![]() He’d provide the page art, he suggested, and the band would handle the tune. John Blanche, the art editor of the company’s promotional magazine, White Dwarf, and a longtime Warhammer illustrator, had persuaded local Nottingham thrash metal band Sabbat to partner with the mag for a one-off single. Games Workshop had first dipped a toe into musical waters a few years before, in 1987. D-Rok was both a bona fide rock outfit and thinly veiled promotional vehicle, the first group signed to Games Workshop’s then-fledgling and ultimately ill-fated in-house music division: Warhammer Records. It was something of a concept piece, with each song peppered with lyrical references to Games Workshop’s tabletop wargame, and its cover art an illustration of a troop of Space Marines. He’d been invited by D-Rok, a newly formed heavy metal rock group that was in the process of recording its debut album. Yet rather than shredding to Freddie Mercury’s wails demanding that Scaramouche do the fandango, May was putting the final fuzzy touches on grimdark tales of stranded Space Marines and gigantic robotic Titans, conjured straight from the sci-fi world of Warhammer 40,000. ![]() to lay down some riffs on a couple of new tracks. The Queen maestro had traveled to the outskirts of Hull in the U.K. Had you been at Slaughterhouse Studios when Brian May arrived one summer day in 1990, you may have thought you’d stumbled into an alternate timeline of British rock music.
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