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A Derivative, Yet Fun Pumpkin - 88%

Sekrys, July 20th, 2018
Written based on this version: 2015, CD, Nuclear Blast

Helloween has been around for a while, to say the least. From being a speed metal from Hamburg to essentially creating power metal, they have gone on to create many really awesome, phenomenal releases, like the Dark Ride or Better Than Raw. After the Dark Ride, they started to concentrate on creating a modern power metal sound, while still being different from many other bands in the genre. My God-Given Right, as a result, shares similarities with the albums before it spanning as far as, say, Rabbit Don't Come Easy. While I do think this is their most consistent (and therefore, best for me, at least) album since Gambling With The Devil or Keeper: The Legacy, it does suffer from various songs having some self plagiarism, to an extent.

The most obvious cases of songs sounding like previous ones are in "Lost In America" and "If God Loves Rock 'N' Roll. The former's chorus sounds very similar to the chorus of "Who Is Mr. Madman?" from 7 Sinners, while the latter's chorus is way too close to the chorus of "Final Fortune"', from Gambling with The Devil. In addition to this, two of the Weiki songs ("Battle's Won" and "Creature's In Heaven) have some similarities in structure to that of other more upbeat Helloween songs, like "All Over The Nations" from the Dark Ride, and to each other. Additionally, I got some amusement out of figuring out that "Stay Crazy" off of this album along with "Don't Stop Being Crazy" from Rabbit Don't Come Easy are both written by Andi Deris (he really should have been more creative, however much he likes craziness.) While this is one of the main issues with the album, the melodies that have been repeated from previous instances are still good melodies and choruses; They are still pleasing to the ear. It's just a shame that they were done before, by different members (look at who wrote the first few songs mentioned, and you'll see what I mean.) Apart from this, the record is actually really great, and has definitely been over criticized by reviewers.

As always, everyone performs effortlessly and flawlessly. It's hard to mention specifics since it's all great, so I'm just not going to! While not their most technical record ever, it really doesn't matter, since the songs are so rather wonderful. The albums production is their best since Keeper: The Legacy; While still sounding kind of artificial, it still sounds much better than the 3 main studio albums that came before it. Complimenting the modern sound, it sounds rather clean while still being heavy, something many bands fail to do. Markus Grosskopf, unfortunately, is still hard to hear, which has been the case since Gambling With The Devil. Such a phenomenal bass player should not be shoved in the back of the mix, surely.

Highlights of the album include the slow, brooding epic "The Swing of a Fallen World", which is for sure the best song on the album musically. "Creatures In Heaven" is a really great power metal song with an awesome chorus, and "Like Everybody Else" is one of Helloween's best ballady songs. The longer "You, Still Of War" is also well done, and is one of their best longer songs in a while. I do also get some pleasure listening to "If God Loves Rock 'N' Roll (the cheesy lyrics just make it even better.) The other songs are also well and good.

My God-Given Right, while not being Helloween's finest hour, still manages to deliver a fun and enticing experience to its listener, while still hanging on to the ways of power metal. However, I personally do hope that Helloween does more experimentation musically, especially now that it seems they have both Kiske and Hansen back in the fray (they should have also gotten Grapow back, but that's another story.)

Damn this is catchy! - 74%

gasmask_colostomy, March 26th, 2018

A new Helloween album usually brings with it a surge of nostalgia and expectation, coupling together the band’s position as one of the founders of European power and speed metal back in the ‘80s and their role as consistent producer of said Euro power metal ever since. Having been on a very solid streak since 2007’s Gambling with the Devil, you could anticipate the quality of My God-Given Right almost exactly, knowing that you are likely to hear exuberant, fun, and catchy metal from the moment you press play. And kudos to Helloween, because that’s exactly what you get and - although recognizable - there’s still room for some surprises.

Two things stand out about this album compared to other Helloween releases: guitars and catchiness. The aforementioned Gambling with the Devil ushered in a new era of heaviness and modernity for the Germans, incorporating muscular guitars, some semi-extreme rhythm work, and a directness that has remained in the band’s repertoire ever since. My God-Given Right follows that trend, crunching guitars storming out of the opening track ‘Heroes’ and afflicting most of the other songs here, with particularly brutish riffing on ‘Claws’, ‘The Swing of a Fallen World’, and ‘Russian Roulé’. Opting to put big fat riffs at the front of the sound also means that lots of songs get straight to the point, meaning we get all the way to the ninth song without exceeding five minutes, which is rare for Helloween. That said, this is certainly the most melodic and simplistic the Germans have sounded since way back on Better Than Raw, 20 years ago, so there's a bit of a shift in focus in that respect.

However, those concise and melodic songs prove to be packed with a fair bit of content too, ‘Russian Roulé’ proving irresistible in the slick transition between punchy riff, quickfire vocals, and a cheeky melody. ‘Lost in America’ and ‘If God Loves Rock ‘n’ Roll’ prove similarly fun and all three include choruses you’re unlikely to forget without brain surgery. Most of the songs are simple enough to remember quickly and include plenty of nice vocal and instrumental ideas, but Helloween importantly provide a few more detailed pieces to give the album staying quality. ‘The Swing of a Fallen World’ goes off the beaten track both structurally and atmospherically, while the closing ‘You, Still of War’ is climactic in the same way as ‘Far in the Future’ from 7 Sinners, not to mention space for musical expansion during ‘Creatures in Heaven’ and ‘Claws’.

As such, the album has enough variety and classy moments to make its 61 minute runtime acceptable, although some of the ideas feel typical for Helloween, especially concerning choruses and solos in the more traditional power metal songs. One would have hoped for more from Michael Weikath, since he contributes only one song and the solos aren’t all high points as one might expect. Andi Deris has been around enough to sound in control of his voice, though his contribution is more successful on the faster-paced and heavier songs, struggling slightly during ‘Creatures in Heaven’ and ‘Like Everybody Else’, the former of which has a slower chorus and the latter being the only ballad. That one ballad is well-positioned, right in the middle of the album, and the playlist is actually very important to making a slightly overlong album feel breezy and energetic. Thus, My God-Given Right is about as good an album as Helloween could have produced without risking disappointment by changing things too much. A lot of fun.

Originally written in edited form for Metalegion magazine #2 -

Not breaking down any walls, but tons of fun. - 84%

Empyreal, August 13th, 2015

Let's just face it - Helloween has been treading water ever since Gambling with the Devil, producing decent albums like Straight Out of Hell that were too long and saddled with too much filler to really hit home. This one, called My God-Given Right, is a slight step up - if only in entertainment value if not actual innovation or album construction. Sporting a goofy 'concept' gleaned from the esoteric source of the 2003 Roland Emmerich film The Day After Tomorrow and another trademarked silly CGI cover, this is more of what you expect - but with a better set of songs than they've had in years.

There are a lot of songs here, running the gamut of the band's career with hard rocking silliness, ball-busting speed metal and a few epics. The production is fantastic - clear and heavy as a polished anvil - and all the band members are on point. Andi Deris in particular sounds great - try not to swoon when he opens up careening opener "Heroes" with those sultry, deeper vocals before swinging into his usual higher-pitched wailing. There are also some quite good riffs on this thing, and the guitarwork is very nimble, crunchy and tasty overall - especially on the album's most clever and dextrous moment "Creatures in Heaven" and the screaming metal onslaught "Claws." "Battle's Won" is an extremely charming song, complete with crunchy, pounding riffs and warm keys. The title track is a shameless pop-metal tune tailored for a Nuclear Blast video, but it's tight as a Boy Scout expert knot and catchier than the flu, and on songs like "Stay Crazy" and "Lost in America," the band strips their sound down to its barest and most simple form, for a rather refreshing, breezy listen. "The Swing of a Fallen World" is heavier than a bag of bricks and has some of the best vocal acrobatics on the album - it shows how cool Helloween can be, as does the spry, biting hard rocker "Living on the Edge." Even closing epic "You, Still of War" manages to grow on you after a few listens, with a kick ass pre-chorus section in particular and some sweet keyboards.

Despite the huge number of songs, the album is consistently entertaining and there are no dead spots this time around - although, frankly, there is nothing to rival their streak of brilliance from albums like Keeper of the Seven Keys: The Legacy or Gambling, either. But an album full of four-star songs is still worth listening to, and if the band can keep up this level of quality a few more years, I'll be happy to stay a fan. I think the time when these guys were really relevant as genre innovators has passed, and I doubt they'll put out any more five-star classic albums at this point. But they seem comfortable with that, and the band sounds like they're having so much fun that it's hard not to get sucked into the fun right along with them.

Play it as loud as you're allowed. - 75%

hells_unicorn, July 31st, 2015
Written based on this version: 2015, 2CD, Nuclear Blast (Limited edition, Earbook)

Considering the massive amount of time that 30 years is for any musical career, it goes without saying that a certain degree of predictability comes along with a latter day release of any such project. No band can really last this long without some degree of stylistic consistency, though often times a band that begins with an extremely eclectic approach will express this consistency very differently than a band like Helloween. To be clear, Helloween began as something of a revolutionary act, as something along the lines of the Keepers albums were definitely a departure from a more formulaic approach to speed metal that was typified in a number of mid-80s German bands. Nevertheless, this band's career highs have generally been marked by consistency, whereas their lows were generally marked by mild to moderate departures into different stylistic territory or by a lineup instability.

With the release of My God-Given Right, Helloween's 15th full length studio album of original material, this general rule of thumb has given way to a noteworthy exception where things have teetered off into a generally entertaining, but flawed result that has all the characteristics of Rabbit Don't Come Easy and Master Of The Rings, but without the lineup shifts. It's an album built primarily off of solid hooks and generally strong performances, and even a fair degree of nuance from time to time, but still manages to feel a bit contrived and mechanical in spite of it all. It should be stressed that this does not come about because of any notable change in stylistic direction, as the first impression that this album gives off is still well within the realm of what typified their recent works following Dani Löble joining the band 10 years prior and the release of the third installment of the Keepers saga.

Interestingly enough, things start off pretty strong and a sound that fairly closely resembling that of Gambling With The Devil emerges and holds steady for most of the first several songs. The lead off number "Heroes" takes a bit more of a punchy, heavy sound and is fairly fast, but largely a gritty affair that lends itself pretty strongly to the aforementioned 2007 opus. Immediately nipping on its heels are two very catchy speeders in this album's lead off single "Battle's Won" and the title song, each placing a fairly strong emphasis on guitar melody and capturing that good old days vibe that permeated a lot of the better material on the past three albums. Similarly, though at more of an upper-mid pace, the preceding single's b-side "Lost In America" and "Living On The Edge" keep up the generally happy and upbeat character of this band's happy-go-lucky character without becoming overly comical.

Much of the rest of this album is a bit of a mixed bag, if not so much for being too formulaic within itself, but more so for drawing from a number of different points in Helloween's past and not quite holding onto the level of consistency that makes for a smooth flowing album. On the predictable side of things is a number of slower rockers in "Stay Crazy" and "Russian Roulette" that are fairly solid, but don't really stand out very much. On the less than predictable side of things is a quirky sounding heavy number with a slight industrial feel in "Swing Of A Fallen World", which almost seems like it wants to emulate the title song off Time Of The Oath but fails to come off as climactic and powerful and functions more like a token heavier number that's overly formulaic. As the album closes off things get back on track with a pair of epic cruisers in "Claws" and "You, Still Of War", the former almost recaptures the glory of "Eagle Fly Free", whereas the latter mixes things up a bit more and is fairly reminiscent of the longer songs heard on Straight Out Of Hell.

In terms of the sum of the regular studio songs, the standard version of this album is roughly identical in quality to the moderately appealing yet mixed affair of Rabbit Don't Come Easy, but anyone ambitious enough to actually pick up the limited edition two CD version will be getting their money's worth as the 4 song EP that makes up the second CD contains some pretty strong songs that probably would have functioned better if they stood in for some of the weaker numbers mentioned earlier. While maybe not a whole lot more elaborate than much of what comprises the first CD, songs like "I Wish I Were There" and "More Than A Lifetime" have a bit more life to them. But even when accounting for all of this, on the whole this is a bit weaker than what has been standard operating procedure for this band since 2005. Weikath and company pull a respectable showing, but they were edged out this time by recent offerings out of former band mates' Michael Kiske's and Kai Hansen's respective projects.


Crazy_Voodoo_Magic, June 21st, 2015
Written based on this version: 2015, CD, Nuclear Blast

Helloween’s latest album, My God-Given Right, is a safe, accessible release that doesn’t test new waters or push any boundaries. There’s no experimentation, or anything out of the ordinary. However, this is in no way a negative. My God-Given RIght is actually a logical progression from Straight out of Hell, and the two albums preceding it. In my review of the former, I mentioned that Helloween seemed to have found a sound that they like and are going to stick with, and their albums following the release of Keepers of the Seven Keys: The Legacy reflect that. This sound is a blend of the heaviness of Better than Raw and The Dark Ride along with the upbeat nature of albums like Rabbit Don’t Come Easy.

The tracks on My God-Given Right are fairly quick and catchy, and this is helped along by the fact there aren’t any long ballads or intro songs to slow the pace down. The result is that despite the hour plus length, all the songs fly by, especially during the first half. The first half predominately showcases these quick, short bursts of power metal, featuring short songs with driving choruses. These are the songs that you’ll sing along to, such as "My-God Given Right" and "Lost in America." The former digs back into 1994’s "Power," and borrows heavily from it. I’m not typically a fan of bands rehashing their old work and slapping a new name on it, such as the latest Gamma Ray album, but Helloween does enough here to make "My-God Given Right" unique. "Lost In America" is simply great. It’s a typical goofy Helloween song, but the guitars are much crunchier, although they don’t lead the song as much as Deris takes the lead and they just support.

The second half of the album, beginning with “Creatures in Heaven” slows things down considerably, with the exception of the quick “If God Loves Rock and Roll.” Both “Creatures in Heaven” and “You, Still of War” push the seven-minute mark. The latter is probably the slowest song on the album, and has a pervasive melancholy feeling throughout the entire song. It stands out from the rest of the tracks because of this. However, I feel like it just misses being a classic by a narrow margin. The chorus doesn’t quite match the intensity of Gerstner and Weikath's guitars. The solo is especially strong and aggressive.

I have to give special mention here to “Creatures in Heaven.” This is quite simply one of the best tracks Helloween has ever written and the clear highlight of the album. Deris is able to drive the chorus along and still hit the high notes, as well as get lower and aggressive when he needs to. The opening riff is fantastic, and leads to an absolutely hard-hitting solo. Gerstner and Weikath are the driving force and clearly demonstrate just how talented they are. Altogether, "Creatures in Heaven" rocks the listener and is on par with previous epics such as "Far in the Future" and "The Dark Ride."

I’ve been quite complementary so far, but this album isn’t perfect. I agree with the previous reviewer that would have placed “Battle’s Won” as the opener. “Heroes” is a solid track, but overall, I feel Helloween would have been better served kicking things off with a faster track. “Nabatea” worked on the previous album simply because it was a fantastic song, not because it was long. Additionally, the lyrics are terrible on some of the tracks. I don’t think Helloween has ever been known for thought-provoking lyrics or songs, but these are probably the weakest lyrics on a Helloween release in the past ten years. They are saved because of how Deris is able to deliver them.

That being said, this album is worth picking up. For any Helloween fan that has found their recent work agreeable, you won’t find anything to dislike here. My God-Given Right is a safe, solid release. It delivers everything you love about Helloween without any surprises. They’re not trying to break any walls down, or change your life. Helloween is just doing what they do best: writing solid power metal.

Their Battle's Won - 87%

Larry6990, June 7th, 2015
Written based on this version: 2015, CD, Nuclear Blast (Digipak, 3D cover)

Quirky, goofy, heavy, catchy, fun-loving, bombastic. All can apply to the newest release from the godfathers of power metal, Germany's own Helloween. I feel this band should be exempt from cynical scrutiny regarding their newest releases. Let's face it, they're never 'bad'. At best, they're momentous ("7 Sinners")- at worst, they're just run-of-the-mill ("Rabbit Don't Come Easy"). 2015's "My God-Given Right" doesn't quite reach the heights of the former, but it is nowhere near the standardness of the latter.

What we have here is the logical progression from 2013's "Straight Out of Hell". The two albums have plenty of similarities - the soaring choruses, quirky humour, occasional crunchy riffs etc. But subtle changes have begun to take place, and may possibly continue to advance through future releases. For example - the vicious riffs found on tracks like "World of War" and "You Stupid Mankind" have been considerably diluted. They still exist, such as on "Claws", but aren't as de-tuned or groovy as is possible. A shame really, as the contrast between Helloween's fluffy melodies and gritty riffage was rather refreshing. There is also a heavier emphasis on keyboards this time round - be they bombastic or simply ethereal, their presence is certainly more notable.

Thankfully, all the players are on the ball throughout "My God-Given Right". Dani's performance behind the kit contains less frantic double-kick attacks than on previous albums, but is still no less energetic and vibrant. Michael Weikath's wacky sense of humour comes across in droves, and is always welcome! What would Helloween be without this man's madness? Most importantly - Andi Deris' vocals are on top form, as usual. Deris must be one of the most consistent vocalists in metal - always able to let his falsetto soar among the clouds, whilst maintaining his gruff attitude in the lower register.

There are many peaks during "My God-Given Right" where the songwriting prowess shines. This album was mainly a collaborative effort - with multiple band-members contributing to each track. This results in the album never becoming drab or repetitive, despite its hour-long duration. The up-tempo power metal hymns like "Battle's Won" and "I Wish I Were There" punctuate between the mid-tempo rockers like "Stay Crazy" and "The Wicked Game". There are also a few welcome surprises in the shape of "The Swing of a Fallen World" - a brooding, dystopian crawl - and "Like Everybody Else" - the 'ballad' of the album, which sounds like no 'ballad' ever before!

The true highlights of this record lie in places where the humour and quirk shine through. The vocal lines in "Lost in America" are irresistible, the main riff of "Russian Roulé" absolutely explodes, the chorus to "Creatures in Heaven" is truly epic, and the entirety of the title-track absolutely reeks of Kiske-era Helloween (dare I mention his name?!). In terms of structure, the only disappointment is the opener, "Heroes"; the main riff is very run-of-the-mill, the chorus is nothing spectacular, and the tempo simply trots along at a comfortable pace. Deris and the boys would've been better leaving this on the cutting room floor and opening with "Battle's Won".

However - this is the complaint of a chihuahua nibbling on the ankles of Godzilla. The German legends' newest album is an enjoyable romp through European power metal 101. It may not be a brief affair, but there is so much quality within the quantity, it's hard to complain. Sure the lyrics may be dumb, but when are European power metal lyrics ever philosophical or life-changing? Stick this in, turn your brain off and sing along. Loud.

Oh, and that artwork...yes.

"I sink my claws,
Into your flesh.
Tear it up,
Rip it all apart!"

Good band gone stale - 61%

TheWaltzer, June 3rd, 2015

Of all the bands I used to worship in my teens, the one that stuck with me and remains the biggest guilty pleasure has to be Helloween. Because, sometimes you just want to switch off and sing along. I still look forward to hearing the new stuff, despite the occasional disappointment. The last record was one of those, though, so I hoped “My God-Given Right” would fix the bad aftertaste.

What I got left me a bit confused. This is indeed your typical Helloween record – all of the typical elements are present and by this point, the band knows what pleases the hardcore fans. You get something over 7 minutes, some happy-happy-Helloween, a token ballad, some aggressive stuff... the thing is, that this time, the usual suspects actually shine, which is unusual. And not comforting, at all. Helloween used to be at their best when sidestepping a bit (See: The Dark Ride).

Take “Lost in America”. A fun little sing-along riding a cool melody, with lyrics that are actually funny, for once (“We should plunder the sky bar!”). One of the highlights, simply for the fun factor. But fresh, this is not. Also, the unavoidable ballad, “Like Everyone Else”, is actually well done, being bombastic and emotional, but not overblown.

Yet, there is this haven't-I-heard-this-before vibe that I get from the record. As fun as “Lost in America” is, the vocal line in the chorus is not far from “Who is Mr. Madman” from “7 Sinners”. And isn't “Stay Crazy” basically a bad version of “Power”? I cannot help it – this record just re-uses the formulas from the Deris albums. They worked, sure, but nowadays are hardly innovative. Helloween has shown us that they can experiment without being faceless or just that they can stretch the boundaries of their tight little niche. That is almost the exact opposite of what's happening here.

What's worse, though, when the band actually tries something out of the ordinary, it tends to backfire. “Living on the Edge” is just a mess of a song, with a lot of ideas that aren't cohesive at all. “You, Still of War” is a chore to listen to with that grating chorus. And there are some other songs that, at their best, feel very lazy. Laziness is what I got from the last album, and it still lingers here.

The sole exception is the one blast of creativity that this record has, track 12, “Claws”. I have no idea whence it came, but fuck yes, I'll take it. The riffs are furious, borderline thrashy and it's full of minor tempo changes and some built up solos. It relies solely on the chorus to tie it together, and that's all it needs. Successful on all fronts, this is the second coming of “Midnight Sun”, folks. And the odd thing... Weikath wrote it. You know, the guy usually responsible for the goofballs and upbeat tracks. I don't understand anything anymore, except that “Claws” is his best song since forever.

This review has been mostly focused on the songs, for the sheer reason that when take as one entity, it falls flat. Overall, the tracks tend to be catchy and somewhat poppy. When “My God-Given Right” gets average, it is the band going through the motions, using tested formulas and a tested producer. Sure, the band is tight, but I'd consider that more of a necessity than a bonus.

As is always the case with Helloween, I like this album a bit more than I should. I cannot avoid the fact that it is formulaic and a rather overlong, with some truly dumb lyrics (though not dumber than usual). A pair of stand-outs and a few enjoyable guilty-pleasure songs will not redeem the flaws, so I cannot possibly rate it higher. The cover art is telling, though. This is a band frozen in place. Can I get a blowtorch?

Raising another fluffy fist against the system - 60%

kluseba, May 30th, 2015
Written based on this version: 2015, CD, Nuclear Blast

On "My God-Given Right", Helloween delivers more of the same. The band offers standard European power metal without any surprises. The most convincing songs are the first three which happen to be among the most joyful tunes the band has written in recent years. "Heroes" starts with sound effects and distorted guitars before one of the fastest contemporary songs of the band kicks off. Orchestral sounds and a powerful bass guitar slow things down before the catchy chorus explodes. This is compact European power metal by numbers but it's performed with enough passion to convince. The first single "Battle's Won" has a similar approach but the chorus is even catchier, the melodies sweeter and the vocals higher. This track is the obvious hit on the record and should convince old and new fans of the band alike and become a long-time candidate for concert sets. Title track "My God-Given Right" reminds me of the power metal sound the band had about fifteen years ago. This track could have had its righteous place on "Rabbit Don't Come Easy". Once again, the track is passionate, fast and catchy enough to hide the obvious problem: the band stagnates.

As the record goes on, the tracks become a little bit less catchy, compact and fast and uncover the band's lack of ideas. Song after song rushes by and fails to leave a deeper impression. The album even starts to become dull and boring by the end. Thirteen similarly sounding tracks are definitely too many to carry an entire album and the diverse bonus editions even include more of the same. It would have been cleverer to release a more concise album with the nine best tracks from the recording sessions. Even if that option had been chosen, this wouldn't have been more than an average Helloween record. The last album had a couple of surprises in form of the historically inspired epic opener "Nabataea", the slightly progressive single "Burning Sun", the short Queen-influenced stomper "Wanna Be God" or the controversial "Asshole". This new album has no special moments, no experiments and not even an emotional ballad to lighten things up.

One thing is even more annoying than seventeen songs that sound exactly alike for nearly eighty minutes on the special edition. The band includes more lyrics that criticize the lifestyles of the rich and famous, greedy businessmen and the Catholic church. Don't get me wrong, I'm not a friend of capitalist entrepreneurs, hedge fund managers or the Vatican. Still, the band's pseudo-intellectual social criticism is closed-minded, provocative and stereotypical in the hope of getting approval. In addition to this, the band had already covered these topics many times before and Andi Deris' last disappointing solo album was filled with lyrics about these topics. Gerstner and Deris seem to be filled with hatred for the leaders of our world and with admiration for the poor working men. When I was sixteen, I would have adored this kind of music in combination with these lyrics. Today, I feel that the whole thing sounds childish, pretentious and redundant. If I wanted some critical comments on politics, rebellious socialist day-dreaming and socio-economic propaganda, I would rather listen to an underground punk album instead.

In the end, Helloween disappoints with a tiring record without any true highlights. This record is still acceptable thanks to the strong opening tracks if you adore the genre. Apart of the cringeworthy "If God Loves Rock 'n' Roll" that doesn't fit to the socialist propaganda in most of the other tracks, I must give the band that there is no real stinker on this release. On the other side, the band really needs to change its musical approach and lyrics for the next album. With controversial albums such as "Chameleon" and "The Dark Ride", the band has already proven that it was able to reinvent itself in the past. It's about time to do this again instead of raising another fluffy fist against the system even at the risk of losing a few fans like fifteen or twenty-two years ago.