The highly anticipated "Henry Metal 8" is out now... GET IT!
"Henry Metal has managed to use music as a true form of expression."
- New Sick Music
"Henry Metal’s ability on his axe is stellar, chock-full of glorious riffs and licks radiating screaming actinic hues that set the atmosphere ablaze."
"...Will knock your socks off."
Henry Metal debuted in late March of 2017 with his first album “So It Hath Begun.” The nine song LP was the genesis of a uniquely honest, straightforward and blatant style which subsequently unfolded organically into 5 more full-length albums during Henry's debut year. Sometimes humorous and sometimes righteously indignant, “So It Hath Begun” covered the landscape of raw rebellion, lust, sarcasm and humor with a middle finger displayed proudly to all conventions pertaining to the business of making commercial music.
The momentum created with “So It Hath Begun” pushed seamlessly into “Wizard Vs Demon,” Henry's second album. Songs such as “Succubus,” “Heavy Metal Is Dead” and the title track “Wizard Vs Demon” developed the somewhat more serious musical aspirations of Henry, while tracks such as “Hackers, Leakers, Truth Seekers,” “Fukushima Ceviche” and “Possible Side Effects” took shots at society at large. Humor also plays a continuous part throughout the album, especially in “Samurai” and “Rock Out.” Musically, Henry's classic baroque guitar shreds continued to weave in and out of classic American blues-rock pentatonic riffs, all the while sitting snugly in a deep, intricate pocket of solid and perpetually moving metal.
Meanwhile, the outright rejection of every entertainment business formula and traditional gatekeeper had become an over-arching theme in the style and marketing of Henry Metal. The music videos for “Wrist is Pissed,” “Wizard Vs Demon,” “Terrible Driver,” “Thought Police” and “You Ain't Seen Nothing Yet” are campy, unapologetic affairs with the same simplicity and purity of intention, for better or worse, as the music itself. As the campy imagery mingles with music that rages with intensity it becomes a cautionary message about taking even serious things too seriously. This approach has not been without its critics and some have dismissed it as either too derivative (largely because of the faceprint and mask) or not serious enough for their tastes. Of course, Henry is not the first to undergo the critical wrath of musical know-it-alls. To hear Henry tell it, “if you're pissing people off, you know you're doing something right.”
Henry's third record, “The Maestro Abides,” took a decidedly more serious and substantive turn as evident on such tracks as “Thought Police,” “Bankster,” “The Maestro Still Abides” and “On With the Show.” “Metal O'Clock,” Henry's fourth album, is an extremely engaging, musical and catchy affair from beginning to end. With big choruses, memorable riffs and a stadium rock vibe it might be considered quite commercial were it not for its subject matter which opens with a punk rock middle finger, continues into a thrash metal fury and pays homage to the Swedish Viking gods Odin and Freyja on the way to making fun of government ineptitude and consumerism. To cap off his senior release, Henry sarcastically glorifies drug abuse before taking us out with a tune about elective cosmetic surgery. As usual, there is not a single dull moment on the intense, virtuosic and precisely composed “Metal O'Clock.”
"Henry Metal V" is the fifth studio album from Henry Metal which takes a highly stylized and original approach to the True Metal sound and is an entertaining and highly addictive ride from beginning to end. A more diverse sound begins to flower on such tracks as “Baby” and “Rock Like a Bard,” and each song offers a glimpse into a corner of the Metal genre's tried and true subject matter, from sex to monsters to muscle cars.
"War In Heaven" contains such awesome epics as "Epic," "War In Heaven," "Daisy" and "Nunchaku," taking time to celebrate martial arts, road trips and a whole bunch of whatnot.
"Deadlift Cowboy" is Henry Metal's seventh album and second effort of 2018, a diverse and lyrically experimental album which further expands the limits and scope of the project and delivers something ambitious, genuine and authentic.
Henry gives a nod to the lineage of his inspiration with his cover release of “Fire” by The Crazy World of Arthur Brown. 1968 England was when and where the face paint, devil horns and phrygian scales were gearing up to take over the rock world. Thank goodness these things are alive and well today.
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