The fact that this specific album was recording omitting any keys sounds is a 'plus', for a 'classic' band that has gradually - over the years - turned from a (melody-friendly) German Metal piece to a 'sweet Christian music' drollery. Not that White Sands proves to be a solid Metal album - bye bye, babe, bye bye - but, anyway, hope is the last weapon when everything falls apart and white colour replaces our favourite dark tints.
Michael Voss is charismatic; he used his charisma for something different in the 80s, the 90s and the 00s. Letting aside any personal likes/dislikes, I'm really curious to find out how much copies do MAD MAX albums now sell. 2006's Night Of White Rock (see 'white' in the title?) was an interesting melodic Heavy Rock album whereas the follow-up In White (see 'white' again?) 6-track EP made me wanna puke. The reunited quartet - whose 80s works like Rollin' Thunder (1984) and Stormchild (1985) present a fine blend of German Metal music - decided to dress in white prior to their 'encampment' and, in this third attempt to create something notable, it's hopeful they do make their sound a little bit more 'harsh'. A little bit...
Voss' voice has turned out to be completely of a 'milk-and-honey' status. Even if there are some catchy riffs here and there, even if the Bergmann/ Kruse rhythm section is more fat than in the two 2006 works, even if some leads 'travel' the listener to some Central Europe Metal-wise places, the final conclusion lays in the OK, that's it all... side. Really, is it of any wonder to have the Lluvia instrumental (OK, Too Wrong is a good rocker, too...) being my favourite tune outta the complete album? Is it, really? O tempora, o mores...
I see MAD MAX - weird, huh? - trying to please both the remaining loyal fans and the Melodic Rock followers that seem to support the piece form 2000 onwards. White Sands is an 'itsy bitsy teenie weenie' step - in terms of instrumentation/sound - for something more vivid. Hence, the grade...
Phewwww, too many whites in this review...