Review by Greg on December 25, 2023.

At the time of writing this, Italian premier comedy metal outfit (and we have many of 'em across the musical spectrum) Nanowar of Steel has long evolved past the stage of being an independent band playing covers and writing infantile lyrics. They are now under the wing of Napalm Records, playing tours in Europe to quite a good acclaim. If one were to pinpoint the exact moment when this ascent had begun, that would likely be after their 'Norwegian Reggaeton' became a huge success online, but that shouldn't discredit the last LP released before that – the here presented Stairway to Valhalla (2018).

What makes this so special, you may ask? For the short answer, the fact that the band seemingly unsheathed all the weapons they somehow kept hidden for all this time, ending up mimicking, when not beating at their game altogether, in strict tracklist order and interludes aside: *deep breath* Rhapsody of Fire, The Vision Bleak, Judas Priest, Manowar, Mike Oldfield, Stratovarius, a mini rock-opera, '80s rock à la Poison, and Blind Guardian. Phew! The only songs I wasn't able to identify similar overt references in were 'L'opelatole ecologico' (the only track sung in Italian), 'Ironmonger' (not really a Helloween-inspired tune, despite its hilarious subtitle) and closer 'Hail to Liechtenstein'. This constant juxtaposition of styles works a lot better than you might think. The album couldn't be further from being a disjointed mess as all songs are imbued with on-point guitar work by guitarist Mohammed Abdul, arguably the star among them, and present maybe the band's most infectious set of refrains ever. I feel I don't even need to delve into the lyrical topics, which are as absurd as always – '...and Then I Noticed That She Was a Gargoyle' or 'Tooth Fairy' are clear examples – but the album works incredibly well even without knowing that it's a parody one. That's a huge compliment, in my book.

It would be impossible to pick a standout track from this pack, but opener 'Barbie, MILF Princess of the Twilight' might take the crown for the added comedy value of having Fabio Lione mocking his own songs within it, but that's not to downplay the incredible Hansi Kürsch impression courtesy of Abdul in 'The Quest for Carrefour', nor the pastiche of Stratovarius snippets brought to life with 'Tooth Fairy', which might as well be the song with the most erudite lyrics (and possibly the craziest solo) of all time. But really every episode constitutes a story in and of itself. I'm of course not forgetting the random nods to whatever that have always been synonyms with the band – the reprise of Symphony X's 'Sea of Lies' ending, the 'Baker Street' or can-can guitar solos, catching them is a game within a game. Even some of the interludes (I think of 'Images and Swords' or 'Another Drill in the Wall') were successful jokes, and most of all short enough not to overstay their welcome.

It's funny to think that parody bands can sometimes host such legitimate, or outright skilled musicians – main voice Potowotominimak is an outstanding vocalist under every aspect too – especially since I can attest that they also perform amazingly in a live setting, if not more. I don't want to dismiss Nanowar of Steel's previous LPs as forgettable, as Into Gay Pride Ride and the half-comp A Knight at the Opera certainly were no slouches either, but Stairway to Valhalla to my eyes is where the band definitely upped the ante and became more confident in expanding their local dimension, which is also a minor pride for me, who have followed them from their very beginnings.

The best part? It marked the start of a very prolific period for the band...

Rating: 9 out of 10