Manowar once pledged “if you don’t strap your nuts to your leg, they’re going to get blown off.” On their latest release, 2019’s The Final Battle I, it seems like the straps are now optional. The EP is inspired by the “legions of loyal Manowarriors” and they, like me, will find it enjoyable enough. It sounds great, the orchestral intro is quite stirring, Blood And Steel is the heroic pumper and SwordOf The Highlands is the elegiac (if overly Hobbit-y) ballad. Closing track You Shall Die Before I Die even turns the clock back to the band’s doomier early days. But there’s nothing here that hasn’t been done before, better. I’ll tap my feet and hum along but where’s the guts? Where’s the glory? Why are my unstrapped nuts still safely intact? This is supposedly the first EP of a trilogy. But two years on, there hasn’t been a follow-up and I’d hate this to be the last thing the Kings Of Metal put out. Come on Manowar! Stop preaching to the converted. Defy the naysayers, kill all the unbelievers. Give us part two and, this time, fucking go down fighting and take all the false metal with you. Blood! BLOOOOD!!
Ten years after their last album, The Wildhearts are back! On new album Renaissance Men (so called because they have came back) the band promises to rock you like a boomerang (a thing that comes back). And, like renaissance men, The Wildhearts are a sophisticated bunch so you get clever puns about comebacks and a wide range of lyrical concerns: online bullying, mental health, wankers, celebrity drug deaths, and coming back. It’s all extremely in-your-face but also a lot of fun too. Everything’s direct and punky so you don’t get the exciting, sprawling riff adventures of older material like Everlone and Rooting For The Bad Guy. But the songs themselves are eclectic and sharp. Dislocated veers from metal blitzkrieg to touchingly vulnerable, Let Em’ Go is a guaranteed drunken singalong and My Side Of The Bed mixes atonal noise with blissful power pop. And the heads-down pace of the album means the by-the-numbers moments like Little Flower and Emergency (Fentanyl Babylon) are short enough to forgive. Especially when mingling with belters like the powerful closer Pilo Erection (stop tittering and google it) and the wonderful, celebratory title track. Feels like a band that’s came back at the right time and for the right reasons and this is an album that’ll keep you coming back for more. Like a boomerang.
Remember when bands used to “get it together in the country”? Demon Head do. In the winter of 2017-18 they headed out to a remote recording studio in the Danish countryside to record their third album. But this is no bucolic, hippy, communing with nature type affair. More a “getting lost in the woods, people with strange animal masks, ‘it’s time for your appointment with The Wicker Danzig’” situation. The creepy rural seclusion approach has worked: Demon Head have definitely got it together on Hellfire Ocean Void.
The Night Is Yours and In The Hour Of The Wolf are the standout tracks: occult, old-fashioned metal that will appeal to fans of Tribulation and In Solitude. There are also lots of rustic interludes and mystical ambience which, combined with the band’s Pentagram-style proto-doom, gives the album a folk horror allure. The guitar work is much improved, some exciting NWOBHM-esque workouts and solos here, and Ferriera Larsen is finding his own voice: shaking off the Bobby Leibling/Fonzig comparisons of old.
As with previous albums, there’s a tendency to meander which means it takes a few listens to grab you. But it’s their most thoughtful, consistent and well-crafted effort yet with depth and atmosphere in abundance. It builds on the promise of their earlier work and suggests exciting ways forward. Fan of pagan, old-school metal? It’s time for your appointment with Demon Head.