Helloween – 7 Sinners – Review

Halloween might have been and gone but here’s a record far more menacing than a few trespassing trick or treaters.  If you’re a bit of a misery like me, then you’ll need some relatively extreme security measures to keep these over-excited juveniles away.  I suggest you hibernate with a copy of 7 Sinners.


But of course there’s a lot more to Helloween’s new release than that and we won’t be using it solely as a glorified guard dog.  While 7 Sinners exhibits some of the heaviest stuff Helloween have done it’s still charmingly charismatic and epic as hell.

Where The Sinners Go is a more than appetising starter, laden with the coherent and distorted edginess of Michael Weikath’s guitar and Markus Grosskopf’s deep bass completed with Andi Deris’ trademark, screeching vocals to create a classic opener.

It’s from the beginning of this opening track that you immediately realise that the production quality of the album is second to none. If A Mountain Could Talk was written by Grosskopf and would border on over-the-top for some, but if you like a heroic tune with even some symphonic elements in thrown in, then you’ll probably love it.

Deris has written almost half of the songs, and that’s no problem for me but might be for other devout fans.  Weikath’s writing is still present on The Sage, The Fool, The Sinner and on Raise The Noise, which momentarily confuses when a flute comes into the song out of nowhere. However, it takes less than a few seconds to realise that – no, Ian Anderson hasn’t hijacked the record and this actually sounds fantastic when layered on top of the driving riffs.



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