Metal maniacs, rejoice! I am proud to present to you: NANOWAR OF STEEL; hailing from Italian grounds - performing Heavy/Power Metal/Hard Rock, on their 5th album entitled: "Italian Folk Metal" (released July 2nd, 2021). Since formation in 2003; the quintet in question have 2 Demos, 1 Live album, 8 Singles, 1 EP, 3 Collaborations, and 5 Full-length albums in their discography so far. Having already covered their previous record "Stairway To Valhalla'' which was most surely a spectacle of might & banter, I am excited to dive into this new endeavour which should make me marvel equally at the abstruse abstract of NANOWAR OF STEEL's human efforts. 13 tracks ranging at around 58:23; an intricately designed formula that meticulously arranges in an diligently detailed flamboyance on comedic songwriting musicianship, developments and laughable finesse that should very much surprise me with either an conceptually serious rift, or another hilarious outre of panache from albums like "Other Bands Play, Nanowar Gay!" or "Into Gay Pride Ride". Their previous record structured out mature but also immature experimentation, but what does "Italian Folk Metal" have in store? Let's find out...

Opening up with this majestic yet operatically a harmonic hymn; an elegantly exquisite oratorio within "Requiem per Gigi Sabani in Re minore" starts things off while "L'Assedio di Porto Cervo" bombards eardrums with operatic verve while this sturdy stampede of trembling reverberation thuds with wildly rushing remedy, rollicking synergies revel with trailblazing melody. Where orchestral chorus' chime with mellifluous euphony, amongst a boisterously bouncy linearity on symphonic yet zestful panache while remedial fabrications distill a chiseling ramification on riveting Folk Metal finesse. Blended profoundly with "La Maledizione di Capitan Findus" which captures an intriguing jumpy party aesthetic, as an unbound potency rips with vibrantly upbeat outbursts while forging slaying grinds and a hybrid density in experimental virtuosity. The songwriting musicianship has a charming Power Metal vibe to it, contrasting a synthetic sublimity to it in which showcases electrifying but sulfurously thumpy bass audibility from consisting axeman Gatto Panceri 666.

While these songs remain obviously within the Italian hemisphere, if RAMMSTEIN can be considered a serious sextet - there's no reason NANOWAR OF STEEL can conjure up similar ideology, sure they are cheesy as hell but they surge with this thrilling interface in a borderline foundation on feel-good, epic instrumental quality. "La Marcia su Piazza Grande" utilizes this quintessential spectrum on sonically seamless frolicking, crafting a dexterously dynamic accord on mellifluous maelstrom technicalities which shreds with ripping momentum while drumming hammerings from battering slammer Uinona Raider rambunctiously slams the set with steely yet volatile precision. Until "La Mazurka del Vecchio che Guarda i Cantieri" offers more jamboree madness that can't be helped but be rocked to, sure the incredible amount of cliche factor is imminent but amusing nonetheless. (also featuring a guest vocalist from Allesandro Conti, who sings through with vigorous buoyancy) it's undeniable that these parodic metal warriors of steel found an enticing element in implementing hard rocking transparency while orchestral, but intriguingly hefty and discordant while zealous yet organically rapid.

"La Polenta Taragnarock" injects a venomously robust versatility of rambunctiously piledriving stompiness; while solidly slabby rollicking impact attributes at a hammering firepower expertise that revels with strident rampancy, where rompy consonance from Abdul distils a complex craftsmanship mobility on riveting tonality which stampedes with study thuds & meaty yet meticulous variety on diversely fun ridicule. They really overstepped the mark, production wise - where they added guest vocalists such as Francesco Paoli (FLESHGOD APOCALYPSE' guttural cords are definitely prominent) & Giorgio Mastrota. "Scugnizzi of the Land of Fires" mellifluously reverberates with punchy weight among a bombastic furore in ballad-anthem territory, while unleashing a berserking formulaic in crunchy catchiness. Evident in the shanty "Rosario" (featuring another guest performance with the lush chords from Giada "Jade" Etro"); the combined efforts impulses a refined merger of the high intense heaviness among energetic thrust while the piquancy salubriously swerves with pandemonium of KORPIKLANNI life loving antics while blistering guitar solos & raw vocals from duet Mr. Baffo/Potowotominimak - both unleash throaty raspiness followed by clean pipes of linear dimension.

"Il Signore degli Anelli dello Stadio" manifests with this uber ushering synthesis on towering ardour, as traditional weightiness flourishes into a driving force of exuberant might, where fist-punching avidity conjures up thrilling progressives among a humorous mockery that poises with verve & authentic distinctives while persevering with persistent distinguishment. "Gabonzo Robot" has a snappy wackiness to it, also featuring Dr. Pira astonishingly. There's such vast variety that with that incentive alone makes this hullabaloo exciting but glorious at the same time. "Sulle Aliquote Della Libertà" exalts with these choppy but bashful effervescent and jazzy vivacity, Another guest appearance from The Rumpled archaically introduce themselves with unique quirkiness and fluidity.

"Der Fluch des Kapt'n Iglo" flamboyantly fabricates monolithic tempos which culminate into an hymnal but electronic composition in which relentlessly rummages with sanguine transparency - which can be found in the next steely conundrums "El baile de los Viejo que Mira las Obras", the penultimate epic "Formia" & the finale closer "Biancodoice" all three scatter with tremolo bizarrity but enjoyably entertaining at the same time.

What an incredible journey; the bottom line here is NANOWAR OF STEEL know how to not take the music they are creating with not so serious shindig but I can conclude that "Italian Folk Metal" revolves with some majestically mythical mayhem that will motor your life, frantically and absurdly. Worthy of replaying, spinning and checking out should you fancy a ludicrous yet preposterous historical experience in which may put MANOWAR fans off, however these surely engage in a potentially talented yet professional manner, while comical it's also an enjoyable discovery. Open your minds a little; if you're not an elitist, this shall be a flourishing rhapsody to listen to for sure!