The Hellacopters
Grande Rock

The positive news of recent days is that the Swedish band will release a new album in February of next year; fourteen years after Head Off which marked their temporary dissolution, until their return, at least in terms of concerts, in 2016. A comeback indeed very appreciated, especially considering the stable return of guitarist Dregen (Andreas Svensson) who, with his dynamic and amphetamine-fueled sound, characterized the first two epochal and wild albums of the Hellacopters.

Let's go back in time to 1999: it was time for the group to release their third album chronologically, with the novelty of the temporary departure of the trusted Dregen, who preferred, not without mutual regret, to play only with the Backyard Babies (another band with so-called "tough-as-nails" musicians).

Grande Rock is a controversial album, in chiaroscuro.

An album as always very direct, with short duration thanks to the average song length that settles at three minutes.

But there are also significant new developments in sound: let's forget the supersonic speed, the raw and rough ferocity of the previous discographic chapters. No more Punk'n'Roll-Garage, but a musical approach that decidedly veers towards Hard Rock and even, in certain restrained instrumental phrases, Blues.

And indeed, I was quite bewildered by the unexpected change wanted by the leader Nicke Andersson; it took me some time to understand, to assimilate everything. Once over this moment of uncertainty, I managed to "reconcile" with the group. But it is undeniable and beyond question that we are quite far in terms of rating from absolute excellence, from the five debaserian stars.

It starts with the agitated and incisive Action de Grace where they immediately highlight the greater influence: the Kiss. Vitriolic Kiss, "fueled" appropriately, classically seventies, offspring of the best Hard Rock of those years.

And to confirm the comparison, indeed to give further credibility to the resemblance with the "painted-face" band, comes the track titled Paul Stanley (!!!). The dynamic and ferocious bursts well-represented by the voracious and breathtaking The Electric Index Eel cannot be missing: two killer minutes, with Nicke's rasped voice leading the sordid companions.

Welcome to Hell is dark and granitic, with that keyboard sound and even choruses that mimic (listen, listen!!) the Stones' Sympathy for the Devil. And who would have ever thought? Courage aplenty from the four Swedes, without a doubt.

Four stars, or perhaps a bit less but that's okay…

Ad Maiora.