Bonfire – Higher Ground

In 2020, we stated the following in the review of the band’s previous album: “With ‘Fistful of Fire’ they not only released their strongest release in a long time, but anno 2020 they stand firmly as a band”.

Then a couple of years after much praised Alexx Stahl and André Hilgers were out of the band. Oh well, the band has over the course of their four decades long career changed their line-ups countless times. Still, the stability in the previous line-up suited the band well and together with Stahl’s influence it felt as the band’s second (or is it third?) youth.

But here we are four years later after a very strong Fistful of Fire, with the band’s first album for Frontiers Records s.r.l. as well as their first album of new material to feature vocalist Dyan Mair and drummer Fabio Alessandrini.

The album opens with an effective intro which leads into one of those big openers Bonfire is known for. The energy and catchiness go hand in hand on “I Will Rise”, which is Hans Ziller’s tap on his own shoulder. He has been the only original member of the band for a decade now.

A few songs in, it’s clear that it’s business as usually for Bonfire, which makes sense this deep into their career. This means that the majority of those Bonfire trademarks are heavily featured on the album. The title track Is a solid mid-tempo stomper, “Lost All Control” is über-catchy upbeat rocker and “I Died Tonight” has Eurovision Song Contest written all over it. “When Loved Comes Down” is the obligatory ballad, following all the rules of the game established in ‘80s.

Dyan Mair does a fine job, but he does lack more of that edge Stahl had, and generally what this album lacks comparing to its predecessor is more edge in general. Stahl had a strong sense of melody and how to twist them in order to lift the songs and make them less predictable. Case in point; “Ride the Blade”, from the previous album where he in the course of few seconds takes the chorus from gang-chants, over to heart-wrenching midrange melodic twist only to wrap it up in a finale worthy of a Eurovision Song Contest.

Sonically this is another big modern sounding record with an even more bombastic sound than on the previous few records. At times that approach does take some of the dynamics from the music, but never so much that it becomes a problem.

It’s also always a pleasure to experience Ziller’s guitar work, because he has a good sense of dynamics within that big guitar sound. Just check out one of the album highlights “Come Hell Or High Water” and you’ll get the idea.

Bonfire has created another solid record, but lack of edge and significantly weaker songwriting makes this album far less impactful and enjoyable than some of the band’s most defining work. If you are a fan of the band’s more straight-forward and direct approach, than this album will suit you well. If you, on the other hand, prefer when the band thinks in layers and challenges their comfort zone, then their previous album will offer you much more.

Regardless of what, Ziller is not giving up and that alone is impressive. Even covering a song from previous album somehow does make sense, taking into the consideration his dedication to keep Bonfire going. “Rock ‘n’ Roll Survivors” from 2020 has become “Rock ‘n’ Roll Survivor” and the cover might not offer much new, the statement behind it rock solid. Keep going, Mr. Ziller.

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