Suicidal Angels - "Sanctify The Darkness"
January 12, 2010
Producer: R.D Liapakis
It always brings a smile to my face when I hear band nail the exact sound they are looking for. You may ask how can I know this without knowing the band personally? Well, the answer isn't exactly the easiest thing to explain, but what it comes down to is basically this: you can truly feel the record in your bones, rather than just your ears. It is the subliminal confidence the band gives off with each track, showing they are truly one unit that isn't second guessing what they want to play, and how they know the exact direction they want their music to take, stopping at nothing until they get exactly what they want. Greek Thrash Metal quartet, Suicidal Angels did exactly that with their second studio offering: 2010's "Sanctify The Darkness."
This is the first up and coming Thrash band to grab my attention in quite some time. In my opinion, Suicidal Angels is going to be the next 'big deal' in the thrash music world and the Suicidal Angels are nothing short of a well-oiled machine. They have a classic, old-school thrash sound that every fan of the genre will immediately identify with. Every track on the record contains no shortage of razor-sharp riffs with insane tempo-changes that will keep your head grooving through its entire thirty-eight minutes. What I love most about this group though, is that they remind of three bands that I love dearly, all rolled into one.
The production of the record is a bit more polished and clean with a somewhat stronger sense of melody, which compares to more recent Kreator releases. You can hear this in tracks such as: "Bloodthirsty" and my personal favorite cut off the album, "Apokathilosis." The extremely high-velocity chugging riffs, laced over with strong Anti-Christian lyrical themes is a very strong nod to Slayer tunes such as: "The Pestilence of Saints," "Atheist," and "Beyond The Laws of Church," showcase this rather well. Finally, the very rapid-fire raspy vocal performance on the entire album personally reminds me of Angelripper, who is the front-man of
legendary German Thrash-act, Sodom.
In my eyes, Suicidal Angels are an extremely promising group on the rise. The only 'complaint' I have ever heard about their music is the fact that some tend to think the band is 'too in control' of themselves. In other words, some believe the band is not playing at the very brink of their own abilities, therefore causing some to think Suicidal Angels might not not be giving us everything they have. I do not see this as an issue because of what I previously said at the start of this review. To sum it up, this record basically reeks of confidence and absolution. This collection of music is exactly the way Suicidal Angels intended for you to hear their sound, and I doubt they wouldn't settle for anything less.
I personally think that a few years down the road, after Suicidal Angels adds more records to their discography, people will look back and realize that "Sanctify The Darkness" was the album where this band really came into their own. This compilation of music will become the record that aspiring thrash metal bands of the future will listen to, realizing that is the: sound, atmosphere, and attitude they want to capture.
My Killer Kutz: "Apokathilosis," "The Pestilence of Saints" and "Atheist."
Saturday, January 22, 2011
Friday, January 21, 2011
"The Epigenesis"
Melechesh - "The Epigenesis"
October 27, 2010 (North America Release Date)
Producer: Ashmedi
Despite what the mainstream thinks, whether they like it or not Heavy Metal is a worldwide phenomenon that reaches beyond the North American culture. In fact a good majority of the artists I listen to on a regular basis are not from North America at all. However, in my wildest dreams I never thought I'd see the day where one of my favorite musical acts can call Jerusalem home. Well, there is a first time for everything. The band is named Melechesh and they have been pumping out tunes since 1993.
It was by chance that I stumbled upon their music one day last week as I heard a track from their newest offering 2010's "The Epigenesis". I was hooked immediately and not three days later I found myself putting this Godsend of an album into my cd player.
Right away I knew this band was going to be something special. As they managed to capture a Black Metal sound that would draw new listeners to them. There ultimate goal however, was to bring their Middle Eastern influences into the fold both musically and lyrically. Therefore to give them a truly unique atmosphere and attitude towards their music and really be a band to stick out from the norm. The band themselves coined the term "Mesopotamian Metal" to best describe their sound.
I figured this out right away while listening to the first track on the album titled "Ghouls of Nineveh" A song that follows the same riff for the most part, but the undertones and over all melody of the tune get the point across that many Middle Eastern themes are going to play a significant role on this record.
Melechesh didn't prove me wrong. Just check out the track "Sacred Geometry". It is easily one of the most powerful tunes off the record. This song has no shortage of catchy riffs and melodies and if you couldn't hear the Midden Eastern influences before you shouldn't be able to miss them on this track, as they are front row and center with this tune.
Then you have the album's centerpiece so to speak. The 12-minute title track "The Epigenesis". With this track while still showing off the Mid-Eastern melodies and influences throughout. This tune in general shows-off how talented main songwriter Ashmedi really is. There are not many guitarists that could take a single riff and play it continuously over a three and a half minute period and keep that same riff just as interesting and fresh sounding as when first introduced. Ashmedi accomplishes this feat effortlessly in my book as I didn't even notice how much time had passed before the song shifted gears.
One more thing that needs to mentioned is the two instrumental tracks on this record. Both "When Halos of Candles Collide" and "A Greater Chain of Being" Display Melechesh's musical abilities far beyond the realms of guitar, bass and drums. Both songs showcase the band's writing abilities on Middle Eastern instruments such as the sitar, the Indian sitar, bag-lama saz and the bindir, with very traditional sounding percussion backing both tracks. The only way I can describe these songs are is they are simply euphoric pieces of music that relive your body and mind of stress for the 7 minutes both tracks roughly last.
If you are ever looking to further stretch your own personal musical boundaries. I highly suggest you give these guys 71 minutes of your day and listen to the whole album. Just listening to one or two tracks alone won't give you the full effect of how mind blowing this album really is. If your already a fan of Nile and Mastodon you would probably highly respect what their music has to offer.
"The Epigenesis" is the type of album that will take you on a musical journey you will never forget.
My Killer Kutz: "The Epigenesis", "Sacred Geometry" & "Mystics of The Pillar"
October 27, 2010 (North America Release Date)
Producer: Ashmedi
Despite what the mainstream thinks, whether they like it or not Heavy Metal is a worldwide phenomenon that reaches beyond the North American culture. In fact a good majority of the artists I listen to on a regular basis are not from North America at all. However, in my wildest dreams I never thought I'd see the day where one of my favorite musical acts can call Jerusalem home. Well, there is a first time for everything. The band is named Melechesh and they have been pumping out tunes since 1993.
It was by chance that I stumbled upon their music one day last week as I heard a track from their newest offering 2010's "The Epigenesis". I was hooked immediately and not three days later I found myself putting this Godsend of an album into my cd player.
Right away I knew this band was going to be something special. As they managed to capture a Black Metal sound that would draw new listeners to them. There ultimate goal however, was to bring their Middle Eastern influences into the fold both musically and lyrically. Therefore to give them a truly unique atmosphere and attitude towards their music and really be a band to stick out from the norm. The band themselves coined the term "Mesopotamian Metal" to best describe their sound.
I figured this out right away while listening to the first track on the album titled "Ghouls of Nineveh" A song that follows the same riff for the most part, but the undertones and over all melody of the tune get the point across that many Middle Eastern themes are going to play a significant role on this record.
Melechesh didn't prove me wrong. Just check out the track "Sacred Geometry". It is easily one of the most powerful tunes off the record. This song has no shortage of catchy riffs and melodies and if you couldn't hear the Midden Eastern influences before you shouldn't be able to miss them on this track, as they are front row and center with this tune.
Then you have the album's centerpiece so to speak. The 12-minute title track "The Epigenesis". With this track while still showing off the Mid-Eastern melodies and influences throughout. This tune in general shows-off how talented main songwriter Ashmedi really is. There are not many guitarists that could take a single riff and play it continuously over a three and a half minute period and keep that same riff just as interesting and fresh sounding as when first introduced. Ashmedi accomplishes this feat effortlessly in my book as I didn't even notice how much time had passed before the song shifted gears.
One more thing that needs to mentioned is the two instrumental tracks on this record. Both "When Halos of Candles Collide" and "A Greater Chain of Being" Display Melechesh's musical abilities far beyond the realms of guitar, bass and drums. Both songs showcase the band's writing abilities on Middle Eastern instruments such as the sitar, the Indian sitar, bag-lama saz and the bindir, with very traditional sounding percussion backing both tracks. The only way I can describe these songs are is they are simply euphoric pieces of music that relive your body and mind of stress for the 7 minutes both tracks roughly last.
If you are ever looking to further stretch your own personal musical boundaries. I highly suggest you give these guys 71 minutes of your day and listen to the whole album. Just listening to one or two tracks alone won't give you the full effect of how mind blowing this album really is. If your already a fan of Nile and Mastodon you would probably highly respect what their music has to offer.
"The Epigenesis" is the type of album that will take you on a musical journey you will never forget.
My Killer Kutz: "The Epigenesis", "Sacred Geometry" & "Mystics of The Pillar"
"Majesty And Decay"
Immolation - "Majesty And Decay"
March 9, 2010
Producer: Paul Orifino
In every genre of music there is a band that is extremely talented but somehow are not mentioned along with most of their fellow peers on a regular basis. Maybe it's just where I'm located in this world, but in and around my hometown Death Metal Giants Immolation fit that docket perfectly. Even after the release of their 8th studio album: 2010's "Majesty And Decay".
Immolation sometimes comes under fire because the band is comfortable in treading the waters they have already established in their music. In other words, some fans get displeased because they think Immolation's music isn't growing, furthermore are happy with making the same record again and again.
However, the band does have an extremely recognizable sound that stands above your average Death Metal group. Immolation is known for their music consisting of: Complex hyper-extended riffs that sound amazing to the musically inclined, but leave others searching for the first down beat of the measure. Mixed with their very gloomy and agonizing atmosphere that drag their listeners along rather than carrying them. Immolation needless to say has found a niche of their own and try to flourish it more and more with each record. Which is something I don't have a problem with.
That being said, "Majesty And Decay" is an album that fits the best of both worlds for long time followers of the New York quartet. As it contains the raw unforgiving relentless sound of the early records. It melds very nicely with the more mature, complex signature sound of Immolation we have all grown to love. You can take tracks like "A Token of Malice", "The Purge" plus the title track and you can feel the roots of the earlier material. Then you can take cuts like "The Rapture of Ghosts", "In Human Form" and "The Comfort of Cowards" and hear Immolation do so flawlessly what other bands would sacrifice one of their own members for. Playing such disjointing riffs, along with leads that are broken, yet mesmerizing, that your internal metronome can only struggle to keep on par with!.
Production wise this is their best album yet. Producer Paul Orifino really made sure on this record that the drums had a life of their own, not just blending in behind the guitars and vocals like on some of their earlier releases. While this record isn't their most technical, I personally feel this is their best album to date. The clarity of the production clearly shows-off all the band's different strengths and shows why they are highly respected by most Death Metal devouts, including myself. Furthermore showing why they have been a force to be reckoned with since their debut album "Dawn of Possession" which was released 20 years ago in 1991.
In closing, I encourage all fans of the the Death Metal genre to check out Immolation if you havent done so yet, furthermore a good place to start is with "Majesty And Decay". As it shows a little bit of everything the band has to offer, easily one of the strongest Death Metal releases of 2010. An album that will only gain more praise in my eyes anyway, in the years to come.
My Killer Kutz: "The Rapture of Ghosts", "Power And Shame" & "Divine Code"
March 9, 2010
Producer: Paul Orifino
In every genre of music there is a band that is extremely talented but somehow are not mentioned along with most of their fellow peers on a regular basis. Maybe it's just where I'm located in this world, but in and around my hometown Death Metal Giants Immolation fit that docket perfectly. Even after the release of their 8th studio album: 2010's "Majesty And Decay".
Immolation sometimes comes under fire because the band is comfortable in treading the waters they have already established in their music. In other words, some fans get displeased because they think Immolation's music isn't growing, furthermore are happy with making the same record again and again.
However, the band does have an extremely recognizable sound that stands above your average Death Metal group. Immolation is known for their music consisting of: Complex hyper-extended riffs that sound amazing to the musically inclined, but leave others searching for the first down beat of the measure. Mixed with their very gloomy and agonizing atmosphere that drag their listeners along rather than carrying them. Immolation needless to say has found a niche of their own and try to flourish it more and more with each record. Which is something I don't have a problem with.
That being said, "Majesty And Decay" is an album that fits the best of both worlds for long time followers of the New York quartet. As it contains the raw unforgiving relentless sound of the early records. It melds very nicely with the more mature, complex signature sound of Immolation we have all grown to love. You can take tracks like "A Token of Malice", "The Purge" plus the title track and you can feel the roots of the earlier material. Then you can take cuts like "The Rapture of Ghosts", "In Human Form" and "The Comfort of Cowards" and hear Immolation do so flawlessly what other bands would sacrifice one of their own members for. Playing such disjointing riffs, along with leads that are broken, yet mesmerizing, that your internal metronome can only struggle to keep on par with!.
Production wise this is their best album yet. Producer Paul Orifino really made sure on this record that the drums had a life of their own, not just blending in behind the guitars and vocals like on some of their earlier releases. While this record isn't their most technical, I personally feel this is their best album to date. The clarity of the production clearly shows-off all the band's different strengths and shows why they are highly respected by most Death Metal devouts, including myself. Furthermore showing why they have been a force to be reckoned with since their debut album "Dawn of Possession" which was released 20 years ago in 1991.
In closing, I encourage all fans of the the Death Metal genre to check out Immolation if you havent done so yet, furthermore a good place to start is with "Majesty And Decay". As it shows a little bit of everything the band has to offer, easily one of the strongest Death Metal releases of 2010. An album that will only gain more praise in my eyes anyway, in the years to come.
My Killer Kutz: "The Rapture of Ghosts", "Power And Shame" & "Divine Code"
Thursday, January 20, 2011
"Bloodthirst"
Cannibal Corpse - "Bloodthirst"
October 19, 1999
Producer: Colin Richardson
Change is necessary for a band to evolve whether the results are bad or good. Up to 1999 Cannibal Corpse's 'home away from home' so to speak was the now legendary Morrisound Studios in Tampa, Florida. Also in this time frame Cannibal Corpse had worked with only two different producers up to this point. The legendary Scott Burns (who played a major role in the development of Death Metal sitting at the throne of the soundboards) and the very talented Jim Morris. It seems the theme of 1999 was 'change' for the Death Metal Kings. The results gave us their 7th studio offering: "Bloodthirst".
Packing their bags and heading west, Cannibal was headed to Village Productions in the small border-town of Tornillo, Texas. Where they would begin their working relationship with renowned producer Colin Richardson, who has worked with dozens of different metal groups around the world. Including the group Carcass on their record "Heartwork", which is arguably the first Melodic Death Metal record ever recorded. Excited by the new face at the soundboards and their completely new surroundings, they began to write.
On their previous record 1998's "Gallery of Suicide" with the addition of guitarist Pat O'Brien coming to the fold and the always improving skills of lead songwriter bassist Alex Webster. The band's music was gaining a more technical edge.
With "Bloodthirst" this trend continues to the delight of myself and all the Cannibal fans I know personally. Songs like "Dead Human Collection", "Coffinfeeder" and "Ecstacy In Decay" showcase the band's ever improving mastery and maturity of their instruments. While tracks like "Pounded Into Dust", "Blowtorch Slaughter" and "Raped By The Beast" still show the band remembers what brought them to the masses.
The band didn't make a mistake deciding to work with Colin Richardson, as he complimented their sound beyond expectations. The results, "Bloodthist" is their heaviest set of tunes since 1992's "Tomb of The Mutilated", a feat at the time most fans didn't deem possible.
While some things change, others will always remain the same. While the evolving musicianship and songwriting carries them to new horizons, they will always remain one of the heaviest and brutal bands metal has to offer. "Bloodthirst" is another priceless release by the group. Pick this record up, it will indeed quench your Death Metal "thirst".
My Killer Kutz: "Hacksaw Decapitation", "Dead Human Collection" & "The Spine Splitter"
October 19, 1999
Producer: Colin Richardson
Change is necessary for a band to evolve whether the results are bad or good. Up to 1999 Cannibal Corpse's 'home away from home' so to speak was the now legendary Morrisound Studios in Tampa, Florida. Also in this time frame Cannibal Corpse had worked with only two different producers up to this point. The legendary Scott Burns (who played a major role in the development of Death Metal sitting at the throne of the soundboards) and the very talented Jim Morris. It seems the theme of 1999 was 'change' for the Death Metal Kings. The results gave us their 7th studio offering: "Bloodthirst".
Packing their bags and heading west, Cannibal was headed to Village Productions in the small border-town of Tornillo, Texas. Where they would begin their working relationship with renowned producer Colin Richardson, who has worked with dozens of different metal groups around the world. Including the group Carcass on their record "Heartwork", which is arguably the first Melodic Death Metal record ever recorded. Excited by the new face at the soundboards and their completely new surroundings, they began to write.
On their previous record 1998's "Gallery of Suicide" with the addition of guitarist Pat O'Brien coming to the fold and the always improving skills of lead songwriter bassist Alex Webster. The band's music was gaining a more technical edge.
With "Bloodthirst" this trend continues to the delight of myself and all the Cannibal fans I know personally. Songs like "Dead Human Collection", "Coffinfeeder" and "Ecstacy In Decay" showcase the band's ever improving mastery and maturity of their instruments. While tracks like "Pounded Into Dust", "Blowtorch Slaughter" and "Raped By The Beast" still show the band remembers what brought them to the masses.
The band didn't make a mistake deciding to work with Colin Richardson, as he complimented their sound beyond expectations. The results, "Bloodthist" is their heaviest set of tunes since 1992's "Tomb of The Mutilated", a feat at the time most fans didn't deem possible.
While some things change, others will always remain the same. While the evolving musicianship and songwriting carries them to new horizons, they will always remain one of the heaviest and brutal bands metal has to offer. "Bloodthirst" is another priceless release by the group. Pick this record up, it will indeed quench your Death Metal "thirst".
My Killer Kutz: "Hacksaw Decapitation", "Dead Human Collection" & "The Spine Splitter"
"Blessed Are The Sick"
Morbid Angel - "Blessed Are The Sick"
May 2, 1991
Producer(s): Morbid Angel
In 1989 Florida Death Metal Icons Morbid Angel released their first full length studio record titled "Altars of Madness". To this very day it is considered one of the very first true Death Metal records. Containing complex riffing, drumming that is dominated by blast beats, very raw vocals and leads that were more chaotic than melodic.
Alex Webster of Cannibal Corpse describes the record best by saying "That whole album is so amazing.". So needless to say, fans and fellow bands were extremely hungry for their next record, 1991's "Blessed Are The Sick".
In my eyes "Blessed Are The Sick" is the album that showed me Morbid Angel is the real deal, not one of those countless bands that will settle for making the same record again and again. The improvements on this record is like night and day.
David Vincent (who is also the band's bassist) voice improved significantly, gaining a more guttural sound on this record while on the previous record his voice had a more 'thrashy' sound (found more so in acts like Kreator and Sodom two legendary thrash metal acts.).
For me personally the greatest thing about this record was the fact that the band decided to produce this album themselves. Rather than hire another outside party who they couldn't explain to what they wanted to accomplish with this record. Quite frankly I think they made the right decision, as producers at the time would probably have been shocked at what the band had up their sleeves.
"Blessed Are The Sick" showed a completely different side of the band. While still containing very fast tracks like "Brainstorm" and "Day of Suffering", the album had an overall slower sound then it's processer and contains very strong classical undertones throughout the record containing accoustic guitars and keyboards in certain sections (a rarity in the early years of Death Metal).
Also, this record has a greater sense of melody which in my opinion comes from maturer songwriting and shows how much the band has improved in a little more than two years. True, while still containing the 'chaotic' leads as I mentioned before they are becoming of lesser use as the leadwork starts to blossom into more technical playing, you can clearly hear this in my favorite cut from this record "Fall From Grace". It is also prominent in the lightning fast track "Rebel Lands", as the lead section in that tune is a perfect mixture of melody and chaos rolled into one creating a very standout track on this record.
However, while not my favorite track on the record, the album's title track is the best example of what Morbid Angel was looking to accomplish with this record. It shows the 'slower' sound of the record, David's improved vocals and main songwriter guitarist Trey Azagthoth's very quickly improving songwriting abilities, the outro of the song containing a very spooky classical sounding interlude that could have been written by Mozart himself.
With "Blessed Are The Sick" Morbid Angel broke a lot of boundaries that many thought that couldn't be broken in the Death Metal genre without the risk of selling out. Morbid Angel did it very tastefully as "Blessed Are The Sick" remains a fan favorite in their discography to this very day. An album that will not be leaving my cd player for a long time.
My Killer Kutz: "Fall From Grace", "Unholy Blasphemies" & "Rebel Lands"
May 2, 1991
Producer(s): Morbid Angel
In 1989 Florida Death Metal Icons Morbid Angel released their first full length studio record titled "Altars of Madness". To this very day it is considered one of the very first true Death Metal records. Containing complex riffing, drumming that is dominated by blast beats, very raw vocals and leads that were more chaotic than melodic.
Alex Webster of Cannibal Corpse describes the record best by saying "That whole album is so amazing.". So needless to say, fans and fellow bands were extremely hungry for their next record, 1991's "Blessed Are The Sick".
In my eyes "Blessed Are The Sick" is the album that showed me Morbid Angel is the real deal, not one of those countless bands that will settle for making the same record again and again. The improvements on this record is like night and day.
David Vincent (who is also the band's bassist) voice improved significantly, gaining a more guttural sound on this record while on the previous record his voice had a more 'thrashy' sound (found more so in acts like Kreator and Sodom two legendary thrash metal acts.).
For me personally the greatest thing about this record was the fact that the band decided to produce this album themselves. Rather than hire another outside party who they couldn't explain to what they wanted to accomplish with this record. Quite frankly I think they made the right decision, as producers at the time would probably have been shocked at what the band had up their sleeves.
"Blessed Are The Sick" showed a completely different side of the band. While still containing very fast tracks like "Brainstorm" and "Day of Suffering", the album had an overall slower sound then it's processer and contains very strong classical undertones throughout the record containing accoustic guitars and keyboards in certain sections (a rarity in the early years of Death Metal).
Also, this record has a greater sense of melody which in my opinion comes from maturer songwriting and shows how much the band has improved in a little more than two years. True, while still containing the 'chaotic' leads as I mentioned before they are becoming of lesser use as the leadwork starts to blossom into more technical playing, you can clearly hear this in my favorite cut from this record "Fall From Grace". It is also prominent in the lightning fast track "Rebel Lands", as the lead section in that tune is a perfect mixture of melody and chaos rolled into one creating a very standout track on this record.
However, while not my favorite track on the record, the album's title track is the best example of what Morbid Angel was looking to accomplish with this record. It shows the 'slower' sound of the record, David's improved vocals and main songwriter guitarist Trey Azagthoth's very quickly improving songwriting abilities, the outro of the song containing a very spooky classical sounding interlude that could have been written by Mozart himself.
With "Blessed Are The Sick" Morbid Angel broke a lot of boundaries that many thought that couldn't be broken in the Death Metal genre without the risk of selling out. Morbid Angel did it very tastefully as "Blessed Are The Sick" remains a fan favorite in their discography to this very day. An album that will not be leaving my cd player for a long time.
My Killer Kutz: "Fall From Grace", "Unholy Blasphemies" & "Rebel Lands"
"Keeper of The Seven Keys Pt. 1"
Helloween - "Keeper of The Seven Keys Pt. 1"
February 1987
Producer: Tommy Newton
Sometimes when a band tries to broden their horizons and explore their options musically sometimes long time supporters of the group may not approve of the change of direction, believing in notion 'if it ain't broke, don't fix it'. However, if the band can appeal to new fans that may not have given them a fair listen before, most bands will tell you it was a risk worth taking. This is the situation that faced German Heavy Metal Legends Helloween with their second full length record 1987's "Keeper of The Seven Keys Pt. 1"
In 1985 Helloween released their first record "Walls of Jericho" and it was a major success across Germany. Featuring guitarist/vocalist Kai Hansen as the front-man. Helloween in those days consisted of a very thrashy sound that most people that discover the band these days would be shocked to learn that such a sound existed on a Helloween record.
It was at some point in 1986 that the band decided to a hire a vocal specialist. At the time Helloween was a four-piece band consisting of: Guitarist/Vocalist Kai Hansen, Guitarist Michael Weikath, Bassist Markus Grosskopf and Drummer Ingo Scwichtenberg. They knew they were getting a very talented vocalist but I don`t think they realized how much of an influential figure he`d become for future vocalists in a form of metal that was later coined "Power Metal". Believe it or not in 1987 he was only 18 his name: Michael Kiske.
True, while Hansen and Kiske were both melodic singers the major difference between the two were Kiske's significant higher range. Helloween needed a more operatic and flamboyant voice to match the melodies that were being written and beyond.
The making of this record would be one of the first real 'tests' that the band of endure. During the writing and creative stages of the album, guitarist Michael Weikath would suffer a nervous breakdown, therefore causing his contributions to be very little in this record, in fact he only wrote one song on this record the ballad-esk "A Tale That Wasn't Right". However, with the negative there is a positive and that turned out to be guitarist Kai Hansen in this situation. On this record out of the eight tracks, Kai solely wrote five of them himself showing everybody that he is indeed a very strong songwriter. Also on this album because of Michael's illness Kai recorded all rhythm guitars you hear on the record, and also a fair amount of lead work as well. Despite his illness Michael was allowed to record his own lead parts but that's all he was able to do on this album.
This record is mainly known for two tracks. The first being a Helloween classic and a staple in their setlist to this very day in the tune "Future World", which tells us a story about the glory of living in a Utopian society. However, perhaps this song I'm about to tell you of might be what the album is known for best. It's my personal favorite cut off the record, Kai Hansen's 13-minute epic titled "Halloween", which tells us a tongue-in-cheek tale about the happenings and going-ons on Halloween night. In the track "Halloween" I feel it was the measuring stick in all of Power Metal at the time of it's release. It contains all the elements perfectly balanced in which make a killer Power Metal tune, they are: melodic and soaring sing-along vocals, very catchy but aggressive riffs, incredible melodic lead work and twin harmonies that are permanently embedded in your brain. Indeed the perfect Power Metal track.
I should just quickly mention that this album has a couple of hidden gems that sometimes get overlooked because of Helloween's very lengthy discography. They are "I'm Alive" and "Twilight of The Gods". They are both very fast and upbeat anthem like tracks, with lots of memorable fret work and vocals.
All in all Helloween prove that sometimes taking your music in a new direction can be for the better good for a band. Although they might have lost some fans who preferred their aggressive sound over their more euphoric sound. Helloween was at the start of a new movement in heavy metal, that would start gathering many bands in the years to follow. Weather your a Power Metal devout or your interest in the genre is only starting to peek, if you ever stumble across "Keeper of The Seven Keys Pt. 1" do not hesitate pick up this very prestigious record, as it is a "keeper" for your collection.
My Killer Kutz: "Halloween", "Future World" & "I'm Alive"
February 1987
Producer: Tommy Newton
Sometimes when a band tries to broden their horizons and explore their options musically sometimes long time supporters of the group may not approve of the change of direction, believing in notion 'if it ain't broke, don't fix it'. However, if the band can appeal to new fans that may not have given them a fair listen before, most bands will tell you it was a risk worth taking. This is the situation that faced German Heavy Metal Legends Helloween with their second full length record 1987's "Keeper of The Seven Keys Pt. 1"
In 1985 Helloween released their first record "Walls of Jericho" and it was a major success across Germany. Featuring guitarist/vocalist Kai Hansen as the front-man. Helloween in those days consisted of a very thrashy sound that most people that discover the band these days would be shocked to learn that such a sound existed on a Helloween record.
It was at some point in 1986 that the band decided to a hire a vocal specialist. At the time Helloween was a four-piece band consisting of: Guitarist/Vocalist Kai Hansen, Guitarist Michael Weikath, Bassist Markus Grosskopf and Drummer Ingo Scwichtenberg. They knew they were getting a very talented vocalist but I don`t think they realized how much of an influential figure he`d become for future vocalists in a form of metal that was later coined "Power Metal". Believe it or not in 1987 he was only 18 his name: Michael Kiske.
True, while Hansen and Kiske were both melodic singers the major difference between the two were Kiske's significant higher range. Helloween needed a more operatic and flamboyant voice to match the melodies that were being written and beyond.
The making of this record would be one of the first real 'tests' that the band of endure. During the writing and creative stages of the album, guitarist Michael Weikath would suffer a nervous breakdown, therefore causing his contributions to be very little in this record, in fact he only wrote one song on this record the ballad-esk "A Tale That Wasn't Right". However, with the negative there is a positive and that turned out to be guitarist Kai Hansen in this situation. On this record out of the eight tracks, Kai solely wrote five of them himself showing everybody that he is indeed a very strong songwriter. Also on this album because of Michael's illness Kai recorded all rhythm guitars you hear on the record, and also a fair amount of lead work as well. Despite his illness Michael was allowed to record his own lead parts but that's all he was able to do on this album.
This record is mainly known for two tracks. The first being a Helloween classic and a staple in their setlist to this very day in the tune "Future World", which tells us a story about the glory of living in a Utopian society. However, perhaps this song I'm about to tell you of might be what the album is known for best. It's my personal favorite cut off the record, Kai Hansen's 13-minute epic titled "Halloween", which tells us a tongue-in-cheek tale about the happenings and going-ons on Halloween night. In the track "Halloween" I feel it was the measuring stick in all of Power Metal at the time of it's release. It contains all the elements perfectly balanced in which make a killer Power Metal tune, they are: melodic and soaring sing-along vocals, very catchy but aggressive riffs, incredible melodic lead work and twin harmonies that are permanently embedded in your brain. Indeed the perfect Power Metal track.
I should just quickly mention that this album has a couple of hidden gems that sometimes get overlooked because of Helloween's very lengthy discography. They are "I'm Alive" and "Twilight of The Gods". They are both very fast and upbeat anthem like tracks, with lots of memorable fret work and vocals.
All in all Helloween prove that sometimes taking your music in a new direction can be for the better good for a band. Although they might have lost some fans who preferred their aggressive sound over their more euphoric sound. Helloween was at the start of a new movement in heavy metal, that would start gathering many bands in the years to follow. Weather your a Power Metal devout or your interest in the genre is only starting to peek, if you ever stumble across "Keeper of The Seven Keys Pt. 1" do not hesitate pick up this very prestigious record, as it is a "keeper" for your collection.
My Killer Kutz: "Halloween", "Future World" & "I'm Alive"
Subscribe to:
Posts (Atom)