I was first introduced to Holy Moses over 30 years ago, with a ton of other German thrash bands. I’m saddened to admit that of all those bands, I only ever latched onto one album with any conviction so haven’t heard the vast majority of their back catalogue and with this being their swansong, I guess everything old shall still be new to me. Other than Sabina Classen, there’s no-one from those early albums still in the band. and to be fair, by the time they released their second album there was no-one left from their original recording line up of 1980 either, so she’s definitely the longest standing member of this German institution. And with that in mind, their current guitarist Peter Geltat wasn’t even born back when the band were formed.
The album opens with “Downfall Of Mankind”, which is fast and aggressive, setting the tone for what’s to come. In other words, to show that they haven’t gone soft over the last four decades.
I watched the video for “Cult Of The Machine” when it came out a month or so ago and it whet my appetite for hearing the rest of the album, with its high-speed guitars and drumming sounding just as relentless after repeated listens as Thomas Neitsch’s bass fills out the sound.
Sabina is able to vary her pace and tone effortlessly on “Order Out Of Chaos”, as the song goes from manic to frantic with an almost mellow bridge for the start of lead solo.
The title track “Invisible Queen” feels almost mid-paced by comparison, while it is anything but, which you can hear for yourself on the recently released promo video.
Gerd Lücking’s drum rolls and syncopation add an otherworldliness to “Alternative Reality”, while the guitars and vocals remind you that it all still belongs in the realm of thrash.
There are so many things that can now be considered “The New Norm”, that anger and despair could almost be thought of as our natural resting state, and the song manages to convey both emotions quite well.
The non-stop blasting and scales running up and down the fretboard give “Visions In Red” that added frenetic vibe required to have the lead solo be played at breakneck speed without feeling rushed in any way.
Sabina’s rasps on “Outcasts” match the abrasive guitar riff, as the drums go from blasts to ambient rolls before the lead solo breaks free.
The slightly punky undertones of the guitars give “Forces Great And Hidden” a scratchy feel, as do the effects on the vocals, while the drums and bass keep the tempo moving along at high pace.
“Too Far Gone” is a little slower, but also heavier because of it, with the vocals being deeper and angrier to boot, but that doesn’t mean it doesn’t get significantly faster towards end, with intricate bass runs to mesmerise.
The choppy guitar rhythm on “Depersonalized” is accentuated by the timing signatures on the drums.
The album ends with the bass heavy “Through The Veils Of Sleep”, with the guitars throwing out both chuggy riffs and melodies that work with both the harsh and spoken vocals.
Overall this is a good album and a fitting end to an icon in Teutonic thrash.
(8/10 Marco Gaminara)
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