Warlord
And the Cannons of Destruction Have Begun

Reviewing a milestone is challenging but rewarding. The risk, however, is being overwhelmed by emotion or plagued by the unpleasant sensation of not having said everything. There is, however, a fact in all this: when a work of art is such, even the most fleeting analysis becomes utterly inappropriate. With At the Cannons of Destruction Have Begun, the so-called "right words" can be left to all those records that need them.

Preceded by the grandiose EP Deliver Us, and released in the same year as giants like King of the Death by Cirith Ungol, or Battlecry by Omen, this work is now recognized as one of the epic metal masterpieces of the eighties. We are in 1984, the year of epic metal's greatest artistic expression: Manowar offers the indestructible pair Hail to England/Sign of the Hammer, while Brocas Helm wield their swords and enter the market with their magical debut Into Battle.

Important to say that each of the aforementioned bands lived their own light, meaning each played epic with aspects and influences totally different from each other, thus allowing listeners to choose their favorite band in all clarity and safety. Warlord, for example, offered a style (for the time) revolutionary: the rhythmic tempos were measured and powerful (bordering on doom), while the harmonic parts wove melodies that might have influenced Helloween of Walls of Jericho. Consequently, the band could be counted (along with various Riot, Savatage, Armored Saint) among the founding fathers of a completely new genre: power metal.

But here we are talking about epic; so let the ominous warnings of Lucifer’s Hammer or the apocalyptic visions of Aliens take center stage; and already in these compositions, it is interesting to perceive the eternal battle between darkness and melody that has always permeated the band's works. The proud stride of the martial Deliver Us from Evil is then something indispensable for every lover of heroic sagas set to music. However, the absolute masterpiece remains Black Mass, a track that has set standards and is now rightfully included among various Necropolis, Gloves of Metal, Deathrider, Nadsokor; in short, all those pieces of history that continue to moisten the eyes of those devoted to this extraordinary music. Black Mass is indeed a dark mid-tempo with a progression and evocative power that would have made even Manowar of Into Glory Ride pale! Applause also for Child of the Damned, a power-oriented track that offers us a bright and swift shaft between the warlike and dark mid-tempos that besiege much of this LP.

At the Cannons of Destruction Have Begun is able to engage not only the epic enthusiasts but also those who appreciate good music. Excellent production that contrasts with the "raw audio" formula that has always been a trademark for records of this genre. The clear sounds highlight the robust and inspiring vocals, well accompanied by the thrilling guitar virtuosity, unrelenting drumming, and gentle keyboards that enrich the tracks without ever intruding on their metallic vein.

The choice is yours whether to enjoy such magnificence or not, as in the end, your decision will never change the course of history: At the Cannons of Destruction Have Begun has already been delivered to eternity...

Line up:

Damien King II: Vocals

William Tsamis: Guitars

Sentinel: Keyboards

Archangel: Bass

Tracklist:

1 - Lucifer’s Hammer

2 - Lost and Lonely Days

3 - Black Mass

4 - Soliloquy

5 - Aliens

6 - Child of the Damned

Federico “Dragonstar” Passarella.