In the realm of great yet underrated heavy metal musicians, one finds an analogy to the enigmatic H.P. Lovecraft. Much like the famed author, these musicians dwell in the shadows during the release of their albums, only to ascend to success posthumously or after the dissolution of their bands. However, this comparison excludes the underground Atomic Rooster, which, obscure in the late '60s, plummeted even further into obscurity as all its members found their eternal rest—a paradoxical descent into ultimate underground status.
Jesting aside, Mark Shelton of Manilla Road stands out as the epitome of Lovecraftian influence among them. His fusion of psychedelic, progressive rock, and proto-metal from the late '60s to the late '70s, intertwined with the New Wave of British Heavy Metal (NWOBHM) and the burgeoning extreme metal acts of the early '80s, forged a distinctive heavy metal sound rooted in the heart of Wichita, Kansas.
While other bands may delve into the abyss of Cthulhu-themed lyrics, none, in my estimation, attains the level of authenticity that Shelton effortlessly achieves—especially in his later ventures under the moniker Hellwell. Shelton emerges as a figure capable of birthing an entire subgenre, akin to how we categorize Bloodborne or, for instance, Pascal’s Wager as Lovecraftiana. Thus, it would not be remiss to dub the collective wave of musicians and bands inspired by Shelton as "Sheltiana." Among these, we encounter the likes of Battleroar, Ironsword, DoomSword, and Legendry.
The distinctive nasal timbres, seemingly drawn from the likes of James Rutledge of Bloodrock, Roy Robinson of the mighty Titanic, and Dave Tice from Buffalo, blend in a harmonious cacophony. Combine their vocal prowess, infuse Klaus Meine’s vibrato, overlay it with the raw Buzzsaw quality of Dan McCaferty, and voilà, the resultant melange echoes Mark's vocal resonance. Extend this formula further, and one might discern shades of Terry Jones from Pagan Altar.
Reflecting on Lovecraft's legacy, it becomes evident that Shelton
assumed the role of a mystical sage, drawing inspiration from a potent
muse not bound by earthly realms. In essence, he metamorphosed into our
own Randolph Carter, seamlessly traversing the dreamlands and returning
with tales both enchanting and otherworldly.
Embarking on the melodic journey woven by the strings in "Beyond the Boundaries of Sin," you are instantly transported into a monochromatic realm of alternate history. Inhabitants include Boris Karloff and Bela Lugosi, with a mad scientist's castle gracing the hill. Here, Thomas Edison fumbles between watts and volts, while the streets bask in the radiant glow of the premier energy electrician, Nikola Tesla. Meanwhile, Dr. Henry Howard Holmes laments over his electricity bill, a curious scene that merely marks the inception of the album.
The subsequent track delves into Viking folklore, narrating a tale of rescuing a realm plagued by the eaters of the dead, with a nod to the enigmatic Arab seeking knowledge about them. The king succumbs to the witch's poison, yet valiantly vanquishes the cannibals before ascending to the hallowed halls of Valhalla. Musically, both songs bear the indelible imprint of E. C. Hellwell's aggressive organ playstyle, a hallmark that permeates the entire album. Unearthing these obscure sounds from the annals of 60s and 70s rock music, the weightiness rivals the black metal compositions post the turn of the millennium.
Shelton’s mindset always was rooted in those bizarre sounds of organs and long soulful solos. The riff he starts after Hellwell crushes his hands into his hammond at the beginning is one his most creative and dare i say occult and mystical like something out of Black Widow album, but a lot more crunchier.it Sounds like Dan McCaferty, Wanda Jackson and Howlin’ Wolf magically shapeshifted into Shelton’s guitar. The next chapter of the album plays on contrast and starts slowly by building up the tension similar to what Nazareth did with Bob Dylan’s the Ballad of Hollis Brown. Peaceful intro deceives you into believing it will be peaceful saying about calm night on a Kansas plain, but faster than you can realize it turns into a high quality true crime documentary on discovery plus that you never paid subscription for. Why would you pay if Manilla Road can educate you better that any streaming documentary network. We learn about the Bender family of serial killers that commited attrocities at the inn. This song almost word to word cites my roleplaying adventures in The Elder Scrolls Oblivion. Deadly Nightshade switches to Brian Yuzna and Jonh Carpenter style of imagery. Their 80’s horror flicks are the perfect fuel for your imagination if you need to visualize the eveniments described here.
The second side of the vinyl unfurls a colossal masterpiece of gargantuan proportions, akin to the grandeur of Gates of Fire. It encompasses a 25-minute opus of pure creativity, aptly titled "Acheronomicon." Rooted in a horror story crafted by the very hands of E. C. Hellwell, the organ maestro on this album, a limited edition graced with a substantial booklet containing the tale was released. Hellwell's narrative exudes an essence of Lovecraftiana, a horror saga envisaging the demise of humanity. Within its chilling pages, deities from the Cthulhu mythos orchestrate the summoning of Cthugha's last titans.
The story unfolds with a chilling account of disturbing a dormant serpent-like creature in the tombs of Acheron during an archaeological dig led by Ashton Clark and Dr. Campbell of Miskatonic University. Astonishingly, Robert E. Howard consistently weaves into Manilla Road's H.P. Lovecraft lore, a thread particularly prominent in the "Atlantis Rising" album. Returning to Hellwell's narrative, Ashton Clark's mind becomes ensnared, compelled to assist the Python in locating the heart of Ahriman amid the sands of Stygia—a riveting read indeed.
If fortunate enough to secure a copy with the accompanying book, the experience proves unforgettable. Retelling the narrative or dissecting the lyrics would risk dampening the thrill and excitement. Musically, "The Tomb of the Unnamed One" unveils a haunting chorus reminiscent of the style found in the song "Out of the Ashes," chronicling Illiam's fall and the rise of Rome. The conclusion of "Acheronomicon" is mystical, featuring boiling cauldrons—a harbinger that the old ones are preparing a delectable stew, with Ashton Clark, his companions, and the now non-existent Dr. Campbell of Miskatonic University as the main ingredients. The end of days looms ominously.
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