Given the overwhelmingly positive reception that Helloween has received since its release last month, I would say that it has indeed delivered on its promise. While those hoping for a true return to the Keeper of the Seven Keys-era sound may be disappointed, as this is very much a modern-sounding Helloween album for the most part, there is still plenty of magic from the band's early days fused with the grittier style that the band have adopted of late. As with the tour, some songs here are Kiske-dominated while others feature Deris more prominently. Some are sung as true duets too, with Hansen even getting a look in vocally at times, and the general vocal mix throughout the album is good - with both Kiske and Deris getting plenty of opportunities to showcase their distinct voices. Perhaps fittingly, given that this is his first Helloween album since 1993's Chameleon, Kiske dominates the opening number. The Weikath-penned Out for the Glory is certainly a track that, deliberately, harks back to the band's 1980s sound; and it is probably the most Keeper of the Seven Keys-esque song here. The cinematic scope of the band's recent sound remains however, with session ace Matthias Ulmer's keyboards helping to provide a dense atmosphere throughout, but the classic Helloween sound also manages to force its way into the spotlight. The opening twin lead guitar harmonies really turn the clock back, with a fittingly thin sound chosen, while the song's overall pace injects plenty of energy into the album's opening moments. Drummer Daniel Löble gets a real workout throughout the song, while Kiske shows that his voice is still as impressive now as it was back in the 1980s - largely unblemished due to his relative lack of touring. Hansen's aggressive vocals add some spice to a heavy post-chorus section; but on the whole the song is a smooth, old-school power metal romp. Kiske soars, and the lengthy guitar solo section is filled with hooks and shredded melodies. Sadly the solos are not credited in the album's booklet, but it would not surprise me if Hansen, Weikath, and long-time guitarist Sascha Gerstner all contribute to it. An over-the-top voiceover from journalist and film editor Xavier Russell injects some of the band's trademark humour into the piece - and the song overall comes together perfectly to open the album in style. Fear of the Fallen follows, and the song is quite a bit heavier - but the overall fast-paced power metal sound is retained. Deris, who did not make much of an impact on the opening number, dominates here, and his gritty voice is perfect for the driving, heavy track. Keyboards double the main guitar riff for a sci-fi vibe, but this is a song that is largely dominated by crunch. It is very much a song in the modern Helloween vibe, which is fitting as it was written by Deris. Deris' songs here, of which there are a few, help to enure that the album is in-keeping with the band's recent work. I am glad that Helloween was not a pure throwback, as there is a lot to love about where the band have moved to since Kiske's original departure. Fear of the Fallen is very typical of that movement, and the chorus is another winner that sees Kiske harmonising well with Deris to really bulk out sound - and it is likely to become a live favourite on the band's upcoming tour due to its energy and hooks.
Best Time, which is a relatively short song and one of only three here that clock in under four minutes in length, is a bit of a quirkier number that features all three singers trading vocal lines throughout. The pace is much less frantic than that of the opening two songs, with a strong mid-paced groove favoured this time. Markus Großkopf's bass features heavily throughout the verses, as it propels everything along nicely while the guitars take something of a backseat, while the catchy chorus features some of the highest-pitched vocals on the album. Kiske and Deris join forces for some excellent screamed notes, while Hansen adds some rhythmic backing vocals - which works well and helps to hammer home the song's quirky nature. Mass Pollution, another Deris-penned song, is another that sounds like a classic modern Helloween track. The riffing throughout is crunchy, while Deris' voice is always pushed to the fore. His gritty voice is perfect for these heavy tracks, and there is little need for Kiske's soaring style here. It is a track that could have easily sat on any number of the band's more recent albums, and as mentioned earlier it is great that this style has not been abandoned on this reunion effort. The modern Helloween crunch is a big part of what has helped the band to remain popular, and songs like Mass Pollution have helped to keep Helloween relevant with their mix of heaviness and snappy hooks. Angels, the sole solo songwriting contribution from Gerstner (although he did also co-write Best Time with Deris), treads a bit of a different path - but still sounds instantly like Helloween. Gerstner has become an important songwriting contributor to the band since joining in 2002, and the somewhat more pop-infused Angels is another strong addition to the band's canon. Like Best Time there is a bit of a quirky vibe found here. The song moves back and forth between typical pop metal hooks and some more keyboard-heavy sections that have something of a theatrical feel - all while Deris and Kiske constantly trade vocal lines. The chorus is another hooky moment, but this is a song where the whole is more than the sum of its parts - with a clever arrangement to make it tick. Rise Without Chains returns to the band's modern sound, with fast-paced crunching riffs and plenty of double bass drumming from Löble. Deris wrote the song, but this time there is a much greater vocal presence from Kiske - with the song sung more as a duet. It is interesting to hear Kiske have more of a presence in a song like this, and in some ways it feels like a look at would could have been had Kiske not left the band originally. Deris' voice fits his own songwriting style the best of course, but Kiske's smooth delivery helps to add a different edge - and the chemistry that the two singers struck up on the tour is apparent here as they bounce off each other perfectly.
Indestructible, the only song here written by Großkopf, is a bit less in-your-face in a pace sense - and instead goes for a more groove-based approach that really allows the hooks to shine. Großkopf has become a great 'extra' songwriter for the band over the past couple of decades, with his occasional contributions to each album often becoming highlights. While there are songs here that I prefer, Indestructible is another memorable song. Großkopf's songwriting style has always had an emphasis on hooks, and that is no different here. The chorus is simple and very catchy; and it allows Kiske to really show off with some great high notes - while Hansen adds his gravelly voice for effect. There is less going on here than throughout some of the other songs, but as a slab of pop metal in the vein of bands like Edguy the song is a success. It is one of the songs that stood out the most to me during my first listen to the album for this reason; and it is another that could become a live favourite due to its simplicity and focus on hooks. Another that song that stood out for me from the off, but for different reasons, is the juggernaut Robot King - a heavy Weikath-penned track that has become one of my favourite numbers on the album. There are similarities to Out for the Glory, with some smooth Kiske-led sections, but the song overall is much heavier and Deris dominates vocally throughout. As a result, the song is a great mix of Helloween's old and new sounds - with Weikath managing to bring the best out of both Kiske and Deris. This fusion of sounds is what makes the song so enjoyable - but this is also helped by the presence of an over-the-top chorus that just sticks in the brain and never leaves. Deris' throat-shredding vocals during the chorus help it to stick; and he shows that he is more than capable of hitting some high notes of his own - which is something that he has not done so much of in recent years. There is a relentlessness about the track too, and there is little pause for breath during its seven-plus minute runtime. There are instrumental sections that slow the pace and inject some neo-classical melodies into the song, but on the whole the track is a furious heavy power metal track that brings the best out of everyone involved. It is perhaps fitting that Cyanide, the shortest 'proper' song on the album, follows as its simplicity allows it to hit hard after the relentless Robot King. It is the final Deris-penned song here, and it is another that is very typical of his style. It, again, could have fitted on any of the band's more recent albums; and there is a nice familiarity to it with its crunchy riffs and catchy chorus that features Deris' distinct voice. It may feel a little tame after the excellent Robot King, but the song is one that over repeated listens sticks in the brain due to its hooks. Sometimes Helloween just needs to be simple and catchy, and that is exactly what Cyanide is.
Down in the Dumps, Weikath's final songwriting contribution, is less simple - but like Out for the Glory it seems to hark back to the band's 1980s sound in a much more overt way than most of the album does. Like Robot King too, there is a good chunk of the band's modern heaviness - which also makes the song another great Helloween retrospective. The song is not quite as catchy as Weikath's other two songs here, but there is still a lot to like about it. Kiske and Deris once again combine nicely for some excellent harmonies, but it is their ability to trade-off vocal lines effortlessly that really brings the song to life. The guitar solo section is great too, with some old-school sounding thin sounds turning back the clock to the 1980s. In truth the solos throughout the album are excellent, but there is something about the solo section here that really stands out for me. It is also great that Weikath has emerged as possibly the strongest songwriter of the album with this three efforts. He has written some of the band's best-known songs, but I think it is fair to say that his contributions in recent years have not often been the band's most memorable songs. He has excelled himself here though, and Down in the Dumps caps off a strong trilogy nicely. Speaking of songwriting, I have a feeling that some will be disappointed that Hansen did not contribute more to this album from a songwriting perspective; and that Kiske did not contribute at all. I am not surprised regarding the latter, as Kiske has never been a prolific songwriter, but I did expect to see some more credits for Hansen - especially as it has been seven years since the last Gamma Ray album. That being said, Hansen has contributed the album's most epic-sounding song - the epic closing number Skyfall. It follows the short Hansen-penned instrumental piece Orbit, which essentially is just an intro to Skyfall, and it is a song that recalls the band's more progressive epics of the past. There are moments here that recall the band's 1980s sound, but there are also more modern sounding Helloween moments which shows that Hansen has tapped into the band's output following his departure. Given the song's length, it is also the most progressive piece here - and there are some prominent keyboard moments courtesy of Jens Johansson (Yngwie Malmsteen's Rising Force; Dio; Stratovarius; Rainbow). It also features the most prominent vocal performance from Hansen, who takes the lead during some low key spacy sections. As such, Skyfall is one of the few songs here where all three of the band's singers are prominently featured in a lead vocal capacity - which helps to make it stand out. That being said however, the song does not need this diversity to stand out - as its progressive nature and plentiful hooks would have been more than enough to make it work. It is also one of those songs that is continually building, as it moves through a number of sections both light and heavy, and the ending section is easily the most epic part of the song - and probably the whole album. Kiske and Deris' voices intertwine perfectly during the cinematic closing section. It is a great way to close out what is a lengthy and powerful album - and it is one of the most epic Helloween songs for a number of years. Speaking of the album as a whole, Helloween can only really be seen as a triumph. While I am sure that some would have wanted it to sound more old-school than it does, I like how the band have managed to incorporate bits of all of their history and styles into one cohesive album. Every song here has something to like about it, and the melodies throughout are so catchy. This is an album that I can see making a lot of Albums of the Year lists come December, and I would not also be surprised if it ends up in mine. Helloween are a band that continue to impress, and this latest album of theirs is one of the most vital metal releases of the year so far.
The album was released on 18th June 2021 via Nuclear Blast Records. Below is the band's promotional video for Skyfall.
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