Manowar
Gods Of War

THE REVIEW

I certainly don't consider myself the classic warrior-fan dressed in studs and bison fur, who in the front row at concerts raises his arms in the typical gesture to hail the four Gods of Metal (and already here, if you see the guitarist’s face, your balls drop…) taken by the ecstasy of immortal glory, but one shouldn't be hasty with decisions.

I mean, Manowar's music is truly exhilarating if you take the "Conan-like" attitudes with humor, the girl festivals on motorcycles during live shows (which, in any case, always work well), and all the lighthearted surrounding of a band composed of undeniably technically excellent musicians, albeit a bit stylistically repetitive. They are indeed part of the renowned club of bands that have built their careers on repetition (AC/DC, Slayer, etc.), but what they do, they do well, without a doubt. Particularly for Manowar, I've noticed over the past few years a slow shift towards more epic and symphonic sounds, with pompous orchestrations supported by evocative choirs.

However, in this latest "Gods Of War," they have really outdone themselves: the first track, "Overture to the Hymn of the Immortal Warriors" (with a title like that, how can one not feel a bit epic?!…) is a symphonic composition of over 6 minutes that immediately implies both the epic level adopted this time and the unmentionable amount of money spent to record such a magnum opus. The second, "The Ascension" is a kind of introduction, still symphonic but with a background narrating voice (I bet it's Christopher Lee!), to the first true metal song, "King of Kings": it starts off with a bang and a hint of malice in the very well-shaped voice of Eric Adams, an epic refrain perfect to shout for a myriad of excited fans, a baroque solo as seasoning, essentially nothing new under the sun.
But I said before that it's a more symphonic album, and indeed, the next "Army of the Dead, part 1" consists of an "alpine" choir without any guitar shredding or furious double bass pedal. So will be the next "Overture to Odin", "The Blood of Odin", "Glory Majesty Unity" and "Army of the Dead, part 2", practically among fifteen pieces about half are played by an orchestra and not by DeMaio and company.

Some of them contain very cinematic "vocal recitals" which can help with immersion in the mythological context; it's not an exaggeration to almost talk about a "film to listen to" and there is a suspicion that the intent was to create a possible soundtrack for a potential sequel to Excalibur or for the cinematic adaptation of the successful video game World of Warcraft. As for the remaining metal parts present (because they really risk being overshadowed by the grandeur of the orchestrated pieces), one certainly doesn’t shout for a miracle, they are listenable and in line with the entire production of the four. There is also space for a ballad in the style of "Master of the Wind" (certainly not at that level!) with the seventh track titled "Blood Brothers". Just a small personal note for the last bonus track "Die For Metal" (I ignore if it’s also present in the standard editions), clearly dedicated to the fans and generally to the average metalhead, all beer and brotherhood, but which perhaps clashes with the pseudo-seriousness of the rest. Then again, maybe that's why it's a bonus track…

As far as I know, three different editions should have been released, I obviously snapped up the limited one with a black faux-leather cover and a steel (tin) case for the modest sum of 27 bucks (but it includes a completely useless making-of DVD)!
In conclusion, this "Gods of War" (I remember it’s the first work dedicated to a concept on the gods of war) will appeal without reservations to the fan from the first line of the review, but also to those who appreciate, like me, Manowar in a more subdued way; personally, I would have preferred more metal and less symphony, while not detracting from the pleasant sound of violins, trumpets, and church organs.

"... ’cause I need Metal in my life
just like an eagle needs to fly!"