Rock Believer

“Scream for me, screamer”? What kind of nonsense is this? Ah, I know. This nonsense is called Scorpions, the funny band that announced its split in 2010. Who cares, here is their next studio album. With the experience of… let me count… wait a moment… I’m still counting… pure hell… ah, now: with the experience of 326 years of musicianship, the present line-up dishes up eleven new songs. Amazingly enough, there are some pretty crisp songs included… to be honest: almost every shot finds its aim.

The first to mention is “Peacemaker”, a short, crunchy hardrocker with the emphasis on “hard”. Okay, I fear the lyrics do not hit the zeitgeist as much as "Winds of Change" did. Or is there anybody out there willing and able to put a bullet in Putin’s ugly head? Either way, this compact acoustic muscleman marks the highlight of an album which gives the listener the full Scorpions portfolio, nothing more, but also nothing less – with some unavoidable self-reminiscences. The properly rocking “Seventh Sun” reminds me of “China White” and “Shining of Your Soul” re-vitalizes the guitars of “Is There Anybody There?”, but the song can rely on a wonderful melody which does not lack heaviness. If they had left out the pathetic background vocals in the middle section, the piece would even be a real firecracker.

Speaking of the vocals, Meine still sounds like a best ager (I like to use this euphemism due to personal reasons…), not like the grandpa next door. Nevertheless, he is responsible for a very weak moment. In the sing-along part of the opener, he is not able to deliver a vigorous, high-pitched “louder”. As a rock vocalist, you can fail wherever you want, but not when it comes to the word “louder”. Cardinal sin! His voice sounds as uncertain as a little girl trying to tell a boy she likes him for the first time in elementary school. The vocals almost implode and that’s a pity, because “Gas in the Tank” actually constitutes a strong entry. Yes, a remarkable number of solid or even (very) good and really hard tracks welcomes the listener. Therefore I am able to forgive embarrassing lines like “here comes the brother from another mother ready for the Scorpions dance”. What sort of dance is this? Rhythmic rollator pushing? No nice vision. Apart from this lyrical bullshit, “When I Lay My Bones to Rest” is another track that spreads a fresh breeze. Okay, we learn that the “bad boys are running wild” again, but why write new lyrics when you have enough old ones? And isn't it also an amazing feat that Schenker and Meine can still remember them, while other gentlemen of their age would have been slipping into dementia years ago?

The production – haha, you will not read a single word about it here. Anyone who thinks they can detect even the smallest weak point is misguided. It’s nothing less than a perfect mix for this kind of music. Of course, it cannot conceal some kitschy sections in the title track or the closer and “Hot and Cold” cannot be saved from uselessness. Nevertheless, the production helps the songs to reveal their full strength. Hence in a nutshell, “Rock Believer” is much better than I expected. Okay, my expectations where low, but I respect the fact that the Scorpions still deliver new, true music. Schenker might as well be sitting in his luxury villa with his dollar bill padded ass looking forward to the pre-dinner program. Instead, he knocks out nasty little rockers like "Root in My Boots". The desire to rock seems to be unbroken in the house of Scorpions and that is good.

It’s been seven years since the Scorpions’ last album, but their nineteenth full-length sees them in the same nostalgic mood as 2010’s Sting in the Tail and 2015’s Return to Forever. Rock Believer is full of pop metal throwbacks to the days of Love at First Sting and Blackout along with a celebratory sort of reflection, not quite ready to bow out but still understanding that any of these albums could be their last. However, not unlike Judas Priest’s Firepower, there’s a more noticeable sense of reinvigoration on here compared to their last couple outings.

Much of that energy jolt has been attributed to the recruitment of drummer Mikkey Dee. While his performance doesn’t have the speed of his time with Motorhead or the dexterity of classic King Diamond, he might be the most effective timekeeper they’ve had since Herman Rarebell. At the very least, his presence seems to be rubbing off on his bandmates as the guitar tones have a noticeably sharper edge than they’ve had in a while while Klaus Meine continues to be one of the most enduring singers from his generation.

The album also features a much smaller number of power ballads than usual, reinforcing the more striking pace. Tracks like the opening “Gas in The Tank” and “Knock ‘em Dead” have that hefty stadium metal appeal while others like “Roots in My Boots” and lead single “Peacekeeper” bring in some extra speed. There’s even room for some earlier excursions as tracks like the almost reggae rhythm on “Shining of Your Soul” and western-tinged “Call of the Wild” have almost seventies vibes while “Seventh Sun” has a booming mid-tempo stomp that recalls “China White.” Of course, there had to be at least one ballad but “When You Know (Where You Come From)” serves as a subdued closer.

Rock Believer likely would’ve been the best Scorpions album since 1990’s Crazy World by default, but it’s satisfying to see the band approach it with a little more pep in their step. While it’s still not quite at the same level as their most essential classics, the extra oomph goes a long way in making their hooks and personable demeanor even more effective. Whether this’ll be their swansong or the spark for their true last hurrah, it’s always nice when an old guard band like Scorpions can still deliver.

Phuh… an enormous sigh of relief; cause I wasn’t going to bear another scathing diatribe thrown the Scorps’ way from my hand… not that I was ready to write another one… in fact, I wasn’t going to bother even giving half a listen to the band’s subsequent mild hard rock chansons; cause by-and-large this is the style they have settled for on the more recent slabs, trying to avoid their heavy metal credo from the past as much as possible.

I fully take some of my words back, the ones I penned for their last outing, that the musicians were already too old and tired, and that what they should do next was to retire to their chateaus in the mountains, and indulge in their idyllic pensioners’ lives, humming their balladic escapades when in the mood…

nope, they’re not ready for that step yet, as evident from this excellent opus, a personal and direct response to my invectives being the opening “Gas in the Tank”, the band arming themselves for a more militant, heavy metal-spiced battle. With this cut a part of the initial three-pronged bellicose package, the situation delightfully starts smelling the glorious 80’s, and although the next trio is on the heavy pounding side, think “China White” meets “Crossfire”, there’s nothing wrong with these seismic hammering rhythms, which even receive a bouncy semi-galloping ornament on the angry hymn “Hot and Cold”, a fine reminder of the title-track from “Lovedrive”. “When I Lay My Bones to Rest” is a merry optimistic speedster which needs just a few more aggressive notes to stand beside “One” or “The Same Thrill” from the old violators, the latter also served on the excellent “Peacemaker”, the new heavy metal anthem to summon both new and old metal heads under the worldwide live banner.

Just when one starts wondering whether there’ll be at least one full-fledged ballad here, comes “Call of the Wild” which peaceful beginning will mislead everyone; nope, this isn’t exactly a ballad with the second part rocking much harder… but at least it sets the tone for the epitaph… it’s the last song, for crying out loud, on a Scorpions album… it’s gadda be a ballad. And yes, it is, a fairly cool one, still a heavy etude but no non-balladic dissipations this time. The fitting closure provided, end of story; another chapter of the everlasting Scorpions saga duly finalized.

A fairly entertaining chapter, by the way; with the gorgeous super-sexy damsels in distress back on the cover as well. A very pleasant surprise, especially with the extension with the four bonus tracks, those numbers pure high-octane heavy metal to the bone, save for the marginally meeker radio-friendly “Crossing Borders”. The band are on fire once again, and it was high time, if you ask me; otherwise, the band’s erasure from the metal maps was guaranteed after another tepid genre-defying charade. There’s simply no room for one, and although it’s a bit cruel to compel such a dinosaur breed to mosh with reckless abandon after aeons spent on the field, I’d personally take my chances with this particular one… and I would eagerly attend their next concert, well-equipped to jump around to oblivion on the tunes from here. No, I don't want those to replace the evergreens from “Blackout” and “Love at First Sting”; that’s, needless to add, impossible… but I’d be more than glad to hear “Painkiller”… sorry, “Peacemaker” sandwiched between, say, “Bad Boys Running Wild” and “Can’t Live Without You”… mosh on, baby!

So, after the obligatory extensive tour of our beloved green planet (and not only), the guys will sit down, a year and a half from now, and will start working diligently on their own version of the ”Painkiller”, as mentioned earlier. Cause this is pretty much the only thing that’s been left to do… and a most logical step from now on if you ask me… a full-scale old school speed metal attack from beginning to end. No ballads, no shite. To vent out all the anger and frustration gathered recently, from viruses, wars, and all other such insalubrious occurrences. But they have to name it differently, as their colleagues from Judas were there first. I’d personally suggest “Trailblazer”, but that’s just me, the incorrigible cliche-spitter. Cause if the Scorps aren’t capable of pulling that one off, make no mistake, folks… the Apocalypse will come, and not even the deadliest sting in the tail would be able to prevent it.

A whopping fifty-eight years after its foundation and twelve years after the band had announced plans to retire, German hard rock legends Scorpions deliver one of their strongest records in several decades with twentieth studio album Rock Believer. The quintet has recently been joining forces with former Motörhead drummer Mikkey Dee who has brought a healthy dose of energy to the veterans.

Rock Believer sounds timeless with its excellent organic production that makes the five gentlemen of which some are in their mid-seventies sound like a group of hungry youngsters. Appropriately titled opening anthem ''Gas in the Tank'' runs you over like a wrecking ball and only leaves ashes behind. The song opens with sound samples of alarm sirens before passionately discordant guitar sounds join that are soon completed by vibrant bass guitar sounds, dynamic drum patterns, youthful lead vocals and passioante backing vocals leading to a catchy chorus. The song gets to the point in less than four minutes and is the band's greatest opening song in many decades as it would also make for a wonderful concert opener.

The band keeps the momentum with lively, playful and tight ''Roots in My Boots'' that would also work splendidly in the context of a vibrant concert once the pandemic has slowed down to allow the veterans to perform without any restraints and risks.

The powerful opening trio is completed with the energetic, gritty and uplifting ''Knock 'em Dead'' that also gets to the point in four minutes and makes you want to bang your head, raise your fist and sing along from start to finish.

If you expect the band to break down, include a filler or slow things down at a certain point, you are mistaken. The band might be known for its popular ballads but this is a vibrant hard rock record with quite a few dynamic surprises. They include cool cowbell sounds in titular anthem ''Rock Believer'', atmospheric doom metal vibes in plodding ''Seventh Sun'' and particularly tight musicianship in ''Peacemaker'' that clocks in under three minutes and takes no prisoners.

The limited edition is also particularly interesting with four additional new songs and an acoustic version of the record's mellowest tune. ''When Tomorrow Comes'' includes some playful vocal effects and particularly catchy backing vocals that make for a memorable stomper that other bands would crave to select as lead single. ''Unleash the Beast'' features guitar play that reminds of nomadic string instruments that give the eerie tune a completely unusual folk rock vibe as the band covers new ground.

I didn't expect much from Scorpions' twentieth studio record Rock Believer but it turns out to be one of the band's very best albums. This release is energetic, playful and tight as the chemistry between the five musicians seems to be excellent. If this album ended up being the band's final studio record, it would end the group's career on a particularly high level. However, the quintet sounds so fresh, hungry and juvenile that it would be a shame if the German hard rock legends didn't release at least one more effort. This album should make it onto numerous lists for greatest records of the year and underlines the band's stunnning creativity, influence and longevity.

When you've been at something for over half a century and have twenty albums building your legacy, it's safe to say you're pretty good at that thing. For the Scorpions, they've always been a family-favorite for many people with their catchy choruses, soft-rock tendencies, and ability to rock like AC/DC. But there is a heavier sound to the band that pops up every so often. With this new album, Rock Believer, the Scorpions showcase what makes them one of the best hard rock bands of all time and also what has kept their career alive for so long: their ability to change with an ever-evolving musical landscape.

They still have that catchy hook-writing skill that never seemed to go away, and the guitars bounce and swing like it's 1982 again, but the overarching tone of remorse is very clear in this album. For every sugary hook the forlorn undertones are piercing through the wailing guitars and Klaus Meine's signature raspy vocals. "Roots in my Boots" sounds a bit like the "Absurd" single from Guns N' Roses last year, with its hopping riff and bombastic drumming, but this plush delivery actually works for a band like the Scorpions because their songs are written so well. "Knock 'Em Dead" transitions from party banger to a mournful bridge with ease, allowing for an emotional journey like no other for the album's best song.

Matthias Jabs is behind the majority of the guitar playing on this album, although old man Rudolf Schenker has a couple tricks left up his sleeve (and his backing vocals are as strong as ever!). While this album is a lot like every other album the band has put out, and they do follow in the footsteps of AC/DC with not really taking any risks, it's hard not to headband to these songs. They aren't overly flashy, they aren't trying to do anything off-brand for the Scorpions, they're simply there to rock and write catchy songs.

There isn't a crazy amount of substance to this album, so if you're a prog nerd or into albums that jam as many notes in the most difficult-to-play order, then this probably isn't the album for you. Scorpions are a very likable band, but only if you're okay to let your guard down and just jam out every once in a while. They run a lot like a simpler '80s Rush, Guns N' Roses, and some of the more sophisticated hair metal bands like Skid Row. Their sound isn't super complex but they do write good music, and the songs are varied enough to not feel like you're listening to the EXACT same thing over and over. But again, this is not an album that will reinvent the wheel. Songs like "Hot and Cold" and "Peacemaker" are catchy tunes like the rest of the record, but this isn't the most metal thing you'll ever hear. Still a good listen, though (except maybe "When I Lay My Bones to Rest," this one is a bit too poppy).