HELLOWEEN

Defying the odds has become something of a purposeful pastime for HELLOWEEN. Unlike the majority of late-career reunions, the Germans' 2016 reconfiguration has neither disappointed nor fizzled out. Instead, the return of singer Michael Kiske and guitarist (and former frontman) Kai Hansen has led to a second, extended heyday, marked out by endlessly euphoric live shows and a fresh surge in creativity and verve.

2021's self-titled comeback album was simply the best thing the band had put their name to in decades, arguably since the days of the first two, assuredly classic "Keeper Of The Seven Keys" albums. Many bands of this vintage would be quite content to exploit their heritage and stick to the hits, but HELLOWEEN have proved that there is more than a little life in the old dogs yet. "Giants and Monsters" arrives with expectations at a high, both in terms of the quality of their recorded output, but also with a sense that the power metal pioneers are surfing on a new and powerful wave of momentum, echoing both IRON MAIDEN and JUDAS PRIEST's ongoing supremacy in the metal realm. Few bands deserve a second, prolonged moment in the spotlight more than HELLOWEEN, and while the support of mainstream metal media remains as elusive as ever, they are cutting through to the metal faithful in a way that seemed impossible just over a decade ago. This, their 17th full-length studio album, is the final proof that the Hamburg heavyweights are back in the game and fully intent on keeping it that way.

It would be hard to replicate the epic grandeur of "Helloween" and its mammoth single "Skyfall" in particular, but "Giants and Monsters" comes pretty close. The opening "Giants On The Run" is an instant classic: big, bold and belligerent, with a lethal core melody, a huge chorus, and various diversions to accommodate all of the vocal talent that HELLOWEEN now have at their disposal. Keeping foot to accelerator, "Savior Of The World" and "A Little Is A Little Too Much" are hewn from pure power metal goodness, delivered with concise aplomb and bulging with melodic peaks and virtuoso, instrumental chops. "This Is Tokyo" may be a blatant paean to the band's rabid Japanese following, but its glassy sheen and slight edge of darkness work perfectly amid all this uproarious bluster.

Even more punchy is the speed metal motivational rush of "We Can Be Gods", which harks back to the fiery attack of HELLOWEEN's earliest recordings, but with 40 years of sophistication sewn into its momentous fabric. But as with "Helloween", "Giant and Monsters" hits hardest when it fearlessly flexes its compositional muscles. Both the wild, emotional splurge of "Universe (Gravity For Hearts)" and expansive closer "Majestic" are magnificent. The former clatters along at speed, scoring endless points on the old-school riff-o-meter, and swooping and lurching through multiple moods and theatrical transitions, with Michael Kiske and co-vocalist Andi Deris cheerfully removing the roof with their combined efforts. The latter is a strong contender for this album's finest moment: darkly progressive, but still infused with life-affirming brio, it updates HELLOWEEN's late '80s blueprint for a more furious, forward-thinking age. It also slaps, as the young folk are often inclined to say.

They were always in this heavy metal thing for the long haul, but bands like HELLOWEEN are not really supposed to sound this vital and inspired at this late stage in their story. "Giants and Monsters" is another triumphant show of strength, where youthful vigor and hard-earned wisdom collide in a shower of shiny pumpkins.