The second, third, and fourth albums were all pretty guilty of reusing song structures and vocal melodies between themselves, but hell, I let Gargoyle and Deicide and whatnot get away with it, so big effin' deal, right? For all of the old Powerwolf fans such as myself, all of the hype you have been creating has been well deserved. It's a fairly short song, but it's quick and technical with flourishes here and there making it a highlight of the album. I love his powerful, theatrical style; and even if he uses the same five vocal melodies for every song, I don't really mind because he's so goddamn charismatic. Too obvious, guys, really, playing it safe. Preachers of the Night, their insanely anticipated fifth full length, is. If anything, this goes to show that they have the capacity to leap out of creative pigeon-holing doldrums and knock us all in the head without even realizing it.
The single Amen and Attack kickstarts the album with some fiery and catchy tunes which are more guitar focused rather than keyboards. And to all of the new fans, reading this, unsure of what to think… buy this album! Notorious for grinding up the remnants of their past releases and repackaging the same stylistic themes in new products, Powerwolf has never had a problem doing the exact same thing, and up until now doing so has worked quite well. Las voces del coro se añaden a la intensa melodía, pero con algunos riffs más pesados de lo que el propio Power usualmente se permite. Powerwolf is a silly band and was never meant to be taken too seriously. It's probably their fastest song, and is just structured, riffed, and designed in such a way that it could easily be a Gamma Ray song if there was a different vocalist. Estribillos épicos, simples, condenadamente pegadizos y con una atmósfera muy personal. What I am trying to get at here is that the album just doesn't let up.
Expecting Powerwolf to branch out creatively? Two years later, the quintet are back on a new label following a switch from Metal Blade. Sin embargo, estos terriblemente anticlericales -a lo Noruego- se lo pueden permitir, porque hacen una música que se destaca por su potencia, originalidad, melodía y destreza. They are capable of kicking your ass as well. There're no hidden meanings, no layers to peel away to reveal some masterfully crafted depth or complexity, they're a band meant to be taken at face value; a group that revels in the big, the silly, and the juvenile. Basically, four tracks in, I publicly declared that Powerwolf is firmly in the ranks of bands like Enforcer and Hour of Penance in the sense that they'll keep ranking on my year-end lists as long as they just keep doing what they're doing.
The drums are done very well, even if they are robotic. His clean operatic style of singing almost flawlessly develops a little rasp or grit at seemingly perfect spots, when the song calls for a little extra aggression. The song features drumming and string work worthy of an established thrash band. They just need to make the songs interesting again, because their niche is still goddamn awesome and I wouldn't change it for the world. The strange thing is that I don't really want the band to leave their comfort zone in the future.
The predictable climaxes and giant choral arrangements are always made all the more bearable merely with the inclusion of his thu'um. No, al menos por ahora. The ironically priestly-garbed werewolves of the seven cities of power metal known commonly as Powerwolf are, in many ways, comparable to a fine wine. However, they do grow stale a little quickly, and Preacher's of the Night is no exception. The Vision Bleak gone Sabaton. The thing about proper appreciation for overblown B-Movie metal is that you have to be in on the joke as well; to not be is to leave the listener cold and confused, trying to take it seriously and being disappointed when they can't.
With hooks to complement their ripping lead solos, horror-soundtrack pipe organ and mirthsome comic-book lyrics, crossover success appeared wholly justified. As for me, a nightly jaunt into the cemetery calls. Perhaps this is one of the ways the Germans could experiment in the future. If you do, that's fine, but you're completely missing the point if you do. For all the hangups that some might have about the over-the-top character of this band, what should be kept in mind is that this is all in good fun, and Preachers Of The Night has oodles of it. There isn't much that is a let down, maybe the song Nochnoi Dozor which is a bit plain.
It can be credited to their over-the-top, almost mocking, style of music which consists of choir-like vocals and organs. They've always run the risk of a paper-thin gimmick wearing out its welcome, a sacrilegious and horror-inspired lyrical pool, puns in titles and choruses that have become almost idiosyncratic to the band itself, and the goofy corpse paint thing which might not look nearly as threatening on these Germans as it would on Marduk. Still, three or four consistent tunes do not redeem seven others that are practically vacant artistically. Depending on the depths of the crimson shade their music bestows upon us, that is. Pero posiblemente este sea el último cartucho, de cara al próximo disco deberían buscar algún recurso nuevo porque si no acabarán por cansar a la peña o, peor aún, se hartarán ellos de hacer lo mismo.
Es cierto que no se preocupan en innovar, quizás el disco ás diferente es el primero , pero coincido con el autor de la crítica, no necesitan innovar porque es que suenan jodidamente bien!!! I would not at all be opposed to hearing him base some verses around other, less grandiose scales, more discordant progressions, or go somewhere unexpected like hovering in his lower register for an entire track. Just as expected it is full of haunting melodies, choir arrangements, and flawless song writing. Igual es la segunda parte del tema. Maybe someone put a bar of silver in their food bowls? And behind it all, drummer Roel van Helden is truly on a level all his own with this one, not having to prove anything to anyone at this point something I feel limited his potential in the previous recording and compliments everything within his drum circle radius with all the cacophony it requires. The song Secrets of the Sacristy shows his skill as he belts out some properly fast singing. The first and third efforts were comparable if less catchy, but by the time Blood of the Saints arrived, the pack had grown weary with little new game to hunt, all groomed up and ready for a kill, but no prey in sight.
Although, as mentioned before, the entertainment does tend to wear thin with repeated listens, you can always come back to it later and re-discover the excitement. Aún a riesgo de quemar su fórmula, aquí tenemos todos los recursos típicos de Powerwolf una vez más. It's all pomp and bombast, and it's a ton of fun and that's all I really ask out of the band. Vocalist Attila Dorn does an excellent job from start to finish. La fórmula de Powerwolf sigue funcionando ya que el disco entra de puta madre y, salvo algún momento en que el rollo ya es demasiado exagerado, te entrega 46 divertidos y entretenidos minutos. Clearly, this guy has a range, so why isn't he using it more? There weren't any significant bass lines but the quality of everything else makes up for this. Again, nothing new, but it rules.
My only complaint is they make no effort to set themselves apart from the rest of the songs, which is probably the better road in this case. The only thing missing from this release is that familiar organ and spoken word opening track that previous albums had featured. But of course, in the end, this will no doubt be a polarizing affair, not unlike everything else the band has done. The speedy riffs provided by Charles and Matthew Greywolf and drums played by Roel van Helden continue in the solid track Cardinal Sin which in my opinion maybe has the catchiest chorus on the album. Lyrically Powerwolf are as good as ever with strategic use of Latin during songs like Extatum Et Oratum. Los descubrí por casualidad hace un año y medio en una época que escuchaba poco o nada de Powermetal y me sorprendieron! Powerwolf had never seemed like a faction that desperately needed a changeup, but the creative fumes they've been running on have dwindled down to a handful of tricks and gimmicks that are often hackneyed, seldom entertaining, and downright annoying. It's the sort of music that one can't help but sing along with during an extended road trip while not caring about all the bewildered looks coming from passersby who've never heard a metal band with an overtly theatrical take on things.