By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
Elba smiles when called on the verbal trickery. "I like decimy," he protests. "If it's not a word, it should be." He also likes the way centrifugion sounds. He's not married to intrepidation, but changes are unlikely now given the fact that a thousand or so multicolored CD sleeves featuring Elba's lyrics already have been printed up.
"I'm a real stickler for the way words go together," Elba continues. "I agonize over words. I want to conjure up strong impressions. If you say something too matter-of-factly, it takes the power away."
And power is the Holy Terrors's metier. They are a crack hard-edged quartet who speak softly off-stage but whip up a sonic maelstrom when they perform. Guitarist Dan Hosker, bassist Will Trev, and drummer Sam Fogarino flex the instrumental muscle that, in combination with Elba's idiosyncratic talk-sing-scream vocal spasms, gives the Terrors the musical equivalent of Mike Tyson's one-punch-knockout capability. Hosker's guitar leads are at once primitive and controlled, a throwback to the styles of such six-string antiheroes as the Clash's Mick Jones and the Replacements's Bob Stinson. Trev's bass thrumming is as insistent as a high-priced defense attorney's closing argument, and Fogarino is such a manic blur behind the drums that he makes the Tasmanian Devil look like a victim of chronic fatigue syndrome.
Their sound hearkens back to the prehistoric (i.e., pre-grunge) era when such dinosaurs as HĀsker DĀ, Black Flag, and X stalked the countryside preying on unsuspecting herbivores. Lolitaville opens with an incoherent death scream and closes with an obscene rant against the band by gonzo noise-rocker Tom Smith (lifted from an answering-machine tape at the studio where both Smith and the Terrors were recording their most recent releases). Sandwiched between is a 50-minute slice of sonic fury broken down into twelve corrosive tracks that can best be put into perspective if viewed as an attempt by the Terrors to refute two persistent knocks against the band.
The first rap is that they sound like the Pixies. To the extent that both bands emphasize a wide range of dynamics, from lyrics whispered over portentous bass lines to shrieking over convulsions of choppy power chording, similarities exist. Elba openly admires the Pixies and readily admits that Doolittle is one of the three albums he would want with him if he were stranded on a desert island (the other two being the Clash's Sandinista! -- "three records in one; that's a lot of bang for your buck" -- and the Sex Pistols's Never Mind the Bollocks). But the line between "influenced by" and "derivative of" is a mighty fine one, and the Terrors are careful not to cross it.
"The Pixies are great. They're definitely an influence. But so are a lot of bands. Some people say we remind them of Elvis Costello," Elba says with a shrug. "It takes all kinds. Depending on the stupidity level of the person asking, I usually say we sound like whoever's popular at the moment. Like Stone Temple Pilots. Have you ever seen a band so uniformly reviled? I'll tell someone, 'You know Stone Temple Pilots? We sound just like them!'"
The second complaint is that the Terrors are less than prolific when it comes to releasing new material. Although they've been together for more than four years, the sum total of their output prior to Lolitaville added up to two singles and a six-song cassette, Live Six. They are the quintessential "great live band" inadequately represented on record.
Lolitaville is no overpowering remedy. The CD resurrects three cuts from Live Six -- "Cigarettello" (the song that will not die; it was on one of the singles as well), "Rape of the Vespers," and "The Chicken Won't Stop." "Fixed" was one of the highlights of the Churchill's Hideaway Music Generated by Geographical Seclusion and Beer CD, and "Angel Killer" is but one of 30-odd reasons to own the Live at the Square, Vol. II compilation. So, technically, only seven of Lolitaville's dozen tunes are previously unreleased. They don't take as much time between albums as Boston, but no one's going to accuse the Terrors of cluttering up record stores with a steady stream of new stuff.
Elba makes no attempt to exaggerate the band's yield. But he does take exception to the notion that the lean body of work is indicative of anything but stringent quality control. "I work hard on my songs," he explains. "I change them a lot before I'm happy with them. I might get stuck on a single word and have to shelve a song for months."
Terrors fans, who make up in devotion what they lack in number, appreciate the effort. Amy Ray of the Indigo Girls was an early supporter. (Although Elba admits that a solicitation to sing background vocals on a proposed single titled "Swingin' with Sappho" might have cost the band Ray's endorsement. "We haven't heard from her since," he says.) As one long-time Terror-ist puts it, Elba "should get points just for using panacea in a song. How many other rock songwriters even know what the word means?"