Terminal Terror (Τηεοτοχψ)

It wasn’t only the female presence in the band’s line-up that ensured their firm position on German metal’s pantheon; the guys (and a girl) made their name with their ferocious, albeit intelligent and serious, brand of old school thrash, and although they have been trailing behind the Holy Three of German thrash, there was hardly another thrash metal outfit from the big country, save for Tankard perhaps, that deserved to be considered a candidate for the conclusion of an eventual quartet of classic thrash aces in their homeland.

The band peaked quite early on their sophomore, the legendary “Finished with the Dogs”, which somewhat rendered their subsequent discography unfavourably comparable to it, but that didn’t mean that some highs (“The New Machine of Liechtenstein”) never followed suit, inevitably leading to equally as immediate lows (“World Chaos”). The scene was changing in the early-90’s, new tastes were springing up, so experimentations with new forms were by all means expected from both established names and underground heroes… what path had Sabine Classen and Co. chosen to follow in this train of thought? The path well-trodden as evident from the album reviewed here which saw the band revitalizing themselves in a difficult transitional period for the whole metal kaleidoscope, after a not very convincing, shaky previous opus. Yes, the band played it relatively safe, but they had only won in the process.

The album starts in the most spell-binding, vitriolic manner imaginable with “Nothing for My Mum” which will bring everything for the diehard headbanger with the great fast lashing guitars and the few more technical quirks Classen traditionally hellish and sinister behind the mike. “Finished with the Dogs 2” may as well materialize before our eyes/ears in the next few minutes, but “Two Sides Terror” changes the course a bit towards a more ponderous doom-laden sound, a cool atmospheric piece with a superb galloping boost in the second half. The title-track tries to elaborate on those more atmospheric additives at first, and the acquired creepy, minimalistic approach lasts for quite some time before the guys (and a girl) hit the stride with another portion of speedy raging thrash.

The show goes on with “Creation of Violation”, a somewhat abrasive proto-modern cut that maybe doesn’t cut it as neatly although it’s far from a filler with the curious melodic embellishments and the spasmodic fast-paced skirmishes provided here and there. “Pool of Blood” has to overcome an ambient operatic intro in order to please the fans with the next in line slab of prime classic thrashism, this one a smattering ripper with elusive more intricate undercurrents the latter also present, but in a less exuberant form, on “Distress & Death” which prefers the slower ways of execution again initially, but rest assured that there’s no speed lost later the band unleashing some of the most intense rifforamas in their career. “Adult Machine” jumps nervously in the beginning, but this jarring delivery works quite well in league with more blitzkrieg thrashing and a couple of slower pounding passages. “Malicious Race” is another, turned staple for the album until that stage, combination of a less dynamic first half and a more aggressive second one with the closing “Tradition of Fatality” elaborating on that second half by throwing in more spastic intensity with hectic decisions adding the requisite more technical diversity as a finishing touch.

After “The New Machine of Liechtenstein” I thought that Holy Moses might as well turn to the more technical/progressive side of the spectre, and join Mekong Delta, Deathrow, Destruction and Paradox as purveyors of the more thought-out aspect of metal… well, the illusion didn’t last very long as “World Chaos” dissipated it only too well, but the album reviewed here may be viewed the partial recapturing of it. Resting on the manic grandeur of the mentioned Dog’s magnum opus for at least half the time, this effort aptly inserts more stylish, more intricate arrangements which spice the proceedings with just the right doze of unpredictability without turning the tables towards the intentionally complex. As a result we have another excellent recording which stands right beside “Finished…” as the band’s second finest hour. It’s not exactly a second creative peak as there are a few moments that could have benefitted from bigger musical prowess, but it does come close to one on the most inspired ones.

This opus’ status quo has changed for the better even in consideration of the next two albums which saw the band meandering through the metal jungle, not sure whether to switch onto more aggressive deathy sound (“Reborn Dogs”) or to embrace the ruling groovy/aggro/post-thrashy vogues whole-heartedly (“No Matter What’s the Cause”), the latter alternative coming close to bringing the holy… sorry, whole ship down. Fortunately, they managed to pull themselves together in the new millennium with four capable instalments and a string of EP’s, finding their rightful place behind the Holy Three again, now probably feeling even more confident and hopeful that maybe, just maybe, they might succeed in edging out one of them… soon.

"Popularity" was a completely unknown term in the universe of Holy Moses at the time of the release of "Terminal Terror". The WEA hype seemed to be over for decades. Here and now, the group shared the label with bands like "Bizarre Toys"; nobody had ever heard a single tone of this combo. Hard times for Sabina, Andy and their new rhythm section. Fortunately, the line-up changes did not play a significant role. The band had not modified its style and technical weaknesses did not show up. Even the production met the pulse of time, irrespective of the probably low recording budget.

Anyhow, "Terminal Terror" did not provide cause for great celebrations. Okay, it was a good album, if - but only if - one believes that songs with a lack of charisma and the insistence on more or less ineffective riffs are typical characteristics for good albums. I don't want to be too sarcastic, but the vast majority of the tracks failed to develop their own identity. The general direction of the songs, which were based on a mix of high velocity thrash and rather doomy parts, gave no reason for concern. Yet this is just a concept and it needs to be given substance.

The entire A side did not meet my expectations. Perhaps it is just a small thing, but the totally embarrassing intro was like an allergic shock; little Sabina sits in her children's room, listens to metal and insults her mother, who does not like the sound, in a very rude way. Mum's hysterical overreaction makes one thing clear: the whole family needs a group therapy. Okay, Holy Moses made an attempt to cure these obviously mentally ill women with a vehement opener. Its sharp riffs and the pure aggression formed a solid entry, but overwhelming moments were not included. The straightforward song could not be blamed for being ill-defined. Another problem occurred. "Nothing for My Mum" did not evoke any kind of feeling. More or less the same applied for the remaining pieces of the album's first half, although the slow part at the beginning of the title track seemed to speak a different language. Too bad that the song did not develop well.

Holy Moses did not act amateurishly. Inter alia the first track of the B side demonstrated that they were still able to create fiery riffs whose sonic vandalism achieved an admirable level. The fatal error was that the mechanism of self-regulation failed. In particular Andy should have been able to realize the mediocrity of a great number of riffs and lines. They just did not really work, at least in comparison with the unerring guitar performance of the aforementioned B side opener "Pool of Blood" whose slightly weird introduction reminded me of some Mekong Delta tracks. The malicious main riff wound its way through the listener's ear canal in order to stick in his mind. It did not need more to be the best song on this output whose B side also presented an unsuitable minor detail. The band thought it would be a good idea to integrate a crude interlude, a well known German lullaby. A musical clock combined with distorted guitars did not indicate any kind of deeper meaning. Leaving these details aside, Holy Moses definitely did not betray their fans, but with the exception of "Pool of Blood", only some song fragments provided fascinating riffs or lines. Understandable that Mum did not like "Terminal Terror" very much.

I've got to give the Classens credit for Terminal Terror: where it lacks in the absolute ferocity of their legendary Finished with the Dogs, it at least represents the same nihilistic outlook, the same vicious end-times tone. I had been a little worried by their prior effort World Chaos, which had not been a bad album, but seemed to exhibit some turns towards clownish bravado through the use of the cover tunes there and the general polished punk atmosphere to the production. Terminal Terror is far more dour and apocalyptic, and even though the majority of the tracks suffer from some less than inspiring riffs, there are a number that simply kicked my ass in, and Sabina Classen gives what must be her most 'death metal' vocal performance, sounding like an estrogen charged John Tardy or Chuck Schuldiner, only a mere exaggeration of the slurry of savagery she previously brought to fore.

There are a number of explosions here, namely "Nothing for my mum" with its blistering feel of Destruction w/death metal vocals, and "Pool of Blood" which I must admit is probably the band's best individual song outside of Finished with the Dogs: a haunting string section morphs into clinical, monstrous thrashing that leaves naught but carnage in its wake, with a feel not unlike something Vio-Lence had written for their sophomore Oppressing the Masses, Sabina just letting everyone 'have it' like an undead general out of hell, seeking revenge. "Malicious Race" and the speedy "Tradition of Fatality" are also strong, but then there are tracks that serve to counterbalance these with pretty mundane riffing, like the doomy "Distress and Death" and the steady, tank treads of "Two Sides Terror". The title track itself is caught somewhere in the middle, though I should point out that in all cases, Sabina does a fine job fronting the mayhem.

Ultimately, Terminal Terror is another of the band's good albums, worth hearing if you enjoyed Finished with the Dogs or The New Machine of Liechtenstein, serving as a midpoint between the frothing frenzy of the former and the taut, depressive control of the latter. It's a dark vibe here throughout, even a song with 'mum' in its title is stark and serious, and this is certainly a Holy Moses I prefer to the fleeting foibles that were hinted at on its direct predecessor. 2-3 of the songs here would easily belong in a highlight compilation of the band's career, but despite the appropriately brutal presence of Sabina on the rest, they trail well behind.

-autothrall
http://www.fromthedustreturned.com

After 'World Chaos', Holy Moses was in a position that they could almost only win. 'World Chaos' was a disappointing record and the musicians of Holy Moses have in the past proven to be very capable of writing songs as well as of playing their instruments. Therefore, the chances of 'Terminal Terror' being worse than its predecessor were minimal.

And it wasn't. 'Terminal Terror' is a very decent album. It shows Holy Moses in a slightly more doomy form than what we were used to, but that isn't by any means a negative thing. The slower parts have always been good for Holy Moses, they added a little variation to the speed frenzies displayed on most of their albums. 'Lost In The Maze' from 'The New Machine Of Liechtenstein', for instance, was such a welcome addition in a slower pace.

However, 'Terminal Terror' starts out with a really fast song. After hearing an intro of a mother and daughter arguing about the music being too loud (any parent who understands the German language will probably enjoy this), 'Nothing For My Mum' starts, one of Holy Moses' most vicious tracks to date. The tempo is high, though there is a slightly slower ending, the riffs are once again Andy Classen style and the way Sabina Classen does her vocals to this song, makes me think her anger about arguments with her own mother about the music being too loud is really coming out in the song. That makes 'Nothing For My Mum' one of the angriest Holy Moses-tracks to date.

The following two tracks, 'Two Sides Terror' and 'Theotocy (Terminal Terror)', the latter of which is sung by Andy Classen, show a pattern. Apart from both being kick ass songs, they both start out slower and doomy, only to dissolve into a faster chaos later into the song. It's something which regularly returns on the album, but done a little different every time, so that it doesn't get boring.

One of the absolute highlights on the album is a song called 'The Pool Of Blood', which turned into one of my Holy Moses-favorites soon after hearing it. There's some nice twin parts in this song and the song changes time feel and mood several times. Sabina's grunts seem to be coming from deeper than before on this track and the riffs are among Andy's best of all time. Surprising is the classical violin (actually, I think it's a keyboard) intro before the track, it builds up the tension quite well and the explosion when all the other instruments enter is very effective after that.

The rest of the album is very, very decent. Not many standout tracks apart from the ones I mentioned before, but the level of the album is almost constantly quite high. With the level shooting up a little with the four tracks mentioned, especially 'Nothing For My Mum' and 'The Pool Of Blood'. And there's something else, namely the tempo, that's shooting up during closing 'Tradition Of Fatality'. Killer.

Funny is the Greek word on the album cover next to the album title. Because of the song title 'Theotocy', I know that's the word they've been wanting to spell here, but it's obvious that neither of the members had any Greek classes in highschool, otherwise they would have known it should have been spelled differently. They probably have used the "Symbol" font and just spelled out the word with that font.

But apart from that slight flaw, which I consider to be quite funny, this album is a quality product that deserves to be heard. Often overlooked but worth the listen.