Sabaton - The Great War (2019)

Thanks to the second World War and all of its horrors, the first edition (also known as The Great War) is kind of forgotten in today's age. It may seem like primitive warfare with very little happening, but at the time, this war saw humanity invent all kinds of new ways of killing each other, whether it be on the ground, in the skies, or through biochemical means. It is an event that now, just over 100 years later, is depicted once again, this time through the sound of metal war veterans Sabaton, an opportunity to further immortalize this important event in human history.

The Swedes have gone more in the concept direction in later records, telling war stories in a certain category, but this is the first time the band takes a specific war and fills a record with stories from it, and it is a strategy that I like a lot. The band's strength has always been in the lyrical department, having a knack to telling these tales in a colorful way that peaks your interest, so focusing it all to one specific point in time instead of several different periods gives it more of a story book feeling, having a smoother flow to what is happening.

And as always, the band has this massive energy to them that is really infectious. Everything from the pummeling drums of Hannes Van Dahl to the grand vocals of Joakim Brodén is larger than life, which helps them immensely when they step on the live stage. Tracks like "Great War", "Seven Pillars of Wisdom", "The Attack of The Dead Men", and a couple of others were made for playing live, being catchy and epic as all hell. There is no question that this album will suck you in thanks to the lyrics, the energy, and the passionate performances, just like most other Sabaton records.

The problems are still the same though, mostly that "The Great War" is not very versatile in its execution. The band does try to spice up some things, like the insanely groovy "The Red Baron" features the keyboards (also performed by Brodén) a lot, "Fields of Verdun" is more classic power metal than what we are used to see from Sabaton (more like Stratovariaton there), and "The End of The War To End All War" is as epic as an ending can be, but it is still not enough to make "The Great War" significally stand out from its brethren. This also makes the album pretty tiring, even if it only clocks in at 38 minutes. Sabaton is still best in small doses, and this record further exemplifies that.

Ultimately, "The Great War" is just another Sabaton record, and there is absolutely nothing wrong with that. I believe Sabaton only makes new records because of 2 reasons. 1. they want new songs to play live, and 2. they want to tell new stories. We listen to these records for the tales the band tells, so we can learn more about the violent historic nature of humanity, and it also helps that the music is still pretty good, even if it is very much predictable. So yes, there is not much new on the Western Sabaton front, but it is still entertaining enough to get you hooked.

Songs worthy of recognition: The Attack of The Dead Men, Seven Pillars of Wisdom, The Red Baron, Great War

Rating: 7,5/10 Devil Dogs

www.sabaton.net/
twitter.com/sabaton

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Turilli/Lione Rhapsody - Zero Gravity (Rebirth And Evolution) (2019)

My relationship with the ever changing entity known as Rhapsody has always been complicated. At one hand, I appreciate the grand unique spectacle that the band usually give us, but I also feel like they cross over the cheesy line more often than not, making every listen extremely frustrating. It does not help either that the band is different every time they pop up on the news feed, whether it be a new name, a new line up, or a combination of both. So here we have another branch on the Rhapsody tree, with founder Luca Turilli leaving his own Rhapsody on the sidelines for now, to once again collaborate with former Rhapsody (and current Angra) singer Fabio Lione in a project called, what else, Turilli/Lione Rhapsody. Just had to stick in that Rhapsody at the end, didn't ya?

To be honest, I do not blame their branding decision here, because this is as Rhapsody as it can become, all of that glorious epic symphonic cheese metal in an all you can eat buffet. It is grander than an ancient gladiator fight at the Coliseum in Rome, and it is more dramatic than the biggest of drama queens. Needless to say, if you have any interest in anything of Turilli's and Lione's previous Rhapsody work, this will most likely suit you nicely.

It is still teetering dangerously on that thin line between brilliance and cheese, but the duo fortunately ends up successful more often than not. There is this overwhelming confidence going through this record that wins me over time and time again, a multi layered sound scape of fantastic musicality that is just wonderful to behold. A track like "Decoding The Multiverse" is a prime example of this, a song that should have been over the top with its ridiculous premise, symphonic overload, and an over acting Lione, but it is all performed so expertly that it churns out pure quality instead of Gouda.

The whole first half of the record is overall top notch stuff. Opener "Phoenix Rising" sets the bar nicely with its Middle Eastern spices and catchy chorus, which is then followed up by "D.N.A. - Demon And Angel", where Lione is doing some excellent duet work with Amaranthe's Elize Ryd. Turilli gets his moments too, like the apocalyptic "Fast Radio Burst", and in the solo of the title track.

So it all seemed well and good, and my hopes of finally starting to love a Rhapsody album started to peak out, only to go right back to its hideout at the midway point. The second half has some questionable choices that makes this record slightly front heavy, like why are they suddenly changing between English and Italian? Just a weird choice that does nothing to benefit the album as a whole. There is also more classical influences in here, which is not utilized to its fullest potential unfortunately, it just becomes overly dramatic for my taste. "I Am" and "Multidimensional" saves this second half from being complete confusion, but it does not help my view of any Rhapsody project.

Despite that disappointing ending, "Zero Gravity (Rebirth And Evolution)" is still one of the more powerful Rhapsody records I have heard in some time, showing off the brilliance that both Luca Turilli and Fabio Lione can do when they bash their collective minds together. It makes you miss the good old days, when there was only one Rhapsody out there and not three. Bravissimo to the both of you.

Songs worthy of recognition: Fast Radio Burst, D.N.A. - Demon And Angel, Decoding The Multiverse, Multidimensional

Rating: 8/10 Origins

tlrhapsody.com/
twitter.com/ltrhapsody

Gloryhammer - Legends From Beyond The Galactic Terrorvortex (2019)

There are few bands out there that are as entertaining as the British power metal lords Gloryhammer. Their parody take on the genre is on a completely different level, spewing out music that takes everything cringy about the genre, amps it all up to 11, ultimately creating some good, epic shit. To understand how bat shit crazy this band and albums is, you just need to hear that Angus McFife is once again trying to defend his kingdom against the evil sorcerer Zargothrax and his forces, the rest pretty much speaks for itself.

As expected, "Legends From Beyond The Galactic Terrorvortex" (it just rolls on your tongue, doesn't it?) is another epic display of our heroes and their grand battles. To defeat Zargothrax once again, they have to go to "The Land of The Unicorns", use the almighty "Power of The Laser Dragon Fire", gather together the "Hootsforce", and last but not least, wield the awesome power of the "Legendary Enchanted Jetpack". Jesus Christ, this song titles are just plain awesome, and it certainly let your imagination go buck wild, like how the hell can a jetpack be more enchanted? Science is after all the ultimate form of magic, isn't it?

The songs are just as fun as the titles speak of, giving us enough epic orchestral power metal to last for years to come. There are just so many instances in this album where you find yourself screaming along the music while making big gestures, embarrassing yourself in front of unsuspected people who might be watching, but you do not care because the music is awesome. This is all possible thanks to the complete commitment of the band in their music, going 110% all of the time. Especially vocalist Thomas Laszlo Winkler delivers a big time performance, really hammering in the music into your skull with disgusting efficiency.

As far as progress goes from their last album (the 2015 album "Space 1992: Rise of The Chaos Wizards"), there is not much that have changed. The band stay true to their style, and that is honestly all we could ask for, even if there is moments that are just incredibly silly. The chorus to "Gloryhammer" is just drowning in cheese, but it still gets you hooked in some weird way, even with lines like "My steel will blow you away, fighting mega battles every day". Speaking of laughable lyrics, "Hootsforce" opens up lovingly with "Fight for the king, for the hammer and the ring", which for some reason makes me burst out in laughter every god damn time. It is such a stupid line (and the rest of the chorus is not much better), but the disco beat that accompanies it wins me over. God damn it, the force is strong with these guys.

While "Legends..." is certain to be one of the most entertaining records of 2019, it still feels like a letdown, mostly because "1992..." was such a brilliant record (the fact that it has "Universe On Fire" makes it an instant winner). I also think that the ending track "The Fires of Ancient Cosmic Destiny" just takes it a little too far, both in length and in cheese factor. It is not as disappointing of a finish as "Game of Thrones" was (or so I have heard, never watched the show myself), but it could have certainly been done better.

"Legends..." serves well as a great follow up to "1992...", delivering more of everything, for better and worse. In a way, it is kind of like "Avengers: Endgame", a great product by itself, but its flaws makes it clearly inferior to its older brother. Still, if you have enjoyed the group's previous adventures, or if you are an average power metal junkie, then this album is definitely right up your alley. All hail the mighty Hootsmen of Dundee, and their king Sir Angus McFife.

Songs worthy of recognition: Legendary Enchanted Jetpack, The Land of Unicorns, Power of The Laser Dragon Fire, Gloryhammer

Rating: 8/10 Fires of Ancient Cosmic Destiny

gloryhammer.com/
twitter.com/gloryhammer

More reviews of Gloryhammer
Space 1992: Rise of The Chaos Wizards

Helloween - 7 Sinners (2010)

The peak of the heavier Helloween era is the 2010 release "7 Sinners", an album that capped of 10 full years of Helloween embracing their tougher side, giving their fans something different to what they had been used to from the band's early career. Still, "7 Sinners" took the band's mind set, and kicked it into an even higher gear, ultimately giving us something that could have easily been a thrash metal record, if it was not for the classic power metal elements that Helloween always brings to the table. Question is though, is this album a sinner, or a winner?

The two opening tracks sets the stage instantly, with "Where The Sinners Go" kicking it off by out right stealing the main riff from Dream Theater's "A Rite of Passage", and a heavier tone to it, and then creates a kick ass song around it, with a cool solo and all. Then we have "Are You Metal?" (what a silly question, of course I am), which just goes full force at you with aggressive keyboards, a mad Andi Deris pushing his vocal chords, and an even sweeter guitar solo than the last one. It is a start you will not forget in the nearest future, putting quite a significant mark on the listener.

While the rest of the record never reaches those levels of face melting heaviness, there is still enough in here to keep the personality of "7 Sinners" solid. "Long Live The King" has a main melody ripped straight out of Testament's book of thrash metal, while "Far In The Future" goes more for a apocalyptic theme, to foreshadow the impending doom of the record (it is the last song). Do not expect though to see Helloween going full thrash metal though, because this is a power metal through and through, acting on most of the same strategies that Helloween have used over the years.

Even if the heavier tracks take over, there is still a lot of great quality in this just under an hour record. The energy is surging in a steady pace throughout the record, pumping your adrenaline in a constant flow, save from the slower "The Smile of The Sun". This album is simply packed with memorable and catchy tunes, such as "Who Is Mr. Madman?", "The Sage, The Fool, The Sinner", and "World of Fantasy". Then there is "Raise The Noise" that take it to a whole new level, not with the 80's styled chorus that is easy to scream out. No, this song is memorable simply because it has a flute solo. That's right, a god damn flute takes over and starts showing off, completely out staging the guitars, and I freaking love every second of it.

"7 Sinners" does have a couple of dips, like "You Stupid Mankind" and "My Sacrifice", but this album is all and all a really solid release by a band that took a swing, and while it would not have hurt if they had amped up the heavy bits even more, it still does the job. Most of the songs in here are still of good quality, making "7 Sinners" one of the more pleasant experiences in the Helloween catalog. This is certainly no fool, nor a sinner, it is a full fledged sage that puts a marvelous spell on its listener.

Songs worthy of recognition: "The Sage, The Fool, The Sinner", Are You Metal?, Raise The Noise, Long Live The King

Rating: 8/10 Worlds of Fantasy

www.helloween.org/
twitter.com/helloweenorg

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Helloween - Gambling With The Devil (2007)

After making such a massive concept record in "Keeper of The Seven Keys: The Legacy", Helloween decided to go back to basic with their 12th offering, an album that did not have an over arching theme or story, just a CD with kick ass Helloween music. It is definitely a sensible approach, a way for the band to let off a bit of steam from their pressure cooker. It is a gamble though, because if they let out too much, then the album will suffer dearly, so the title does make a lot of sense in that regard.

Despite its title, "Gambling With The Devil" is pretty standard stuff from the Germans, at least from what they have been doing up to this point during the 21st century. It is heavier power metal that leans on being catchy and epic, and also has some humour to it hopefully. The band has created this solid formula that works for most times, and while I do not think it is broken here, it just does not have the same impact this time around. Could be that I have heard similar, but better, songs previously made by the band, but there is something off with this record.

One explanation could be that this is one of the lighter records in recent memory. Sure, we still get our dose of bone crushing metal, like the insanely aggressive "Kill It" and the chugging "Paint A New World", but there are more songs in here that either lowers the tempo, or has a softer touch to it, and it would be nothing wrong in doing such songs as long as they hold a reasonably good standard, which they unfortunately do not. The first single "As Long As I Fall" is not only ridiculous in its meaning (trust me guys, you will hit the ground eventually), but it is one of the lamest Helloween songs I have heard, not offering anything of substance. Then we have "Heaven Tells No Lies", which is just all out forgettable, which is not good normally, but it is even worse since this is the track that ends the album. A disappointing way to close things up. I do think though that "Fallen To Pieces" is proof that the band can do more light types of tracks, because this is one of the more epic ones of the record with its orchestral incorporation and a varied solo that takes some unexpected turns.

The biggest problem with the record though is that it just is not memorable. I have listened to it a whole bunch, but there are just a few songs that sticks with me. Not saying that the songs are not catchy, but you forget about them as soon as they are over, which just shows that they do not have that impact that you would want from a Helloween tune. "The Saints" is a pretty good example of this, it is a catchy song that has all the tools to become a great track, but it fails at punching it in, mostly thanks to that it is a carbon copy of what Helloween has previously done. This is also why more original songs like "I.M.E." and "Can Do It" stands out more, they do not remind us of any previously made song.

This is a surprisingly frustrating record, because there is quality in here for sure, but it is quality we already knew the band possessed, so it does not have that lasting impact. "Gambling With The Devil" is definitely a record you can take for a spin now and again, fully enjoying the experience every time, so it honestly does not do much wrong. It is however a more laid back version of Helloween we get, which keeps it from reaching those high levels. It seemed like a safe bet from the start, setting up for a sure fire jackpot, but I guess good old Beelzebub has tricked us once again, leaving us with a decent, but forgettable, record.

Songs worthy of recognition: Fallen To Pieces, Kill It, Paint A New World

Rating: 6,5/10 Saints

www.helloween.org/
twitter.com/helloweenorg

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Battle Beast - No More Hollywood Endings (2019)

If there is one thing that I think a lot of bands do way too much of today, it is referencing the 80's. Sure, it was during this period when metal was at its peak, both in quality and commercially, but the amount of bands that tribute this era through their music makes me pretty sick to be honest. Well, now we can add Battle Beast to that group as well, a Finnish group that started out as a pretty exciting power metal power house who has gradually added more of the synth-like 80's influences for each album.

Now, I know that I said in my "Bringer of Pain" review that the added 80's influence was an advantage for the band, so why is it a problem in "No More Hollywood Endings"? Simple, what was once an added flavour is now the entire main course. Battle Beast has turned into a 80's pop metal band, and while there is still some power in there, it is far from the impactful force that the band produced in their early days. Every song in here is a nod to that decade and its colorful neon lights, so the cheese factor in here is insanely high, and not in an entertaining way.

An example, "Endless Summer" is more or less a Whitesnake song that borrowed some lines from Kid Rock's "All Summer Long". I do not know if it is a tribute or what, but by god is it ever a slog, something my younger self could not imagine that this band might do. It is only one of several softer tracks in here, really enhancing the pop elements to a maximum, and it mostly ends in boring fluff such as "I Wish" and "Bent And Broken". Then there are tracks that are just odd, like the Bon Jovi flirting "Unfairy Tales", and "My Last Dream" that is going everywhere at the same time.

I do have to admit though that there are moments when the 80's vibe does hit the spot just right. "The Hero" obviously steals the main riff from "Maniac", but this is a track that uses the echoing drums, the synthesizers, and the glossy flair in a nice, epic fashion. Guitarists Juuso Soinio and Joona Björkroth steals the show here with two really nice solos, especially that last one is goosebump inducing. Epic rock ending for the win! We also get a nice part of the album where more of the classic Battle Beast appears with the trio of "Raise Your Fists", "The Golden Horde", and "World On Fire" unleashes hell upon us, showing that there is still some power in this band. I do have to question the ending of "The Golden Horde" though, where Wilhelm comes on and does his usual scream. Makes me laugh every god damn time.

Well, there is ultimately not much battle in this beast anymore, they are just acting tougher than what their music implies. "No More Hollywood Endings" is a confusing pop power mess that never seems to get a footing, slipping and sliding in the mud of its confidence. There are still some nice highlights in here, but just like you do not watch a movie for a specific scene or two, you do not listen to an album for just a couple of songs, it is the entire experience that is the most important thing. Now that the credits have rolled, let us move on to the next album.

Songs worthy of recognition: The Hero, Raise Your Fists, The Golden Horde

Rating: 5/10 Unfairy Tales

www.battlebeast.fi/
twitter.com/BattleBeast

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Helloween - Keeper of The Seven Keys: The Legacy (2005)

Going through this discography so far, it is fair to say that Helloween is more than just what the "Keeper..." series has eluded to. The band has created a lot of great music over the years, which has certainly helped them stay relevant during the course, but it is those two legendary albums that fans keeps coming back to, that completely over shadows every other achievement the band has done, which is a crying shame. So from that perspective, it is easy to see why the band took another shot at the series, to see if they could strike lightning in a bottle again with an expansive concept set in this world they have created themselves, to see if they could add anything to its legacy. Gotta admire the confidence of the guys, because it is basically a suicide mission from the start.

The first question that comes up is how you can recreate a legendary (or in this case, two) album with a completely different line-up. The answer, you can't. Let us be clear here, "Keeper of The Seven Keys: The Legacy" certainly has moments that is reminiscent of its predecessors where the band is soaring on those eagle wings again, but as a whole it has more in common with more recent efforts like "The Dark Ride" and "Rabbit Don't Come Easy", having a heavier and darker edge to the music. It is a nice blend of styles, and it is necessary since it is hard to recreate that classic sound. For instance, Andi Deris cannot carry those high soaring vocal parts as Michael Kiske can, thereby the music does not get as much of an impact, making some of the more nostalgic bits in here not as good.

Then it is fair to wonder how many asked for a continuation of this series, 17 years after the last album. Well, whether the fans wanted it or not, they got a mouthful to say the least, 1 hour and 17 minutes of music split into two discs to be exact. It is an incredibly meaty record that takes its time to get through, and it shows. Out of the 13 songs in here, I would say that there are about 5 fillers in here, and each of the opening tracks are over 10 minutes long (which is the opposite tactic from the first two albums that both ended with a 10+ minute song). This is definitely way too excessive, and also an obvious sign that the band was feeling themselves, going for broke as much as they could.

Despite their length though, both of the mastodons "The King For A 1000 Years" and "Occasion Avenue" are two fine highlights of this record, showing once again that the group are excellent at writing long tunes. "The King..." opens up nicely to tie together the past and present Helloween in a dark opener that sets the mood spot on. "Occasion Avenue" is more of the modern era though, having this apocalyptic choir that haunts the listener, bone heavy riffs to make a bigger impact, and a great, epic chorus to seal the deal. They say "Occasion Avenue" a couple times too many though, making sure that the listener does not forget what the song was called again.

As far as comparing the two discs, I would say the first disc is the better one, with a consistency that is impressive, from the nostalgic "The Invisible Man", the adrenaline fueled "Silent Rain", and the incredibly fun and catchy "Mrs. God". Only real downer on that disc is "Pleasure Drone", otherwise the first disc is a great album by itself. The second disc absolutely has its moments, like "Shade In The Shadow", "My Life For One More Day", and the previously mentioned "Occasion Avenue", but it is in here we find most of the boring fillers, which makes the entire endgame a much longer journey than it had to be. Songs like "Come Alive" and "Do You Know What You're Fighting For" should have been left out, because they do not add anything besides some story context.

It ultimately stands clear though that "Keeper of The Seven Keys: The Legacy" might not reach the same heights as its older brothers, but then again, who the hell expected that? This is a record that is way too long for comfort, but there is still enough good quality in here to go around for everyone. With an eye looking in the past, and another looking towards the future, Helloween has created a record that fits the legacy of the band nicely, displaying some mighty fine songwriting from a group that is as confident as ever. Only time will tell if this is truly the last we will hear from the keeper and his seven keys, but I think I speak for most of us that we do not need another sequel, just let the legacy be.

Songs worthy of recognition: Shade In The Shadow, The Invisible Man, Mrs. God, Occasion Avenue

Rating: 7,5/10 Pleasure Drones

www.helloween.org/
twitter.com/helloweenorg

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Keeper of The Seven Keys: Part 2
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Better Than Raw
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Rabbit Don't Come Easy
Gambling With The Devil
7 Sinners
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Helloween - Rabbit Don't Come Easy (2003)

After a trip through "The Dark Ride", Helloween went back to their happy place with a more uplifting effort for their 10th full length effort, one that definitely rivaled "Pink Bubbles Go Ape" in how wtf the album cover was. The phrase "Rabbit Don't Come Easy" is actually a play of the classic saying "pulling a rabbit out of the hat", referring to the line up changes that happened prior to the album, including Roland Grapow being replaced by Sascha Gerstner, and Mark Cross playing two of the tracks before falling ill, forcing Mikkey Dee of Motörhead fame to quickly step in. It is a fun title, but why did it have to be accompanied by that CGI abomination of an image? It is like watching the original "Toy Story" again, it has not aged well.

Fortunately for us, the music have not aged that much, building on that high octane power that we saw from "The Dark Ride", excluding the dark bits. It certainly has that Helloween feeling of pure power metal epicness that has made a lot of people falling in love with the band, and a lot of this comes from the massive amounts of fun this band seems to have playing this record, even slipping in some naughty lines in the lyrics like "Something's growing in my pants as I look into her eyes". It is silly, but what did you expect from a bunch of pumpkin heads.

The ideas has been flowing as well, with twelve songs coming together for just over an hour of run time. It is a meaty album for sure, but it goes by quite quickly with all the cool songs making you forget all about time. We have a bunch of really catchy songs in here that might make you scream, like the opening duo "Just A Little Sign" and "Open Your Life", the mid tempo groove item "Never Be A Star", and the heavenly "Hell Was Made In Heaven". There is definitely a chance your vocal chords will scream and beg for you to stop, so make sure you do not get too carried away while listening to this record.

The most impressive thing about this album though is the diversity of it, having the strength to show off a complete set of different moods, tempos, and styles. "Don't Stop Being Crazy" for example is a 90's Metallica style ballad that works as an excellent change of pace in the middle of the record, or how about "Liar" which is the exact opposite, a heavy, hard hitting steam roller of galloping riffs and pure anger. "Back Against The Wall" is heavy as well, but in a more fluent way where the drums commands the show more than the guitars. And to add a little nostalgic touch as well, we have "The Tune" that will surely make the old school fans happy.

The two most interesting songs in this record though can be found at the very end, starting with "Listen To The Flies" that has a great structure to it, building up to this neck hair rising chorus where the falsettos are on point, striking high on the epic scale. Still, it has some slower and melodic moments, making it an interesting case of metal goodness. Then we have "Nothing To Say", one of the strangest Helloween songs I have ever heard, just for the fact that it mixes so many different genres. We got this classic rock vibe that is very reminiscent of Def Leppard in the verse, which then goes into straight up reggae in the bridge, only to become slightly more modern rock in the chorus. It is strange, but it flows actually quite well, making it incredibly intriguing. The thing though that takes this song from being good to awesome is the ending, where the band goes full on "Stargazer" with its headbanging drive and epic feel. I am not kidding on this one, they even say "I see a rainbow rising", making it obvious that this is a full on tribute to the Rainbow classic. What a way to end a record.

So if you have not caught up to what I have said yet, "Rabbit Don't Come Easy" is a fun record, and while it is a tad bit long and have a couple of fillers, it is still a hell of a Helloween record, overflowing with neat ideas and memorable moments. It might be the most innovative Helloween record up to this point in their careers, which is impressive knowing what kind of struggles they had leading up to it. Well, they obviously had fun making "Rabbit Don't Come Easy", and it is just as fun listening to it.

Songs worthy of recognition: Listen To The Flies, Just A Little Sign, Open Your Life, Nothing To Say

Rating: 8/10 Liars

www.helloween.org/
twitter.com/helloweenorg

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Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
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Better Than Raw
The Dark Ride
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
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Straight Out of Hell
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Avantasia - Moonglow (2019)

Everyone's favourite side project is back again, but after celebrating 20 years of existence and 8 full length releases, it does not really feel right to call Avantasia a side project. In fact, it feels like Tobias Sammet has put more effort into this group than what he does to Edguy as of late, almost trying to find every excuse imaginable to gather his fellow vocalists to continue on his theatrical fairytale. Well, as long as the quality is still there, I am all aboard.

So it should not come as a surprise that "Moonglow" is pretty close to its predecessors in terms of sound, using that copyrighted style of epic symphonic power metal that Tobias has developed close to perfection. The guest list is also pretty familiar, with returning vocalists such as Jørn Lande (Jorn), Ronnie Atkins (Pretty Maids), Bob Catley (Magnum), Michael Kiske (ex-Helloween, Unisonic, Place Vendome), and Geoff Tate (ex-Queensrÿche). We do get a couple of surprises though, but I will get to them later, just rest assured Avantasia fans that Tobias is not going too far from his normal formula.

It all starts with "Ghost In The Moon", a close to 10 minute track that is just typical Avantasia cheese to the core, and it is pure cheese, with no guest artists adding any additional spices to it. It goes on for a bit too long, but it is a fine opening. The album does really take off in the next track "Book of Shallows, in which Jørn, Ronnie, and Hansi Kürsch from Blind Guardian (who makes his first Avantasia appearance, which feels odd) step in together with Tobias to create a nice and meaty masterclass sandwich. It all goes well, then suddenly, around the half way point, the guitars get heavier, the tempo shifts, and in comes Mille Petrozza and turns this track into a brilliant Avantasia/Kreator fusion that should not work, but oh man it does! Talk about making an impact.

After a calm and beautiful title track (featuring Candice Night from Blackmore's Night), we get another mastodon in "The Raven Child", an 11 minute monster that starts off with some nice Blind Guardian acoustics, and then it just picks up the intensity as it goes along, leading to some incredibly epic moments. This might be one of my favourite 10+ minute songs from Avantasia, just for how it keeps the listener on its toes throughout the run time, and then also rewards said listener to a truly epic finish, where Jørn gets to do what he is best at, shriek like Ronnie James Dio, and rock out. Add Tobias who goes back and forth with Jørn for more than a solid minute, and we get some great, headbanging epicness to close out one of the highlights of the record.

And it is easy to think that the album does not get much better from here, and it does not, but it still has a few aces still in its sleeve. "Starlight" is another classic Avantasia tune that we have heard before, but is still just as great, and in "Requiem For A Dream" we get Kiske in good old Helloween form, passing by in blazing fast speeds. Then we have the two Geoff Tate only tracks "Invincible" and "Alchemy" that are pretty different from each other, but they are equally awesome, showing some of the most emotional work we have heard from Tate in years. Who knew it took a German power metal singer to bring back that Tate to our lives.

While there are a good bunch of quality in this record, it does still have some questionable decisions. Like was it really a good idea to cram in Tobias, Ronnie, Jørn, Eric Martin (Mr. Big), Bob, and Tate into "The Piper At The Gates of Dawn"? No, it was not, it is way too many chefs for this soup. Also, was it really necessary to add in a cover of the classic "Flashdance" song "Maniac"? The cover is perfectly fine, adding some cool guitar work to an already groovy song, but it does not add anything to the record. Besides, I think Firewind did a stronger and more personal effort on their cover, so go check out that one instead.

Despite that, there is still no question that Tobias Sammet is still the co-king of multi vocalists projects (together with Arjen Lucassen of course), delivering another excellent Avantasia record to the people. It might not push the boundaries on what the band can be, but it does deliver on what it wants to do, displaying some epic theatrical music with some of the best vocalists around. "Moonglow" is certainly shining bright, both at night and at day.

Songs worthy of recognition: The Raven Child, Book of Shallows, Invincible, Alchemy

Rating: 8/10 Ghosts In The Moon

www.tobiassammet.com/
twitter.com/_avantasia

More reviews of Avantasia
The Mystery of Time
Ghostlights

Helloween - The Dark Ride (2000)

In our little stroll through the theme park that is Helloween's discography, we have now come to "The Dark Ride", the first attraction that was instated during the 21st Century. Just as the name suggest, it is closer to a haunted mansion than a horse carousel, being a little darker and a little rougher than the previous rides that we have gone through. But do not be afraid, it only looks tough, it still has that childish joy that this whole park is well known for. Let's ride.

The album opens up in classic Helloween fashion, with high flying power metal. Both "Mr. Torture" and "All Over The Nation" are pretty much standard procedure, with the double bass going red hot, the higher register of Andi Deris' repertoire being used frequently, and the guitars are going wild as well. It is a fun start, but knowing what the rest of the record is offering, it does trick the listener quite good into thinking that this is gonna be another happy Helloween effort.

Well, the third song "Escalation 666" changes the mood quickly with its dark atmosphere and tough as nails riffs. It is strange at first, but thanks to some nice structuring and the ominous, yet catchy, whispering of the title, it managed to persuade me, and also prepare me for the rest of the album. "Mirror, Mirror" continues on the same track, with Andi using some haunting aggression to accentuate this heavy tone. It definitely has influences from classic horror movies in its sound, which certainly gives the song a nice touch.

And so it goes back and forth throughout the record, mixing the brightness and darkness in a very dynamic way that makes the experience really fun, but it is the pure quality of the tracks that makes me come back to this record. There are several tracks in here that are just catchy bangers, from the adrenaline fueling title track and the high soaring "If I Could Fly", to the brilliantly groovy choir piece "The Departed". Helloween is just firing on all cylinders here, pulling off all of their tricks that they have garnered over the years.

There is one thing though that I think is the greatest achievement of "The Dark Ride" though, and that is that it laid the foundation of what the band would become in the future. With some of their 90's records, they have still held tight to their 80's identity, but "The Dark Ride" unleashes the band into the new millennium in the best way possible. The sound in this record set the standard for the upcoming ones with crisp production and versatile song writing, and it is a style the band still uses to this day, a nice and healthy mix of power and darkness that speaks to their old fans, while bringing in some new ones as well. I might as well get my ass to the back of the line again, because I am going for another ride.

Songs worthy of recognition: The Departed, Mr. Torture, Escalation 666, The Dark Ride

Rating: 8,5/10 Immortals

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
Master of The Rings
The Time of The Oath
Better Than Raw
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Helloween - Better Than Raw (1998)

After gaining back most of the respect they had in their early career, Helloween probably felt confidence in moving onto other territories again, going beyond the fantasy themes that have served the band so well. But to not make the same mistake as last time, the Germans dialed up the heavy dial, adding another layer of metal coating to their sound so that they would not scare away their fans once again. Also, it probably helped that the album cover for "Better Than Raw" also included a nice witch pinup cooking little Helloween men (probably the members) in a big bowl while wearing a skimpy bikini that is more suited for a sex dungeon than a castle kitchen. Men are so easily fooled...

Anyway, the band presents us with something pretty similar to their previous two outings, but it is clear from the start that the band is not relying themselves on safe methods. After the theatrical intro "Deliberately Limited Preliminary Prelude Period In Z" (What kind of a name is that?), the band blasts through with "Push", a straight up banger that also sees Andi Deris trying his best "Painkiller" voice, and does a good job doing so. It is an energetic start that keeps on rolling in "Falling Higher", so far so good for the power metal lovers.

Then the band drags us back to the 80's in the first of two singles of the record, "Hey Lord!". The sound is something straight out of Ratt, and the added robot voice only enhances the flavour of this cheese to gorgonzola levels. It is certainly one of the more dated songs in this record, even at time of release. The second single "I Can" (which is found a little later in the album) is certainly more catchy and is enjoyable in its own right thanks to its groovy momentum, but it is a little too laid back in its approach, making it seem lazy. Also, both of these tracks does not really represent the album that well, so bummer there.

The middle of the record is nothing to showboat about either. "Don't Spit On My Mind" feels like a softer Pantera track, trying to be in your face with a pillow and an ice hockey choir. Then we have "Revelation", who despite having some speedy sections, is a pretty dull track that goes on for far too long, with an ultimate play time of 8:21. Speaking of dull, "Time", the previously mentioned "I Can", and "A Handful of Pain" continues the "meh" streak, making me thirsty for some excitement.

Finally we get some speed again in "Laudate Dominum", but it seems like we have a substitution at our hands. Helloween has apparently switched with Rhapsody of Fire, singing in Latin and having these neo-classical elements. It is another strange song in what is forming out to be a divided record with tons of ideas, but no real direction. We also got two pretty decent bonus tracks in "Back On The Ground" and "Midnight Sun", but they do not help "Better Than Raw" as a whole because they are just bonuses. Yeah, this is a mixed stew of tracks that has some enjoyable moments, and I like that the band went a little heavier, but there is very little substance here to hold it all together. The recipe for "Better Than Raw" is pretty iffy, I would like to go with something more rare next time I make an order.

Songs worthy of recognition: Push, Falling Higher

Rating: 5,5/10 Revelations

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
Master of The Rings
The Time of The Oath
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Helloween - The Time of The Oath (1996)

What is it with metal bands and their urge to make concept records of Nostradamus? Sure, the Frenchman was quite the character, spewing mysterious predictions left and right like he was the 16th century version of Oprah Winfrey, but is his life and work really interesting enough for not only Judas Priest to make a concept record about him, but also Helloween. It would maybe make some sense is any of the two bands has shown some previous interest in history and also has some kind of origin in France, but nope, none of that, just a random choice for a random concept. Fortunately for the power metal lovers, Helloween did not make a slog of a record.

So to get more into the concept, "The Time of The Oath" talks about what Nostradamus predicted for the years 1994-2000, and the choices humans might make after these happenings. While none of these predictions did come true, like a third world war, it does encourage some inspiration for the song writing that is interesting to look into. It is also nice to see the band branch out, not staying on the same type of brain patterns for the song writing process, showing some good development.

Even if it is a new direction for the band lyrically, musically it is still that epic style that they created in the predecessor "Master of The Rings", flying far on those golden rings towards eternity. The lads perfect this sound further here with clearer production, and song writing that is euphoric when it is at its best. It still has a little 80's touch to it, so it does sound a little outdated, but who cares when you crank out tunes like the blazing trio "We Burn", "Kings Will Be Kings" and "Before The War", the galloping "Steel Tormentor", and the incredibly fun and catchy "Anything My Mama Don't Like". A good amount of fun and diverse tracks for all of you to devour.

This would make a brilliant 40 minute record, if it was not for the fact that there is an additional three tracks that tacks on 20 more minutes of clearly competent, but highly unnecessary music. The trio of "Mission Motherland", "If I Knew", and the title track brings "The Time of The Oath" to a screeching halt, and keeps the stick firmly stuck at 2nd gear until the end. As individual songs, they are fine, especially the title track is a neat little semi-progressive gem, but putting them all together is not a good idea, it creates a black void of slow motion that takes forever. In other words, this album is too long.

Despite that ending, "The Time of The Oath" is still a very enjoyable effort that sees the band continuing to re-build the respect they got with the "Keeper..." albums, and lost with what came after those. The Germans manage to excel with their team work, helping each other out in all aspects in the making of this record, creating a diverse and fun experience that may overstay its welcome a little, but there is enough goodies in here to go around. We are truly witnessing the masters of the rings, and none of them are on the cover.

Songs worthy of recognition: Steel Tormentor, We Burn, Anything My Mama Don't Like, Kings Will Be Kings

Rating: 8/10 Motherlands

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
Master of The Rings
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Helloween - Master of The Rings (1994)

After two very strange records and a shuffling of the line-up, Helloween emerged in 1994 as a reborn band, seemingly with a goal to completely erase both "Pink Bubbles Go Ape" and "Chameleon" from existence by going back to the band's roots. The title "Master of The Rings" sure has a nice ring to it (pun intended), taking us back to the fantasy realm where close to anything can happen, but who is the master? Maybe it is the video game part of my brain talking, but it cannot be anyone else than that blue blur known as Sonic The Hedgehog. Let us see if he makes an appearance, telling the band "You're too slow, come on, step it up".

It is funny that I talk about Sonic, because we do get a song dedicated to video games called "The Game Is On", talking that it could be a good way to escape reality and have some fun, as long as you do it responsibly. The lyrical themes are otherwise going in all sorts of directions, like doubts in faith inn "Why?", making sweet love in "Secret Alibi", and even giving former singer Michael Kiske a brutal slamming in "Mr. Ego (Take Me Down)". Ouch, that has to hurt.

While we are in the topics of singers, let us discuss Kiske's replacement, Mr. Andi Deris, who was picked up from Pink Cream 69. In terms of pure talent and range, Andi is definitely a down grade for Helloween, he just cannot match what Kiske could do, but he still has a unique tone to him that does fit the heavier side of the band. He is definitely not some average Joe that you are gonna forget, he gives his all, and does so in his way, which is probably why he is still with the band over 20 years later.

Andi does get a good amount of opportunities to shine in this record, because "Master of The Rings" has a bunch of really enjoyable tunes. "Sole Survivor" and "Where The Rain Grows" opens up the record with classic old school power metal, it is powerful, epic, and catchy as all hell. "Perfect Gentleman" shows off a more groovy and less serious side of the band that just feels fun, and "Still We Go" closes the album in an full on HammerFall-like offense. It is a dynamic record that may not have the same fire power as the "Keeper..." albums, but it is still a fun record to listen to.

However, even if the album is dynamic, it has sort of the same problem that "Chameleon" had, and that is that it feels sort of like a collaboration album, with songs that could have been made by other bands. "Mr. Ego (Take Me Down)" could have been a Queensrÿche song, and "In The Middle of A Heartbeat" could have been written by Bon Jovi. Then we have the most bonkers song in the entire record, "Take Me Home". I had to triple check to see if this was not a cover, because this track sounds so much like Van Halen that it just could not be an original track. It has everything that makes Van Halen what they are, the fast paced groove, the confident swagger, and the deciding factor, the guitars. Michael Weikath and Roland Grapow brings out their inner Eddie Van Halen and goes ballistic with insane riffs and solos that Eddie himself would be either proud over, or mad because they they straight out copied his style. I bet both Michael and Roland did a ton of practice on "Eruption" in their youth, and they nailed this one, creating a fun as hell song that is a clear stand out.

Overall, "Master of The Rings" is a clear return to form for Helloween, at least in the eyes of those who enjoyed their first three records, but not the two after those. For me, this is for sure a fun record that displays a band that has once again found harmony, a group that felt with ease in where they were at. It still has its fair share of bumps on the road, so the ride does not come out limousine quality of smoothness, but it is still a fun ride nonetheless. It is not like you are flying on a giant, golden ring in space, more like a four wheeler in the woods.

Songs worthy of recognition: Where The Rain Grows, Take Me Home, Still We Go

Rating: 7,5/10 Perfect Gentlemen

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Amaranthe - Helix (2018)

"We all die. The goal isn't to live forever. The goal is to create something that will."

That is the opening line to the Swedish/Danish collaboration Amaranthe's 5th studio effort "Helix", a statement that is most likely true to anyone who is in the music business, to construct something that will be enjoyed for generations to come. While Amaranthe may not have presented us with any masterpieces so far, they have at the very least established a sound and style that no other band out there has replicated successfully. Let us see if they take their trademarked sound to new, breathtaking levels.

To accomplish immortality, Amaranthe has made a shift in the line-up. Founder Jake E left the band last year, and has been replaced by Nils Molin, whom some of you might recognize from the melodic power metal band Dynazty. Not to say anything bad about Jake, he is a good singer and all, but Nils is a clear upgrade. The guy has an incredible range, being this dynamic dynamo that together with female vocalist Elize Ryd and harsh vocalist Henrik Englund Wilhelmsson create a bulletproof symbiosis, the corner stone to the entire Amaranthe sound. It is a slight shame that he does not get much space to work with, but when he does, like in the ballad "Unified" and the speed freak "Iconic", he delivers big time.

Otherwise it is same old song and dance with Amaranthe, it is catchy cyber metal that has a black belt in vocal harmonies. It is obvious however that the two year absent (which is like a life time knowing how frequently the band has released albums) and the member change has given the band a new spark of life. Not that the band have evolved their music or anything, but "Helix" just sounds a lot more fresh than the past two records "Massive Addictive" and "Maximalism". Maybe it is just the sleek production that is even sleeker that fools my mind, but whatever it is, it sounds neat.

The song writing is in the same line, it is classic Amaranthe stuff with few real surprises, but it has more punch to it. The opening quartet of "The Score", "365", "Inferno", and "Countdown" is a brilliant way to start the album, displaying a crash course in what Amaranthe is capable of with some groove, some power, and some bubble gum choruses that stick, but do not annoy. It is unfortunately a little of a flat line album despite all this vibrant power, with the sound changing marginally from track to track. The only stark contrast is when the ballad "Unified" enters the stage, but that is towards the very end of the record, so by that time you are probably already full of that sugary metal, and maybe in desperate need of a detox. "Breakthrough Starshot" stands out as well, but it is a groovy time travel to the 90's that is on the edge of being cringy. A strange habit the band has at least one time per album.

Overall though, I have to say that Amaranthe has delivered a strong and solid effort that fans will embrace with ease. Is it a revolutionary album? No. Does newcomer Nils Molin give the band a new influence? Not really. Will it bring in new fans? Most likely not. However, "Helix" is still a catchy onslaught that is one of the band's best efforts, definitely in line with their first two records. It may be like a donut, a pastry with too much sugar and the most healthy piece is the hole, but it is a tasty treat that you can spoil yourself with from time to time.

Songs worthy of recognition: Inferno, The Score, 365, Unified

Rating: 7,5/10 Countdowns

amaranthe.se/
twitter.com/amaranthemetal

More reviews of Amaranthe
The Nexus
Massive Addictive
Maximalism

Immortal Guardian - Age of Revolution (2018)

I do not really know why, but the album cover for the debut of the Texas band Immortal Guardian reminds me of the movie "Cloud Atlas". The movie is set in different time periods, but there ends the similarities really, no floating castles or Mayan princesses, neither human or robotic. Let us hope that it is not an indication on what my eventual verdict of "Age of Revolution" will be, because even if I was intrigued with that movie, it was still too long and confusing for me to fully comprehend (although I did love Korean Neo, what a bad ass).

Fortunately, this album is neither long, nor complicated. Clocking in at a solid 48 minutes, this quartet is presenting us with what they call "Super metal". Well, I would rather call it power metal deluxe, a type of the genre that few bands manage to pull off without sounding too cheesy. It is clearly obvious that the group has taken some inspiration from fellow countrymen DragonForce, but hear this, they skipped out the parts where they are going fully bananas in the solos and go "Woah-oh-woah-oh" before the last chorus, and replaced them with actual song writing. Yep, it sounds a little too good to be true, but they did it.

To make this all come together, you need good musicians, and we certainly got some here. Vocalist Carlos Zema seems like he fits right in the genre, screaming with such power and confidence, making every note seem like it is a piece of cake to sing them. We also got a great balance between the blazing fast guitar and the complementary keyboards, and that is because Gabriel Guardiola handles both, creating a symbiosis that is beautiful to witness. Let us also not forget Cody Gilliland's hard hitting drumming style, and the vibrant bass attack of Thad Stevens, rounding out a more than solid performance.

All the members aside, it is still the songs that steal the show, with most of the 9 tracks taking full advantage of the attention. The choruses in this record are incredibly strong and very sing along friendly, certainly worthy of making a fool out of yourself by shouting. There is a lot of adrenaline in the music, but it is surprisingly controlled enough so that it does not get too silly or insane. It is just great song writing through and through, keeping a level of intensity that is addictive as hell, and also fun. Man, it is gonna be tough to pick one song from this record that is gonna make the best song of the year list. It is right now a dead race between all of the songs I will list in the bottom.

While I absolutely love this record, it is most certainly not a perfect debut. Some more variation could have been welcome (one slightly slower song ain't gonna cut it), and I really do not like that the band call themselves a "super" metal band, just way too cheesy for my taste. It does not matter that much though, because Immortal Guardian has unleashed an impressive debut that every lover of power metal cannot afford to miss. It has been quite some time since I found a band that had so much intensity and power to them, while also maintaining a sense of control. "Age of Revolution" may not be a full on revolution in metal music, but it puts a fresh take on the genre that is much needed. No bullshit, all power, total bliss.

Songs worthy of recognition: Never To Return, Aeolian, Stardust, Hunters, State of Emergency

Rating: 9/10 Zephons

www.immortalguardian.net/
twitter.com/igmetal

Helloween - Pink Bubbles Go Ape (1991)

What in the ever loving hell is going on here? Seriously, what is this album cover? What is this madness? We are in what looks like a hotel hallway, with a pin-up woman in the foreground, seducing a fish (who looks horrified btw)? Add an awful placement to both band name and album title, and you got "Pink Bubbles Go Ape"... EVEN THE TITLE IS BONKERS!!! Damn these speedy Germans and their peculiar ways.

I wished the strange things ended with the cover, but I am afraid to tell you all that there is more. First up we have a line up change, and it is a major one, none other than Kai Hansen himself left the band stating that the band was now too big for him to have full control over. This led to a shift in the band's sound, going away from the fantasy themes and the extremely epic arrangements, to a more grounded style, both musically and lyrically. Kai was obviously a huge part of the band, so it did not surprise anyone that the band changed a lot after he left (and that his new band Gamma Ray would become an old school Helloween clone). His replacement Roland Grapow (who would later form Masterplan) is not bad at all, but it is just not the same without Kai.

So since Helloween stopped singing about fantasy, wizards, and dragons, what are their lyrical themes now? Well, they are now both more serious, and more humorous in their approach. In one track, they could be speaking up about what kind of future we leave for future generations, or about loneliness and depression. Then there are tracks like "Heavy Metal Hamsters", which is a comedic take on the band's experience with a previous record company. It is so god damn strange that I love it, do not really care that it is far from the fastest or most epic song on the album, hamsters are awesome, and so is this band.

Even if "Pink Bubbles Go Ape" is a clear departure from the "Keeper of The Seven Keys" albums, we still have some of that epic power metal that made us fall in love with the band in the first place. In the middle of the record we find the dynamic duo "Someone's Crying" and "Mankind", two songs that are equally epic, with one being quick and the other being more melodic. Both "Kids of The Century" and "The Chance" has some nice power too, but other than that, "Pink Bubbles Go Ape" is kind of a mess in its sound, opening up with a strange acoustic intro, and having several songs that is more of fast classic rock than power metal ("Back On The Streets", "Goin' Home", "I'm Doing Fine, Crazy Man"). The band is all over the place in this one.

From start to finish, "Pink Bubbles Go Ape" is a strange album that is a huge departure from what Helloween had built up towards this point in their career. It is definitely not a bad record, but it is one that leaves you mostly confused, wondering what happened to the band that wrote such majestic tunes just a couple of years ago. Kai's departure is a big factor of this change, but there is still enough quality in here to make every subsequent listen joyful. Say what you want, but these German hamsters has a knack to make people smile, and it works well, even on such an uneven record.

Songs worthy of recognition: Someone's Crying, Heavy Metal Hamsters, Mankind

Rating: 6,5/10 Crazy Men

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Chameleon
Master of The Rings
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Helloween - Keeper of The Seven Keys: Part 2 (1988)

The second part of the epic "Keeper of The Seven Keys" series was released just over a year after the first part, and with the success that the first amassed, this sequel could relish in the attention that the band has suddenly got. This album became popular quickly, gathering new fans all across the globe, and cementing its legacy as the most successful Helloween record, being so still to this date. But why did it become so popular? Is it really better than its bigger brother? And where are the other 6 keys at?

First question first, one main reason to why the second part is slightly higher regarded is that it contains the two most famous Helloween songs ever made. The opener "Eagle Fly Free" may have never been officially released as a single, but it quickly became a humongous fan favourite thanks to its rapid speed and its epicly catchy chorus. Hell, the entire song is epic, mostly thanks to Kiske and his amazing vocals. Then we have "I Want Out", a more traditional heavy metal song with a memorable main riff, a simple but effective chorus, and a Gary Moore like feeling that will make every metal head bang. It is a classic for all the right reasons, but it is kind of a shame that the more casual fans only know this song from the band, and no other.

While those two tracks might steal the show, there are still a lot of other goodies on "Keeper of The Seven Keys: Part 2". This album is incredibly solid through and through, never dipping down into some sort of abysmal abyss of mediocrity, keeping the quality levels high. Just like with the first part, there are some real 80's moments in here that may not be some of my favourites moments in this record, taking away from some of the more creative bits of the record, but they are still really enjoyable songs that contribute nicely to the album.

One track in here that definitely does not get enough credit is "March of Time", probably because it gets outshined by "Eagle Fly Free". This track is also a epic force of nature where Kiske pushes his voice to the limit, and the results are glorious beyond belief. In any other Helloween record, this would have been the stand out track. One song that do stand out is the title track that ends this album just like "Helloween" did in the first part, by being a 13 and a half minute epic monster. This is a different kind of monster though, not as heavy hitting, but more delicate in its delivery. It is a fine ending to the story with its fantasy like aura, and while I definitely prefer "Halloween", "Keeper of The Seven Keys" ties it all up nicely.

So the differences between the two "Keeper..." records are pretty much minimal, with some more star potential in the second part, but does that make it a better record? Not necessarily, but it is instead the higher floor that is the difference maker for me. "Keeper... Part 2" is a much more even record, with no filler tracks, no annoying sound effects, and it also helps that it contains three of the best Helloween songs ever made. It is a hell of a double header Helloween has created, one of the absolute best metal has ever seen, and while none of the two albums are perfect, they are still incredibly important, both for Helloween and power metal in general. A classic for sure, one that has not lost its shine.

Songs worthy of recognition: Eagle Fly Free, March of Time, I Want Out, Keeper of The Seven Keys

Rating: 9,5/10 Dr. Steins

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Pink Bubbles Go Ape
Chameleon
Master of The Rings
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right