While these albums were Helloween’s gateway to superbly catchy melodies and emotional anthemic vocals, “Giants & Monsters” is such a beautiful ride of entertaining gimmicky songwriting that delivers all the grandiosity and epic feeling of Germany’s power metal scene. The lineup featuring Michael Kiske, Andi Deris, guitarists Kai Hansen and Michael Weikath, and Sascha Gerstner, bassist Markus Grosskopf, and drummer Dani Löble brought forth another creative blueprint to the band’s classic trademarks.

From its majestic onset of the eponymous track, Helloween throws down a gauntlet with graceful melodies and aptly presents everything the band is about, unleashing grand riffs in the trademark spirit of power metal. Dozens of earworm melodies soar with the majestic vocals of Andi Deris and the catchy vocals of Michael Kiske, taking us back to the epic years.

There is a nostalgic yearning to the 80s era of power metal and reminiscing the melodic riffs on “Savior of the World”, which undisputedly shows the band at the peak of creativity and above all the aesthetics on the following track “A Little is a Little Too Much”, which is incredibly catchy, full of blazing guitar hooks. The melodic leads and tempos have many hooks; Kai Hansen’s guitar work is nothing short of brilliant in providing the trademark ingredients.

The musical composition of the septet proves the band can reinvent themselves with surging breakneck-paced riffs; the music doesn’t stale even after repeated listens. In fact, Helloween bursts into full force; it seems the septet is gambling with the devil, and together they are playing a game of high stakes.

The anticipation is high on the 17th album; the thundering riffs and striking rhythms are irresistibly catchy, and you can expect plenty of dueling harmonic guitars and majestic vocals. The tension builds on fiery riffs accompanied by powerful vocals; truth is, the band hasn’t sounded this way in a long time, and tracks like “We Can Be Gods” roar into the glorious 80s metal of bands like Iron Maiden and Judas Priest. Elements from progressive metal, NWOBHM, and electro rock add a vintage flavor to the songs.

The riffing intensity with blazing solos reflects the nostalgic era of Helloween, and the songwriting quality is bombastically sublime, full of epic and thrilling energy. The ballad song “Into the Sun” lacks nothing of its dramatic elements. “This Is Tokyo” leaves little to the performance, but it’s nothing short of modern power metal bluster. The production on the 17th album is top-notch, offering plenty of electrifying riffs, engaging choruses, and fast-paced songs that are glamorously inspiring, including the eight-minute epic track “Universe (Gravity for Hearts)”.

Helloween weaves melodies as the vocals soar across each blazing guitar, showcasing grand sophistication and a performance of promise through thrilling transitions and epic fiery riffs. The furious-paced songs show greater emphasis on aggression and speed. The drums intensify the tempo of the songs with their fast-paced double bass and fills, the true virtuosity of the band.

The musical elements of Helloween unfold on “Hand of God” and “Under the Moonlight” and stylistically portray them as the masters of modern power metal. The 17th album leaves no room for criticism, even with gimmicky alien themes; it proves that the band has no musical or lyrical boundaries, therefore, the Pumpkins are at the top of their game.

The fantastic performances of Kiske add a thrilling flavor to these songs, making them distinctive and anthemic. On the final track, “Majestic” pushes for an experimental sound. The musical inspirations bring many epic and memorable moments; they keep the melodic flair burning bright, and still sound like Helloween‘s typical style.

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