The first step is to clarify the question of whether the pieces largely orderly "oomph" appear on the original, by the minimalist instrumentation something missing. You have to actually deny it's more that the songs so gutted and distorted sound that one can no longer speak of cover versions in the classic sense. According to one has actually dealing with completely different pieces, the maximum rudimentary melody musical approaches are recognizable. Not even the vocal lines can be considered apart from a few exceptions, as the original. Only the texts have not been altered and thus offer more or less the only clue for the fan of gecoverten bands. It is called a large pinch of tolerance, if you will really appreciate this album. Musically, it is referred to by the Hellsongs itself as "Lounge Metal". Personally, I would emphasize the word "Metal" from this designation without replacement. This music has not even remotely related to metal something neither with the way to use the tools, nor the dynamics. Instead, you can listen to pop, folk and chill out like pieces. Who so get along, definitely gets an interesting approach offered - although I do not think every song is a hit.
Let's start with the problem children. Let us begin with "Blackened" (Metallica), in which the chilled piano accompaniment not go together completely with the serious subject of the song. Also the vocals fit in my ears hardly the text. Exactly the reverse problem fights "Were Not Gonna Take It" (Twisted Sister). From a party hit an extremely thoughtful piece will go here text and music farther apart than I personally would like. Another case of fits is not finally "Thunderstruck" (AC / DC), which would in the Hellsongs version just needed more dynamics. At least, not much gets stuck. In addition to these three weak pieces there are two mediocre songs. Firstly, the "Symphony Of Destruction" (Megadeth) would be a mess in the Hellsongs version to a cheerful swinging piece that although most closely matches the original version, but I will completely inconsequential. The same applies for "Princess Of The Night" (Saxon), which made it very good, but in the end is boring.
Really good make their case for Sweden at two pieces of Iron Maiden. Especially the already included on the previous EP "Run To The Hills" is a real gem. Everything is great here, especially the magnificent singing is convincing and makes an absurd tragedy of the theme only really aware. The same goes for the super-minimalist version of "The Trooper", stirred the text in this performance almost to tears. In addition, very strong: "Seasons In The Abyss" (Slayer), in which in this version only noted that the text quite suitable for a different type of performance and how many syllables Tom Araya actually "swallowed". In "Paranoid" (Black Sabbath), you can even go so far as to say that the proffered here, thoughtful version almost (!) Better matches the text, as the original fast. The same applies to "Rock The Night" (Europe), the Hellsongs-performance gives a depth that could have been this simple number not have expected.
Conclusion: The Hellsongs offer on "Hymns In The Key Of 666" next gelungenem fabric also quite a bit of mediocrity. A common feature of all things, that they require of seasoned metalheads more than a little tolerance. Who can afford, is connected to the one or other piece sure have fun and maybe even discover some new facets to the old classics. Because the listening experience is overall not quite round, I give three stars a little room for improvement, the Swedes have so yet.
