Helloween
Chameleon

Too many people tend to consider it the "Load" of the four pumpkins, just because there's very little pounding bass drum, just because Kiske, for once, doesn't sing in a falsetto but instead uses more vocal ranges, just because there's indeed little metal. However, the 12 tracks of this album are certainly the best since the "Keeper Of" pair. But let's proceed in order: the four from Hamburg lost Kai Hansen in 1990, right at the band's peak. The loss of the sprite caused internal problems, and indeed the next album "Pink Bubbles Go Ape" turned out to be a half flop. It took time to get their thoughts in order. Probably knowing they couldn't do better than the two "Keepers" (now even more so after Hansen's departure), the group unanimously decided to radically change musical direction. "Chameleon" was released in 1993 and represents the breaking point in the band's history. It's not an ugly album, but a different one. It's not just metal, but hard rock, with strong pop, country, and jazz influences. A sonic collage that might make purists cringe, but it works.

Already listening to "When The Sinner," you can hear the changes (the song comes after the opener "First Time," which is a typically metal track): you hear the keyboards emulating wind instruments, Kiske's voice travels in different ranges, and Michael Weikath's solos fit well (he is particularly inspired on this album, never dull). There's room for acoustic ballads, like the beautiful "I Don't Wanna Cry No More." The pumpkins dare a lot, without ever losing their "happy" vein. In "Crazy Cat," they even touch swing. Even in this track, Kiske remains full of charisma and personality, while in "Giants," they return to heavier sounds. It's noteworthy how, up to this point, the four have produced impactful songs without the use of very fast tempos. "Windmill" is a sweet ballad, with beautiful instrumental interludes (perhaps in terms of production and instrumentation, the album is the best in their discography). Back in Hard Rock territory with "Revolution Now," a track somewhat underwhelming compared to the rest, but still appreciable. It's the following "In The Night" that completely turns everything upside down, with its country rhythm. Then comes THE song. Probably the best track on the record, but perhaps it's too subjective an opinion. It's the monumental "Music," with a captivating rhythm and one of the most catchy choruses. Once again (and heavily) in pop territory with "Step Out Of Hell." But it takes a backseat when the two concluding tracks arrive, both written by Kiske: "I Believe" and "Longing." The first proceeds slowly throughout its long duration; perhaps it's the last remnant of the proverbial suite that instead dominated previous albums. The second is offered only with guitar and voice. Kiske is melancholic, everything enriched by a non-trivial background orchestration.

The album comes to an end, and with it also the first part of the German band's history. The metal audience didn't approve of the change in direction. So the four were dropped by EMI, and the disagreements between Kiske and Weikath culminated in the latter's departure. Andi Deris will take his place and for the pumpkins a new and certainly more prolific period will begin, though anchored in strictly metal territories, albeit always looking further ahead than others.