I was very excited to see Triptykon. Well, I’ve seen them twice before, but this time they were the headliners, so I was expecting a much more interesting setlist. A lot of people from the whole country came to that gig, which was also a great occasion to talk with a friend that I haven’t seen from a really long time. This made me decide to skip Spirit and Massemord gigs, just to meet and talk with a people that I haven’t seen for a whole eternity – and there were a lot of people that I always liked to talk with. Of course, from time to time I tried to catch something from the gigs of that two Polish bands.

In case of Massemord, something was really fucked up with the sound. We could only hear rumbling of the foot drum and guitar desperately fighting for it’s place in sound space. Rest of elements was lost somewhere – too bad, because this band can do a really good job live. During the Massemord gig, Fabryka club was slowly filled by the black crowd of people, which was getting bigger and bigger every minute.

After that, the Swiss duet Bolzer (which I only knew from EP “Aura”, but I haven’t heard new material entitled “Soma” yet) was about to enter the stage. What I’ve heard on the first EP made me think that it’s a band worth attention, and when they entered in the blue light I was really impressed. On the beginning they played a song which ended “Aura”, almost 11-minute long, the gigantic “The Great Unifier”. The composition was opened by a gloomy guitar interlude, which was building and evil atmosphere in seconds. Quick parts with obscene vocals destroyed, but where everything was getting more intense, song unfortunately lost it’s selectiveness. During the slower and more tarry parts everything was getting more clear. Heavy, bone-smashing sound, mixed with black/death metal dirt made a good job. It was really hard to believe, that on the stage there were only two musicians.

Soon it was time for a bit slower song from the first EP- “Coronal Mass Ejaculation”. It’s slower, but still sharp composition with oldschool drumming rhythm. Unfortunately, that song in concert version sounded a bit worse, but still represented a good level of destruction. Next punch was a song from Bolzer’s first demo - “Roman Acupuncture”. That intense songs lost it’s clarity, when the sound was too intense.

“Steppes” came from unknown to me by that time “Soma”. It’s a bit different, death metal composition, but still having that characteristic for a black metal guitars. It was standing out from other compositions. Next shot was more ascetic compositions, with a typical death metal feeling. It was a good song, but I’ve noticed growing weariness on the audience. Imperfect sound make everything sound monotonous. Even if I like the gig, I found Bolzer’s setlist too long.
And it wasn’t end yet ! They played also “Entranced By The Wolfshook” from “Aura”, and that song impressed me the most. Final song was coming from the demo “Zeus – Seducer of heart”. After that, Bolzer disappeared from the stage. Their gig could be much better, if intensity of sound wasn’t so high.

We had a moment to rest, before the gig that I couldn’t wait for! I’ve entered that true misterium again! I was waiting excited in the moat, watching the tech-crew quickly taking all equipment after Bolzer’s gig. Suddenly the lights went down and whole room was covered in black. Dark intro “Crucifixus” started,  and from the darkness arrived musicians to start from the Celtic Frost’s classic composition “Procreation (Of The Wicked)”. Song presented in much heavier form was literally smashing to the floor. I’ve started to feel electric chills coming down my spine and making me feel almost ecstatic. And it was just the beginning of the gig! Second song came from Triptykon’s repertoire, “Goetia”, from debut album “Eparistera Daimones”. Darkness was coming slowly from the speakers thanks to the guitar intro, with that Hellhamerrish atmosphere, which gradually was following other way. “Visions Of Mortality” was a next nod to the fans of good, old Celtic Frost.

I was feeling euphory rising in me and the tear in my eye. As it appeared to be later, it wasn’t the only surprise of that evening. There was easy to notice a “chemistry” inside the band, and Tom Gabriel Warrior was in the perfect mood that night. He was emanating with a joy of playing, and I think that one of the reasons that caused this state was audience’s reaction. Next hit in the back of the skull was coming from Triptykon’s last album “Tree Of Suffocating Souls”, which is much more aggressive song, and when I’ve heard first sounds of “Circle Of The Tyrants” I went crazy. This song always gives me amazing emotions. I remember when I saw the video for that composition for the first time in MTV.  It was DESTRUCTION. After so many years I could enjoy that composition live again. It was something really great. It was enough to see Vanie pulling strings of her bass, to hear the pitch coming from the speakers. Tom was slowly putting word after word through his mouth, with that characteristic, aggressive accenting every single word. Everything was filled with the great atmosphere. I’ve felt like I was taken to heaven, ekhem – to hell!

Perfectly prepared setlist is worth attention. Everything was greatly balanced, so there was no place for monotony or weariness. Next song, “Altar Of Deceit” from “Melana Chasmata”, reached a so unbelievable level of heaviness, that it looked like it was supposed to smash every single person to the ground level. Every pull of bass string I was feeling on myself. After that there was a time for another composition from God’s repertoire – Celtic Frost’s “Usurper”. Even if I prefer the original version, Triptykon’s is still smashing. Heavier, more massive sound and evil pulse gave this song a new life.

I wasn’t expecting to be such crazy, where it appeared that Tom Gabriel Warrior added to the setlist something from Hellhammer repertoire – “Messiah”. It took me a long time to believe that one of my dreams came true. I’ve heard live song by Hellhammer with Tom Warrior’s performance! It was a big shock and joy for me, I couldn’t hide the tears! But still it was THIS song ! Even if version from “Satanic Rites” cames with the great, 80’s aura – Triptykon’s version puts this song into different dimension. We also learned how this compositions could sound, if it was recorded in a good quality studio.

Finally I could shake off “Messiah” excitement from me, and it was thanks to composition coming from Triptykon’s debut. “The Prolonging” smashed bones without any mercy. That theatrical song was a sign that the most important gig of 2014 was about to end. After last sound of that composition, outro “Winter” came from the speakers. Misterium was done! During that 75 minutes I’ve felt like someone put a spell on me! Time didn’t matter here, my unsatisfied hunger was screaming “more! more!”, but it was definitely end. I was fighting with contradictory feelings – on one hand I was really happy, that I could be here and witness all that gig by myself, on the other, I knew that it will take a long time for me to see Triptykon again. Luckily, they will play at XX edition of Brutal Assault, I’m awaiting for that gig. It will be a holiday for me.

Since the band was brought to life, 5 years passed. From the time perspective, I can honestly say that Tom’s decision to put young, promising musicians, instead of well-known names was a good one. In that band we can notice great atmosphere of understanding each other. Everyone knows it’s place and is fully involved. We can just feel a joy of playing. After Celtic Frost’s reunion we couldn’t notice that, and in the final stage we actually could witness something opposite. Nobody is surprised that despite his big love for that band, Tom Warrior left Celtic Frost to create something new. Luckily, he’s an artist-visioneer, not afraid of any challenges.

Looking at Triptykon’s achievements, we can easily say that “Eparistera Daimones” and “Melana Chasmata” are great works, which are better then “Monotheist” on every possible level. I even dare to say, that late Celtic Frost album is less Celtic-Frostish than Triptykon, which taken that stylistic and brought it to the next level. The king is dead, long live the king!

Leszek Wojnicz-Sianożęcki