Unholy Terror

For an album that drastically stepped away from the ridiculousness that was Helldorado, Unholy Terror really can't be that tough of a listen, can it? Going back to a similar aesthetic to Still Not Black Enough, you've got an album packed full of more self-struggles, world views, and religious tampering. No more experiments, no more machines, no more raunchy content, just playing it nice and safe. Cast an early-2000s production style into the cracks, and you've got your album.

Except that's probably W.A.S.P.'s downfall here. The safety is entirely too obvious, and while the music is a pretty solid sell, this is a glaring copy of the earlier '90s records that Blackie and co. pushed through. There really aren't any new ideas, the personality is completely borrowed, feeling like a linear idea of good songs we've already heard. Don't read me wrong; it isn't bad. "Loco-Motive Man" is a perfect representation of what I'm talking about. This song is very well written, and delivered flawlessly. But... it sounds like it extracted parts of "Chainsaw Charlie" and "Black Forever" and threw them into a blender, spitting out a catchy but familiar smoothie.

I won't pretend that Unholy Terror doesn't make a fair attempt at something interesting. The title track is probably one of the only instances where this disc sounds as threatening as the album's title. The dramatic build of the quiet intro and spoken words mixed with the slower paced rhythm section is pretty neat. I wouldn't call it anything substantially striking, though. It still rings in some serious vibes from "The Headless Children," which makes sense since the context is in a similar vein. That one was executed way better.

Considering how hard it is to obtain this album, I'd say it's hardly worth it unless you're a W.A.S.P. fanboy like myself who wants to own every album. Solid music, but painfully rehashed vibes. Give it a listen and move forward.

Heavy metal can only get so heavy. After a certain point, there is nowhere to go but to incorporate influences from outside genres like hardcore punk in order to make things sound more intense. W.A.S.P. pushes the border on “Unholy Terror” of how heavy heavy metal really can be. The power manifested within is driven by vicious melodies, and thundering thick guitar chords.

I’ve listened to the opener song “Let it Roar” numerous times, and on each occasion I was passionately swept off my boots by the unrelenting assault. Muscles in my legs have quivered and collapsed, involuntary laughter not from humor but from sheer ecstasy have spouted from mouth, and my entire nervous system has convulsed and pulsated throughout my flesh. The lyrics describe the same feeling that they give: “You’re gonna feel like Superman!” I do, except no pathetic kryptonite can stand in my way.

The album is the most extreme disc in W.A.S.P.’s catalogue, and the following two songs follow in the opener’s footsteps. “Unholy Terror”/”Charisma” is one song divided into two tracks with a profound lyrical theme: Human beings are naturally inclined toward figures who are charismatic rather than those who truly have to offer what is best. It might not be perfect poetry, but it does make you think.

Another highlight is the ballad “Evermore,” which is a cryptic sequel to the masterpiece from The Headless Children called “Forever Free.” As usual, the original is superior to the sequel but this song does justice to the first. The lyrics are very esoteric and difficult to decipher the theme of, and so I know that the tears in the back of my eye are from pure musical genius, not simply a pretty poem.

There are only a few flaws present here that are generally minor. Blackie’s riff on “Raven Heart” is a bit of a rip-off of Alice Cooper’s “School’s Out.” It’s changed a little, but not enough for me to not be critical of it. Possible plagiarism (or perhaps a friendly artistic allusion, I hope) aside, it is an excellently constructed heavy metal song that makes you throw trembling horns. I’m also not the hugest fan in the world of that little instrumental in the second half of the album, which is not a distraction but rather an unnecessary break from the adrenaline rush.

Just when you think this album was ending, you get a multi-minute-long exiting guitar solo to finish off the closer, “Wasted white Boys.” Mean Man Holmes is back!

Get this CD if you want to hear the sound of lightning. Blackie might have had some softer, gentler tones to his voice in prior albums that were more relaxing to hear, but this was never mean to be a relaxing album. Hear him scream.

A huge improvement over the slightly-above-average "Helldorado". It seems that yet again, Wasp manages to redeem themselves and come up with an album which more or less signals a new breath of life for the band, because both this release and "Dying For The World" certainly rank amongst the bands better works.

Taking more of a "Headless Children" aproach to the lyrics this time around, and coupled with an excellent production, Lawless & Co. deliver an excellent and varied collection of songs. Highlights to be found on here are "Charisma", "Wasted White Boys" (excellent guitar work at the end !!), "Raven Heart" and "Let It Roar" although no song is really "weak". The tension is broken up a little with the ballad "Evermore" and the instrumental "Euphoria" (reminds a bit of Sabbath's "Planet Caravan").

Definitely an album worth getting, and a nice warm-up to their next studio release "Dying For The World", which is even better than this one...