Friday, March 20, 2015
What one band, namely Triptykon, politely declines because it delves into farcical territory and deviates too far from the actual purpose of the band's existence, i.e., the creation of deeply unique music, another band eagerly picks up. Such is the nature of the piteous desire for exposure. Even if it all concerns a fossil.
Thursday, February 05, 2015
Klaus "Fifi" Fischer
February 5, 1935 - January 17, 2000
February 5, 1935 - January 17, 2000
Top: photographed at the mythical Racing Workshop Striempel, halfway up the Albis Pass, Switzerland, around 1970 (photographer unknown). Bottom: racing a Norton Manx, approximately late 1960s (photographer unknown).
Thursday, January 22, 2015
Even a most cursory glance at mankind's history of, say, the past 5000 years provides shatteringly irrefutable evidence that the claim "true religion is unrelated to violence", uttered ad infinitum, constitutes obscene, sanctimonious, and plainly ignorant hypocrisy. Resembling an involuntary admission of intellectual meagerness, religion is but an excuse for testosterone-induced aggression, oppression, and murder, instituted for millennia.
Photographed by TGF, Nürnberg, December 11, 2009.
Wednesday, December 10, 2014
Saturday, December 06, 2014
Regardless of the situation, no matter how we are subjected to attempts of submission, in spite of all aversion... this band is utterly unique, and encountering the reactions of our audience when we are onstage amounts to a deeply magical moment.
Contempt for those who have tried to subdue us on our path.
Contempt for those who have tried to subdue us on our path.
Monday, May 19, 2014
Photograph taken at H.R. Giger's home in Zurich, Switzerland, October 2008, by Doralba Picerno.
The greatest surrealist artist of our time, H.R. Giger, died in a tragic accident on Monday, May 12, 2014. In the wake of Giger's death, his closest friends are gathering to comfort his widow, Carmen, and to assist her in organizing Giger's funeral and his memorial service. I am one of those friends.
We are all still attempting to deal with the shock of this unexpected and extremely painful loss.
For 30 years, H.R. Giger has been my mentor. As I wrote in my eulogy, a few days ago: "At a time when almost everybody ridiculed, ignored, or even obstructed the music the then almost completely unknown Swiss underground band Hellhammer was creating, Giger listened to us, talked to us, and gave us a chance." The result was Celtic Frost's To Mega Therion album which, in turn, was the basis for all subsequent collaborations between us.
In all of his work with Celtic Frost and Triptykon, H.R. Giger was immensely generous, in spite of repeated objections of mine and countless attempts to convince him to accept proper compensation for his amazing contributions.
I have also been an assistant to H.R. Giger and his wife for seven years. I have long seen them as very close friends, even as family. We have experienced many challenging events together, and we have repeatedly taken care of each other in every conceivable manner.
I thus simply cannot and do not wish to fail to attend H.R. Giger's private funeral, and to take part in the subsequent public memorial service, to be held in one of Zurich's largest churches. Moreover, I am an integral part of the group of Giger friends who are currently involved in the difficult task of arranging these events. I cannot possibly just be a recipient. In a moment like this, I have to and wish to give as much as I possibly can.
It is an extremely unfortunate coincidence that these unexpected and tragic proceedings collide with Triptykon's planned appearance at Maryland Deathfest on May 22. We are thus regretfully forced to withdraw from the festival. Within Triptykon, we discussed the possibility of playing the concert without me, with a close friend of ours filling in on guitar and vocals. The other members of the band did not see any merit in performing as an incomplete line-up, however.
Withdrawing from Maryland Deathfest was not an easy decision to take by any means. We are disappointing our audience and the promoter of the festival, it contradicts our sense of commitment, and the band's reputation will suffer damage. We were looking forward immensely to Triptykon's return to the US. After a lengthy and expensive petition process, the US authorities granted us the required US work permits last week. Moreover, a US crew had been hired, and flights and hotels for band and crew had already been booked.
In 1985, during Celtic Frost's very first tour, I was forced to cancel three concerts due to overstrained vocals. I vowed to never let such a thing happen again and took the appropriate steps. Ever since then, I have never again been the reason for a cancellation of a concert by either Celtic Frost or Triptykon. There have been instances, in Paris and London for example, when I went onstage with Celtic Frost in spite of flu and substantial fever, in order to avoid letting down the band's fans.
It is thus utterly against my nature and my own professional demands to be the cause for Triptykon's first cancelled show. But these are truly extraordinary circumstances, caused by the death of a truly extraordinary artist and friend. I hope our audience will understand, and I apologize sincerely. And I am extremely grateful for the incredible understanding and goodwill extended to Triptykon by the promoter of Maryland Deathfest.
Tom Gabriel Warrior, Triptykon, May 19, 2014
Tuesday, May 13, 2014
H.R. Giger at his house in Zurich, Switzerland, around the time he created Mordor VII, the painting that would one day become the cover of Triptykon's second album, Melana Chasmata. Photographed by Katharina Vonow in autumn of 1976; used with very kind permission by Katharina Vonow and Carmen Giger.
"I fight the impending lure of belated sleep
For fear of waking up and you are gone"
Triptykon, My Pain, 2010
For the first time in 74 years, last night was a night not illuminated by the indescribable light that was H.R. Giger.
H.R. Giger became our mentor, against all odds, when we, somewhat audaciously, first established contact with him some 30 years ago. At a time when almost everybody ridiculed, ignored, or even obstructed the music the then almost completely unknown Swiss underground band Hellhammer was creating, Giger listened to us, talked to us, and gave us a chance. Not least at a time when he was at one of many peaks of his path.
A little more than a year later, his exceptionally stunning art made what might be one of Celtic Frost's most important albums, To Mega Therion, even more significant. Other links to Giger's universe also manifested themselves, almost as if it was predestined.
Eventually, after many more years, the mentorship became a friendship. It was a friendship and a personal connection I valued infinitely, and it also included his wonderful wife, Carmen, and many other remarkable people that were part of his circle.
When Celtic Frost came to an end so acrimoniously in 2008, H.R. Giger and his wife were among those who witnessed my uncontained despair and stood by me. That Giger subsequently agreed to collaborate with my new group, Triptykon, and thus enabled us to release our first album, Eparistera Daimones, with one of his most dramatic paintings on the cover meant the world to me.
It apparently pleased Giger, too. He told me so on several occasions, and he completely stunned me in October 2011 by proposing that we continue the collaboration between him and Triptykon. I would have never asked for such a thing, because I never would have wanted to appear insatiable. He brushed such reservations aside, and it was his mentorship, friendship, and art that enabled us, once again, to release a second album on which music and cover art formed a seamless symbiosis. Only a few weeks ago, he held the result in his hands and loved it.
Regardless of anything I may write about H.R. Giger, however, none of these words will ever be able to truly, accurately describe him as a person and as a friend. It is utterly inconceivable to imagine a world without his wit, his perception, his genius, his horizon, his determination, his humour, his friendship, and his immeasurable kindness. And yet, we are now left in exactly such a world.
Tom Gabriel Warrior for Triptykon, May 13, 2014
Monday, May 12, 2014
Sunday, May 04, 2014
Focus im Schweizer Radio SRF 3: Anna Maier spricht mit Triptykon Gitarrist/Sänger Tom Gabriel Warrior
Im Rahmen der renommierten Talk-Sendung "Focus" sendet das Schweizer Radio SFR 3 am Montagabend um 20:03 Uhr ein ausführliches und äusserst offenes Gespräch zwischen der bekannten Schweizer Journalistin Anna Maier und Triptykon Sänger/Gitarrist Tom Gabriel Fischer (a.k.a. Tom Gabriel Warrior). Die darin beleuchteten Themen beinhalten Fischers Jugend, Hellhammer, das Verhältnis zu Martin Eric Ain, Triptykon, und vieles mehr.
Die 60-minütige Sendung wurde am 1. Mai in Zürich aufgezeichnet und wird nach der Ausstrahlung weiterhin als Podcast auf der SRF 3-Website verfügbar sein. Das Gespräch wurde in Fischers Muttersprache, Schweizerdeutsch, geführt.
Der Link zur Sendung, unter einem für solcherlei Medien offenbar unumgänglichen reisserischen Titel.
Focus auf SRF 3
Radio SRF 3 live hören
Monday, March 17, 2014
Triptykon Announce Melana Chasmata Limited Edition Box Set
Triptykon and Century Media Records/Prowling Death Records are proud to announce a special limited edition box set of the band's second album, Melana Chasmata, containing the album's main Mediabook CD edition as well as a selection of unique Triptykon paraphernalia. The Melana Chasmata Mediabook features a 32-page booklet and an additional 12-panel fold-out cross-booklet; the paraphernalia comprises a silver Triptykon-"T" necklace, 2 specially manufactured Triptykon candles, a Triptykon tote bag, a poster, and 3 postcards.
The box set will be limited to 2000 copies worldwide.
Tom Gabriel Warrior: Some time ago, I voiced my personal disapproval regarding the original concept for the planned Triptykon Melana Chasmata box set as scheduled for release by our licensing partner, Century Media Records.
It is to Century Media Records' credit that they listened and subsequently approached me to address my misgivings and create a box set that represents the group's ideas and intentions far more comprehensively. I am grateful for such an open and creative collaboration, and I deeply respect Century Media Records for sparing neither effort nor expenditure to please Triptykon and the band's audience.
I wish record labels would have acted like this in the 1980s.