If you have listened to Swedish old schoolers Katana's debut, you already know these guys (and a gal) are neck-deep into NWOBHM. And this reviewer would not have them play anything else, because they deliver quality material in that subgenre. Perhaps they are however going a tad too far with their second release Storms of War, an album which definitely sounds like an Iron Maiden worship effort... although it does not seem to be one. This is definitely a good album which deserves a proper listen though, if not more. I repeat because this is an important point: despite what follows in this review, I enjoyed that album and thought it was a good one, so NWOBHM fans, listen to it! That said now, what is to be found here?

Well, the opener track is a pretty good swinging Speed Heavy Metal tune, and a bit of a fusion of Domine's faster songs and early Satan. But then suddenly, the worship begins, with Wrath of the Emerald Witch and almost all the songs that follow. The opening riff is basically the one in Iron Maiden's Wasted Years, but either than that the chorus is very catchy and thrilling, and it is in the end a very fun song. Things get worse though with Khubilai Kahn, a song about Genghis Kahn's mighty grand-son. Yes, Genghis. The same guy from the instrumental song in Killers. Anyway, you will find here the traditional megaton of galloping riffs (which are only fitting in a song dealing with the leader of a civilization specialized in mounted people-slaughtering), an historical background and an awfully (great) Maidenesque break. The track is nonetheless very good and, so far, so good.

After the quickie but goodie The Samurai Returns kicks in City on the Edge of Forever. Aaaaand... we're galloping again, ladies and gents. Ta-ga-da, ta-ga-da, ta-ga-da. The. Whole. Song. Okay guys, we got it, how about doing something else?! No Surrender starts then with a solemn tune, but ends up being pretty forgettable. But what is not forgettable though would be the seventh track: In the Land of the Sun. If Katana was a more famous band, the song could reach a legendary status. Not because of its greatness (well, it is a very good song, but this is not my point), but because it is the biggest and actually best rip-off I have ever heard. The Perfect One. The Rip-off To Rule Them All. Iron Maiden fans, just listen to this track and count how many bits of this band's songs were stolen. This is brilliant, almost magical. Thanks Katana, really, thank you guys. I did not think this was possible until the day I first heard In the Land of the Sun. The number of "borrows" here are countless: the riffs, the guitar sections, how the drums sound (Nicko? Is that you?), the solos, the soaring chorus, hell, even these vocal inflections à la Bruce Dickinson. And the best part is you guys managed to make it a very good song. Two thumbs up, nay: three thumbs up, really!

Then after the Maidenesque (again) The Gambit and the forgettable (again) Modesty Blaise, appears what probably is the best song on this album - the last track The Wisdom of Emond's Field. We have the same problem than previously with In the Land of the Sun. Excellent... but. This "... but" could actually very well sum up what one can feel after having listened to this album. Okay, yes, this is well crafted NWOBHM, and it is admittedly quite hard to deliver a good album in that subgenre which also does not sound like anything made before, but come on. This is going a bit too far.
And all in all, it is difficult to rate this album. You could say it would have been a classic thirty years ago, and I would not disagree. You could maintain that it is an homage to one of the most influential bands ever, and you could be right. And finally you could label this album as "excellent", and I actually would not argue...

... but.