This album sees the return of drummer Scott Columbus, who was absent from the band’s superb previous album, 1992’s Triumph Of Steel, as well as seeing the introduction of new guitarist Karl Logan who’s muscular sound fit nicely into the band. It was self-produced by the band and released on Geffen. Just cast one eyeball at the album’s art and that should tell you whether or not you’ll love this album. Embarrassed by “cheesy” D&D bands? Think singing about being in a band is dated? Then step away! However…Think that close-up shot of ‘roided-out barbarian thumping an anvil is awesome? Then buy a copy without hesitation!
Musically, Louder Than Hell is another step down the road that the band have always been headed in. Manowar don’t make the same album over and over again, but they never make a head-scratching left turn either. This is the logical successor to Triumph Of Steel. You can see how Thrashy tracks like “Death Hector’s Reward” and “Ride The Dragon” from that record begat “Outlaw” on this record. You can see how tracks like “Wheels Of Fire” on the album before that, begat the tracks on this album such as “The Power” (sonically, with the bombast and absolute over-the-top performance) and “Return Of The Warlords” (thematically, with the biker imagery and don’t-care attitude).
Manowar also always have a lot of lyrical fun boasting about how awesome they, and Heavy Metal in general are, and in the fine tradition of tracks such as “Metal Warriors,” “Kings Of Metal” and “All Men Play On Ten,” this album lets rip with an absolutely storming, fists-to-the-sky anthem in the form of “The Gods Made Heavy Metal.” A track so charged with pride, power and the demand that you sing along that you can almost picture the band in the studio laughing to themselves that they’ll never get away with being so obvious….and yet you forgive them, because, well dammit, its just THAT GOOD.
There’s also spots of variety to break up the oily, red hot ‘80s-Hollywood-masculinity that the band love to exude so much (to the point of constantly singing about power, strength, challenge, muscle, fighting and having all that bodybuilder imagery in photoshoots and album covers) in the form of a nice piano-ballad called ‘Courage’ (because you can tender AND manly!) as well a guitar-only solo track, and a dense, 9-minute Prog affair called ‘Today Is A Good Day To Die” which sounds like some kind of Power Metal version of Pink Floyd’s “Empty Spaces.”
This album has a nice production job, with a nice crunchy chug to the palm-mutes, a nice amount of drive, audible bass-guitar, and a clear separation of all the instruments (toms merrily dance from ear to ear during fills, and you can accurately feel how the band would be standing relative to one another in the practice-room). Add to that, another fantastic vocal performance from Manowar’s secret genius Eric Adams who can sound equal parts Rob Halford or Paul Stanley influenced depending on his mood, but with a distinctive identity all of his own most of the time.
Overall; It sounds great, the band play/sing great, there’s a bit of variety but not too much in the way of interludes or nonsense shenanigans, and just a general feel of consistency and craftsmanship. Its a strong whole for sure – and on top of that there’s some absolutely superb standout tracks that elevate it even higher – just try not enjoy “Brothers Of Metal,” “King” or “The Gods Made Heavy Metal.” If you thought Manowar were done after the first four albums, you thought wrong! Louder Than Hell is absolutely worth your time and I highly recommend it to anyone who likes Thrash, Power Metal, NWOBHM, or good old Heavy Metal.