Released: June 15, 2010
If you love your metal old school with a heavy dose of European flavor mixed in, then you’re gonna get an earful with the sophomore album from Germany’s Kissin’ Dynamite. KD reignites all the elements that made band’s like Accept, Saxon, Scorpions, and even Judas Priest the epic pioneers they are.
Their debut CD, Steel of Swabia, turned metal heads all around Germany and Europe.
With Addicted To Metal, rockers in the United States will get their chance to pucker up for an explosive smooch.
The youthful quintet bring to bear the classic elements of traditional metal; the riffs, the hooks, the anthemesque vocals, the attitude, and well-crafted songs. The band, comprised of brothers Hannes and Ande Braun (vocals and guitars respectively), Jim Müller (guitar), Steffen Haile (bass), and Andi Schnitzer (drums) understand the power of “the song” over flashy and trendy schlock and roll.
Addicted To Metal kicks off with the title track, which includes vocals from legendary Accept frontman Udo Dirkschneider, who has become a huge supporter of Kissin’ Dynamite. From the opening hammer to anvil collision, the album is off like a juggernaut of relentless guitar pyrotechnics and vocal melodies. Each song on the album is crafted for the big stage. While they can certainly be played in small clubs, these tracks are built for arenas. I simply can’t imagine “We Want More” being played on a small scale.
“Run For Your Life” is a rapid fire rocker reminiscent of fellow German metallers, the Scorpions. The spiraling guitars of “Supersonic Killer” recall fond memories of 80?s era Judas Priest.
Next up is a ballsier version of the Damn Yankees power ballad, “High Enough.” They do it serious justice, and elevate the wattage in the process. Their own power ballad comes in the form of the “raise a lighter” track, “Why Can’t You Hear Me?”
“Love Me Hate Me” is one of the best songs the Scorpions never wrote, while ”Hysteria” takes off with a freight train riffage, and builds into another head-banging anthem. “All Against All” has a sense of Iron Maiden epic-ness in it’s layers and feel.
One of the album’s most masterful tracks, “In The Name of the Iron Fist,” is an homage to the Swabian knight Götz von Berlichingen. The track starts slowly and riff by crushing riff builds into a dense aural gauntlet.
The album’s final track, “Metal Nation” could well have been written in tribute to Udo and Accept. “We are one! One! Metal Nation!” Indeed.
Kissin’ Dynamite’s sound is at once inspired and inspiring. It does an old metal soul good to hear the bell still tolls, and see the torch is being carried forward by a new generation of musicians who understand how songs should be written.