The band had parted ways with another drummer in Patrik Räfling, and in his place had recruited the excellently credentialled Anders Johanssen, at that time best known for having played with his brother Jens in Yngwie Malmsteen’s band Rising Force during their halcyon days of the 1980’s. Andres brought with him a professionalism and talent that would help drive the band over the next 15 years.
On top of this, the band brought in a new producer, having utilised Fredrik Nordström for their first two albums. Despite some criticism in changing the deck chairs while the boat was in smooth sailing, the change to Michael Wagener was a savvy one. Wagener was well known for having been at the helm of the great albums of bands such as Dokken and Skid Row, as well as being the mixer on dozens of other classic albums. His expertise was something that the band was hoping would help them to produce an album that gave them a bigger profile and exposure. Dronjak stated on metalrules.com on the eve of the album being released that the band was looking for a more commercial sound to attract a broader fanbase, and that he also envisioned this would not be the path the band would go for future albums. Only time would tell, as the band released their third full length album, “Renegade”.
The album opens with the slow tempo anthemic tones of “Templars of Steel”, a reversal from what they had done on their first two albums. It is very much a statement track, based around the steady slow beat of the drums, the ease of the guitar riff throughout and the vocals is a powerful drive throughout, a deliberate and focused stating of the lyrics. For the band it isn’t a style that they haven’t produced before, but utilising it as the opening salvo on the album is an interesting strategy, and not one that isn’t without its charms. Following it though comes the far pacier entry of “Keep the Flame Burning” which is far more reminiscent of openings of HammerFall albums past, and does restore some semblance of the natural order of things. The opening riff holds similar ideals to many Hammerfall songs, and once Joacim enters with his vocals all seems right with the world again. The double time tempo and Joacim’s harmony vocals make this the great singalong track of the best the band can deliver. And then the title track “Renegade” follows the same path musically and with Johanssen’s precisions perect double kick throughout, leading the charge of the guitars that riff along to mirror the motorcycle revs that accompany the song along the way. The backing vocals in the chorus give it that singalong quality as well that provides the best aspects of Hammerfall’s work. Then bursting past this is “Living in Victory”, another ripping song with that faster tempo that makes power metal songs so much fun to listen to. Though, it must also be stated, these are not over fast, and not over reliant on the blazing double kick or use of keyboard. They are faster tracks yes but not to excess. The obvious fact here is that the songs on which Jesper Stromblad was involved in writing, which include the three tracks here that follow the opening track are the faster songs, the more active vocally and musically, and the more similar to the best songs on the previous two albums. This was the connection the band was looking for by bringing Stromblad back for his third stint of songwriting, to keep the essence of the band’s musical in tune with what the fans were looking for.
“Always Will Be” is the power metal ballad fans are obviously asking for, because we continue to get them on every album. Written solely by Oscar Dronjak, this channels every mood point that the power ballad can travel, the soaring vocals, the acoustic guitar arrangement, the touching lyrics... look, you guys know the drill. If you love these kinds of songs, that’s great, here it is for you. But listen to the songs before this, and the way the song after this starts. This is a mood killer, it’s a blockage, one halting the flow of the album. Skip it and be better off for it.
Speaking of which, “The Way of the Warrior” DOES start with a great guitar flurry into the hard hitting rhythm from Johanssen and Magnus Rosen on bass that drives the song again. Joacim’s vocals give the hint of the chant again, and the guitar solo slot sounds great. And yes, Stromblad is involved in the writing of this track as well, it is immediately apparent when you listen to it. “Destined for Glory” breaks into the guitar solo from the start, another statement beginning from the band, before falling into the solid and enjoyable rhythm riff that scoots along, allowing Joacim to sing freely over the top before duelling on the chorus. “The Champion” jumps along again on the base of Johanssen’s double kick, incorporating the backing ‘whoahs’ and dual guitar solos through the middle of the track. “Raise the Hammer” is an instrumental track, composed by the guitarist duo of Dronjak and Stefan Elmgren. It is interesting because it sounds like it is a song that is composed for lyrics, not the atypical instrumental track that warbles in and out and through hoops which would make it difficult to find a place to get some vocals in there. This one almost sounds as though it was SUPPOSED TO have lyrics, but for whatever reason doesn’t. Interesting. And the album then reaches its conclusion with “A Legend Reborn”, that in some ways tries to mirror the opening track. Also written by the pairing of Dronjak and Cans, it has similar tendencies to the opener, though in a stronger mid-tempo than “Templars of Steel”, and rounds out the album with the bookends in place.
At the beginning of the 2000’s decade, I had found myself diverging into power metal in a much bigger way than I had expected. Helloween had been one of my favourite bands for years, and on top of that had come Gamma Ray and eventually Blind Guardian. And finding myself not overly enamoured by the nu-metal or much of the industrial metal occurring I found myself wondering just what the European metal scene was offering. And what I found was a whole assortment of bands and albums to discover, among them Stratovarius, Edguy, Sonata Arctica and HammerFall.
I procured the first three HammerFall albums pretty much at the same time, meaning, not for the first time in my life, I was discovering a band's music in one big clump, and finding a way to get into it, the key to the hook, was the first big problem. That was solved through the debut album which grabbed a hold on me very early on, and an enjoyment of their style of music came from that. Once this was achieved, I moved onto the other two albums, and while initially I was less enamoured with their output compared to the debut, I still found them good albums. Indeed, it was “Renegade” that drew me in the most next, and there isn’t much doubt that it was because of the similar stylings of some of the songs here to the debut album, and once you look at the writing combinations of those tracks that I was attracted to you could see why – Dronjak, Cans and Stromblad.
I haven’t been as attracted to HammerFall’s albums after the release of this one, and thus they have fallen out of my rotation a bit. There’s always a danger of that. Which meant that although I have always enjoyed the album for what it is, I haven’t listened to it very often over the years since. I finally got around to buying a CD copy of this album just recently, knowing this episode was fast approaching, and the physical aspect of the album does make it feel more real. And having had that CD on my stereo at home in the Metal Cavern in the weeks since has been a real joy. Because there is still no better way to enjoy music than having it fill your room. And it brings a different perspective to hearing on my mp3 copy or through streaming. It brings a depth to the music and songs that isn’t always obvious on those other formats. And as such I have totally enjoyed listening to this album once again. It brought back some great memories of the first house my wife and bought together, where I first listened to this album. I most definitely enjoyed the songs written by the original writing trio the best here, they are the ones that engender the true spirit of HammerFall. And perhaps this explains my less-than-love for the albums after this, as Stromblad does not appear beyond this album in any capacity.
For those that enjoy power metal, there is plenty here to enjoy. It is an album worth listening to. If you are not a big fan, then perhaps what you have heard on this episode will be enough for you.
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