Helloween: "Honestly, I mostly ignore criticism"

Helloween are currently going through one of the best phases of their massive career, having released a great album a few months ago and preparing for their concert return to our country this coming summer. We didn't miss the chance to reach out to the man who has been synonymous with their journey for over 40 years-one of the most distinctive and important composers in European power metal, Michael Weikath-to tell us more from the "Pumpkins" camp.

It’s great to have this chance for a conversation. I’m a huge Helloween fan.

Me too!

Let’s start with your latest album, Giants and Monsters. Here at Rocking, we voted it as one of our favorite albums of 2025. The title suggests something epic-who are the "giants" and who are the "monsters" in Helloween’s current phase?

Deris usually has better explanations for the title, but for me, it’s about choice. You can be a "giant" in a good way or a "monster" in a bad way. It’s about how you decide to treat people in public. It goes back to the old saying: "Treat others as you would like to be treated." To me, that is the core aspect. While there are many interpretations, I prefer this one because it gives people something positive to think about rather than just creating another fantasy story.

I’ve noticed a spiritual theme in songs like "Universe" or "Hand of God." This album also feels experimental, with elements we haven't heard from Helloween before. How important is it for the band to keep evolving, and what is the story behind these spiritual lyrics?

"Hand of God" is actually based on a near-death experience Sascha had. He took something that really happened in reality and transferred it into the lyrics. It’s something to dwell on. In modern times, we are constantly diverted by blogs, games, and distractions.

In Helloween, we have the space to explore these directions as long as the message is positive. I think that is more important than using "cruel horror" lyrics just for entertainment. There are movies and media out there that show things just because they can, but I believe some things shouldn't be done because people might try to copy them. "Hand of God" is a sign of hope-the idea that something is there to pick you up and save you from a dire situation.

It’s like telling the Scorpions to play like Motley Crue!

Your compositions on this album, like "Under the Moonlight" and "Savior of the World," seem "happier" than the rest. Many fans see you as the guardian of the true Helloween spirit-that "Keeper" vibe. What role did nostalgia play in this album?

I tried those styles on purpose. "Under the Moonlight" is essentially a straight glam rock number. It’s a style that could have been done by Thin Lizzy or even Rainbow during the Graham Bonnet era. It has that commercial Rainbow vibe.

Luckily, there is room for that on a Helloween record. I’ve always enjoyed doing "cheesy" tracks-songs like "Get It Up," "Do You Feel Good," or "Can Do It." I like heading in that glam rock direction, even if it’s not always appreciated by every single person in the Helloween fandom.

I come up with these weird ideas and I feel I have to follow through with them, or I’m not happy. For the last few albums, I tried to restrain myself, but it’s actually more enjoyable for me now to include these "cheesy" tracks.

Take "Under the Moonlight," for example. It’s a contrast to the dangerous habits-the drugs, the occult, or the elitist "cocaine parties" some people use for entertainment. I’m basically saying I’m too old and too "harmless" for that. I’d rather just sit under the moonlight and enjoy a romantic situation.

"Savior of the World" also stands out on the new record.

That song is literally about a savior-think of Archangel Michael with his flaming sword fighting against demons.

Looking back at the 90s, it was a weird period for Helloween with major lineup changes. What was the toughest challenge you faced then?

It was disappointing to see friends and people close to us suddenly abandon metal for grunge. They started saying twin guitar solos were "old stuff" and that we weren't "hip" anymore.

There was constant pressure from management to sound more "modern" and "serious," like Queensrÿche, Korn, or even Linkin Park. They wanted low-tuned guitars and a "mature" impact. That’s essentially why we did The Dark Ride.

While it’s a great record with high production value, I didn't entirely appreciate that direction. People who usually hated Helloween suddenly liked us, but you risk giving up your identity when you do that. It’s like telling the Scorpions to play like Motley Crue-it’s difficult to deal with.

An album is what it is-a project that stands on its own

Do you feel any of your albums, like Rabbit Don't Come Easy, have been unfairly treated by history? And after 40 years, how do you handle criticism?

Honestly, I mostly ignore criticism. Everyone has an opinion, and you can’t make everything "comfortable" for everyone.

I remember someone complaining on a message board about Gambling with the Devil. We released it as a double CD for the price of one to give fans more tracks, and someone complained that if we’d left out my "boring hard rock tracks," it would have been a "proper" shorter CD. You just have to accept that as their opinion and move on.

As for albums being "underrated," I think they all stand as they are. If the fans' perception is that an album isn't strong enough, it's usually understandable because it reflects the internal troubles or different understandings the band was going through at that time.

In the end, an album is what it is-a project that stands on its own. We’ve been lucky that our fans have allowed us to make so many records. If someone thinks a particular album "sucks," they can usually find another one they love, like Gambling with the Devil or Straight Out of Hell. We are always in the mood to try something new or risky. Sometimes you have doubts, but you move forward anyway.

You’ve been with Markus Grosskopf and Andi Deris for nearly four decades. How has your relationship evolved?

We went through a very difficult period during a management change. For years, there was a lot of fear and sleepless nights because we didn't know if we would come out of it "clean and healthy". Andi, Markus, and I had to make tough decisions to ensure those problems didn't destroy the band's existence.

It’s not the kind of stuff you want to think about when you should be in a good mood for composing. Look at a band like Led Zeppelin; they seemingly had the right people and contracts from the start, so they could just enjoy the ride. Many other bands, like Badfinger, were hindered by managers who just wanted to grab the money and run. We were "lambasted" with these industry problems when all we wanted to do was play music and tour. Now that we have the right management and things are running smoothly, we can finally just meet at a restaurant, have coffee, and talk like friends.

I prefer album titles that stand out on their own

You’re returning to Greece this summer. How do you physically prepare for such a demanding tour in your 60s?

Some people do workouts or go jogging; I jokingly say I drink less coffee and smoke one more cigarette-though I definitely don’t recommend that to the youth!.

I’m looking forward to bringing our multimedia show to Greece. Greek fans are very steadfast and have a particular mindset. I’ll never forget being there during the Chameleon era; people were really angry because they didn't like that record, and honestly, that conviction was fun to see. Greek fans are special-you can compare them to the extreme passion of Brazilians-maybe it’s something genetic tied to the history of Sparta.

It’s been 20 years since Keeper: The Legacy. Are there any "keys" left to be found, or is that concept finished?

I honestly don't know. I only heard rumors about a Keeper 4 two days ago, and I suspect it might have been a joke Andi Deris made. No one has officially told me anything. It would be a lot of extra work, and I don’t know if we really have the time or the intentions for something like that. I personally prefer album titles that stand out on their own.

One final question: How many cigarettes does it take to write a proper Helloween solo?

Three. But it depends; sometimes if I'm really busy with demos or plugins on the computer, I won't smoke for two or three hours. You can definitely do a solo without a cigarette. I really can't recommend smoking-it’s a horrible addiction and it’s not "cool". You don't get better at anything because of it.

Thank you for your time, Mr. Weikath. See you in the summer!

Thank you! I wish everyone reading health and luck. See you soon!