Review by Krys on September 8, 2001.

It doesn’t get any harder than to write a review to a CD of one of the bands you grew up with. Like it was yesterday, I remember buying their first self-titled album and hiding it from my parents in fear of heaving it taken away. Being one of the most controversial bands of the eighties, both lyrically and image-wise, WASP terrified everyone from hags to married couples, from priests to politicians occupying their sleepless nights thinking of what effect would WASP music have on the youth of this world.

“Unholy Terror” represents the eighth chapter in a colorful band’s career that amazingly takes us back to its glorious days and gets more attention with every release. But would this trend continue? I think so... although I have some doubts. The lyrics are as provocative as ever. Blackie’s thoughtful booklet intro walks you through his state of mind and explains main ideas behind each track and let me assure you since WASP is not all sex, drugs and rock and roll there is a lot to read. And music... well, in short, take their first two albums, give it better arrangements, sound and production and that’s your “Unholy Terror”. I don’t think I’d ever have enough of Blackie’s vocals but the music doesn’t send any chills through my spine and that’s not good.

Maybe I should see a doctor and check my head but as good as “Unholy Terror” is, it misses some of the early magic from “The Last Command” or “The Headless Children”. Picking the favorite track is almost impossible cause all of them are on this same quality level, good, old WASP – and that’s what “Unholy Terror” is for – old fans.

Bottom Line: Every old fan of the band would be more than satisfied with a new (classic) W.A.S.P. release but I’m not sure if “Unholy Terror” will bring them some new followers since Blackie & Co. have already done this before.

Rating: 7 out of 10

Review by JD on February 17, 2014.

Sludge metal is a genre of metal I have a love/hate thing going on with it. Some of it I just love (Kylesa for one) while others are just not connecting with me (Greif). From Beneath Billows slides on to my desk and I am intrigued. Which side will this album land on for me? Will it be a like or not like?

Norway’s From Beneath Billows is one seriously eclectic band that is mixing some rather odd and unique parts of a darker form. Doom, sludge, industrial, some experimental and post metal collide into a slow moving storm of great power and constant slow motion- surging forth to tell its slowed tales.

Each song is eight minutes or longer, each building and growing in their own time… guiding us into a darker realm than our own. Minimalistic at points and heavy the next, the band seems to know when to do things or add or remove other things – and always doing it right. From Beneath Billows are one of those rare breed of bands that can incorporate these very scattered parts into something entertaining.

This was one album which has been a pleasurable one to review, one I will be playing long after it has been posted for the metal masses to read on-line. Monolith is now officially has a spot in the ‘love’ category, and won’t leave there for a while. Good music from a good band.

Categorical Rating Breakdown

Musicianship: 9.5
Atmosphere: 9.5
Production: 8.5
Originality: 9
Overall: 9

Rating: 9.1 out of 10

Review by Felix on December 9, 2020.

When symphonic black metal provides the scene with the four-ply toilet paper, then Baxaxaxa are the community's sandpaper. A recently hyperactive greaseproof paper. Normally it took the band at least ten years to find the record button in the studio, but now the production is running at full speed. Two new songs greet from some swampy morass of Hades. The sound may be a little less rough and raw than on The Old Evil, but by its very nature it still moves in a completely different galaxy than any form of glossy black metal. The guitars still sound like a bastard from Bathory's "The Return...." and a Moonblood recording and their mighty appearance sidelines both vocals and drums. But this is rather part of Baxaxaxa’s nearly prehistoric concept than a defect. The band is focused on a mighty atmosphere and the dudes are not afraid to use keyboards from time to time in order to reinforce the hellish vibes of the material.

Both tracks deliver accessible patterns. The A side offers an almost complex structure, but don’t worry, nobody is intellectually overstrained. Moreover, despite the meticulous design of the tracks, they never lose their aura of primitive brutality. I am sure the guys work with enthusiasm - which I only get up to a certain degree. No doubt, Baxaxaxa do not disappoint, but the intro of the title track is a noisy waste of time and A side and B side of the 7” miss an iota of compositional greatness. Please understand me properly - there exist definitely worse things than worshipping Hellhammer’s pioneer works and especially 'Revelation in Sin' gives a delicate foretaste of hell. Its guitar lines reflect cruelty, intransigence and it seems to be only due to an unexpected coincidence that one or the other melody-like fragment got lost in the song. Nevertheless, I am sure that Baxaxaxa have more skills than they show here. However, it is also clear that sandpaper can be an important thing every now and then, while four-ply toilet paper is always for asses and shit.

Rating: 7.4 out of 10