by Dave Sleger

Subway to Sally's fifth album, Hochzeit, strays slightly from the formula that made both Foppt Den Dämon and Bannkreis such unique recordings. While this album retains the heavy metal tendencies of those two albums, it includes only sparing use of acoustic and traditional instruments, a defining trait of those two previous offerings. But despite Hochzeit's deficiencies, Subway to Sally still mixes it up more than the average headbangers. How many metal bands work lute, oboe, violin, flute, and multi-tiered vocal harmonies into their work? This album doesn't totally neglect the acoustic element as two of the band's guitarists, Simon and Bodenski, play acoustic guitars exclusively; however, the prevailing crunch of guitarist Ingo Hampf's playing is most noticeable and reflective of this album's overall sound. Frau Schmidt's contribution on the violin seems to be stifled a bit as well. Still, metal bands at large could learn from this German outfit how to create interesting and colorful music within a genre that relies much too heavily on musical clichés, predictable posing, and other tired gimmicks.