Mantas – Winds of Change
Mantas – Winds Of Change (Re-release)
Cherry Red Records
Release – 20/02/2026
Words – Jon Deaux
Score: 7.5 / 10
“Winds Of Change” is promised, and what you get is the aural equivalent of a man tossing open a window and looking out upon the damage that is the ‘80s metal scene, but deciding not to take the leap of faith just yet, thanks.
“Winds of Change” was released in 1988, a year in which “hair metal” bands promised the earth, and in which Thrash bands brought out the running shoes in pursuit of the legitimacy which would allow them a kebab mid-week.
Jeff Dunn, aka Mantas, was already a founder of something ugly, fast, and exciting in Venom, but he thought that was it for him.
Venom always struck me as a punk vociferation directed at Metal’s egocentric excesses, a crummy, loud, and sufficiently intimidating band to appease concerned parents everywhere but sufficiently subversive to not attempt to peddle their trinkets inside a lunchbox. Rock critics loathed them; fans loved them. Wouldn’t that be a more wholesome dynamic for the music industry?
But by the time Mantas erupted again, black leather was out and denim and booze was in. Hellfire and brimstone was scaled back to a service station on the M1 at 2am.
‘Let It Rock’ kicks off the album on a smile that holds a promise to liberate, rather than desecrate. The guitars are going to sound in no way violent to the ears but instead want to have an interaction or an alcoholic drink. Pete Harrison is singing like someone already headed to the chorus and sees no need to conduct himself in any other manner.
‘Deceiver’ struts rather than sneers, proving that a gentleman can split a band without splitting the difference between right and wrong.
To classify it as a ‘hard rock’ album is no more accurate than describing Newcastle as ‘grim.’
‘Hurricane’ and ‘King of the Ring’ rock because they have the song structure, which takes in the knowledge that choruses serve a purpose. These songs do not posture, they move. The guitar work, courtesy Al Barnes, is like having a beer-buddy, who knows when it is time to share the beer or keep it himself. There is plenty of purpose, but little Olympic-worthy guitar work.
‘Western Days’ swaggers out of the desert in dusty boots, and sounds like Mantas investigating just how far he can stray until the old devil spirits come knocking on the door.
The mission statement is captured in the center piece ‘Winds of Change’, and the winds that are blowing are not the winds of change, or remaking and re-creating something for the masses.
‘Desperado’ and ‘Nowhere to Run’ keep the album rolling in a state of motion instead of aggression. Venom did not dull in tempo and power; it is Mantas loose from the mold.
‘Sayonara’ closes the main act in a wave of unclear intentions. “Goodbye to the past. Goodbye to the industry. Until next time.”
The bonus tracks are a gag in and of themselves. ‘I’m on Fire’ and ‘The Green Manalishi’ sneers with a raised eyebrow. A Fleetwood Mac cover might be blasphemy, but it’s also a dare, an admission that heavy Rock won’t go bang when it touches melody.
The reissue booklet itself is full of photographs and new interviews that border on a nostalgic journey through memory lane that has not been swept clean for the likes of us to visit.
The conversation that took place between Darren Sadler and Mantas bypasses the notion that there must be a story about redemption in order for it to be believable. “A musician who broke ties with the band and had actual life experience when returning does not always posit narratives in need of applause.”
Al Barnes writes with a lot of insight, and his writing is not clad in rose-colored glasses. Venom’s current scope is such that they quote headlining acts right down to groups who’ll be falling over at the mention of a £50 amp.
The Metallica approval from Lars Ulrich (“Black Metal, Speed Metal, Death Metal, whatever you want to call it – Venom got it all started!”) would seem to be genuine but could well be more of that wedding testimonial. The original diss from Bon Jovi (“This is the kind of shit that gives Heavy Metal a bad name”) still has legs in that it misunderstood why they’d been liked in the first place (In my personal opinion, Bon Jovi gives MUSIC a bad name).
Venom brought Metal into disrepute, much like punks brought fashion into a safety pin. On purpose. Mantas isn’t intent on outliving the era. It circles around it.
“Winds of Change” is like a man picking instruments over rituals. No thesis statement. No press release about rebirth. Just music done as if tomorrow is an option. Sometimes in heavy music, this is the only revolution that is needed.
TRACKLISTING
1. Let It Rock
2. Deceiver
3. Hurricane
4. King of the Ring
5. Western Days
6. Winds of Change
7. Desperado
8. Nowhere to Run
9. Sayonara
10. I’m on Fire*
11. The Green Manalishi*
*Bonus Tracks
LINKS
Disclaimer: This review is solely the property of Jon Deaux and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
