Powerwolf
Blessed and Possessed
Napalm Records
2015
I must say that Powerwolf is an interesting case. They did begin their journey a few years ago with a very specific style, combining epic power metal with church organ and a singer in Atilla Dorn, who is very “identifiable”. They now on their sixth album and they seem to have perfected their Iron Maiden meets Candlemass meets Blind Guardian/Gamma Ray style to the T. In the past couple of album they did seem to experience a slight “decline” in their compositional ability, as they seemed unable to maintain the interest throughout, but lavish and generous packages and their relentless touring which included a unique show, seemed to pay off in spades as they even did manage a no1 in their native Germany.
In “Blessed and Possessed” they maintain all the flair of the last couple of albums, but they do gravitate a bit towards the more metallic style of their earlier style as they keep their extravagant instrumentation and overall style, but infuse the songs with a lot more riffs and bombast, thus somehow, veiling any signs of “decay” and “tiredness”. You know it’s them Satanic Werewolves, as soon as the first “Hallelujah” hits you within the first 10 seconds of the album! Hahahalllelujah! :D
“Blessed and Possessed” is a sturdy, muscular song, which switches between a more medium and a slightly faster tempo and is damn impressive. It’s classic “Powerwolf” with its “possessed”, “bible”, “hallelujahs” etc. It’s more cliché than Manowar, but enjoyable in the same way and time.
“Dead Until Dark” is similar but faster and harder hitting, with a more power metal character, it doesn’t impress as much as the opener, but it’s sheer speed and bombast carry it forward, without much effort.
“Army of the Night” is one of the first numbers the band published on the internet. It’s more mixed in tempi and driven by a massive almost danceable beat, which it incorporates very smartly. It breaks down for an almost Maidenesque solo, but overall is pleasing.
Speaking about things Maiden-esque “Armata Strigoi” takes a page from the great Brits songbook, mixes it with some Belgian Beer and a bit of “Ostrogoth” in terms of riff and dresses it up in Romanian vampire lore to pass it off as their own and they absolutely make a sale. One of their more impressive numbers on the album – its measured tempo doesn’t prevent it from sounding massive, like a whole “Army” (of the night) marching towards you. In the general madness they don’t omit mimicking a famous Kraftwerk song during the lead. Joy ! Glory! Hallelujah!
“We are the Wild” drops the beat, to probably the slowest tempo, but still manages to maintain the style and overall, bombast, even if sounds a step down from the songs predeceasing it. Attila, manages to almost singlehandedly sell it, with his over the top style of delivery.
“Higher than Heaven” begins in a most impressive way, but while once again Atilla, is the one to give the song its “charachter” after a certain point, it feels like a random pick and mix of previous Powerwolf songs. The band recycles riffs and specific tempi so much that, apart from sounding very distinct, they do also tend to sound a little uninspired and a bit like a one trick pony... (which on occasion manages to pull a rabbit out of its arse. (Sorry but I can’t picture a horse with a hat – why not though?!)…
“Christ & Combat” maintains the band’s sound and flair and again has a very Maidenesque lead. The band tries a somewhat slightly different approach here with the verses, sounding quite different and more symphonic. It’s not an absolute triumph and it’s neither an absolute blunter. It’s somewhere in the middle.
“Sanctus Dominus”… if the previous number used a few Maidenesque, this one, mixes some “Somewhere in Time” inspired lead with latin chanting “Animus”/”Christus”/“Spiritus”/“Dominus” and if you had bet that there would be a good number of “Hallelujahs” in there, you would not be mistaken... in fact I’d like to see the band attempting an album without any “Hallelujah” exhalations… it would be interesting to see what they could come up with such a “handicap”.
“Sacramental Sister” has this far more ominous tone, which makes it interesting, but it’s pre-chorus, is spoiling it and it’s chorus isn’t as inspired either. Screw the “Sacramental Sister”. I’d much rather have a “Twisted Sister” or some sort of nun. Wait… why are they not, “incorporating” the “Pope”, “Cardinals” and all those “nuns” who have no fun… they are letting so much sacrimonious vocabulary go to waste right there.
“All You Can Bleed”, is YAPS (yet another Powerwolf song) with everything you’ve come to expect from their signature sound. Latin chants, Power metal, meets Iron Maiden moments and the “organ”. Nothing more and nothing less...
As a closer “Let There Be Night” attempts to be the big epic “doubling” the clock. (Although that’s faked)… It pleasantly surprises as it manages to unfold with greater splendor and not trying to impress and possess in under four minutes. Much of the first three minutes are spent on Atilla, chanting with a minimal accompaniment – in Latin and switching to English for a typical chorus, a nice enough lead ensues then some more choruses, and the song exits with the sound of falling rain and church bells. Seriously… too Black Sabbath like… haha, reminds me of the church bell in Darkology’s “Beyond the Grave” from last month. Screw the cowbell. The tolling church bell is the new cowbell. More of it please. Hahahallelujah…
For those of you brave enough to go for the limited editions (one with a chalice – I kid you not) there’s a whole second disk with covers on offer. The band weeds through quite a few metal classics, re-imagining them in such a way that they maintain their original character, but also become more compatible with their own style.
Judas Priest’s “A Touch of Evil” becomes heavier and Dorn sings most of it in a slightly more aggressive but at the same time more Priestly way, which fits the proceedings well. He even manages to avoid embarrassment during the songs “possessed” climax. Interesting take.
Running Wild’s “Conquistadores” is very much similar to the original – a fine song – in its own right, but the band’s overall pomp, seems to fit it well, with the rich keyboards, making it sound a lot more full, without taking away much of the calculated aggression, just making it sound even more epic than it is. Smart instrumentation… Dorn also, has no problem handling it.
Savatage’s “Edge of Thorns” is a daring effort. This is probably the song, they manage to “alter” the least. In fact even if Attila tries hard, the song’s tender nature, doesn’t fit his gruffier voice, that well. It’s not bad, by any means, but less impressive that’s all.
On “Power and Glory”, don’t confuse it with Saxon’s “P&TG”, this is a Chroming Rose tune, the band manages to do quite a whole lot of things and while they keep faith to the original, they make it sound a lot more “majestic”. Fine selection and most excellent execution.
For “Out in the Fields” the band goes off the deep end on instrumentation, including orchestral hits etc., but even if the song, is vocally relatively simple, the attitude, is not captured as well as the band might have intended. Lovely song though.
Ozzy’s “Shot in the Dark” is more fortunate. The overall style is more compatible. Again here the band doesn’t deviate too much. Attila’s voice is heavier – with a lot mode “body” than Ozzy’s and that makes it sound a little different – but overall, it’s an enjoyable romp through the “dark”…
Amon Amarth’s “Gods of War Arise” is a “surprise”, I must say. Coming from the now far away 2006 and “With Oden...” opus, they pay tribute to their once label mates, with this pretty faithful rendition. Obviously Amon Amarth, don’t have any too demanding vocals, so the cover that Powerwolf attempt might sound even better than the original in that respect. It’s like many bands that had interesting musical ideas (see Bathory) but pretty bad vocalists. Still however the song, sounds a bit “foreign” among all those Heavyweight “classics”.
Powerwolf might like Iron Maiden a great deal, but covering them – would always be a rather daring experiment “The Evil That Men Do” proves to be a rather compatible tune, that they manage to cover, capably, by making it, a bit more “wolfy” and a touch heavier. Dorn, manages the “atmosphere” well enough, but under no circumstances does he sound as impressive as Dickinson. The tuning helps him however to avoid embarrassing comparisons.
“Headless Cross” is another quite vocally demanding and taxing tune, (at least live) with an atmosphere that’s difficult to imitate. The layers of keys, bode well and Dorn’s sense of “drama” also come through surprisingly well and even his crescendos are quite nicely executed. He might not reach the gut wrenching heights of Tony Martin, at his prime, but the song comes off sounding surprisingly well done. As if it was a Powerwolf tune all along.
Last but not least, “You got another Priest tune coming” in the shape and form of “Nightcrawler”. It’s done quite well, but the extreme madness of Halford’s piercing agonizing screams is indeed missing here. Dorn chooses to address the song a little differently and it just doesn’t sound half as impressive as the amazing original. I must say however that the spoken part in the cover sounds “even more evil than on the original”… hahaha.
Well Powerwolf, keep on the good fight, in the name of the Savior, an army of the night, singing Hallelujah. They still have trouble, coming up with more than 4-5 really inspired numbers (hits) something that came effortlessly in the first few albums and to defeat that, they seem to be recycling the same riffs and ideas over and over with varying degrees of success and trying to masquerade the fact with as much bombast as possible. For the time being it seems to work, but in the greater scheme of things, I am afraid they are plunging towards a stonewall, having actually taken their particular, idiosyncratical style as far as it could go. They either need to transform into something new, or they are running the danger of really losing their grip on this whole rise to fame almost as fast as they came into prominence. I still think this is a stronger effort than their last one and probably the band tries, harder to find some alternative so as to progress with their sound, by attempting the odd experiment here and there, while trying to keep things moving forward. Time alone will tell...
In “Blessed and Possessed” they maintain all the flair of the last couple of albums, but they do gravitate a bit towards the more metallic style of their earlier style as they keep their extravagant instrumentation and overall style, but infuse the songs with a lot more riffs and bombast, thus somehow, veiling any signs of “decay” and “tiredness”. You know it’s them Satanic Werewolves, as soon as the first “Hallelujah” hits you within the first 10 seconds of the album! Hahahalllelujah! :D
“Blessed and Possessed” is a sturdy, muscular song, which switches between a more medium and a slightly faster tempo and is damn impressive. It’s classic “Powerwolf” with its “possessed”, “bible”, “hallelujahs” etc. It’s more cliché than Manowar, but enjoyable in the same way and time.
“Dead Until Dark” is similar but faster and harder hitting, with a more power metal character, it doesn’t impress as much as the opener, but it’s sheer speed and bombast carry it forward, without much effort.
“Army of the Night” is one of the first numbers the band published on the internet. It’s more mixed in tempi and driven by a massive almost danceable beat, which it incorporates very smartly. It breaks down for an almost Maidenesque solo, but overall is pleasing.
Speaking about things Maiden-esque “Armata Strigoi” takes a page from the great Brits songbook, mixes it with some Belgian Beer and a bit of “Ostrogoth” in terms of riff and dresses it up in Romanian vampire lore to pass it off as their own and they absolutely make a sale. One of their more impressive numbers on the album – its measured tempo doesn’t prevent it from sounding massive, like a whole “Army” (of the night) marching towards you. In the general madness they don’t omit mimicking a famous Kraftwerk song during the lead. Joy ! Glory! Hallelujah!
“We are the Wild” drops the beat, to probably the slowest tempo, but still manages to maintain the style and overall, bombast, even if sounds a step down from the songs predeceasing it. Attila, manages to almost singlehandedly sell it, with his over the top style of delivery.
“Higher than Heaven” begins in a most impressive way, but while once again Atilla, is the one to give the song its “charachter” after a certain point, it feels like a random pick and mix of previous Powerwolf songs. The band recycles riffs and specific tempi so much that, apart from sounding very distinct, they do also tend to sound a little uninspired and a bit like a one trick pony... (which on occasion manages to pull a rabbit out of its arse. (Sorry but I can’t picture a horse with a hat – why not though?!)…
“Christ & Combat” maintains the band’s sound and flair and again has a very Maidenesque lead. The band tries a somewhat slightly different approach here with the verses, sounding quite different and more symphonic. It’s not an absolute triumph and it’s neither an absolute blunter. It’s somewhere in the middle.
“Sanctus Dominus”… if the previous number used a few Maidenesque, this one, mixes some “Somewhere in Time” inspired lead with latin chanting “Animus”/”Christus”/“Spiritus”/“Dominus” and if you had bet that there would be a good number of “Hallelujahs” in there, you would not be mistaken... in fact I’d like to see the band attempting an album without any “Hallelujah” exhalations… it would be interesting to see what they could come up with such a “handicap”.
“Sacramental Sister” has this far more ominous tone, which makes it interesting, but it’s pre-chorus, is spoiling it and it’s chorus isn’t as inspired either. Screw the “Sacramental Sister”. I’d much rather have a “Twisted Sister” or some sort of nun. Wait… why are they not, “incorporating” the “Pope”, “Cardinals” and all those “nuns” who have no fun… they are letting so much sacrimonious vocabulary go to waste right there.
“All You Can Bleed”, is YAPS (yet another Powerwolf song) with everything you’ve come to expect from their signature sound. Latin chants, Power metal, meets Iron Maiden moments and the “organ”. Nothing more and nothing less...
As a closer “Let There Be Night” attempts to be the big epic “doubling” the clock. (Although that’s faked)… It pleasantly surprises as it manages to unfold with greater splendor and not trying to impress and possess in under four minutes. Much of the first three minutes are spent on Atilla, chanting with a minimal accompaniment – in Latin and switching to English for a typical chorus, a nice enough lead ensues then some more choruses, and the song exits with the sound of falling rain and church bells. Seriously… too Black Sabbath like… haha, reminds me of the church bell in Darkology’s “Beyond the Grave” from last month. Screw the cowbell. The tolling church bell is the new cowbell. More of it please. Hahahallelujah…
For those of you brave enough to go for the limited editions (one with a chalice – I kid you not) there’s a whole second disk with covers on offer. The band weeds through quite a few metal classics, re-imagining them in such a way that they maintain their original character, but also become more compatible with their own style.
Judas Priest’s “A Touch of Evil” becomes heavier and Dorn sings most of it in a slightly more aggressive but at the same time more Priestly way, which fits the proceedings well. He even manages to avoid embarrassment during the songs “possessed” climax. Interesting take.
Running Wild’s “Conquistadores” is very much similar to the original – a fine song – in its own right, but the band’s overall pomp, seems to fit it well, with the rich keyboards, making it sound a lot more full, without taking away much of the calculated aggression, just making it sound even more epic than it is. Smart instrumentation… Dorn also, has no problem handling it.
Savatage’s “Edge of Thorns” is a daring effort. This is probably the song, they manage to “alter” the least. In fact even if Attila tries hard, the song’s tender nature, doesn’t fit his gruffier voice, that well. It’s not bad, by any means, but less impressive that’s all.
On “Power and Glory”, don’t confuse it with Saxon’s “P&TG”, this is a Chroming Rose tune, the band manages to do quite a whole lot of things and while they keep faith to the original, they make it sound a lot more “majestic”. Fine selection and most excellent execution.
For “Out in the Fields” the band goes off the deep end on instrumentation, including orchestral hits etc., but even if the song, is vocally relatively simple, the attitude, is not captured as well as the band might have intended. Lovely song though.
Ozzy’s “Shot in the Dark” is more fortunate. The overall style is more compatible. Again here the band doesn’t deviate too much. Attila’s voice is heavier – with a lot mode “body” than Ozzy’s and that makes it sound a little different – but overall, it’s an enjoyable romp through the “dark”…
Amon Amarth’s “Gods of War Arise” is a “surprise”, I must say. Coming from the now far away 2006 and “With Oden...” opus, they pay tribute to their once label mates, with this pretty faithful rendition. Obviously Amon Amarth, don’t have any too demanding vocals, so the cover that Powerwolf attempt might sound even better than the original in that respect. It’s like many bands that had interesting musical ideas (see Bathory) but pretty bad vocalists. Still however the song, sounds a bit “foreign” among all those Heavyweight “classics”.
Powerwolf might like Iron Maiden a great deal, but covering them – would always be a rather daring experiment “The Evil That Men Do” proves to be a rather compatible tune, that they manage to cover, capably, by making it, a bit more “wolfy” and a touch heavier. Dorn, manages the “atmosphere” well enough, but under no circumstances does he sound as impressive as Dickinson. The tuning helps him however to avoid embarrassing comparisons.
“Headless Cross” is another quite vocally demanding and taxing tune, (at least live) with an atmosphere that’s difficult to imitate. The layers of keys, bode well and Dorn’s sense of “drama” also come through surprisingly well and even his crescendos are quite nicely executed. He might not reach the gut wrenching heights of Tony Martin, at his prime, but the song comes off sounding surprisingly well done. As if it was a Powerwolf tune all along.
Last but not least, “You got another Priest tune coming” in the shape and form of “Nightcrawler”. It’s done quite well, but the extreme madness of Halford’s piercing agonizing screams is indeed missing here. Dorn chooses to address the song a little differently and it just doesn’t sound half as impressive as the amazing original. I must say however that the spoken part in the cover sounds “even more evil than on the original”… hahaha.
Well Powerwolf, keep on the good fight, in the name of the Savior, an army of the night, singing Hallelujah. They still have trouble, coming up with more than 4-5 really inspired numbers (hits) something that came effortlessly in the first few albums and to defeat that, they seem to be recycling the same riffs and ideas over and over with varying degrees of success and trying to masquerade the fact with as much bombast as possible. For the time being it seems to work, but in the greater scheme of things, I am afraid they are plunging towards a stonewall, having actually taken their particular, idiosyncratical style as far as it could go. They either need to transform into something new, or they are running the danger of really losing their grip on this whole rise to fame almost as fast as they came into prominence. I still think this is a stronger effort than their last one and probably the band tries, harder to find some alternative so as to progress with their sound, by attempting the odd experiment here and there, while trying to keep things moving forward. Time alone will tell...