The Occultic cover features a heptagram centered with a skull and spears extending forth therefrom, although the impression derived is that of a futuristic design, with a ceremonial magick configuration, somewhat likened to the Necronomicon cover.

The opus begins with the sounds of either demons arising from The Pit, or souls descending into Hell, you pick your choice, as the intro to Into The Crypts of Rays {or what it would purportedly sound like therein}, a punching song utilizing double-bass and a distinguishable rhythm accompanied by echoing Swedish accent vocals that is actually discernible; the lingering guitars in minor chords you can feel in your bones are brutally heavy – virtually incomparable, bestowing a Power Metal edge. In fact, overall, Celtic Frost can be seen as a mix of Power Metal and Death Metal masterfully intermingled. Visions of Mortality, Dethroned Emperor {with strains floating deeply in the air}; title track Morbid Tales asks the question: "Are you morbid?" ; Circle of The Tyrants reminds Me of a dark council gathering in a doom-filled blackened world; Procreation of The Wicked alludes to Infernal Progeny, and is a favorite to contemplate the continuation of one’s legacy upon The Black Earth – demonic intercourse to, as one devilish superstition asserts, to multiply within the beings of the mortals likened the ‘morbid tales’ of dark angels replicating according to the number 666 {666x2=1332, 666x3=1998, etc., devils upon the earth, possessing souls for Satan, until the heavenly realms themselves are toppled}; Return to The Eve is a moderately-paced number about chaos, delivered from the fetters of light to evolve beyond delusion, unto the ultimate reality of darkness – A somber female voice graces a portion within the interim, causing quite a remarkable dichotomy, intensifying the cantible manifold. Danse Macabre {also a book by Stephen King} is another one of those superbly sublime sound-effects pieces which could be perfectly applicable for a Lust Ritual – a voice passionately repeats "Come to me…come to me…" to the sounds of a female voice in the throes of ecstatic orgasmic bliss, dissonant pizzicato violins and howling winds as well as the ubiquitous music box, which as we know, portends madness, resounds as an undercurrent throughout – quite a memorable and outstanding piece; as the song fades, Nocturnal Fear explodes forth, with Warrior projecting a staple vocal effect sounding as if being struck in the chest with a sonic iron fist, followed by what has to be one of the absolute heaviest moments in electric guitar history – two guitars grinding together launches Suicidal Winds with plenty of feedback to boot. Visual Aggression is one of the faster songs on this album remarking on the state of the world today. Morbid Tales is indeed a timeless creation that just keeps on getting better.

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To Mega Therion

This opus is dedicated to "The Great Wild Beast", Aleister Crowley, ergo, the title, which translates to "Mega Therion" - the first of its kind. This bad is innovative in its use of traditionally-ascribed instruments including the kettle drums, veritable drums of Hell, french horns and trumpets used to create a demoniacal fanfare accentuation, as the daemons arise to overtake the earth!

Dubbed as "the heaviest band on earth", Celtic Frost could certainly deserve that title, as each song incorperates some of the heaviest grinding guitars I have ever heard. Tom Warrior belts out one of the most aggressive vocalizations I have ever heard with lyricks of war, Satan, horror, demons, The Abyss, pain, suffering, and wrath. A truly remarkable combination; and this combined with a namesake warrior aesthetic creates a fearsome dark glamour which many other Heavy Metal bands have replicated. The cover features a piece by Occultic Artist H.R. Giger, granted at no charge, alluding that the artist was in support of the band's efforts, in which the nazarene crucifix is being used as a Lokian slingshot aimed at the viewer; a classic piece that would go very well in one's parlor. It is no coincidence that such an artist would have been used, considering Giger is himself a Thelemite.

The opus begins with Innocence and Wrath, with the use of the afore-mentioned kettle drums and trumpets, accompanied by churning guitars grants the piece a majestic feel unsurpassed in its glory and innovation, making for a powerful introduction, setting the pace for the subsequent songs The Usurper, Jewel Throne, Dawn of Megiddo {of "The Omen" fame}, Eternal Summer {banish the thought!}, Circle of The Tyrants, Beyond The North Winds, Fainted Eyes, Tears in a Prophet's Dream {most notable for its exclusive instrumentation blissful illustrating the horrors perceived by a prognosticator gone mad; fade-ins and outs, screams, a haunting music box, groans and wails, but also inclusive of a moaning female voice in the throes of ecstasy - may be useful for certain segments of ritual}; and Necromantical Screams, to give the reader an idea of the subject matter contained herein - quite a sublime amalgam. These timeless orchestrations are highly recommended and even manditorily prescribed to access the source from whence many others have proceeded. Leather and spikes, a "killer" combination, contained in this morbid entertainment fare, incorporating all three malefik musick elements.

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