KISSIN’ DYNAMITE – Not The End Of The Road – (Album Review)

Band Background:

Kissin’ Dynamite are a German band from Hanover who formed back in 2007 with their first release in 2008. Since then the band have released another 5 albums up to Ecstasy in 2018. Since then they have toured around the world it seems as a support to Powerwolf, absolutely impressing folks constantly.

This reviewer first saw them in Germany (Berlin) and was blown away at their tightness, their solid hard rock edge, anthemic choruses and great vocals. The second time (a good few months later) in Glasgow they were still ripping it up. They have an adage of “Bring Back Stadium Rock” which is often found on their t-shirts and if anyone can then this outfit may just be the ones to do it!

The band are comprised of Hannes Braun (vocals), Ande Braun (guitar), Jim Muller (guitar) and Steffan Haile (bass) and they have been constant since the beginning. It would seem on this album they have had their first change of personnel when it comes to the drum stool. All the press photos only feature 4 members so perhaps they used a session guy who will be named on the actual sleeve of the album (as they aren’t in the press kit!). The band take their name from an AC/DC song and singer Hannes (trivia coming up) won second place on a TV talent show singing heavy metal songs at just the tender age of 12!

Song By Song Analysis

The album features 12 new songs and has a run time of just under 50 minutes. It is a mix of hard rockers and some AOR/ballads. They start it all of with the title song “Not The End Of The Road“, a rousing heavy riffed rocker that doesn’t waste time in getting in some “wo-ahs” for folks to join in with. The chorus, like more or less every song, is huge. Whoever the drummer may be, his fills on this (and elsewhere) are good and add to the heaviness of the songs.

They keep things uptempo on “What Goes Up” which has a very nice groove to it. Vocally Hannes is restrained on the verses but belts in the chorus. He hits some high extended notes whilst the rest of the band do the backing vocals. “Only The Dead” has a chorus that you could say is to “die for” (sorry). This track actually swings, no way you can stand or sit still whilst it is playing. The body will move. The chorus sounds great whether it has musical backing or being done acapella. It is BIG.

A Song For Charity

They do slow things down from time to time, in fact the pacing of the album is pretty good, after 2 or 3 songs they change pace a little, giving the listeners a bit of a breather before hitting them with another loud in your face stadium-style rocker. The first of the ballads was released as a single (there have been 3 or 4 songs released already as such) and it is an uplifting track that is being used to raise money for a children’s cancer charity in their homeland. They explain how everybody is looking for a “Good Life” even those who are ill who need it even more.

There are guest vocalists on this including Guernica Mancini (Thundermother) and Charlotte Wessels (Delain) and also has some Uilleann pipes played I think by Alea der Bescheidene (Saltato Mortis) which lifts the vibe even further. This is one of 2 songs that reminded me of Dan Reed Network even vocally. As a massive fan of DRN that is a compliment. The other is the following track “Yoko Ono” which is ridiculously infectious. The track is about being entrapped by someone who will abuse and ruin you. There is a slight Oriental touch at the start with a female voice saying the name quite alluringly. Should be a fun track live.

Capturing A Universal Truth?

The second ballad “Coming Home” gave me Celtic vibes and the melody reminded me of something from a 70s or 80s Scottish band who’s name escapes me sadly. Quite a stirring melody with a very sweet guitar solo. From there they turn up the notches with possibly the 2 heaviest and fastest songs on the album in “All For A Hallelujah” and “No One Dies A Virgin“. In the first he sings “rock ‘n’ roll is still alive” perhaps having a dig at the naysayers and adds that there are still folks that “still don’t get my hair” but he doesn’t care as he looks to his saviour “the god of rock ‘n’ roll“.

I imagine most of us understand that (once I actually got told that my hair was too long for a job, even when tied back… I  got up of my seat and told them that I didn’t want to work for someone who was that stupid they couldn’t see past my hair) and I suppose depending on where you live it might still cause fuss and bother. The latter has my favourite chorus and not only because there is a swear word in it (you know us metalheads and swearing). The lyric lines going “holy mother in the gutter… everybody say no, no,no” should get folks punching the air when they play it live, and the main line of “no one dies a virgin, in the very end life fucks us all” captures a universal truth, as well as being very catchy.

Country

“Gone For Good” is a ballad with a bit of a country feel and has what sounds like some orchestration on it. “Defeat It” has what sounds like a didgeridoo effect at the start. This is part mid-paced stadium rocker (check the chorus) and it has quite angelic sounding vocals on the pre-chorus which fits the words quite nicely. I particularly like the quick wordplay with the “wo-ah“s in the middle.

Spell

“Voodoo Spell” has a bluesier sound and at points there are vocal effects to add a touch of eeriness. This is a fun track with tribal-style drumming at points. The chorus of “loving you is like dancing with the devil, take the lead and curse my soul to hell” is another that is easy to join in with. They finish on a ballad “Scars” which I am not sure about. Not to say it isn’t a good song, but I just felt it finished the album a little down rather than up. The vocal is terrific and the melody is strong throughout and there does appears to be orchestration running through it. I liked it but perhaps earlier on the album. However, I suppose some might prefer a big ballad ending. Personal choice and that!

Choc Full Of Anthems

7 albums in and they are in top form, writing good quality singalong songs delivered with aplomb. Anyone who loves 70s and 80s rock music with big choruses and a powerful singer will love this. As for bringing back “stadium rock” the fact they play with bands like Powerwolf who are more of a metal band and yet had the crowds in the palm of their hands says how good they are and their ability to involve a crowd that isn’t even necessarily their own. This album is choc-full of anthems and melodies. Great album with  songs that are made for the live environment. All I can say is “bring on the bloody gigs!!”

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