Review by Adam M on May 8, 2015.

I must admit that this was my first exposure to Royal Thunder. Having heard similar bands like The Devil’s Blood, Graveyard, Witch Mountain and Dwellers, I have been exposed to this style, however. There are shades of doom, stoner and ethereal post-music to be found in this band’s sound as well.

A female vocalist occupies this rock-influenced style of a band again and in this case steals the show on Crooked Doors. Mlny Parsons is equal measures powerful, evocative and dynamic. This style of the band is complemented wonderfully by this lady’s vocal performance. Otherwise, the music crafted by Royal Thunder is exciting, catchy and well-written. Royal Thunder shows a penchant for emotion and attention to subtlety in their music. Sometimes one does wish that the band would reach a little bit further into more unknown musical elements as the album does come off slightly standard sounding. Despite the restrictive feeling of the album, there is an overabundance of emotional moments that completely compensate for this. This all emanates from the very beginning with the track Time Machine that is absolutely one of the most emphatic and enjoyable songs you’ll hear all year. While not quite up to that quality, many of the other tracks on this album excite and entice as well.

The passionate energy created by this band is what makes Crooked Doors such an eminently enjoyable release. Of course, every exciting riff is enhanced by the dynamic range of the vocals. Thus, despite not being the most original album you’ll hear this year, it is one of the more fun listens. It brings a similar level of quality as Graveyard’s Hisingen Blues album that was a high point for this sort of style in recent years. All heavy metal fans looking for an album that’s highly influenced by the seventies era of rock would be well served looking in Crooked Doors.

Rating: 8.5 out of 10

Review by Felix on April 30, 2020.

Breaking news: Viking's second full-length benefits from a much better production than the debut. Okay, a worse sound was not possible, anyway, Man of Straw scores with a clear, differentiated and cutting mix. It is on a par with the sound of more famous thrash albums of its time. Unfortunately, the vinyl suffers from another flaw. The entire A side fails to present a remarkable highlight. Is there any 'Killer Unleashed' who intends to form a 'Militia of Death'? Not at all. The five tracks pass by and show a more precise, more focused face of the formation, but this does not mean that the songwriting causes goose bumps. Acceptable and decent, these attributes describe the quality of the fairly complex tracks. The longest of them is called 'They Raped the Land' and especially this fairly epic tune seems to be a harbinger of Dark Angel's overlong anthems from "Time Does Not Heal". But this statement only refers to its style, not to its class. Free from groovy elements, it consists of many different, mostly fast sections and the thrashing intention is omnipresent, but no matter how hard they try, their efforts do not result in a fascinating track.

'Winter', the opener of the B side, picks up this kind of configuration. And due to whatever reason, the first tones of this track mark the point where the album gains momentum. The song starts slowly, but it does not take long until the band releases all brakes. The riffing is catchy, the mid-paced parts as well as the fast eruptions capture my brain and some furious solos also add value to the song. I listen to an orgy of riffs which is combined with the vocals of Ron Erikson. He seems to be on the run, and I wish somebody would give him a glass of water while he sings. The lyrics could almost fill a thick book and therefore it is no wonder that the dude runs out of breath. Speaking of the lyrical content, 'Creative Divorce' deals with the arduousness of a husband and his crude thoughts. Well, who does not know this situation in one way or another? Nevertheless, most of us do not "plan her demise" and I hope that everybody who reads this review is not a part of the minority in this context. But on the other hand, I also think that most of us have never written such a strong piece of pure thrash. 'Creative Divorce' glitters with a memorable chorus, clearly defined riffs and an extra portion of speed. The very solid title track, equipped with a similar design, closes the output that clocks in after 47 minutes. Attention, Anthrax: the lads of Viking deliver the real "Attack of the Killer B's".

Finally, I have to mention the most surprising track of Man of Straw. Viking do not make innovative experiments, but they have recorded an unexpected cover song. I am speaking of Pat Benatar's "Hell Is for Children". For sure, Erikson and his mates consumed very special pills the day they decided to choose exactly this piece. Anyway, they avoid kitschy elements and the roaring voice gives the song a brutal touch. However, this catchy number remains an exception. Viking do not have a general affinity for pop songs and their own compositions are rather demanding than easily accessible. Too bad that the first half of the vinyl fails to deliver one or two hits. This fact makes it impossible to give a higher rating, even though the B side has an invigorating effect. Not to mention the better production...

Rating: 7.3 out of 10