I am sure I was and still am on the minority side as to my opinion of the 2021 self-titled album (and first in the all-star line-up with both Kiske and Hansen back in the band). I even forced myself to play it once again a couple of months back to see if I was wrong, but no…. still a bitter disappointment. Didn’t even manage to reach half through the album. To me it still sounds forced, uninspired, patchy and lacking good, memorable songs. That was one (and probably the main) reason why I expected the new Helloween album with such hope and an inner wish it would be a retribution.
And dare I say – it is not just that, but totally beyond better. It’s that good. But let’s get back to praises later. Once again co-produced by Charlie Bauerfeind and Dennis Ward and mixed in the legendary Wisseloord Studios (Maiden, Priest, Rammstein), Giants & Monsters sounds no less than tremendous. Opener Giants On The Run sets a drastically different tone and mood from the last album, sounding so much more vigorous, lively and inspired. It’s a song co-written by Deris and Hansen, who also share vocals in a very epic, multi-part, powerful track. Then comes the melodic speed metal tornado Savior Of The World which is among Weikath’s best songs ever. Kiske soars effortlessly in his trademark high-pitches vocals, both the song structure, tempo and overall atmosphere instantly reminding me of Eagle Fly Free (I can see some eyebrows raised, but wait until you hear it!).
Then comes the ultra-catchy A Little Is A Little Too Much, which reminds a lot of Waiting For The Thunder, also composed and sung by Deris. Andy’s songs in the new album are recognizable with their own identity, featuring the most instant choruses and earworm melodies, with great hit potential. He has outdone himself this time, however, because not only A Little…, but also This Is Tokyo and Hand Of God are really, really good, top quality material. We Can Be Gods is a heavy, powerful speed metal anthem in true Hansen fashion, with a progressive, unpredictable song structure and fantastic solos. Into The Sun then serves as the trademark Heloween ballad, with fantastic trade-off vocals from Kiske and Deris.
I have to say Grosskopf and Löble sound absolutely incredible in this album, the rhythm section adding so much more power and depth to the already great songs. The press release states Dani Löble recorded all tracks on three different drum sets to individually decide which set delivers the perfect vibe for a song and I think this attention to detail has contributed to an even better album.
Sascha Gerstner may have “only” brought one song to the table this time, but what a song that is! Universe (Gravity For Hearts) is a more-than-eight-minute-long power metal epic, stressing on every single strength and beloved feature Helloween are loved and known for. It has to be heard to be believed, but this is a total hymn, culminating in a fantastic guitar battle between Gerstner, Hansen and Weikath.
Under The Moonlight (the second composition by Weiki) is not weak in itself but pales in comparison to the rest, a bit safe-played and jolly in attitude and also the sole reason my rating is not a full ten. The album is closed, once again (as with Skyfall) with a Kai Hansen epic, called Majestic, and it more than suits its title. It somehow reminds a bit of Gamma Ray’s epics from the Powerplant album, but just a little bit. Majestic bears the unmistakable Hansen compositional craftsmanship, sounding BIG. Yes, this is the right word to describe it. The chorus is punchy, in-your-face, ready to be sung along by the fans next autumn.
I am actually grateful for the Helloween album, because, even if it was a letdown for me, it relieved the band from the pressure of expectations and allowed them to spread their wings for Giants & Monsters. This is Helloween’s proper comeback and their best album since The Dark Ride I may say. This is metal masterclass and once again Helloween are in a league of their own.
9,5/10
Giants & Monsters will be out on August 29th and can be pre-ordered from HERE
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