Ah, a new record of the speed metal/happy metal heroes of Helloween! It’s been four years since the band released their previous studio album. Simply titled Helloween, it marked the first time in the band’s history that all its former and current vocalists shared vocal duties on a single record. Unsurprisingly, that created expectations. And in my view, those expectations were partially met. The album was certainly good, but at times felt a little awkward—perhaps even tentative. The songs differed too much in both quality and sound to form a truly cohesive whole. Understandable, of course, given the new set-up, particularly when one considers that the band now boasts no fewer than five songwriters. So the question is: have they managed to find each other musically just a tad more the second time around?
The answer can be given briefly (just like the subject of A Little Is A Little Too Much, we can’t delay): yes! The overall sound feels far more consistent, and the album flows more naturally as a unified listening experience. That said, it’s still fairly easy to discern which band member wrote which song. The composers stay true to their own stylistic identities, meaning that every listener is bound to pick their personal favourites.
As for me, I always gravitate towards the tracks that most strongly echo the band’s first three albums (yes, that may well have something to do with my age). Step into the spotlight, then: the convincing and wonderfully varied opener Giants On The Run, the high-octane Saviour Of The World with its soaring Kiske vocals, We Can Be Gods with its slightly retro guitar tone (at times tastefully underpinned by a synth layer) and grand chorus, and Universe (Gravity For Hearts), which plunges headlong into the sound of the 1980s during its verses. These tracks conjure up vivid images of teenage bedrooms adorned with Keeper of the Seven Keys posters.
Thanks to the balanced production and mix (the latter handled at Wisseloord Studios in Hilversum), the majority of the other tracks also hold their own impressively. Let’s pause on that word “majority” for a moment. When This Is Tokyo was released as a single, it certainly raised more than a few eyebrows. Its bombastic and rather overused chorus brings the song dangerously close to hair metal territory, essentially hard rock, in other words. Upon closer listening, however, one might also detect a whiff of Empire-era Queensrÿche (didn’t they occasionally sing about a city too?), which adds a layer of fun, especially thanks to the fiery guitar work. Still, the overall impression lingers that it’s all a bit too simplistic and repetitive. This tendency toward repetitive choruses can be heard elsewhere too—Hand Of God, for instance, catchy as it is, might have benefited from a touch more restraint in that regard.
That minor criticism, however, can be quickly set aside, as the guitar work throughout the album is consistently mouth-watering. The three guitarists, driven on by the excellent drummer Dani Löble, push each other to greater heights with a flurry of alternating solos—fast, melodic, and above all full of character. Each guitarist has a distinct identity, which makes the instrumental interplay all the more engaging. A prime example is the aforementioned gripping and varied story of Universe (Gravity For Hearts) that midway through introduces more modern riffing, followed by a classical, choral-style section featuring baroque-inspired strings. Here, too, Kiske proves that he’s lost none of the power in his crystal-clear vocals.
Speaking of vocals: on the Kai Hansen-penned tracks We Can Be Gods and Majestic, all three vocalists are featured together. And because each has such a unique voice, the result works exceptionally well. It does beg the question: why doesn’t the band explore this vocal dynamic more often? The answer may lie in the logistical challenges of live performance, but whatever the reason, Majestic deserves its own moment in this review. The eight-minute closer (still not as long as Halloween, of course, which once occupied a full 15 minutes in Dutch radio’s “Vuurwerk 50” countdown) opens — perhaps unusually for Hansen — with a quiet spoken-word intro. Kiske’s towering vocals gradually lift the track as the drums build in tempo, while short keyboard motifs usher in even shorter guitar leads. A modern, symphonic middle section then sets the stage for another round of dizzying guitar solos. When the dust settles, Hansen’s raspier voice reflects on a lost key to life and thus on times gone by. A touching moment. And then the tempo shifts again, surging forward with full force. Yes, Helloween still sounds best when they go all out: full speed, full variety, full epic grandeur—in both vocals and guitar work.
That happens often enough on Giants & Monsters to make this a strong album. By occasionally pulling back on certain fronts, the band is likely to keep fans from all eras on board. A smart move and one that earns them a few more points than last time around. Looks like it will be a fantastic birthday party next year at Dynamo Metalfest!
Score:
85/100
Label:
Reigning Phoenix Music, 2025
Tracklisting:
- Giants On The Run
- Savior Of The World
- A Little Is A Little Too Much
- We Can Be Gods
- Into The Sun
- This Is Tokyo
- Universe (Gravity For Hearts)
- Hand Of God
- Under The Moonlight
- Majestic
Line-up:
- Michael Kiske – Vocals
- Andi Deris – Vocals
- Kai Hansen – Guitar, vocals
- Michael Weikath – Guitar
- Sacha Gerstner – Guitar
- Markus Grosskopf – Bass guitar
- Dani Löble – Drums
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