Monster Effect

Is it really a good idea to select an old and more or less disadvantaged name for a new band? I don´t think so. The name X-Wild was evidently chosen due to commercial reasons and this action is not hardly compatible with my understanding of heavy metal. In my humble opinion, the musicians would had been well advised to make a complete restart. This applied in particular in view of the fact that Running Wild was not able to fulfill the role as a model. The overvalued captain Rock ´n Rolf had never been famous for his unbelievable creativity. I understand that X-Wild wanted to demonstrate the stability of their metal preferences and their songwriting approach. In addition, I admit that they passionately played traditional heavy music with a slight influence of speed metal. But however, they should have done it under their own flag.

As a result, X-Wild were trapped. Their name made it necessary that they followed strictly the construction of the previous Running Wild albums. This was quite a problem. It´s not so easy to distinguish yourself from other bands while using a conservative songwriting formula and playing a traditional style of music. You are always at risk to deliver songs that sound stale. And that´s exactly what happened, the second full-length of the group did not convince from start to finish. Some of the tunes lacked of originality. They were technically well performed, but they failed to offer any extraordinary features. Verse-chorus-verse-chorus-solo-chorus-good night. Thank God, this is only half the truth. X-Wild also showcased a few remarkable tracks.

"D.Y.T.W.A.C." was kicked off by a bone-dry riff that crawled irresistibly into your brain. While being also powered by a pumping bass, this tune marked the heaviest piece of the album. The dragging "Dr. Sardonicus" showed the dark side of the band in view of its desperate lyrics and the fairly gloomy keyboards that dominated the instrumental part after the second chorus. The up-tempo tracks were best represented by "Sons of Darkness" while the somewhat spooky "Theatre of Blood" delivered the most catchy chorus. These tunes were doubtlessly well executed (without having unexpected moments). However, all highlights of the album, especially the compact and lively "Serpent´s Kiss", benefits from skillfully presented background vocals. Contrariwise the hoarse throat of lead singer Frank Knight - this name is almost as good as Rock´n Rolf - could not fully convince.

The album was co-produced by two band members and they had done a good job. They realized a generic metal sound that fitted like a glove. There is no question that X-Wild fought like cat and dog in order to create an outstanding album. Furthermore, you might call it honest that they did not change their style. But in the end, it´s no surprise that the band fell by the wayside. Every now and then I listen to their better tracks. Nonetheless, the fact that they have split up is no reason to suffer from depression.

It may not seem like much time had passed before X-Wild were already into their sophomore effort, but it arrived late in December whereas So What! (likely a collection of older songs) dropped in February 1994, so there is enough distance here to recognize the upgrade in quality that this album conveys. The title is a little better, the songs are a little better in general, and the album has a more cohesive, consistent atmosphere that dominates the occasionally scatter-shot debut. This is pretty good, although the Running Wild comparison is still very obvious, and it is best remembered as a 'prequel' to the later Savageland.

The line-up is identical to the debut, and there is a more mature, airy vibe to the recording which makes it quite the class act as far as derivative German power metal. "Wild Knight" (named in part for Frank, I'm sure) begins the festivities with a great, atmospheric intro, melodic leads resounding deep within, before a very Kasparek charging rhythm. "Souls of Sin" has a dash of Maiden and a pretty straightforward, catchy verse where Knight really lets his vocals wander. Good stuff. "Theatre of Blood" may sound like an outtake from Death or Glory, but it's quite good regardless, one of the tracks that best evokes the windy, glorious feel of the record, with an excellent maritime melody at around :50, and great vocals. "Heads Held High" should be titled "Cocks Held High", because it rocks out with that proverbial member flapping in the wind like a bold Teutonic flag. "Dr. Sardonicus" is no "Dr. Stein", but it has a catchy, slow pace which is quite mighty in delivery. "Sinners are Winners" is back in Running Wild's 1989-90 territory, a scorcher with a nice piratic flair to the riffs.

'The arrogant muther
Kicked dirt in the face
Sweetened his deals
Mixed with arsenic and lace'

The title track commences the latter half of this slab, a fairly written mid paced classic power metal anthem with good vocals and atmosphere. I love the rather Saxon feel to the riff after 1:00. "Serpents Kiss" is another biker-style rocker akin to Running Wild's "Raw Ride", or a good number of Accept tracks. "Sons of Darkness" has a nice intro, with light bass and guitar melody, then a meaty rhythm which the band will also perfect on their 3rd album. "D.Y.T.W.A.C" seems a rather roundabout way to exclaim the song's chorus, 'Do You Think We Are Crazy?', an almost doom-like groove with a nice bridge and lead segment. The album ends with "King of Speed", one of its best tracks, even though it's a multi-layered bass solo instrumental from Jens Becker. Seriously kick-ass, and probably would have worked even better as an intro to some epic historical track.

Monster Effect sounds resilient, keeping stride after 15 years with its majestic tones and bone crunching German Panzer power. There is enough melody and memorable sensitivity to keep any power metal fan thrilled through the 50 minutes of playtime. All the songs are listenable, provided you have no problem with the similarities to THAT OTHER BAND.

Highlights: Souls of Sin, Theatre of Blood, Dr. Sardonicus, Monster Effect, King of Speed

-autothrall
http://www.fromthedustreturned.com

Running Wild vocalist/guitarist/songwriter/producer/dictator Rock 'n' Rolf Kasparek has had many a band member walk the plank over the years, and what we have here is three of them (guitarist, drummer and bassist, with random unknown on vocals) teaming up against him by forming their own version of Running Wild. It's almost like the current situation with L.A. Guns (also with Ratt and Tigertailz a while back), where you have two bands under the "L.A. Guns" moniker (not quite the same one in X-Wild's case of course, but where they coined it from should be fairly obvious) operating simultaneously, with completely different line-ups. Now, X-Wild may not actually be a cover/tribute band per se, but considering they sound so much like Running Wild it's truly ridiculous, to not be at least COMPARING the two bands is absolutely out of the question here. Coming from a huge RW freak that considers 'Black Hand Inn' to be one of the top 20 finest metal albums ever made, most of the time when listening to this album I am hard pressed to point out any real difference between the two aside from the vocals (there can be only one Rolf).

With Rolf being the heart and soul of Running Wild, you'd think that attempting to duplicate their sound without him wound end up sounding like a disaster, but these guys actually do a pretty good job of it. This album is not quite as good as Running Wild in their heyday, but overall probably better than RW's last few. For a precise definition of the sound displayed on here, think the album 'Pile of Skulls' (including the production, it is the very exact same) - makes sense, since two members from that 1992 RW line-up are featured here - with a little bit of that shrieky, pissed-off feel of classic Accept thrown in as well. The vocalist sounds like a more nasal and less high-pitched Udo Dirkschneider trying to sound like Rolf Kasparek, and does an overall decent job. However, if it's Running Wild quality we're aiming for, the vocals on here can likely be considered a low point - but then, in this reviewer's opinion, it's a pretty fucking high standard they're up against.

Each one of Running Wild's four main "styles" (i.e. the four songs they keep re-writing over and over) is represented here: fast and furious speed metal blast with a hint of thrash ala "Whirlwind", straight-ahead rocking heavy metal crunch ala "Soulless", melodic and Maiden-esque power metal scorch ala "Marooned", and mid-to-slow pace heavy-ass stomp ala "Roaring Thunder". No surprises here, except possibly "Dr. Sardonicus" which reminds me a fair bit of later, epic-era Grave Digger (except that era begins with 1995's Heart of Darkness and this here is a 1994 release...hmmm). Actually though, something else surprising would be that the best song on here is the one with the stupidest title - "D.Y.T.W.A.C.", which is short for "Do You Think We Are Crazy". It's in the vein of RW's slower and anthemic stuff like "March On" and, again, "Roaring Thunder", but really far better than those two or ANY other slower song RW has ever penned down for that matter. The main riff here is just fucking nuts, this here is almost like the second coming of Pantera's classic "I'm Broken" from the same year. Pure groove, baby!

So, whom to recommend this album to? Hmmmm, let's see here, how about...fans of Running Wild? *DINGDINGDING* But in all seriousness, those you who like your metal heavy, ballsy, straight-up and riff-oriented, this is right up your alley. The only reason this band is so obscure is due to their three albums being released between 1994 and 1996, in between heavy metal's golden era of the 80's and the resurrection era of the late 90's and onward. Shame really. Again, this album is not quite up there among the finest of "Regular-Wild", but if you dig that band and find yourself craving more, more, MORE of the same, X-Wild (any one of their albums probably - I've only heard this one, but I hear all three sound fairly the same) should be your premier choice. Commendable.