When a band like HELLOWEEN debuts a self-titled album after nearly four decades of existence, it’s clear from the start that this business will be no ordinary. After an eventful career with ups and downs and two racquet deliveries in lead vocals, there’s plenty more to list under “Halloween.” The challenge of estimating the appropriate back catalog in its various stages is a great one, and the opportunity to make an Oscar-like landing is presented, as is the prospect of a historic victory. In this regard, “Helloween” puts it all on one card – it’s about all or nothing, about victory or defeat, about light, sparkling or stale beer…or about seizing a unique opportunity that will never be given again. a second.
“Helloween” is HELLOWEEN HELLOWEEN
The wait has been long, but the good thing is it takes time – and if you can’t sum up the current score as the core workstation of one of the most important bands in the German metallic universe, then hell will freeze over tomorrow for Uncle Nergal to run for the next papal election. Because if you have to attest to one thing up front, it’s that HELLOWEEN answers the question of his identity more comprehensively and consistently than any other band before. From the unprecedented reunion, which unites all three lead singers plus the (almost) entire founding lineup under one roof, to the perfectly orchestrated artwork, to the fact that the original Ingo Schwichtenberg drum set was used for completely analog recordings without letting faith decide anything. .
The result of this meticulous work is an album with a record-breaking density, allowing the band’s core creative phases to naturally integrate which really cannot disappoint any HELLOWEEN fan. The trio of Derris, Kesek and Hansen covers a large vocal spectrum due to their varying styles and timbres and knows how to confidently showcase the individual singer’s strengths and group penetration.
Some of the tracks in which Michael Kiske takes the lead are clearly reminiscent of the glorious days of “Keeper” and only stand out from them for their contemporary production and sometimes more complex songwriting. The opening alone “Out For The Glory” is like a revelation—the melodies, the vocals, the bass lines, that great old-school feel…this track and “Down In The Dumps” create something that seemed impossible for a long time, or just as a product of wishful thinking shifting. Reviving the pure taste of the old days in a believable way. Adequate attempts were to be expected with the return of Kiskes, but the backlash in the late ’80s trend would have been authentic and natural from the hand, most likely he would not have dreamed of.
The 12-minute “Fear Of The Fallen,” “Rise Without Chains,” and “Skyfall” show the great potential of the three singers’ alliance and make it hard to resist the inhumane urge to headbang. Rarely have I so badly wanted an antidote to hereditary hair loss…that is, next to the ability to time travel and a BMI of 22. Or let’s take a closer look at the accidental “indestructible” breaker: Andi Deris Can the Tracks Shine As a rough voice and underlining harsh vocals with vocals, Michael Kiske can exhaust his full range in choruses and inspire in all vocal ranges. It’s clearly one of the strongest tracks ever.
Last but not least, Deris’ songs can score across the board. With ‘Mass Pollution’ dirty rock, one totally regrets that the motorcycle on stage has already been rented to Metalgod and with ‘Cyanide’ every fan in HELLOWEEN’s most recent history should have their heartbeat to the beat of the double bass. No one else would be able to perform these tracks this way and fill them with magic – so it’s imperative that this aspect of the band not be held back in its broader form now.
Up to this point, it reads as if the record was flawless in all disciplines – which is…almost, because one of the other improvements could have been considered objectively. “Best Time” and the somber song “Angels,” for example, will “only” score four points in the singles and in the ever-strong “Robot King,” Michael Kiske is pretty strong in the angel chorus on my hearing (on the other hand, even Tobias Summit sounds like Sheshbar Inspector audible). The first work “Walls of Jericho” could have been represented in a more stylistically way. Or maybe a whole piece with Kai Hansen on the main mic? The band’s long history will certainly reveal more insights… but what does that mean in contrast to the staggeringly long list of bombshell songs that such an ambitious feat has to offer? Lack of tuning here and there one or another unfulfilled fan request couldn’t do more than not put all five on the table (and I’ve thought about that for a long time and seriously).
THE ULTIMATE HELLOWEEN ALBUM?
So it’s clear that Project “Helwin” delivers on its promises. The almost immeasurable expectations of the historical group, trying to unify all styles and epochs on one album, are met or exceeded (almost) in every respect. The firm statement associated with the album’s naming can go down in history in close collaboration with the earlier great works of Pumpkin. And when you add in all the aspects that ultimately make up the work, you can’t help but realize that the self-titled Dreher is nothing short of the definitive HELLOWEEN album with the strongest and most complete lineup in the band’s history. To not celebrate this monument mercilessly is like living without heavy metal: possible, but useless.
One can only hope that this perfect match will not be affected by the expected success, vanity or perhaps the fight over the last piece of cheesecake…
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