Wolf Hoffmann
Headbangers Symphony

When it comes to Neoclassical Metal, one immediately thinks of the master, the initiator, the legendary Yngwie Malmsteen who, particularly in the '80s, gave rise to this wonderful genre. Many were his students, or successors if you will. Marty Friedman, Jason Becker, Vinnie Moore, Axel Rudi Pell (of the past, not the one of today), and others... Few remember that master and genius Wolf Hoffmann, lead guitarist of Accept. Certainly much more known within Accept than as a solo artist, Hoffmann has always stood out for having the typical elements of Neoclassical Metal right from the start. Finally emerging as a solo artist with the album "Classical" in 1997, an album revisiting famous orchestral pieces in a Heavy Metal key, Hoffman immediately distinguished himself for his touch. After 19 years, his second solo album, "Headbangers Symphony," is released, a sort of second revisitation of orchestral pieces, in my opinion, on par with the first. Hoffmann's undisputed skill is evident in his ability to transform harmonic pieces like "Je Crois Entendre Encore" into an even more poignant piece, if possible. For the most ardent fans of Accept, it will instead be possible to find a sort of "similarity" in "Scherzo," the first track of the album, with the much-acclaimed "Teutonic Terror," in which especially in the first few minutes seems to be dealing with the same song. Did Hoffmann take inspiration from this track for the hit "Blood Of The Nations"?

A ride in the truest sense of the word instead goes to "Double Cello Concert in G Minor," where Wolf in the middle of the piece gives himself to a solo of pure magic, truly spine-chilling. "Adagio," is of rare beauty, so beautiful in its progress, with Hoffmann's guitar as its faithful companion, truly tear-inducing. For "Madame Butterfly," I would say the same applies. "Pathetique" instead does not reveal another slow advance, as foretold by the introduction, but is a true symphonic ride in Heavy Metal style, which we most favor. We go to "Meditation," a particular piece, where there is first a slow advance, and then a sort of acceleration, then slowing down again, all masterfully conducted by Hoffmann's six strings. "Air On G String," is the perfect piece to conclude what is a perfect album, a perfect combination between orchestra and guitars.

Wolf Hoffmann is probably one of the most underrated Heavy Metal guitarists in the world, you can have a taste of his skills in Accept's "Metal Heart," but in this album, he gives the best of himself. An unconditional love for music, and classical music, that manages to marry perfectly creating an apotheosis.

I recommend this album to anyone who is a fan of the genre, and to anyone looking to take some rest and relieve stress... If you need it, this album is for you.

Enjoy listening.