When multiple lead singers have been in and out of a band, fans love to debate which era/vocalist is best. In Helloween’s case, we have a lot of members, albums, and phases to choose from. Prior to Helloween, Kai Hansen’s last studio album with Helloween is the classic Keeper of the Seven Keys Part II (1988)—Hansen was on 1989’s Live in the UK—and Michael Kiske’s last album with Helloween is the divisive Chameleon (1993), so it’s been a long time since we’ve heard them on any Helloween recordings. With the return of Kiske and Hansen, Helloween now has all of its lead singers in one place. Their distinct voices combined with that of Andi Deris create an extreme spectrum of vocals. Kiske gives us that clear, soaring sound. Deris provides a rougher, gravelly tone. Hansen sits somewhere in between. They sound great separately; they sound great together.
Bands split apart for a reason and you can have too many cooks in the kitchen. However, Helloween seem to have gotten past their issues and combined their talents to create an awesome record. Sometimes more really is more.
Helloween went the right way about making a reunion album. Kiske and Hansen rejoined in 2016 and rather than rush something out, Helloween took their time. First, they released a new track with all three vocalists in October 2017 named “Pumpkins United.” This gave them a chance to feel each other out in the studio and give fans a taste of what the Pumpkins United lineup would sound like. A few days after the release of “Pumpkins United,” Helloween began a world tour. By the time they began recording a new album in November of 2019, they all had a chance to see if and how their reunited lineup would function both in the studio and live.
Footage emerged of drummer Dani Löble in the studio using a drum kit previously used by original drummer Ingo Schwichtenberg on Keeper of the Seven Keys. Other information revealed that the band would record in analogue and use the same console they had used for albums such as Master of the Rings (1994), The Time of the Oath (1996), and Better than Raw (1998). The new album’s cover depicts the shadowy, cloaked figure seen on the covers of the first Keeper album and The Time of the Oath. In short, all signs pointed to a classic Helloween sound and album.
So does Helloween live up to expectations? Yes. If you are listening for surprises or experiments, you won’t find much of that here. If you are hoping for a classic-sounding Helloween sound, this is your album. It’s excessive. It’s over the top. It’s mile-a-minute. It’s jacked up, jam packed, and jackhammering with racing riffs, vocal runs, double-bass drums, and screams. It’s an ideal Helloween album. And, unlike some bands that wait a little too long to get back together, it sounds like everyone still has their voice (and can play well).
“Out for the Glory” begins the frantic over an hour-long run that is Helloween. The first forty seconds of “Fear of the Fallen” feature an acoustic guitar with softer vocals, making you think Helloween are slowing it down, but the track picks up and alternates between slow and fast segments. “Best Time” is one more pump-up-your-pumpkins anthem. “Mass Pollution” is another high-tempo track. “Angels” starts gentler but quickly cranks up and shifts between tempos. From here, the album rocks out until the next-to-last track, the short instrumental “Orbit.” “Orbit” is a prelude to the 12:11 closer “Skyfall,” which through the voices of Kiske, Hansen, and Deris narrates the tender, epic story of an alien being that has been shot down and captured. The alien escapes to outer space only to find that their home has been “destroyed and burned.” However, we don’t know if there are any survivors. The song declares that “Someday we’re gonna find a home / Somewhere out in space.” We have to hope. Still in the midst of a global pandemic, it’s not too difficult to read the alien’s search for a home and for connection as also our story as we try to get back to what was before and reconnect with the people in our lives. It is our right, privilege, and obligation to hope not just for the alien but for ourselves that there is a return to something normal. Perhaps we’ll find out the next part of the alien’s story on the follow up to Helloween.
Despite the tragic story of the alien, “Skyfall” is ultimately fast-paced and optimistic, which is the prevailing mood of Helloween. “Out for the Glory,” “Best Time,” “Rise Without Chains,” “Indestructible”—I’m starting to get the theme here. “Best Time” says that “I will have the best time of my life.” “Rise Without Chains” describes, “A world where a soul can fly.” “Indestructible” states that “We are fighting for a world without oppression.” “Robot King” proclaims, “We’re going on forever.” The positivity is omnipresent on Helloween. This is the I’m-staying-strong-and-I’m-more-powerful-that-ever message and album that the world needs right now. There’s also a larger message implied by the return of Hansen and Kiske. If former bandmates can put aside differences and bridge divides, we can too. Whether estranged band members, antagonistic nations, divided political parties, conflicted peoples, or just yourself and the neighbor next door, it’s time to communicate, heal, and unite. As the lyrics of “Robot King” urge, “We’ll make our stand together.”
9/10
TRACKLIST
Out For The Glory
Fear Of The Fallen
Best Time
Mass Pollution
Angels
Rise Without Chains
Indestructible
Robot King
Cyanide
Down In The Dumps
Orbit
Skyfall
