Helloween - Helloween (Nuclear Blast) [Matt Bladen]
There are a lot of bands that go through significant line up changes. It is mainly singers and these can lead to the arguments of so and so is better or this is the 'classic' line up. Even if the 'second' so get has been a part of the band for much longer than the original ever has. Notable examples of this are Marillion, Sepultura and of course Helloween. Since 1994's Master Of The Rings, the German power metal stalwarts have been fronted by Andi Deris, his gutsier, more ragged tones had a lot of Helloween fans up in arms but he has now been at the mic for Helloween for nearly 30 years. Despite this there will always be a collection of fans who consider only the line up featuring previous vocalist Michael Kiske and guitarist/vocalist Kai Hansen to be the 'proper' Helloween. No yes this line up did record the seminal Keeper Of The Seven Keys Parts I & II but times change and bands evolve. However every now and again, whatever the motivation my be, a bit of magic happens, the planets align and it turns out you can please all of the people all of the time.Born out of the Pumpkins United shows from a few years ago. Helloween is the sixteenth studio album from the band of the same name and adds Kiske and Hansen to the five piece line up of Deris, Weikath, Gerstner, Grosskopf and Löble resulting in a triple guitar attack and three vocalists. Across the album we the listener get treated to every musical shift Helloween has gone through in their long careers. Nearly all the songs feature Kiske, Deris and Hansen shifting between lead and backing vocals but there's a definite difference between the songs each of them take the main lead for. When Andi is behind the mic we have the tougher, darker and more cinematic style that Helloween have forged between the 90's and 2000's but with Michael it's galloping speed metal and massive ballads albeit all with a 2021 production shine, Kai also gets his turn with the thrashier sound of that pre-Kiske era.
The slow build intro to Out For Glory leads into a double kick driven power metal anthem with Michael Kiske getting the first go before he starts to duel with his vocal compatriots, I must say as soon as the vocals started I got a shiver down my spine, it's SO GOOD to hear him back singing Helloween songs and this opening salvo is exactly what you want from any sort of Helloween album, but especially this one, next is Fear Of The Fallen a meatier, more modern Helloween sounding track the trio of guitar players shredding up a storm, Daniel Löble's brilliant drumming keeping perfect time, injecting pathos when needed locked in with Markus Grosskopf's thundering bass playing. The band themselves call this "the complete metal universe" with Best Time having callback to the anthemic party tracks like Dr Stein along with the albums Pink Bubbles Go Ape and Chameleon (calm now) whereas the shouty Mass Pollution is straight up Walls Of Jericho thrash.
As we progress through this history of Helloween, Rise Without Chains brings back that glorious Helloween Teutonic power metal as Indestructible has an massive chorus that must be forged in those Pumpkins United shows as a live anthem. The synergy from this seven piece is brilliant considering the amount of time Kiske and Hansen especially have been away from the band. This may be a one-off release (although that hasn't been confirmed) but it's a hell of a one off, perfect journey through the history of Helloween with the key players involved. The final track Skyfall is a 12 minute Kai Hansen penned epic in the tried and tested style of Keeper Of The Seven Keys or Halloween closing the album with a majestic all encompassing track with three guitars, three vocalists and rampaging rhythm section all at full power on a cinematic scale. Helloween is a brilliant record that encapsulates why the band have lasted so long in the topsy turvy music world. I loved this record, any Helloween fan will. 9/10
Klone - Alive (Kscope) [Matt Bladen]
Recorded across two shows, one in The Netherlands and one in their native France, Alive is the debut live album from French atmospheric/introspective art proggers Klone. They have released a number of albums but this record brings together songs from their 2015 album Here Comes The Sun and 2020’s Le Grand Voyage, the last one being released on Kscope. Only right then that this live album has been released on Kscope almost like a gateway into the brooding musical menagerie of Klone, but also because of the current situation, the album acts as a way for Klone to give back to their loyal audience by including some of the excellent tracks from Le Grand Voyage along with favourites, which were part of a setlist that was cut short by the pandemic. Engineered by their live sound engineer Chris Edrich, Alive captures the essence of Klone in full performance mode, both crowds are very involved with the shows, cheering when required but hushed when there are the slower, atmospheric moments.
The wonderful Yonder is the first track we hear as the crowd dies down, the ringing guitars of Guillaume Bernard and Aldrick Guadagnino echoing quietly as Yann Ligner's vocals call out with emotion, the heavy rhythms Julian Gretz (bass) and pulsing drumming of Martin Well building the track into a sorrowful euphoria that shifts into the pulsing intro of the throbbing Rocket Smoke. There's little crowd interaction, except for a few thank you's, but it means that the music does the talking, benefitting the record as it becomes more of a compilation than a live record. This is due to the engineering which makes it sound almost like it was recorded in a studio. Some of my highlights are the yearning Breach and Nebulous along with the heavier riffs of Immaculate Dream and The Dreamer's Hideaway. With Anathema calling it a day last year, I would love to see Klone become the go-to band for emotional, soul-bearing music that makes you have a good cry. I also want to see them live again, so this record has done its job. 9/10
A split EP from Heavy Psych Sounds, this split is one in a series that the label are releasing. Featuring new tracks from UK doomsters Dead Witches and French outfit Witchthroat Serpent, this is thunderous, riff heavy doom with plenty of fuzz to embrace. Die is the 14-minute meandering track from Dead Witches, the outfit formed by Electric Wizard founder Mark Greening. With the band having had a frequency of line-up changes, it was uncertain whether Greening would continue but with a new line-up in place, guitarist Rab Mcilrath, bassist Sam Cutbush and the harrowing screams of new vocalist Spring Thompson the band have made a statement here which should please those who indulge in the occult-tinged doom. It may meander but there is a real intent and drive to the lengthy song that ebbs and flows like a mighty river. Thompson’s clean vocals are strong, whilst her razor-edged howls strike a chilling note. The combination of Cutbush and Greening make for a solid and thunderous rhythm section which allows Mcilrath to sheer off glacial sized riffs which crash with massive echo.
French band Witchcraft Serpent have been plying their trade for over a decade and it shows in these two gloomy, misery filled songs that are both lumbering, giant tracks. The longer of the two, Cyanide Laced Flavour is the eerier song, with the use of audio clips, retro sound and distortion making it a challenging but rewarding ear splitter of a listen. The Fall Of Whitewood which precedes Cyanide Laced Flavour is more traditional if such a thing exists with slabs of concrete coated riffs bursting out in a manic, barely restrained explosion of sonic delight. Both tracks bring plenty to the table and combined with Dead Witches make this a Split EP of considerable interest to those with an interest in the riff. 8/10
Hacktivist - Hyperdialect [Paul Hutchings]
I’d heard the name Hacktivist of course, but I admit I had no idea about their sound. I thought they were technical Djent. It was something of a surprise to discover that Hacktivist is a UK grime-metal quintet. What does that mean? Well, don’t ask me about grime. It’s what means my windows need cleaning – the downside of living on a main road, but I digress. It’s a combination of fast-talking couplets, delivered with an onslaught of verbal sewage that pours out from the dual vocalists Jot Maxi and J. Hurley and backed by a thick, heavy riff-driven soundtrack that sounds like a combination of Meshuggah and Korn. After two tracks my head hurt, and I longed for some Thin Lizzy or Rainbow.
There are certain genres that don’t do much for me and I’m afraid this is another to the list. However, there are definitely bits to identify with; the pumping bass line and the riffing certainly work well with the stream of consciousness that flows forth on songs like Luminosity and the pulsing Armoured Core (featuring Kid Bookie.33, and the electro vibe of Turning Tables with its explosive, relentless drive. Diving deeper into the album we find Hacktivist in no mood to accept the world today. Their question everything attitude is about as topical as you can get it, and the band are in no mood to mess around. “Hyperdialect isn’t an album for people to just casually listen to,” J. Hurley insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. We are the truth.”
It’s an album gripped with social commentary and injustice. It bristles with anger and outrage and acts as a voice for the voiceless. It’s time for questions. With a brutal triple vocal attack, bassist Josh Gurner bringing growls to the party, it’s unsurprising that the band’s approach is to tease and teach through their lyrics. “We are the voice of the people, of this planet,” J. stresses. “We don’t see ourselves as above anyone. We’ve got a chance and a platform to speak, so we’re gonna speak wisdom. We’re not just gonna speak any old jibber jabber. We’re gonna keep it anti.”
I think the best option for this album would be to invite you to listen to it on release and decide for yourself. I like parts of it, but the incessant vocal tsunami, backed by a rather repetitive musical style found my attention wandering. Clearly not the way it should be. So, no rating to this record but a challenge to sufficiently broad minded to give it a go.
Hacktivist - Hyperdialect [Paul Hutchings]
I’d heard the name Hacktivist of course, but I admit I had no idea about their sound. I thought they were technical Djent. It was something of a surprise to discover that Hacktivist is a UK grime-metal quintet. What does that mean? Well, don’t ask me about grime. It’s what means my windows need cleaning – the downside of living on a main road, but I digress. It’s a combination of fast-talking couplets, delivered with an onslaught of verbal sewage that pours out from the dual vocalists Jot Maxi and J. Hurley and backed by a thick, heavy riff-driven soundtrack that sounds like a combination of Meshuggah and Korn. After two tracks my head hurt, and I longed for some Thin Lizzy or Rainbow.
There are certain genres that don’t do much for me and I’m afraid this is another to the list. However, there are definitely bits to identify with; the pumping bass line and the riffing certainly work well with the stream of consciousness that flows forth on songs like Luminosity and the pulsing Armoured Core (featuring Kid Bookie.33, and the electro vibe of Turning Tables with its explosive, relentless drive. Diving deeper into the album we find Hacktivist in no mood to accept the world today. Their question everything attitude is about as topical as you can get it, and the band are in no mood to mess around. “Hyperdialect isn’t an album for people to just casually listen to,” J. Hurley insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. We are the truth.”
It’s an album gripped with social commentary and injustice. It bristles with anger and outrage and acts as a voice for the voiceless. It’s time for questions. With a brutal triple vocal attack, bassist Josh Gurner bringing growls to the party, it’s unsurprising that the band’s approach is to tease and teach through their lyrics. “We are the voice of the people, of this planet,” J. stresses. “We don’t see ourselves as above anyone. We’ve got a chance and a platform to speak, so we’re gonna speak wisdom. We’re not just gonna speak any old jibber jabber. We’re gonna keep it anti.”
I think the best option for this album would be to invite you to listen to it on release and decide for yourself. I like parts of it, but the incessant vocal tsunami, backed by a rather repetitive musical style found my attention wandering. Clearly not the way it should be. So, no rating to this record but a challenge to sufficiently broad minded to give it a go.