Following the release of that debut album, the band had gone on tour to support it, but the difficulty that the band found in preparing for a follow up release was having to work in with the schedule of guitarist Kai Hansen, whose number one priority was his own band Gamma Ray. Band leader Piet Sielck once again was the almost sole contributor to the writing and composing of the songs, apart from two tracks submitted by Hansen, on which he also contributed lead vocals in the process. The obvious problem of involving anyone else was that because this album continued the story that was begun on the debut album, one would have to know how that story was to progress, and given it came from Sielck’s mind he was left with the writing himself.
With the first album mostly recorded by Sielck and Hansen alongside drummer Thomas Stauch, this album brought on board the touring band to continue into the studio. This included Andreas Kuck on keyboards, Jan-Soren Eckert on bass, a position he has filled right to the current day, and Dan Zimmermann on drums, which only lasted this album before moving on to fill the same role for Gamma Ray. The recording was pieced together during Hansen’s availability both with Gamma Ray’s touring commitments and their own writing for their follow up to their “Somewhere Out in Space” album. These conflicts in time did eventually lead to Kai having to move on from Iron Savior, but at this point he was still actively involved in keeping the band on the rise in the European power metal community.
The album picks up the story where it was left off at the conclusion of the debut album. The Iron Savior, a gigantic machine built to defend Atlantis, has through the course of the story now come to believe that humans are the destroyer of Atlantis, and as such has set itself to wipe them off the face of the planet. The story moves on from this point, drawing in new heroes and another fleet of aliens from outer space, and by the time you reach the end of the album another cliffhanger is composed, such that the story will continue into the next album.
Now, I do have to say here, just like I did in my review of the debut album back in Season 2 of this podcast, it really isn’t necessary to know, to follow or to care about the story the album is telling. Yes, the concept story is there throughout all of the tracks and can be followed and enjoyed if you like, but it is not necessary to know it to enjoy the album. Indeed, a simple enjoyment of typical power metal music is more than enough to gain something from this album.
The opening tracks are a great start to the album as a whole. “Coming Home” opens at a good pace, with Piet soaring in vocals and encouraging you to sing along with him. Most of these charging songs have a choral backing with Kai, Andreas and Jan all contributing in this fashion. “Starborn” moves in the same direction, the great vocals backed by the humming guitars and Dan’s excellent drumwork driving the songs along. “Deadly Sleep” has always been a favourite, most probably because it is not only written by Kai Hansen but features him on lead vocals as well as guitar. It does still have that Gamma Ray feel about it but is differed enough to not make it sound like it was written for his primary band. “Forces of Rage” returns to the Piet Sielck style of song for the band, more frantic and less melodic in both guitars and vocals, and segues into the spoken word of “Captain’s Log”. This blasts straight back into the fire and brimstone of the album with “Brothers (of the Past), which showcases the exuberance of the best songs by this band, always at a faster pace with lots of fast riffing and great double kick drumming. “Eye to Eye” follows in a more melodic and anthemic way, with great vocals from Piet bringing the best out of the song. This jumps right in to “Mind Over Matter” which has a wonderful dual melodic guitar solo section through the middle of the song that equals all of those from the other songs on this album.
The only disappointment on the album turns out to be the final track, “Forevermore”, written by Kai and also with lead vocals by him. While not a genuine power ballad, this song acts in that way, the anthemic ‘feel-good’ wrap up of the story to this point, and while it is performed well, the keyboard and synth based track just falls out of place from the genuine metal feel of the rest of the album. The only saving grace in this is that the CD has two bonus tracks, with the band covering ai’s own “Gorgar” from Helloween’s “Walls of Jericho” album, and also Black Sabbath’s “Neon Knights”, which releases that slightly bitter taste from the mouth by the end.
Like the best European metal bands, Iron Savior are served wonderfully well by their twin guitar attack, and it is the star attraction of this album. Kai is a legend of the genre, one of the best guitarist/vocalists in a genre of music he was a proponent of inventing. Piet follows suit, and given these two were playing together in school you can hear how well their partnership in playing and collaborating works. “Prisoner of the Void” is another belter, and along with “The Battle” and “Unchained” not only outline the escalation of the story being told but also drive the album to its final conclusion in style.
The debut album, the self titled “Iron Savior” was a good album, a nice way to enter into the marketplace. This album is much better, both in song quality, production, writing and playing. It steps everything up a notch and it is noticeable from the outset. All of this is a reason why this is an improvement, but the fact that the band that toured together prior to this album being written and recorded must act as a major part of this. They were a solid unit entering the studio, and in particular the addition of Dan Zimmermann on drums, who had previously been in Freedom Call and from this album transferred his marvellous skills to Gamma Ray. Jan-Soren Eckert on bass is also fantastic and does a terrific job. But obviously, the star attractions and heavy lifting comes from Piet Sielck, the band leader, guitarist and vocalist and his long time mate Kai Hansen, in the same roles.
I have had this album since it was released, and it has had a couple of stages in the years since when it has been in the CD player for some time going over and over. Of my friend group, and of most people who I know who listen to heavy metal music, I am the only one who has found and loved Iron Savior, and for them, that is most unfortunate. The more I listen to the band, especially in this era of their first five albums, the more I enjoy them. This album especially, having had it running again for over three weeks in preparation for this episode, has given me more than I expected once again. I find more in the relationship on guitar between Kai and Piet, I find more in the rhythm of Jan-Soren and Dan, and I find more in the songs as well. Even in the Iron Savior fan base, this album seems to be unfairly underrated in my opinion. Musically it is at the top of the tree for its genre at the time it was released. And unlike many of the bands it was up against, the fact that it is a twin guitar set up and not a guitar and keyboard band always gives their songs more oomph, more power, more guitar driving throughout.
This is still a terrific album. And what’s more, the albums that follow are arguably better, at least for a time. For a band that no one in Australia at least seems to know, I still think this album holds up after 25 years. The only thing that scares me is that it is 25 years since this was released. It seems frighteningly much less years ago than that.
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