Getting old provides some interesting context when it comes to listening to music. ‘Keeper of the 7 Keys Part One’ became my gateway into the world of Helloween almost 40 years ago. I had seen an ad for the album in Hit Parader (more specifically on the back page) and decided I needed to search out this cassette. As a young teenager, it never dawned on me that bands I loved would stop making music or that I would still be listening to them in my 50s. I worked backwards at the time and picked up ‘Walls of Jericho.’ When ‘Keeper… Part Two’ was released, I was waiting for them to put the cassettes out on release day to get the album. I had also previously picked up the cassette single for ‘Save Us’, which contained some awesome B-sides. After a mini live album, things then went pear-shaped (pumpkin shaped?) in Helloween world. Kai Hansen left the band and started Gamma Ray. Label issues would stall Helloween’s next album, which would not be released in the States so I tracked down ‘Pink Bubbles Go Ape’ on import. The album didn’t grab me like their first three did, which seemed to be a common consensus around the world. As Hansen released albums with Gamma Ray, Helloween struggled to find their footing with ‘Chameleon’ sounding like each of the songwriters made their own four-song EP with a focus on non-Helloween style music. I enjoy parts of ‘Chameleon’ but don’t really think of it as a Helloween album. At this point, the pumpkins were starting to fester, and the future didn’t look promising.

‘Master of the Rings’ reinvigorated Helloween with Andi Deris taking over on vocals. New and old fans celebrated this and subsequent releases with, of course, lots of debate if the new albums matched the excellence of the ‘Keeper..’ albums or ‘Walls of Jericho.’ For me, ‘Better Than Raw’ became a firm favourite while others were partial to ‘The Dark Ride.’ Band members continued to have some changes over the years, but there was consistency with Deris, Michael Weikath (guitar), and Markus Grosskopf (bass) forming the core of the band. Not every studio album was brilliant for me, but the band continued to release many more hits than misses. Ten years ago, the band released ‘My God-Given Right’ which I would say is an album that probably sits in the middle of their discography for me. Kiske had released some solo albums over the years and returned to the metal world with his Unisonic project. Hansen continued to release Gamma Ray albums, and I really enjoy those albums as well, even with some of them also not fully connecting with me.

Pumpkins United brought Kiske and Hansen back into Helloween without any members leaving. The plan at the time was a new studio song and a tour to celebrate Helloween’s history and present. Four years ago, we received something I never thought I would see in my lifetime- a new Helloween album with Kiske and Hansen. Neither one of them had left the band on great terms way back when, but bridges had been mended over the years. Even better, that self-titled album contained a plethora of great songs with it appearing on many best of 2021 year-end lists, including mine. That brings us to the current with the band releasing the second album to feature the extended band line-up. I would argue this one goes beyond the previous album because they do not shy away from different members contributing to another’s song. The self-titled album at times felt like there were still some lines in the sand where you could tell who wrote which song. The chemistry in the band appears to be at an all-time high right now. I have seen reports the band wrote 30 songs for this record, which makes me wonder if the sequel to this will arrive quicker than the four years between this and the self-titled album.  

‘Giants on the Run’ kicks off the album with a great example of the members blending their songwriting together. The beginning and end of the song provide a prime example of Helloween, where there is a lot of space in the verses and some tasteful guitar work. The song then segways into a section that has Hansen’s touch all over it, from the musical approach to his vocals. Part of me wanted to say it has a Gamma Ray feel as it makes me think of ‘Land of the Free’, but also has hints of ‘Walls of Jericho’ to it. It doesn’t feel recycled though. It fits perfectly within the song and highlights the diversity the band has in their writing while also complementing each other’s different styles. One of the areas where this album diverges from its predecessors is the number of instantly catchy songs on the album. Kiske gets solo lead vocals on ‘Saviour of the World’ where the band bring an aggressive musical attack and combine it with a hugely melodic chorus that begs for audience participation. The phrasing in the chorus reminds me of the ’Keeper Part 2’ album. I read a recent interview where a member said they did not want to just rewrite what they have done in the past, and don’t think they have done it on this album. I think there are always going to be things that are just part of the band’s DNA. If they were adding nu-metal or hip-hop features to their song, we would all complain that it is not who they are. Next up, ‘A Little is a Little Too Much’ showcases a commercial and catchy song with some great keyboards for added effect. The dual lead vocals from Kiske and Deris work extremely well together. This is poppier than anything off the last album and again makes a great sing-along song. My favourite moment from it though, may be the last few seconds of the keyboard being isolated at the end of the song.      

‘We Can Be Gods’ turns up the tempo to closer to a thrash level that again recalls the ‘Keeper’ era and maybe ‘Better Than Raw’ days. Each of the three singers contributes to the song. There are some keyboard touches here as well, but they are mostly subtle and get a cool space in the chorus of the song. The guitar work is excellent, and really that’s where I hear the ‘Keeper’ era on this one, with some great harmony work and then excellent solo work. This has been one of the initial favourites on the album. The first half of the album closes with the piano-based ballad ‘Into the Sun’ whose melody reminds me of something Queen would do. The back and forth between Kiske and Deris serves the song perfectly. The band keep the song on the shorter side at under four minutes. This song is one of the bonus tracks, with Kiske and Deris each doing solo versions.

Side Two, if you will, gets started with a Deris straightforward rock song and the first single ‘This is Tokyo.’ It has a huge chorus and will get the audience singing with Deris and Kiske blending lead vocals perfectly again here. I wonder if the break in this song will lead into a drum solo in the live setting before the band comes back for the guitar solo. The second song we heard from this album follows in ‘Universe (Gravity for Hearts)’ where all the lead vocals are handled by Kiske. Over eight minutes long, it assumes the role of one of the epic tracks on the album. Helloween show off where some of the roots of power metal and the band originated with a huge chorus set to the rapid-fire beat. If you recorded the ‘Walls of Jericho’ album today with Kiske on vocals, I think this could sit comfortably on the album. The guitar work by Weikath, Hansen, and Sascha Gerstner shines across the entire album with each of them delivering killer solos and also having those great moments where they play in harmony. After this multifaceted gem, ‘Hands of God’ could have easily paled in comparison if it had felt like a standard song. This one showcases just Deris on lead vocals. The midtempo approach here feels different than everything else on the album where the chorus has a strong hook, but the riff also keeps getting stuck in my head. It will be interesting to see if this one gets played live, as I think it would be a bit of a curveball in their set. 

We then transition into ‘Under the Moonlight’ where I am reminded of the likes of ‘Dr. Stein’ or ‘Rise and Fall.’ Kiske’s vocals shine here, and I like having a song in this style back on an album. It adds some fun and quirkiness into the album. The band then closes the album with the epic ‘Majestic.’ The intro into the main riff and first verse is awesome. Each of the three vocalists gets their spots here as well. Fists in the air and heads banging will be compulsory during the chorus in the live setting. This one was another instant favourite on the album, and I think it works better at eight minutes than it would have if they had tried to stretch it out to ‘Halloween’ or ‘Keeper of the Seven Keys’ type length. There are still twists and turns that do not feel too short or undeveloped.

After listening to the band for almost 40 years, I love that I still get a rush waiting for a new album and hearing it for the first time. I have been able to play this quite a few times now to review it. The band has changed their approach a little bit since the last album, but this is still quite clearly a Helloween album that draws from their history while also adding in new wrinkles to the sound. Utilising all three vocalists to their strengths has been done very effectively here. I imagine there will be some grumbles out there about the album, but each person’s preferences, of course, will vary. For me, I love how the album gives us a few epic songs, some straight-up catchy songs, some metal classics, and a great ballad. Initial impressions for me, this one will find its place securely in the top half of my discography, but it is too early to say how high it might climb.    

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Author: Gerald Stansbury