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Album Review : Lord Of The Lost: Weapons Of Mass Seduction

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Review by Pete Finn for MPM

Lord Of The Lost was formed in Hamburg, Germany during 2007 by Chris Harms as a solo project. While working on the initial songs and publishing them on ‘Myspace’, Harms received a lot of positive feedback, and realized that he would require a full band to play them live.

He recruited other musicians from his friends in the Hamburg music scene and begin working on the first album. Lord Of The Lost’s music style is spread across several genres including heavy metal and glam rock influenced dark rock, industrial music, and classical music.

Steve Harris personally picked Lord Of The Lost to support Iron Maiden on their 2020 European leg of the ‘Legacy of the Beast World Tour’ but due to the COVID-19 pandemic restrictions, the tour had to be cancelled. The tour was rescheduled and in 2022, Lord Of The Lost played as a support act in 17-European cities on Iron Maiden’s ‘Legacy of the Beast World Tour’ and were well received. Iron Maiden decided to renew this successful collaboration for part of the European leg of the ‘The Future Past World Tour 2023’. I was fortunate enough to see a couple of these shows and was very impressed with the high energy Lord Of The Lost brought to the stage.

The current line-up has been together since 2017 and consist of Chris “The Lord” Harms (vocals, guitar, cello), Klaas “Class Grenayde” Helmecke (bass), Gerrit “Gared Dirge” Heinemann (piano, synthesizer, percussion, guitar, theremin), Pi “π” Stoffers (guitar) and Niklas Kahl (drums).

‘Weapons Of Mass Seduction’ adds another string to an already formidable bow, in the fact that the album is made up entirely of covers, and consists of a pretty eclectic mix of artists, eras and genres. I’m strapping myself in, as I feel this may be one hell of a thrill ride.

‘Weapons Of Mass Seduction’ contains 11-tracks with a combined running time of around 49 -minutes.

The album opens with the 1993 Billy Idol track ‘Shock To The System’ from ‘Cyberpunk’. The electro-riff and Harms’ Idol-esque scream launches the album straight into your face. It’s fast, hard and pulls no punches. Kahl’s drums pounding throughout. Stoffers’ lead break makes the hairs stand up. The Lord Of The Lost style is not compromised in this respectful and exciting version.

Next up is ‘Unstoppable’ from Sia’s 2016 album ‘This is Acting’, an emotional and anthemic pop song. Harms’ voice suits the tempo, it’s controlled and razor sharp. Heinemann’s work gives the track a full and rich sound. Kahl injects bursts of pace, as the track rises and falls under Harms’ hypnotic vocal.

When I saw that the next track was on the album, I was intrigued. The track is a cover of Bronski Beat’s 1984 disco dance floor smash hit ‘Smalltown Boy’. The rhythm section of Helmecke and Kahl accompanied by Heinemann’s keys start the iconic intro. Again, Harms demonstrates an impressive vocal ability. The beats are harder and frantic, Harms lyrics deeper and infused with a growl. I confess to never liking the original, but this has an edge and presence, a bit of a dark Sisters of Mercy feel, and I did find myself nodding along.

Considering the previous track, I think this next one is a far braver choice. Taking on one of Rock’s most legendary and powerful voices, that of Rob Halford and Judas Priest’s 1986 monster ‘Turbo Lover’. I like this, it’s clever. From the start, the riff’s and beats are instantly recognisable, but with the heavy electro-beat sound. Harms’ speaks the lyrics then let’s rip with a Halford scream. The mid-section break is more Kraftwerk than Priest, however Stoffers’ solo reminds you of the metal origins. A cleverly constructed version.

Now, it’s the turn of Ultravox’s 1982 hit ‘Hymn’ to receive the Lord Of The Lost make-over. This is probably the closest to the original in sound on the album, although the tempo is slightly quicker. Harms’ lyrics are steady and deliberate. The keys of Heinemann feature heavily, with an attention-grabbing mix of sounds. As the track closes Kahl flexes his muscles and it finishes under a heavy volley of beats.

The mash-up of genres continues as “The King of Pop” Michael Jackson, gets the Lord Of The Lost treatment. It’s his ‘Give In To Me’ released in 1991 from the rock inspired ‘Dangerous’ album that’s next. It’s a power ballad, like the original Harms’ vocal is carried by the steady drum-beat of Kahl, it’s not as moody more upbeat and lusher, Stoffer’s adaptation of Slash’s solo is brilliant. I played this track three times in a row.

Bishop Briggs’ 2016 soulful-rocker ‘River’ is next. The vocal is the prominent feature, against a Viking rowing beat back-drop delivered by Kahl and Helmecke. The pace quickens momentarily as Heinemann’s fingers fly over his keyboard. Harms’ talent shines throughout the piece.

Keane’s emotional 2004 piano anthem ‘Somewhere Only We Know’ keeps the feeling of the album flowing. Lord Of The Lost recreate the soulful melody, but leave their finger-prints all over it. Harms is telling a story, you’re drawn in, captivated with the silky tones.

Lord Of The Lost invited rising singer-songwriter Anica Russo to join them for their rendition of ‘(I Just) Died In Your Arms’ recorded by Cutting Crew in 1986. The duet works very well, the subtle contrast in their voices blend perfectly. The modern electro-rock feel with Kahl’s rapid beats add more bite than the original version.

‘High’ was released by Zella Day in 2015. A steady beat and Harms solid vocal has the head nodding. Helmecke and Kahl drive the track forward, Heinemann smooths the way. The tracks intensity ebbs and flows as the bands emotion takes over giving a strong passionate sound.

The final track on ‘Weapons Of Mass Seduction’ is ‘House On A Hill’ from 2014 ‘Going To Hell’ album by The Pretty Reckless. Harms is speaking, complemented by Heinemann’s piano. The section with some haunting (theremin?) notes creates a dark atmosphere. A commanding way to close the album.

Lord Of The Lost are in good company amongst some of rock music’s greats, the likes of Metallica, Motorhead and Saxon have all released albums of covers. For me I can take some and leave some, ‘Weapons Of Mass Seduction’ is one I will take, it’s brave, it’s clever, well produced, with a totally different mix of tracks, spanning nearly 40-years of music and avoiding the usual suspects.

Just in time for your New Year’s Eve party, ‘Weapons Of Mass Seduction’ will be released on December 29, 2023 via Napalm Records.

Weapons Of Mass Seduction Tracklist:
CD 1

  1. Shock To The System (Billy Idol Cover)
  2. Unstoppable (Sia Cover)
  3. Smalltown Boy (Bronski Beat Cover)
  4. Turbo Lover (Judas Priest Cover)
  5. Hymn (Ultravox Cover)
  6. Give In To Me (Michael Jackson Cover)
  7. River (Bishop Briggs Cover)
  8. Somewhere Only We Know (Keane Cover)
  9. (I Just) Died In Your Arms (feat. Anica Russo) (Cutting Crew Cover)
  10. High (Zella Day Cover)
  11. House On A Hill (The Pretty Reckless Cover)

CD 2

  1. The Look (feat. Blümchen) (Roxette Cover)
  2. Ordinary Town (Celebrate The Nun Cover)
  3. Cha Cha Cha (Käärijä Cover)
  4. Judas (Lady Gaga Cover)
  5. Children Of The Damned (Iron Maiden Cover)
  6. Wig In A Box (Hedwig and the Angry Inch Cover)
  7. Bad Romance (Lady Gaga Cover)
  8. The Most Radical Thing To Do (The Ark Cover)
  9. This Is The Life (Amy MacDonald Cover)
  10. It’s A Sin (Pet Shop Boys Cover)
  11. Ordinary World (Duran Duran Cover)

CD 3 – Ltd Deluxe Edition only

  1. Starman (David Bowie Cover)
  2. Girl, You’ll Be A Woman Soon (Neil Diamond Cover)
  3. The Days Of Pearly Spencer (David McWilliams Cover)
  4. Hey You (Pink Floyd Cover)
  5. I Had Too Much To Dream Last Night (The Electric Prunes Cover)
  6. Where Do You Go To My Lovely (Peter Sarstedt Cover)
  7. Turn! Turn! Turn! (To Everything There Is A Season) (The Byrds Cover)
  8. In The Year 2525 (Exordium & Terminus) (Zager & Evans Cover)
  9. All I Have To Do Is Dream (The Everly Brothers Cover)
  10. Perfect Day (Lou Reed Cover)

Chris Harms – Vocals, Guitar
Pi Stoffers – Guitar
Class Grenayde – Bass
Gared Dirge – Piano, Synths, Percussion, Guitar
Niklas Kahl – Drums


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