Predictable but fun - A review of Powerwolf's Call of the Wild

Powerwolf is in many ways similar to bands like Sabaton. The German power metal quintet has developed its very own sound and concept and hasn't moved one iota away from it throughout the last few releases. An occasional fan could simply grab the compilation Best of the Blessed and ignore this release. The band's immense popularity in Germany however shows that the group's strategy is paying off very well in times when most bands are financially struggling.

The record includes short, powerful and catchy stompers on the thin line between heavy and power metal centered around sacral keyboard sounds and classically trained baritone vocals such as single ''Beast of Gévaudan'' whose historic topic had already inspired movies like the excellent Brotherhood of the Wolf. The band also offers songs on the more melodic, epic and conceptual side such as album highlight ''Alive or Undead''. The new studio album also includes concise party anthems with tongue-in-cheek lyrics such as ''Undress to Confess'' that are guaranteed to work very well in the context of festivals. The band also included its usual song with German lyrics this time around and ''Glaubenskraft'' unites all the band's strengths and blends in perfectly with the rest.

This album comes in numerous different versions. One additional disc entitled Missa Cantorem features ten songs where the band covers its own classics with additional guest vocalists. Primal Fear's charismatic Ralf Scheepers shines on ''Sanctified with Dynamite'', Alestorm's Christopher Bowes blends in perfectly on party anthem ''Resurrection by Erection''and Wintersun's Jari Mäenpää delivrs the goods on ''Saturday Satan'' as he reminds us that he is actually a great singer when he finally comes around to release new music. Other collaborations work a lot less such as the bland growls by Alissa White-Gluz on ''Demons Are a Girl's Best Friend'', Doro's predictable and forgettable participation by the numbers on ''Where the Wild Wolves Have Gone'' and Matthew Heafy's unspectacular and uninspired contribution to ''Fist by Fist (Sacralize or Strike)''. Overall, this additional disc is an entertaining gimmick for faithful fans but certainly not an essential addition.

The third bonus disc with orchestral versions reveals how similar the different Powerwolf songs sound. The verses focus on laid-back sacral keyboard sounds while the choruses feature louder symphonic elements backed up with occasional choirs.

It seems to be rather easy to create a stereotypical Powerwolf song. Let's give it a try. Start with a short instrumental introduction carried by keyboards and guitars alike for twenty seconds. Continue with a verse where guitars dominate that lasts for roughly forty seconds. Crank up the volume of the symphonic elements, add some occasional choirs and get to the point in the chorus in about twenty seconds. Repeat the second and third steps. Add a short instrumetal bridge in the key of the first step. Conclude with the third step and double the chorus. Include lyrics relating to religious and historic events with key terms such as ''cross'', ''fire'' and ''God''. There you go, you have your new Powerwolf single that lasts precisely three minutes and twenty seconds.

As you can read, Powerwolf's Call of the Wild is of no interest for more sophisticated, intellectual or experimental minds. The album is shallow, predictable and by the numbers. However, it's a fun record to listen to and offers welcome escapism for forty entertaining minutes. It's neither better nor worse than its predecessors. Powerwolf has been stagnating for at least eight years which means that you exactly get what you can expect. Faithful fans will adore the new record while those who have always thought that the band was overrated will hear their thoughts confirmed here. Personally, I'm right between both points of view and will simply listen to the band when I need some entertaining background music while doing something else.

Final rating: 67%