Terror and Submission

After the disbandment of the renowned speed/thrash band Agent Steel, Agent Steel guitarist Kurt “Kilfelt” Colfelt leaves the band to form Holy Terror. A punishing thrash metal unit out of, originally Seattle, Los Angeles. Through this is 1987 came their magnum opus, in my opinion, Terror and Submission. A non-stop audio assault that pounds the listener down with mystical lyrics, pulverizing drums, and masterful guitar work.

One clear standout that makes Holy Terror different than every other thrash unit cranking out classic albums during the golden era of fast metal, was their beautifully crafted lyrics that invoked thought within the listener. They weren't just spewing the basic formula of the time (Anti-war, Anti-god, Anti-just about anything really) they were crafting lyrical genius that invited the listener to actually engage in the album and find out what the songs are about.

Another thing that allows Holy Terror to shine above all the rest was the uniqueness of their vocalist Keith Deen. An absolute powerhouse who screams out these beautifully crafted lyrical thinkers. But he's not just a singer who screams the lyrics in a harsh, rough kind of manner, although he does do that often (I'm looking at you "Alpha Omega") he also sings with falsetto highs that add a sort of power metal feel to the songs. His harsh vocal style mixed with the high notes he produces give the music a truly unique feel that would only really work with Holy Terror. This also combined with a singing style I can only really relate with Sean Killian of Vio-Lence makes him a truly unique vocalist and a true stand out for thrash as a whole.

One of the only complaints I have with this album is that as time progresses each song starts to sound rather similar. This is not saying that the songs are bad as each song on this album is a masterclass in the thrash genre. It would have been nice though to have some experimentation with other genres on a couple songs. While on the topic of songs, each song kicks unholy amounts of ass. The two golden standouts are the songs "Mortal Fear" and the title track "Terror and Submission". Each a brutal thrash classic with magnificent musical qualities. "Mortal Fear" has a David Wayne era Metal Church cranked into overdrive feel to it and it works perfectly. "Terror and Submission" is just a balls to the wall thrash opus that never takes time to take a breath. This being said each song on this astonishing album is crushing and amazing in their own right.

While they are not the most experimental, boundary pushing band out there, Holy Terror is a stunning thrash metal unit that cranked out an absolute must listen for fans of the genre.

You know, it’s always good to have musicians departing, for various reasons, from their initial acts… Dave Mustaine gone from Metallica and boom, you have Megadeth; Kim Bendix Petersen leaving Mercyful Fate and here’s King Diamond; Lee Dorian escaping the Napalm Death giving rise to Cathedral; Randy Meinhard avoiding Pestilence to give birth to Sacrosanct… all great, if not even greater than the father outfits…

in this case we have one Kurt Kilfelt, a youthful enthusiastic axeman who did a lot to elevate Agent Steel’s debut “Skeptics Apocalypse” to the level of a speed metal masterpiece. In fact, considering speed metal this is quite easily the finest achievement in the genre on US soil. Very well done, Kurt, but with John Cyriis and Co. looking to embrace more complex and thrashier ways of execution the man didn’t seem to fit that much anymore with his hyper-active non-fussy shreds. Not a problem; a farewell to the former colleagues cause here’s Jack Schwartz, the former drummer of Dark Angel, looking to team up with someone for a new enterprise… besides, how can you miss to compose a few rowdy tunes for this super-attached semi-clean, shouty tenor Keith Deen (R.I.P.) who, amazingly, is also available? Quickly, hook him up before someone else snatches him… he’s one-of-a-kind… the holy tenor… sorry, terror impersonated no more no less.

Before you know it, the guys are up and ready with this smattering display of vintage speed metal asskickery. “Unstoppable Force” was extraordinary, yes, but those who were looking for the sequel to the more impetuous less-bars-held delivery from Agent Steel’s first, they had found their dream album here. And some more. But Mr. Deen before anything else: talking about unique very characteristic vocals, especially within the speed/thrash metal circle, this man comes right after Cyriis again, Eric AK (Flotsam & Jetsam) and Torsten Bergmann (Living Death). And he may even be the most versatile of the lot covering a wider array of styles, from pathos-inducing clean antics, to threatening on-the-verge-of-death rendings, to authoritative semi-singing recitals, to most passionate shouts which can pass for crying, laughing, scolding, punishing and all the rest… and let me not start on the choruses; man, these epic choruses… Deen was the undisputable uncrowned king of the elaborate tale-telling chorus. A unique presence which might get on the nerves of some as obviously the man wants his involvement to matter, but I personally see nothing wrong with his over-the-top at times performance.

Besides, the highly-energetic musical approach can surely use such a gifted throat. Music-wise this isn’t exactly a re-tread of the “Skeptics Apocalypse” template as the guitars have a sharper, more biting edge and are less prone to flashy exhibitions. No complaints whatsoever as “Black Plague” rushes onward to win everyone for the band’s cause, a relentless fast-paced sweeper, no gimmicks and dissipators provided here, this is speed metal in its purest uncontaminated form. And it only steam-rolls from here with fury after fury following in rapid sequence, the flag-raising roller-coaster “Blood of the Saints” throwing everyone in the maddening pogo, laying the setting for “Mortal Fear”, the definitive speed metal hymn and the band’s finest creation, Angel Dust’s “Into the Dark Past” revisited in four ultra-eventful hyper-active minutes, with Deen receiving a gold medal for the dramatic Pulitzer-winning fable he weaves on the chorus.

“Mortal Fear”… love listening to this one on full-max when no one’s around… we’re just half-way through the album, and we’ve already reached the climax… on the entire American speed metal movement at that? Wait, there’s more coming, and the more laid-back pounding rhythms of “Guardians of the Netherworld” usher a more officiant approach, and although the second half is furious speed once again, this cut desirably brings a sniff of variation the latter venerably swept away by bursting gallops (“Distant Calling”, the title-track), more aggressive thrash-peppered skirmishes (“Tomorrow's End”), and impressive more ambitious progressivers (“Alpha Omega-the Bringer of Balance”) that last touch largely brought by the other axeman, the complete unknown at the time Mike Alvord, revealing a more complex aspect of the guys’ arsenal, one that received more attention on the sophomore.

A totally arresting new beginning for Kilfelt and his new comrades, a meisterwerk of belligerent rowdy metal to the bone, and very timely released as well when the US arena, literally overnight, filled up with promising young upstarts (Heathen, Forbidden, Toxik, Intruder, Viking, Torture, etc.) who were eager to race each other for a premier position. Each of those did a very good job and some, but Kilfelt was one step ahead of everyone when he was ready with the follow-up less than a year later. Another blistering speed metal model, maybe a bit more thrash-prone and more complex, it should have catapulted the band straight to the top… and it sure did, but in another fairer dimension where musical genius is more readily recognized, and boisterous fast-paced hymns have long since replaced the national anthems and the holiday pageants…

not on this earth plane sadly, which saw the Holy Terror team moving to Seattle (oh no!) towards the end of the decade where they changed their name to Shark Chum, and started playing punk rock. Well, definitely better than the grunge/alternative charade that was coming out of there in the late-80’s/early-90’s, but still a serious degradation which lasted for quite some time. At the dawn of the new millennium Kilfelt showed rekindled interest in the good old speed/thrash with a new outfit named El Revengo (one demo, “4 Middle Fingers of Doom”, 2003), but this short-lived stint was swiftly replaced by a Holy Terror reunion attempt… again, nothing too fruitful save for a couple of live appearances.

A series of compilations and live albums, including a tribute to the sadly departed Deen (R.I.P., 2012), have kept the band’s legacy alive, but at this stage Kilfelt seems content jamming with other musicians of various musical backgrounds, leaving his very effective terror tactics for another time… whenever he feels like it; there will always be audience for them, in this or in some other fairer life.

Where so many bands in the late 80s were trying to take the formula presented by Metallica and Megadeth and add some accessibility for success, there was another side to the thrash scene entrenched more firmly in the influence of Slayer, Possessed, Venom and the emerging German scene. Holy Terror belonged to the latter, and they had a sound that, by 1987 standards, was quite intense. Filthy, aggressive thrash metal which mastered both the elements of chaos and precision into a violent experience, like a Mad Max road race through the outlying deserts of the abyss. Keith Deen's apocalyptic vocals gave the band a grisly edge, but what really explodes off this recording are the guitars, which peel the rust off the abandoned cars that litter this hellish highway. Just as fast as Exodus, or Possessed, and about as complex.

The intensity showcased across Terror and Submission was a wise decision for Holy Terror, because unlike so many of their peers, they produced an effort that could be remembered fondly. This is still pretty fucking wild by today's standards, and the cult status of this band is well deserved, while so many other, safer thrash metal upstart albums of the 80s languor in the black hole of memory. I can't say that the entire effort is packed to overflow with memorable riffs, but taken as a whole it's 42 minutes of pleasure and pain for any thrash magnate who seeks the less traveled path.

"Black Plague" is disgustingly fast and will hit you like an 18-wheeler on demon auto-pilot. Don't like it? Then don't hitchhike on Rt. 66, motherfucker. The speed blisters and swells like the friction sores that must have caused great injury to guitarists Kurt Kilfelt and Mike Alvord, as their riffs buzz through the recording like a pair of buzzsaw wielding killers in a competition to see who can decapitate the most college students. The leads are just spastic, awesome nonsense, and Deen's vocals range from a harsher style to some clear wailing, but always around the same range. "Evil's Rising" is deep and crushing, but picks up to the same level of speed, with some great vocal howling and drumwork courtesy of Jack Schwartz. "Blood of the Saints" dials back the speed for a crude and rude opening rhythm, but sure enough, it returns to road worthiness with a surprisingly anthemic chorus section. "Mortal Fear" explodes into more chaos at the expected tempo, but "Guardians of the Netherworld" has an old school metal tint, pumping pace where Deen really gets to shine, basically Holy Terror doing ancient power metal.

A war is raging on inside us, guarded by the horde
With lesser gods of higher rank, prodding them to war
No Father, Son, or Holy Spirit
Nor defences from the foe
All are battered, tortured, shattered
Allegiance without death is woe

The lyrics to much of the album read like a poor man's Paradise Lost, much more serious and well written than other bands of the era were capable of delivering. "Distant Calling" has some great power melodies that wind up before the verse, and it's another of their classic metal charge pieces and one of the very best songs on this album. "Terror and Submission" features a kickass, burning lead over the dense, grinding melodies, and "Tomorrow's End" is just sheer, crashing momentum, like a windstorm approaching across a desert at 10x the normal speed. The bridge has a hyper, ascending rhythm that swerves back into the lightning verse, and there's a crunchy thrash breakdown in there as well. "Alpha Omega - The Bringer of Balance" is perhaps my very favorite track from the album, with a wealth of amazing riffs that are bost caustic and beautiful, creating an epic atmosphere of desperation and warfare.

Terror and Submission has one of the best 'apocalyptic' tones of any thrash or speed metal album in history, right alongside Holy Moses' Finished With the Dogs or Znöwhite 's Act of God (the latter of which came out the year after this). It's completely aggressive without needing to sacrifice good songwriting or musicianship, and I truly wish more bands had gone this route instead of going all Metallica lite. This is a great record, that belongs in any true thrashers collection, and it would not be their last...

Highlights: Evil's Rising, Distance Calling, Terror and Submission, Alpha Omega - The Bringer of Balance

-autothrall
http://www.fromthedustreturned.com

This is probably the coolest guitar driven speed metal-esque album I've heard since Agent Steel's debut Skeptics Apocalypse - alas with former Agent Steel guitarist Kurt Kilfelt here I guess that really shouldn't come as a major surprise. In a lot of ways this is very comparable to early Agent Steel, the guitars are constantly spiraling out a tornado of nonstop riffs left and right, and just as Agent Steel had a phenomenal one-of-a-kind vocalist [John Cyriis], Holy Terror had Keith Deen. Can you even describe this guys range? Random? The formula was perfect.

Fact: You can't replace John Cyriis, nobody ever will and the same can be said about vocalist Keith Deen here. He single handingly takes this album to the next level and his performance is really incredible. As I was saying above his range is completely all over the place, deathly screams all over (almost reminding me of Eric Adams at times), crystal clear shrieks piercing the skies, smooth melodic high notes, thrashy growls, raspy grunt-like mid range singing - it's unbelievable and truly makes this album a great experience. Above all, he's also one of those rare vocalists that'll really strike you with some of the lyrics - he has that ability to make some lines stand out completely in the clear and that's something you don't always see, especially in speed/thrash:

Rising through, the mist around me
Shackled to my vice
The stench of my own sins surround me
Deep inside, I need to live
Feed the fires for now but remember all

Everyone else is really top notch as well and even though there's a huge focus on the guitars, both the bass and drums stand out a lot on their own as well. Drummer Jack Schwartz had just left Dark Angel and easily displays a ton of skill and diversity, though I really have to say Floyd Flanary's bass work really shines quite often throughout. The guitars are constantly at blazing speeds and Floyd has no trouble keeping up with the pace at all, sometimes it sounds like he's somehow even going faster! Kurt Kilfelt already showed us what he could do with Agent Steel's earliest material and his blisteringly fast playing is still the main focus when it comes to the guitars here. The band brought in novice Mike Alvord to fill in for another guitarist and even though he was a little inferior at the time (stated in interviews by himself), him and Kurt worked really well together. Compared to Agent Steel's debut there's definitely more melody here, more dynamic playing and some insanely well timed leads, solo's, awesome dual harmonies, etc. The lineup couldn't have been better.

Even though this isn't quite as out there as Mind Wars and is by far more straight forward, for what they were doing here you couldn't get much better than this (and this is comparable to how Agent Steel developed too, Holy Terror gets more varied with Mind Wars as Agent Steel did with Unstoppable Force). This is constantly fast melodic thrash, speed metal, whatever you want to call it, hyper paced metal that'll grab you by the throat relentlessly giving you no time to rest. I've really been trying to think of what I can say for a few specific tracks, but I can't. Nearly every single song comes to mind with standout moments, making this truly a rare gem that shines from the start and to the end. One moment I might try attempt to describe the insanity that the end of Alpha Omega is, then next I could be left speechless with the unforgettably catchy Terror and Submission - well I guess it was unfair to mention those two, but this is just one of those albums where it seems impossible to choose only a few favorites. Everything here is absolutely amazing. Those who want the finest in classic US speed/thrash and fans of stuff like early Agent Steel especially, should find this highly enjoyable. Ultimately recommended.