The phoenix-like resurgence of Michael Schenker continues in style on this storming old school metal album, where an energised bed of dark, drilling riffs are counterpointed by a strong melodic backbone that'll have the old devil horns raised in celebration.
The artist affectionately known as 'Mad Mickey' has described this record as linking his past and present. “It felt like bridging the gap from my teenage and 'Lovedrive' years to what I'm doing now. I'm back to where I was a long time ago and I love it,” he said.
Anyone who saw Schenker on his last tour knows he's looking and sounding healthier than he has for decades. The combination of prolonged sobriety and a re-connection with his musical roots has clearly reignited his creative fires, as have his current band, who bring their recent on-stage chemistry to these pulsating tracks.
Further bridging the past and present, the forceful rhythm section comprises Herman Rarebell on drums and bassist Francis Buchholz, recording together with Schenker for the first time since the Scorpions’ 1979 'Lovedrive' album. Although 64 years of age, Rarebell'sturbocharged beat and fizzing tempo changes on Horizons shows there's no growing old in rock ‘n' roll.
Michael Schenker Group stalwart Wayne Findlay is equally effective, plugging any gaps with moody, atmospheric keyboards, while adding a contemporary crunch courtesy of militaristic seven string guitar rhythms.
While 2010’s 'Temple Of Rock' had many plus points, the scratchy vocals of Michael Voss weren't well received. This time, former Rainbow singer Doogie White – who guested on Temple's strongest track, Before The Devil Knows You're Dead – takes centre stage and doesn't disappoint, particularly on Bridges We Have Burned, where he simply soars on its richly anthemic chorus.
He spins memorable melodic phrases with every line too, especially on Black Moon Rising, a mythical rocker whose electronic embellishments are fused to a bleak, apocalyptic hook. Furthermore, his rolling alliteration on the Celtic metal of Lord Of The Lost And Lonely, and the sparkling chorus of the bruising Shine On, prove what a great foil he is for Schenker.
With his adaptable range, White can adopt a low rumble reminiscent of Ronnie James Dio, while also possessing a tone and vibrato akin to Bruce Dickinson. If you've wondered what the latter would sound like fronting early Rainbow, feast your ears upon Temple Of The Holy's mystic sound.
There's a strong Iron Maiden feel throughout, notably on Where The Wild Winds Blow, which boasts a rhythmic shift and galloping chorus strikingly similar to the British metal giants. Schenker's‘70s albums with UFO were an influence on their guitar style, as well as Steve Harris' compositional leanings, and this record will actually be an ideal tonic for those who miss early Maiden, recalling their youthful primitive power on Land Of Thunder, which builds to a stirring chorus.
The songs are unsurprisingly propelled by Schenker's guitar pyrotechnics, always hurling the tracks forward and daring the band to keep up. Findlay's Hammond organ underpins his twirling riff on the blitzkrieg burst of Rock ‘N' Roll Symphony, while he weaves slithering grooves through the dramatic desperation of To Live For The King. Although 'Bridge The Gap' isn't on a par with Schenker's best work, and his solos lack the jaw-dropping thrill factor of his early playing, its strength lies in high calibre songs delivered by a thoroughly cohesive band.
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