick-holmes |last=Holmes |first= Nick|title=The Top 10 best Celtic Frost songs |work=Louder |date=13 July 2020 |access-date=13 June 2024}}</ref> [[Anathema (band)|Anathema]]'s [[Vincent Cavanagh]], later on, would borrow Warrior's moaned-style singing on "Mesmerized" for ''[[The Silent Enigma]]''{{'}}s title track.<ref name=Gehlke246>{{cite book|last=Gehlke|first=David E.|title=Damn the Machine: The Story of Noise Records|date=2017|publisher=Deliberation Press|location=United States|isbn=9780692637135|page=246}}</ref>

Celtic Frost's third album also had a lasting influence on [[symphonic metal]]. [[Therion (band)|Therion]] mainman [[Christofer Johnsson]], in particular, frequently acknowledges its importance.<ref name="TheMetalCrypt">{{cite web |url=https://www.metalcrypt.com/pages/interviews.php?intid=55 |last=Williams |first= Barbara|title=Therion Interview |work=The Metal Crypt |date=22 February 2003 |access-date=1 June 2024}}</ref><ref name="Metalpaths">{{cite web |url=https://www.metalpaths.com/interviews/2018/03/06/interview-therion-christofer-johnsson |last=Noir |first= Achileas|title=Interview: Therion (Christofer Johnson) |work=Metalpaths.com |date=6 March 2018 |access-date=1 June 2024}}</ref><ref name="Bardo">{{cite web |url=https://www.bardomethodology.com/articles/2019/04/17/therion-interview |last=Göransson |first= Niklas|title=Therion interview |work=Bardo Methodology |date=17 April 2019 |access-date=1 June 2024}}</ref> In 2021, it was elected by ''[[Metal Hammer]]'' as the second best symphonic metal album of all time.<ref name="MHbestsymph">{{cite web |last1=Davies |first1=Hywel |last2=Dome |first2=Malcolm |last3=Goodman |first3=Eleanor |last4=Chantler |first4=Chris |last5=Gordon |first5=Connie |last6=Grady |first6=Spencer |last7=Rees |first7=Adam |last8=Selzer |first8=Jonathan |title=The 25 best symphonic metal albums |url=https://www.loudersound.com/features/the-25-best-symphonic-metal-albums/2 |website=[[Metal Hammer]] |publisher=[[Future plc]] |access-date=2 January 2022 |date=17 November 2021}}</ref>

==Track listings==
===Original LP===
{{track listing
| headline = Side One
| title1 = [[Mexican Radio]]
| writer1 = [[Marc Moreland]], [[Stan Ridgway]]
| note1 = [[Wall of Voodoo]] cover
| length1 = 3:28
| title2 = Mesmerized
| length2 = 3:24
| writer2 = [[Martin Eric Ain]], [[Thomas Gabriel Fischer|Thomas Gabriel Warrior]] 
| title3 = Inner Sanctum
| length3 = 5:14
| writer3 = Warrior, Ain
| title4 = Sorrows of the Moon
| length4 = 3:04
| writer4 = Ain
| title5 = Babylon Fell
| length5 = 4:18
| writer5 = Warrior
}}
{{track listing
| headline = Side Two
| title6 = Caress into Oblivion
| length6 = 5:10
| writer6 = Warrior
| title7 = One in Their Pride
| length7 = 2:50
| writer7 = Warrior
| title8 = I Won't Dance
| length8 = 4:31
| writer8 = Warrior
| title9 = Rex Irae (Requiem)
| length9 = 5:57
| writer9 = Warrior
| title10 = Oriental Masquerade
| length10 = 1:15
| writer10 = Warrior
}}

===Original CD===
{{track listing
| title1 = [[Mexican Radio]]
| length1 = 3:28
| title2 = Mesmerized
| length2 = 3:24
| title3 = Inner Sanctum
| length3 = 5:14
| title4 = Tristesses de la Lune
| length4 = 2:58
| title5 = Babylon Fell (Jade Serpent)
| length5 = 4:18
| title6 = Caress into Oblivion (Jade Serpent II)
| length6 = 5:10
| title7 = One in Their Pride
| note7 = Porthole Mix
| length7 = 2:50
| title8 = I Won't Dance (The Elders' Orient)
| length8 = 4:31
| title9 = Sorrows of the Moon
| length9 = 3:04
| title10 = Rex Irae (Requiem)
| length10 = 5:57
| title11 = Oriental Masquerade
| length11 = 1:15
| title12 = One in Their Pride
| note12 = Re-entry Mix
| length12 = 5:52
}}

===1999 remastered CD edition bonus tracks===
{{track listing
| title13 = In the Chapel, in the Moonlight
| writer13 = [[Billy Hill (songwriter)|Billy Hill]]
| length13 = 2:04
| title14 = The Inevitable Factor
| writer14 = Warrior, Ain, [[Reed St. Mark]]
| length14 = 4:38
| title15 = The Inevitable Factor
| writer15 = Warrior, Ain, St. Mark
| note15 = Alternate Vox
| length15 = 4:38
}}

==Personnel==
;Celtic Frost
*[[Thomas Gabriel Fischer|Thomas Gabriel Warrior]] – vocals, guitars, synthesizers, effects
*[[Martin Eric Ain]] – bass, effects, backing vocals
*[[Reed St. Mark]] – drums, percussions, synthesizers, effects, backing vocals

;Additional musicians (CD editions)
*Manü Moan (The Vyllies) – vocals (track 4)
*Andreas Dobler – guitars (tracks 9, 10, 14, 15)
*Lothar Krist – orchestral arrangements, conductor (tracks 4, 10, 11)
*Malgorzata Blaiejewska Woller, Eva Cieslinski – violins (tracks 4, 10, 11)
*Wulf Ebert – cello (tracks 4, 10, 11)
*Gypsy – viola (tracks 4, 10, 11)
*Anton Schreiber – French horn (tracks 10, 11)
*Thomas Berter – backing vocals (track 1)
*Claudia-Maria Mokri – backing vocals (tracks 2, 5, 10)
*H.C. 1922 – backing vocals (track 8)
*Marchain Regee Rotschy – backing vocals (track 13)

;Production
*Celtic Frost – producers
*Jan Nemec – engineer, sample editing (tracks 7, 12)

==References==
{{reflist}}

{{Celtic Frost}}

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[[Category:Celtic Frost albums]]
[[Category:1987 albums]]
[[Category:Noise Records albums]]
[[Category:Musical settings of poems by Charles Baudelaire]]
[[Category:Combat Records albums]]