Interceptor’s The Beginning – A Raw Slice of '93 Slovenian Metal Fury
Alright, buckle up, because Interceptor’s The Beginning is one of those albums that punches you in the gut and then laughs while you’re still catching your breath. Released back in 1993 via Panika Records (shoutout to Slovenia for cranking out some serious metal heat), this record doesn’t mess around. It’s a wicked mashup of Death Metal grit and Thrash fury—like if someone threw Slayer into a blender with Morbid Angel and hit "puree." If you’re looking for something polished? Nah, this ain’t it. But if raw, unfiltered aggression floats your boat, read on.
Let’s dive straight into two tracks that’ll stick to your brain like gum under a chair: “Mors Victrix” and “Childhood of Pain.”
First off, “Mors Victrix.” Holy hell, this thing kicks off like an angry beast breaking free from its cage. The riffs are razor-sharp, slicing through the mix like rusty knives, while the drums sound like they were recorded inside a warzone bunker—which might actually be true given the lo-fi production vibes. What makes this track unforgettable isn’t just the chaos—it’s how it builds tension before exploding into these monstrous breakdowns. You can practically feel the mosh pit forming as you listen. And don’t even get me started on the vocals; growls so deep they could wake the dead, but there’s also this eerie melody lurking beneath it all, like a ghost haunting your headphones.
Then there’s “Childhood of Pain,” which hits different. This one slows things down just enough to let the weight of the lyrics sink in. Without sounding too pretentious, it feels personal—as though the band’s dragging skeletons out of their closet and setting them on fire right in front of you. The guitar work here is hauntingly beautiful, weaving between melancholic leads and skull-crushing distortion. There’s a moment midway where everything drops out except for a single, mournful note—it’s like the music itself is holding its breath. And when the chaos returns? Whew. Chills.
Of course, I gotta give props to the rest of the album too. Tracks like “…Died Alone” and “Scum of Society” keep the energy levels sky-high, while covers like “Zadnja Žrtev” show respect to their roots without losing their own identity. Oh, and shoutout to whoever decided to name a song “Alive Isn’t Worth To Be”—that title alone deserves an award for sheer bleakness.
But here’s the kicker: listening to The Beginning feels less like hearing an album and more like witnessing a snapshot of a time and place. Slovenia in ’93 wasn’t exactly at the center of the global metal scene, yet bands like Interceptor were out here crafting music that felt both primal and purposeful. It’s messy, sure, but that’s kinda the point. Perfection would’ve ruined it.
So yeah, if you’re searching for shiny, overproduced nonsense, move along. But if you want an album that sounds like it was forged in the depths of despair and spat out onto tape, The Beginning has got your name written all over it. Just don’t blame me if your neighbors start complaining about the noise—or if you find yourself questioning your life choices after track five.
Final thought: Who knew Slovenia had such killer riffs hiding in plain sight? Guess sometimes the best things come from places you least expect. Now go crank this sucker up loud and scare your cat.
