Gambling With The Devil
SPV
German power-metal is certainly more prevalent today than it has ever been and one can't deny Helloween (and of course Accept) are the true pioneers of European power-metal. Since the band's classic self-titled EP released in 1984 and their Walls Of Jericho full-length follow-up in '86, Helloween have been dominating the European metal market over the past two decades over-shadowed only by the mighty Maiden. And the band has endured a certain consistency, excuse a couple disastrous releases in the mid-90s mostly notably the God-awful overly poppy Pink Bubbles Go Ape and Chameleon records (I say excuse because nearly every esteemed metal band at one time or another in the '90s tried to shed their metal image and Helloween never quite took it to that extreme). The band's latest effort, Gambling With The Devil, still holds true to the classic Helloween sound. Traditionally, a Helloween album will open with one or two wicked, usually speedy, power-metal tracks (ie: "Kill It," "The Saints") that leads into a pop-happy song (ie: "As Long As I Fall") then returns to the metal madness with usually one or two more pop-metal numbers comprised within the package. Predictability has always been one of Helloween's strong points as well as flaws, depending on how you look at it...some will argue change is good while others will vehemently disagree. I love the fact Helloween stays true to their sound but I certainly would have preferred a bit more originality from this band's latest effort. I wouldn't say this is a substandard Helloween album, just a bit too overly typical. Superlative musicianship accentuates this band as always, no matter how many times they shift members you can always expect first-rate musical virtuosity from this band. Founding guitarist Michael Weikath and mainstay bassist Markus Grobkopt keep the spirit alive and newcomers Sascha Gerstner (second guitar) and Dani Loble (drums) keep up the energy and vigor and Andi Deris's voice is as strong as ever.
Many will argue that the Michael Kiske Keeper Of The Seven Keys era was Helloween at their best but I would have to say my faves are The Time Of The Oath, Master Of The Rings and The Dark Ride as those albums were audacious and showed the darker side of this great band. I personally think the band played it too safe on this record in an effort to please the conventional Helloween fan.
NATION BEYOND
The Aftermath Odyssey
Sensory
Yet another power-metal masterpiece from Sensory The Aftermath Odyssey is the debut release from Swedish band Nation Beyond. Great powerful melodies are highlighted throughout this disc, vocalist Nielz Lindstrom has an amazing voice that is enhanced by background vocalist Sara Heurlin. The band produces progressive metal elements atop an epical metal sound much like early Dio-era Rainbow exemplified on powerful anthems like "New Eden City" and "The Last Deceiver." Many of the songs display a symphonic "black/Goth metal aura sans the God awful vocals while other songs such as "The Council" and "Soul Mates" (featuring fine duel vocals from Nielz and Sara) have a melodic Queensryche meets Evergrey feel to them. The band manifests their power-metal prowess on the Manowar-ish "War Of The Wasteland" and "Aftermath" (with a chorus that reminisces Graham Bonnet era-MSG). Great musicianship all-around displayed by guitarists Micko Twedberg and Jonas Kaarlgrem (who also plays keys), drummer Johan Helgesson and bassist Joakim Hedstedt. A definite must for fans of classic, melodic power-metal!
Shockwaves CD REVIEWS ISSUE 15 Page 9