Manilla Road
Mysterium

In the era of "computer music" there are still those who play in dusty basements. Those who couldn't care less about marketing and advertising. They are Manilla Road, a seminal heavy metal band born in 1977, in Wichita, Kansas.

Manilla Road, which has its symbol in the guitarist and vocalist Mark Shelton, have always been (unjustly) overlooked by critics and a large part of classic metal enthusiasts, although it must be noted that their somewhat unconventional nature hasn't exactly helped their cause.

Their nearly forty-year career speaks for them, with works like "Crystal Logic," "Open The Gates," and "The Deluge" standing out as absolute gems of the rawest and most visceral epic metal. This long saga has found another chapter with the release of "Mysterium," which came out in February, yet another installment in their discography. The curiosity for this record was directly linked to the two previous releases: "Voyager" (2008) was a "strange" work for Shelton and his band. A more grandiose piece, which brought an innovative charge well represented by the introduction of growl, never used until then, and later abandoned. More generally, a more "prog" and dark episode in the recent history of the band. A different story for "Playground Of The Damned" (2011), a more classic and abrasive album, typical work of a "return to the past." Despite their differences, both can be considered successful experiences. Where does the new work sit?

First, there's an important aspect to highlight: perhaps for the first time in their career, Manilla Road opt for a less "artisanal" recording, striving for a sound clarity never sought before. The result is remarkable, especially when compared to previous works: however, a fundamental rawness, iconic of these Texans, remains. This work was preceded by yet another lineup change: the constant, however, was, and will be in the future, that Mark Shelton who is the absolute protagonist in this new CD as well.

In terms of quality, "Mysterium," although an excellent old-school epic metal record, lacks that touch of incisiveness and pathos capable of offering something more. Tracks like "The Grey God Passes" and "Hermitage" fail to make an impact, probably hampered by the very sounds. "Suspended" judgment on a track like "The Calling", a sort of atmospheric ambient frankly not suitable for the band, and indeed the result is ambiguous and not very understandable. But "The Shark" Shelton can still bring out tracks like "Stand Your Ground", "The Battle Of Bonchester Bridge", and "Hallowed Be Thy Grave", all excellent examples of the Manilla style, where the pathos and theatricality of their style emerge in full force. But as Shelton has often accustomed us to in recent works, the surprise comes from the ballad (see "Eyes Of The Storm" in "Voyager" and "Art Of War" in "Playground Of The Damned"). The track in question is "The Fountain", a splendid acoustic quasar of fine craftsmanship, where Shelton showcases his more dreamy and intimate side.

Overall, "Mysterium" confirms a band that has now outlined its path, and the result is a good album, but not great, betrayed by some somewhat standardized and self-serving tracks. The title track itself (centered on the disappearance of the German explorer Leichhardt) appears as one of the less successful tracks, despite the long running time.

In the band's discography, it is another positive step, but among the grooves of Shelton's primitive six-string, an undeniable weariness becomes evident.

1. "The Grey God Passes" (4:05)
2. "Stand Your Ground" (2:57)
3. "The Battle Of Bonchester Bridge" (4:29)
4. "Hermitage" (6:01)
5. "Do What Thou Will" (4:09)
6. "Only The Brave" (3:36)
7. "Hallowed Be Thy Grave" (4:38)
8. "The Fountain" (4:28)
9. "The Calling" (4:01)
10. "Mysterium" (11:21)