Evidently, the band felt that Neat Records took far too long in releasing the "Terror Squad" album, so much so that it actually led to a temporary breakup. On these shores, the wait was less excruciating. Sometime in mid-1987, I remember hearing a song from this disc on Ray Dorsey's Chaos Realm radio show. It was so ripping and raw, we made a beeline for the vinyl racks. Despite the import price and goofy cover, it was a matter of minutes before this thick, gorgeous slab was in our possession; we agreed it was easily one of the best thrash albums of the year.

Through some mutual acquaintances (Nis Bøgvad and Lars Christensen who also produced Danish rockers D.A.D), ARTILLERY hooked up with Flemming Rasmussen for their next disc, a hallowed name in thrash circles due to his work on METALLICA's "Master of Puppets". But somehow, 1990's "By Inheritance" left us flat. Realistically, there was probably no way any album would have lived up to such massive expectations. Despite a few strong tracks, the album faded from memory quickly and so did the band.

Of course, ARTILLERY ultimately delivered a fantastic slap-upside-the-head in 1999 with "B.A.C.K", proving that they could still deliver the insanely tight, gritty thrash of the early days. In fact, many of us have yet to hear it's equal in terms of a thrash reunion album. And we're still waiting on their next creation.

THE MEMBERS: : Flemming Ronsdorf (vocals), Michael Stützer (lead guitars), Jorgen Sandau (rhythm guitar), Morten Stützer (bass), Carston Nielson (drums).

THE PRODUCTION: The band's continued collaboration with Lars Christensen comes through sounding more powerful than ever. Real fans of the genre seeking honest, down-and-dirty barking crunch and speeding drums couldn't ask for more. Somehow, the mix avoids the poor drum sounds and obscured vocals that plagued many recordings of the time period. Ronsdorf's sinister yowls adorn the crashes and chugs with unparalleled majesty. It ain't "The Wall" or "Revolver", but it sure delivers the goods, baby.

THE GUITARS: Some of the younger folks that have been swept away by the watery 'thrash revival' stuff of late may need to take these riffs in small doses. The riff tone is so rich, raunchy, and undiluted, it simply has to be heard to be believed (preferably with headphones). Stützer's leads come charging out of the blocks every couple of minutes, just long enough to take the intensity up several notches and disappear again. There's not a single point of the disc where the word 'guitar wanker' enters the consciousness, another plus for this high-quality fastball-down-the-middle of a thrash album.

THE VOCALS: Surprisingly, I've read some negative comments about Ronsdorf's delightful gas-huffing bellows and croons. Most likely it's from the same geniuses born five years after this album came out, curiously crowning themselves 'metal experts' after a furious weekend of downloading OPETH and ULVER records. Puhlease! We were through with it before you knew what to do with it. This is no rehashed copy-of-a-copy-of-a-copy of the last Steve Sousa EXODUS record. There's no need to listen to this one a thousand times and slowly convince yourself you like it. Fans of sterile, lifeless, play-it-safe vocals inspired by all things 'core' best steer clear of this one. If the juxtaposition of crazed wailing and guttural barking in "Hunger and Greed" doesn't float your boat, just give up on the metal thing and focus on your miniature golf game or some shit.

HOW DOES THIS RELATE TO JELLO BAIFRA? Well, the link here is actually MINISTRY. The guitarist the band featured on their 2006 "Rio Grande Blood" record was the late, great Paul Raven (RIP). RAVEN also happens to be the name of the legendary NWOBHM band that recorded the 1981 classic, "Rock Until You Drop" on the Neat Records label (yup, ARTILLERY's Neat Records label). Guess who contributed some guest vocals to the aforementioned "Rio Grande Blood" album? I'll give you three guesses and the first two don't count.

SOME KEY TRACKS:

"The Challenge" - So many albums in the genre start the ball rolling with a marvelous opening track, only to leave you yawning by the fifth. This is not one of those albums; the barnstorming opener sets the tone for the headbanging quality to come. But the filthy, scathing, scratching, chugging of Stützer's rhythm is one of the most monolithic since VENOM's debut.

"In the Trash" - Listen to that pick whistling back and forth over that shifting, rapid-fire crunch and try to keep the 'ead still. Personally, I cannot. It's all here - speeding solos, copious rhythm shifts, and frantic, reverb-soaked vocals. This track has become an anthem-of-sorts for the band over the years (but not to the point of milking it to death a la DESTRUCTION's "Mad Butcher" shtick).

"At War With Science" - I've always been drawn to longer texts on thrash albums, and this 7+ minute epic of stops and starts is no exception. Ronsdorf rants, raves, and squawks passionately, spinning yarns about manipulation and the concept of machines taking over humanity. The band zigs and zags in and out of slower-tempo marches and breakneck thrash mayhem. At some points, the guitar falls away, yielding briefly to bass and drums (think "Fight Fire With Fire" for a reference) before crashing back in again and burying the needle.

AND IN CLOSING: It's been over 20 years since this album hit the shelves, and so many records of this ilk sound pale, thin, or inconsistent by today's standards. "Terror Squad" survives due to it's front-to-back quality, and will still sound fantastic long after the 'nu-thrash revival' is just another chapter in the endless book of underground trends. Seek it out!

Special thanks to Mike Stützer for his assistance with this article.

- Marchman

**The web version of this article can be found at www.peacedogman.com/dtu15**