In a year that has featured some tragic losses in the Heavy Metal world, it should bring fans great pleasure that Germany’s melodic Metal sons Helloween are carrying their superconductor lineup forward for another album cycle. Giants and Monsters will hit the ground running on August 29, 2025, via Reigning Phoenix Music, proving that it was not just a one-off idea and that the chemistry between all members is real.
Settling into their career-spanning triple vocalist arrangement, the joy and professional focus are evident on opener “Giants On The Run.” Helloween appears to be hearkening back to a bit of their first album, 1985’s Walls of Jericho, with some great vocal trade-offs and searing leads, spoiling fans with a hearty middle section by Kai Hansen, featuring bombast reminiscent of Manowar that is wielded throughout. Andi Deris sounds just as vital opposite former lead vocalist Hansen, and with seemingly no effort, Helloween cements yet another eminently singable hit into their growing pantheon of unforgettable music.
Not to be outdone, fan-favorite Michael Kiske leads the way on the soaring, tuneful “Savior of the World.” Rousing bridge, leading to a silky smooth chorus – the oft-trodden Helloween staple once again comes through. The upbeat nature of the song is once again heartily underpinned by the bass rumble of Markus Grosskopf and Drummer Dani Löble.
“A Little Is A Little Too Much” has the 1980s power ballad spirit, a true Rock-n-Roll ode with an earworm chorus and some good breathing room to show off Grosskopf’s bass guitar chops. Three songs in, and it is clear that Helloween is firing on all cylinders and feeling as fresh and hungry as they have in decades. The guitar intro to “We Can Be Gods” sets up a frenetic pace and a Thrash enough number to evoke those early days. Wistful chorus, aptly placed gang vocals within – how does this band continue to make you feel good without ever sounding commercial or polished into oblivion?
“Into The Sun” features Kiske sounding as soulful as ever, sharing the balladry with Deris, making one of those maudlin, longing songs they have hit on in the past. Guitar leads here are simply beautiful, big, and expansive solos courtesy of the triple six-string threat of Sascha Gerstner, Michael Weikath, and the aforementioned Kai Hansen.
A calm and wistfully sung intro by Kiske heralds the comparably ferocious guitar axe-driven immediate attack on “Universe (Gravity For Hearts).” Kiske sounds like 1988 with a commanding performance. Helloween must have a box in the studio within which is contained an endless trove of melodic choruses and songs. “This Is Tokyo” precedes this eight and a half minute stormer, doing catchy like only Helloween can do. To these ears, songs like this one sound like Helloween wrote them with the bravado of the accomplished legends they are.
“Majestic” closes the album out with the sort of heavy epic Helloween has always had a penchant for; this one is pure guitar glory, featuring a middling pace with stellar six-string performances aplenty. Kiske carries the day here on vocals, helped by his mates on the shout-along chorus. Where many veteran bands get lost in prog-soaked complexity, squeaky clean Pop production, and what have you, Helloween just writes bigger and more melodic anthems with a signature sound, but also a creative honesty that does not attempt to rewire the genre into something else.
Within the speedy Power Metal blueprint they themselves helped build, Helloween continue to thrive. Incomparable, unstoppable, and highly focused despite carrying three lead vocalists and three guitarists, the sky is truly the limit. With this work of art, Helloween eclipses their self-titled album from 2021. Guitar trade-offs straight out of the first half of the 1980s and soaring vocal histrionics cap off what will certainly be held up as one of the best albums of the year 2025. That is why Cryptic Rock gives Giants and Monsters 5 out of 5 pumpkins . . . err, stars.
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