Manowar
The Lord of Steel

LA RECENSIONE

Year 2012. Five years after the release of the much-debated "Gods of War," Manowar returns to the scene. And they do it in a way that is, allow me, quite odd. After releasing an excellent live album, aptly named "Gods of War Live," and the remastered version of "Battle Hymns," called "Battle Hymns MMXI," a terrible event occurs around the release of these latest editions. The death, at only 54 years old, of the drummer who was a symbol of Manowar, Scott Columbus. Not famous for his technique, but rather for his "solid" drumming, particularly evident in "Warriors of the World." Surely, this was an event that particularly moved Demaio and company, but no one would have ever expected a result like the album I'm about to review, "The Lord of Steel." As a big fan of Manowar, it doesn't take much effort on an album title; I already had a slight grimace when I read "Warriors of the World," but that's another story. But seriously? The Lord of Steel? Well, let's try to move past that... The album opens with the title track, a very powerful riff, but then you discover the whole song is based on simple riffs, an Eric Adams with a low-tone voice, decent drumming, but most importantly... a buzzing bass. Yes, remember that because this bass will accompany us throughout almost the entire album. It isn't the type of sound we were used to hearing in instrumentals like "William's Tale" or "Sting of the Bumblebee"; at times, it's even annoying. The song itself is powerful, but Eric Adams's voice is completely dimmed. Not by the singer's choice, of course; at 61 years old, Eric Adams's voice can still make everyone pale. Next is "Manowarriors," or Warriors of Manowar. The style is almost similar to the previous one, only with more emphatic choruses to give a bit of goosebumps, or at least they try. I would describe this song as a poor copy of "Metal Warriors." Following is "Born in a Grave," which continues in the vein of the previous tracks, even though the bass is a bit less prominent. The lyrics are curious, as for the first time in Manowar's history, they talk about vampires. Next is "Righteous Glory," with lyrics dedicated to the Valkyries, who were tasked with bringing the souls of warriors who died in battle to Valhalla. It's an excellent ballad, finally, and I emphasize finally, with an Eric Adams who can give you goosebumps, although in the chorus that bass is still there... "Touch the Sky" is more or less in line with "Born in a Grave," although there's a timid guitar solo from Logan that adds some zest to the track. "Black List" and "Expendable" are two bone-crushing pieces, like a knockout punch, with drums that spare no one and an angrier-than-ever Adams. The intro of "Blacklist" can be compared to a test of endurance. If you can handle it at maximum volume without losing your hearing, then you're true brothers of metal! "El Gringo" is the song I would have never expected. On one hand, I would say fun, on the other, over the top. A bass pushed to the background, and an Eric Adams in great shape. The track was even chosen as the soundtrack for a film, something quite unusual in Manowar's career. One word to describe "Annihilation": Horrible. The intro is something strange; the piece itself might even be considered catchy, but it left me with a bitter taste... Last track, "Hail, Kill and Die." A sort of self-tribute, as "Blood of the Kings" was back in the day, to their career. A great piece, not the most ingenious lyrics, practically a cut-and-paste of song and album titles, but it manages to stand out from the shadows.

In conclusion: An album that none, not even I, who after "Gods of War" was all excited to roam the streets in leather briefs with my sword, would have ever expected. Let's say it just about reaches adequacy and a bit more, but for a band like Manowar that has long proven what it is, and I think we've all understood it, some with a bit of sarcasm, some genuinely, I honestly ask for nothing more. Let's say it's an album that does not overshadow the others in beauty, but it manages to earn a tiny spot in an epic discography like Manowar's, even though this album has little epic about it. Demaio's egocentrism certainly, that could be toned down, but... I just hope that Manowar comes out with another, final album, because ending a career with such a record, as much as I love them, is not very nice.