Helloween – Giants & Monsters

Since pulling off that unlikely Frankenstein of a reunion – first live, and later by releasing a surprisingly strong self-titled “comeback album” in 2021 – it seems we can expect just about anything from the German power metal pioneers. Well, anything within the Helloween frame.

Helloween’s career is complex, which only makes the magnitude of that improbable reunion even more impressive. If you’re unfamiliar with the band’s long and winding history, check out the rundown in the review of their previous album.
The current lineup, which, since the return of vocalist Michael Kiske and guitarist/vocalist Kai Hansen, now includes seven members, sees the band continuing down the same path laid out by that comeback record.

That ultimately means experimental escapades are over and done with. Helloween are now focusing on the eras fans cherish most: the late -‘80s Kiske era and the substantial body of work fronted by Andi Deris.

With three guitarists and three vocalists, this could have easily ended in a spectacular mess. Thankfully, it didn’t – and the question now is whether the band can repeat that success and craft another strong album together.

Giants & Monsters is, like its predecessor, produced by Charlie Bauerfeind and Dennis Ward. This means the band once again avoids revisiting the distinctive production style of Tommy Hansen from their golden era. Instead, they stick with the more modern, polished approach used on several albums prior to the big reunion. While it’s debatable whether that’s the right choice, there’s no doubt it’s executed extremely well, especially considering the challenge of balancing multiple vocalists and guitarists. The album also features a more prominent role for keyboards, further complicating the mix. Yet, Bauerfeind and Ward manage to pull off a remarkably well-balanced soundscape.

Musically, Helloween checks all the expected boxes. There are fast, epic tracks like “Giants on the Run,” über-catchy mid-tempo songs like “A Little Is a Little Too Much,” old-school power metal blasts such as “We Can Be Gods,” goofy oddballs like “Under the Moonlight,” and even a big ballad in the form of “Into the Sun.”

The band that essentially invented power metal delivers a masterclass on how to execute it on nearly all fronts. This is a very calculated album, and within the first five songs, we get a clear blueprint: a fast opener sung by Deris, a powerful follow-up featuring Kiske, a mid-tempo single with Eurovision polish, one of the album’s heaviest tracks led by Hansen, and the aforementioned ballad to round it off. It’s structured, and it works. While some moments may lack edge or urgency, expecting that from a band that helped create the genre and is still pushing it forward four decades later feels a bit unfair.

Still, several moments feel like copies, or copies of copies, of what the band has done before. Creating original melodies, riffs, and twin-guitar solos is no easy feat, but at times the band veers dangerously close to rehashing classics like “Save Us,” “Time,” or “How Many Tears.”

Hansen’s attempt at growling vocals on the opener is almost as painful as Mike Portnoy’s infamous attempt on Dream Theater’s “A Nightmare to Remember.” There’s also a bit too much effects on the vocals, which takes away from the natural strength of both Kiske and Deris. Still, their vocal DNA is all over this album, and it’s hard not to be charmed when Deris expresses his love for Japan on “This Is Tokyo,” or when Kiske hits those soaring high notes—and perhaps even more so when he dives into the warmth of his lower register. Just listen to the midsection of “Universe (Gravity for Hearts)” or “Into the Sun.”

There are a few cringe-worthy moments on the album, including some puzzling decisions—like ending the otherwise epic finale of the closing track with a fade-out. But for every misstep, there are multiple moments where Helloween deliver a power metal masterclass. “Universe (Gravity for Hearts)” finds the band firing on all cylinders, while “Into the Sun” flirts with cheesiness but never crosses the line, making it their strongest ballad since “Forever and One” from 1996. Elsewhere, “Hand of God” is a tight, mid-tempo stomper, and the opener “Giants on the Run” encapsulates Helloween’s sound, despite Hansen’s vocal misstep.

Overall, Giants & Monsters comes across as more uplifting than its predecessor, likely due to the band working on it in a more relaxed atmosphere, boosted by the positive reception of their comeback album. That, and the fact that Kiske – and possibly Michael Weikath – seem to prefer this brighter, melodic approach over Hansen’s heavier, darker tendencies.

Humor and a sense of fun have always been part of Helloween’s DNA. Sometimes it works well; other times it’s awkward and better left forgotten. Giants & Monsters is no exception, but the overall quality of the album far outweighs its missteps.

Pulling off a reunion like this so late in the band’s career is impressive enough. Doing it again- and successfully – on a follow-up album is nothing short of remarkable.

www.helloween.org