What makes a “classic”? In the case of Mayhem’s Live In Leipzig (Peaceville) it’s primarily down to what it represents – not only the closest thing to a full album by the classic line-up of Mayhem (itself awarded the c-word at least in part for the fact that two of them were dead by violence within three years), but an important document in the development of both a scene and a genre. It’s impossible to look into the early days of “second wave BM” without running into a reference to Live In Leipzig, and it still regularly appears in lists of the most important releases in the genre. References to it tend to spend longer talking about its classic status, the “atmosphere” or the events of the scene it helped give birth to than the music itself, which can cause alarm bells to ring.
Setting everything else aside for the moment, then, the first thing to say about the music is that it’s RAW. Not just the sound – which is better than you may be expecting, especially in its’ remastered form – but the song-writing and playing too. People already familiar with the band after Dead’s… er… death may be surprised – the mystical, sinister atmosphere of De Mysteriis Dom Sathanas (Deathlike Silence) is thin on the ground, and the experimentalism that the band embraced in their later years is entirely absent. Early tracks like ‘Necrolust’ and ‘Carnage’ push their Thrash and Venom influences to the front, and even DMDS tracks are more savage and direct than their studio incarnations.
Traditional wisdom has Dead being the quintessential Mayhem vocalist, but his style is much more straightforward and orthodox than that of Maniac or Attila – fans of the latter in particular may be disappointed with lines like “in the middle of Transylvania” delivered in a straight rasp rather than Atilla’s vampire drag-queen tenor. The quality he’s so treasured for, of course, is authenticity – it’s hard to deny the genuine rage and alienation of a man who shot himself in the head five months after this performance – but the extent to which it really informs the music is a matter of personal interpretation. It’s precisely that “realness” and lack of irony that can transform Live In Leipzig into something more than the sum of its sloppy parts, but it’s hard to pin down objectively – one person’s “sloppy” is another’s “dangerous”.
As a document of the genre’s early days, Live In Liepzig is as important as you’ve heard, and the bonuses in this package (a booklet full of scene memorabilia and a second disc of another performance with most of the same tracks and a rawer sound) makes it even more so. As a piece of music it’s both undeniably flawed and often genuinely captivating – and in many ways it’s the flaws that makes it so engaging. Still an essential history lesson for those interested in early 90’s Scandinavian BM, but not always an easy one to swallow, and some fans will find themselves blasphemously glad that Black Metal has been so thoroughly house-trained.
7.0/10
RICHIE HR
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