This Swedish band is often credited for resurrecting traditional metal. Their music is pure uncontaminated melodic speed metal, European style, with fantasy "dungeons-and-dragons" lyrics, high pitched vocals, and ultra-traditional riffs. Their first two albums, "Glory To The Brave" (1997) and "Legacy Of Kings" (1998), made a big splash and started the wave of NWOEPM. Band's line-up at the time consisted of Joacim Cans (vocals), Oscar Drojnak and Stefan Elmgren (guitars), Magnus Rosen (bass), and Patrik Rafling (drums). People bitched about their lack of originality, but Hammerfall almost single-handedly made metal popular again, and they deserved all the compliments they got. "Renegade" (2000) and "Crimson Thunder" (2002), featuring former Yngwie's drummer, Anders Johansson, both went gold in several European countries, although it is noticeable that the relative novelty of the band is starting to wear off. Joacim Cans released an album with the resurfaced legendary NWOBHM band, Warlord, as well as his solo record, "Beyond The Gates" (2004). The followups, "Chapter V" (2005) and "Threshold" (2006), saw dwindling popularity.
GLORY TO THE BRAVE (1997)
RATING: *****
BEST SONGS: "Dragon Lies Bleeding," "Hammerfall," "Stone Cold"
Yes, Hammerfall is doing something that has already been done a thousand times. Yes, the voice is a little immature. Yes, the guitars are nowhere near the wizardry of other power metal bands (the only decent solo on the album is on the song "Stone Cold," done by a guest performer). Yes, they are a little pretentious. That's all true, but so freakin' what? They rock!! Every single song on their debut album kicks serious butt, and what more can you ask in the year 1997? The album blew me away from minute one, with sheer speed of "Dragon Lies Bleeding." Although each of the above flaws is true, but two things you can't deny about this group: Hammerfall has awesome rhythm guitars and great energetic drive. In many respects (lyrics and attitude) it reminds me of Manowar, but it's not even half as cheesy. I mean, they take themselves seriously, but I don't think they consider themselves to be "kings of metal," "gods of war," and so worth. Musically, they are a lot faster, and they don't have mood-ruining slowbits in the middle of every song, which is my biggest problem with Manowar. Their most Manowarish song on the album is also the cheesiest, "Steel Meets Steel." Everything else is near perfect: rocking "Metal Age," a supreme cover song "Child Of The Damned" (cover of Warlord, what a great riff!), speedy "Dragon Lies Bleeding" and "Unchained." "Hammerfall" is also quite a-la Manowar, and I love it, because it displays everything good about Manowar: sense of brotherhood, terrific background singing in chorus ("Hammerfall, we will prevail..."), good rhythm guitars, and solid drumming. Btw, Jesper Stromblad, an In Flames guitarist, (!) plays drums (!) on this album. It does have a slowbit at the end, but that's just an outro; it doesn't break a mood. "Stone Cold" is IMHO the best song of 1997. It rocks like nothing I've heard since god knows when. When I was driving to Chicago from Detroit, I listened to it seven times plus five on my way back. Its chorus is so powerful, it's unbelievable. I can't even describe all my feelings as I was listening to it, but the words "Stone cold! Man or machine? Stone cold! The end of a dream!" are in my head for several months straight now, and aren't planning on leaving soon. Also, the album concluding title track is full of such intensity and feeling that, even though it's a ballad, it's still a blast. Like I said, if another band like this appears, metal is saved.
LEGACY OF KINGS (1998)
RATING: ****
BEST SONGS: "Let The Hammer Fall," "At The End Of The Rainbow," "Back To Back"
I hold an opinion that is contrary to many people's: the sophomore effort from the Swedish quintet is inferior to their debut. The production went down a bit (drums, for example, sound a lot worse than before), and at times the band just seems repeating itself in both music and lyrics. Some people say that Joacim's voice got better: i don't hear that, in fact, i hear quite the opposite. Songwriting is still OK, but i can trace EVERY song on the album to its respective counterpart from GTTB with unsuitable results: "Heeding The Call" is good, but worse than "Dragon Lies Bleeding"; "Legacy Of Kings" is good but worse than "Metal Age," "Let The Hammer Fall" is great but worse than "Hammerfall" (although the former is mid-tempo, while the latter is speed metal), "Remember Yesterday" is worse than "I Believe," and a concluding piano piece, "Fallen One" is wa-a-ay worse than "Glory To The Brave." "Stronger Than All" and "Back To Back" (this is a cover of Thin Lizzy with an interesting tribute to Manowar in the bridge, when Joacim screams "KILL! WITH POWER!") I do like more than "Steel Meets Steel," but the best song of the album, "At The End Of The Rainbow" (awesome chorus!) can't quite compete with "Stone Cold" (it's beyond any competition). Overall -- I expected more, but that's cuz I was spoiled by the debut. All that said, it's a good album. The hottest chops are: the beat in "Let The Hammer Fall" and awesome speed metal of "Back To Back.
I WANT OUT (EP - 1999)
This mini-CD has four songs: "I Want Out," "At The End Of The Rainbow," "Man On The Silver Mountain," and mpeg video file for "Glory To The Brave." "I Want Out" is a cover of the infamous Helloween track, that was made for the intended Hello tribute, but somehow never did. It's really hard to call it a "Hammerfall covering Helloween," because lead vocals, guitars, and keyboards are all done by... Kai Hansen. Technically, it's still a novelty, because, even though Kai wrote this song in the first place back when he was still in Helloween, he never sang it, but it's still funny. Another guest musician is Udo Dirkschneider on background vocals. Is Joacim Cans there at all? Yeah, he can be heard in chorus "I want out (out, out)!," in the 2nd pre-chorus ("Don't push me to the maximum") and in the bridge ("There's a million ways"). Now, the track itself simply rips! Kai unleashes all his anger and energy, making it angrier than almost any of his Gamma Ray works. The production is superb (Tommy Hansen), and I prefer this version to the Keeper Of The Seven Keys original. "At The End Of The Rainbow" we all know and love from Legacy Of Kings. "Man On The Silver Mountain" is from the "Holy Dio" tribute. Kai didn't exactly leave the studio for this one either: he does back vocals. I don't care for the original that much, but HF boys do a good job. Now, for the video clip of "GTTB." EIGHTIES!! I realize, that's what HF are trying to be, but video looks outdated. Church, waterfalls, cemetery, kid dropping a rose, slowly walking band, etc. Plus, like my girlfriend said, "They should have hired actors." The guy who's playing the piano (I think it's their old guitarist) is not the prettiest of men and neither is Joacim. But still, it's nice to see that metal bands are still doing videos.
THE RENEGADE (2000)
RATING: ***1/2
BEST SONGS: "Living In Victory," "The Champion," "A Legend Reborn"
After I've heard so many people bashing this album, I expected it to be a complete disaster. I should've known better. This album is as solid as any other metal album out there, but the novelty is wearing off, as Hammerfall is not exactly showing much of a development. However, they still rock. Actually, I find the overall level of songs on this album higher than on LOK. It doesn't, however, have the immediate classics like "Let The Hammer Fall" or "At The End Of The Rainbow." "Templars Of Steel" is a predictable self-glorifying opener, cool nonetheless. "Keep The Flame Burning" I cannot take very seriously, after awesome "Hold On To The Flame" by Nocturnal Rites. The title track is also pretty cool, with a main riff that I've heard before, but they couldn't have. Now, here's comes a MAJOR gripe. Who told Joacim Cans he could sing ballads? And, moreso, who in hell told Hammerfall to release ballad as a first single? "Always Will Be" ("you will always be my little one," yeah, right) falls right into the pile of crap that already contains "Fallen One" and "Remember Yesterday." Gawd! "The Way Of The Warrior" and "Destined For Glory" are exactly what I expected. Lyrics-wise, they're clearly running out of ideas (or, should I say, "their only idea is running dry," and lyrics like "We're restless, we're wild" from "Legend Reborn" don't help), but the riffs still rule. "The Champion" and "A Legend Reborn" are, on the other hand, excellent and catchy rockers. A special nod goes to the instrumental, "Raise The Hammer" (this piece makes sure there is no Hammerfall album without the mention of hammers), it's fast and rocking. I don't know why people complain about the production, sounds good to me. Conclusion: this album is not bad OR stale. Hammerfall keep doing what they do best, and if you had a problem with that before, this album won't change your mind. However, for the simple "rock" value, you should look no further.
CRIMSON THUNDER (2002)
RATING: ****
BEST SONGS: "Trailblazers," "The Unforgiving Blade," "Hero's Return"
Produced by Charlie Bauerfeind, this album is heavier, faster, and punchier than its predecessor. For the most part, it's still the same predictable Hammerfall, with its "call to arms!" cry and Manowarshipping, but it is definitely more interesting musically and its energy is definitely going to appeal to all power fans. I only wish they wouldn't write a song titled "Riders On The Storm," where they took the title of The Doors' classic and turned it into a cliche-fest. Further down the beaten path lie "Hearts On Fire," with its chorus that makes me cringe. However, then come several songs which are not quite as offensive to my intelligence: "On The Edge Of Honour," instrumental "Lore Of The Arcane," and butt-kicking "Trailblazers." Now here's something definitely unusual: the ballad doesn't come until track 7! The bad news that I hate it as much as I hate every other HF ballad, with the exception of the debut's title track. They're simply a lousy ballad band, and when compared to Blind Guardian and (Morgana) Lefay, the ballad masters, they don't stand a chance. Then come two of the most un-Hammerfallish songs ever. "Angel Of Mercy" is a jerky cover of Chastain's song, which many people love, but I find uninspiring, except for a very memorable bridge in the middle. "The Unforgiving Blade," on the other hand, is almost equally jerky, yet it rules. The chorus is spectacular, one of the band's best. I must also mention a pretty cool cover of Kiss's "Detroit Rock City," which the boys perform with their usual enthusiasm. A good album, and one of the year's few good surprises.
CANS: BEYOND THE GATES (2004)
RATING: ****1/2
BEST SONGS: "Soul Collector," "The Key," "Merciless"
Apparently, Hammerfall's vocalist Joacim Cans is a well-liked person on a contemporary metal scene, as he had no problem assembling a lineup for his solo album that reads like a "who-is-who" list: in addition to his Hammerfall partner, guitarist Stephen Elmgren, this album also features Mike Schlasiak (guitar, Halford, John West), Mike Zonder (drums, Fates Warning), and Mat Sinner (bass, Sinner, Primal Fear), plus a crop of cameo appearances from the likes of Roy Z and Oscar Drojnak. And did this supergroup come together well! For the first time in a few months I have heard an album that made me headbang, as well as pump my fist in the air! This is the best Hammerfall-related album since "Legacy Of Kings" and the best I have heard Joacim Cans sound since "Glory To The Brave." The music is not fast, but heavy and crunchy, not unlike Accept. The lyrics concentrate not on the typical Hammerfall heroism and glorification, but rather on the darker aspects of a humanity, slightly resembling Mystic Prophecy (although they are still fairly banal). The album showcases a fair amount of variety, since different songwriters contributed to the different songs. I assert that writing talents of both Schlasiak and Sinner continue pleasing me. Schlasiak's trademark wicked harmonies in "Soul Collector," which are very nicely complimented by bombastic "Wielding the axe..." chorus sang by Drojnak & Co., make this song a definite highlight, and "Back To Hell" is another guaranteed hit with the Halford fans. More melodic but still heavy and crunchy "Fields of Yesterday" and "Silent Cries" belong to Elmgren, and catchy-as-hell heavy "Merciless" (one of the year's best tunes) and piano-driven "Dreams" come from the Sinner/Primal Fear camp. The songs score big in the catchy choruses department: virtually every track has a memorable chorus. A definite plus is the absence of lame ballads that plague each Hammerfall release. Both title track and "Forever Ends" have their mellow moments, but the former quickly turns into a wall-smashing blast and the later is saved by its sarcasm. Another notable moment is the use of guitar and vocal harmonies in "The Key": they are excellent. A strong contender for the "Surprise of the Year" award, this album is a fine addition to any contemporary metal collection. Its staying powers, however, remain to be tested.
THRESHOLD (2006)
RATING: ***1/2
BEST SONGS: “Fire Burns Forever,” “Rebel Inside,” “Natural High”
OK, it’s final: this is the last Hammerfall album I’m buying, unless the band completely changes its music and image. Frankly, I’ve had enough. The songwriting is stale, the riffs are tired, and the horse is dead. Cans sings like a girl more than ever. An occasional foot-tapping or head-shaking may accompany the songs, but even the best of them would not make the cut for the first two albums. Basically, the band has completely lost the urgency that had rocketed their start and is now cruising in the safe waters of recycled riffs, fighting non-existent battles. The lyrics simply border on retarded (“Metal Genocide”? wtf?). “Titan” is, basically, a Rhapsody song without the keys, and it’s equally dumb. While almost every band from the NWOEPM has successfully matured and graduated their heavy metal high school, Cans, Drojnak, and Co. are still stuck in puberty with no maturation in sight. The only thing that has going for this album is the heavy riffs, sometimes creating a certain groove in some songs. Besides the highlights, it’s “Howlin’ With The Pac’” (wtf is that about? Goin’ ghetto, are we?), and some other moments I can’t remember right now. That’s it. Time to bury this crusader.
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