考えたほうが良いときもある。そんな時は聴かないほうが良い。 #Impellitteri 聴きながら何かを考えるとすぐ眠くなるから…それが人類。
#Impellitteri
人類って忙しくなると #Impellitteri が聴きたくなるよね
https://music.apple.com/jp/album/screaming-symphony/493224849
Uten videre forklaringer. Impellitteri er kul.
Impellitteri. Er jeg nødt til å si mer?
Da buon precursore dei tempi, il #metal parla! #Impellitteri
https://m.youtube.com/watch?v=9VUoqB6q1bY
Sull'orlo della miseria, attraverso la terra santa
Violenza, una follia omicida, per prendere posizione
È l'inferno sulla terra
Ogni volta che quel sangue viene versato, lacrime e tragedie,
…
Io vedo il nemico, tu vedi la vittoria, la morte agli innocenti, una parodia della moralità
Non ci sono vincitori, ricchi o poveri, indignazione, guerra santa
I fulmini colpiscono la cupola di ferro, piovendo dal cielo
…
⚔️ Prepare for battle with IMPELLITTERI's "War Machine," launching November 08!
🔥 Dive into the relentless power of heavy metal & support us 👉 [https://amzn.to/3UnEhEg]
#metalreleases #Impellitteri #WarMachine #HeavyMetal
Feel the thunder 🤘https://metalreleases.com
Impellitteri – War Machine Review
By Dolphin Whisperer
As the eponymous outfit of American shredhead Chris Impellitteri, Impellitteri has wielded the heavy metal chorus call and neoclassical solo response for near forty years. Though presenting a style that rollicks about Malmsteen-like fretboard gymnastics in a 80s rockin’ manner in the ballpark of the flamboyant Racer X or rough ‘n’ riffy Chastain, Impellitteri has maintained a workmanlike vigor in their long-standing songcraft. Virtuosity in runs and power chord progressions call the shots in this well-attended line of fire-fingered, efficient attacks. And though times are different than when Rob Rock (of his own eponymous works and ex-Axel Rudi Pell), first joined the Impellitteri crew, his continued presence alongside the nimble band leader aims to find that same consistency with this newest War Machine.
Understandably, War Machine veers little from the Impellitteri way. Though the American stalwarts materialized in 1988 as an affair similar to the Rainbow-on-shred names popular of the time, debut Stand in Line even featuring ex-Rainbow, ex-Alcatrazz vocalist Graham Bonnet, Impelliterri grew to thrive less on AOR shakin’ and more on power metal adjacent triumph on successive releases.1 And with the introduction of Rock on mic, Ken Mary (Fifth Angel, ex-Chastain) on kit, and Ed Roth (Driver) on keys, 90s peaks Screaming Symphony and Eye of the Hurricane offered a thrilling and overloaded version of a sound that already possessed much flexing force. Though low on variation, Impellitteri’s style through to War Machine remains classic and guitar-forward, a combo that to lovers of the olde and solo-wild will rarely be displeasing.
Despite the similar nature of everything, both to past Impellitteri works and within its own walls, War Machine comes stacked with bombastic guitar work against ridiculous themes. Reaching for a standard-issue bag of neoclassical tricks, along with spacey phasers that give whiffs of Van Halen party energy (“Superkingdom,” “Just Another Day”), Impellitteri’s licks endure as swift and truly heavy metal. And relying on the intensity of a post-Painkiller world, tracks like “Hell on Earth” and “Light It Up” find an extra rhythmic propulsion that keeps the horns raised high against double-kick assaults.2 Testament to Rock’s not-ageless but studied bravado, his performance, while not striking the highest highs of his younger days, lives in full commitment against campy themes of AI takeover (“Superkingdom”) and getting rowdy in the mosh pit (“War Machine,” “Light It Up”). Adding that all-too-important warmth and earnestness to the smoky stage romp that Impellitteri embodies, Rock persists as a link vital to keeping the War Machine on course.
When Impellitteri fires on all the cylinders still at their disposal, War Machine lives up to its name. But that makes up only about half of its forty-three-minute runtime. At this point in the Impellitteri catalog, the line between filler and iterated event runs thinner than the cutting tone Mr. Impellitteri loves so to highlight his lightning-speed scale laps. In that sense, it shouldn’t matter that “War Machine” is another “Turn of the Century” (Crunch, 2000) shred-laced groove that sets a marching tone, nor should it be a bother that “Beware the Hunter” utilizes one of the most common riff patterns that Impellitteri has ever put to tape. The War Machine versions of these tested sounds should land on their own merit—at cranking speeds (“Wrath Child,” “Light It Up”) and proudest arpeggio (“Superkingdom,” “Just Another Day”) they do, and Impellitteri shows they have ideas left in the tank. But when all eleven tracks don’t show this same fervor at this stage of their career, Impellitteri needs to spend a little more time in curation than creation.
If a younger Dolph had written this review, some of War Machine’s issues of repetition may not have stuck out in as flagrant a stumbling manner. However, Impellitteri, since first entering the fold of cetaceous enjoyment in the mid-00s, has released album after album of lowering differentiation with infrequent flashes of a former shining self. When the past was more recent, less littered by minds who wanted the same 11-dialed Marshall and scalloped Strat in the limelight, Impellitteri’s recursive ideas were more forgivable. But at our current juncture in time, growing every year closer to four decades of Impellitteri occupation, the War Machine must stand against those who preceded and inspired its existence, those who grew shoulder-to-shoulder in shred, and those who have raised themselves on the entirety of that history. And that’s all more fight than War Machine gives.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Frontiers Music
Websites: impellitteri.net | instagram.com/chrisimpellitteriofficial
Releases Worldwide: November 8th, 2024
#20 #2024 #Alcatrazz #AxelRudiPell #Chastain #FifthAngel #FrontiersMusic #HeavyMetal #Impellitteri #NeoclassicalMetal #Nov24 #PowerMetal #RacerX #Rainbow #Review #Reviews #RobRock #Shred #WarMachine #YngwieMalmsteen
#TheMetalDogArticleList #BLABBERMOUTH IMPELLITTERI Recruits SLAYER Drummer PAUL BOSTAPH For New Album 'War Machine' blabbermouth.net/news/impelli... #Impellitteri #PaulBostaph #WarMachine #Slayer
#TheMetalDogArticleList
#BLABBERMOUTH
IMPELLITTERI Recruits SLAYER Drummer PAUL BOSTAPH For New Album 'War Machine'
Axel Rudi Pell – Risen Symbol Review
By Dolphin Whisperer
Axel Rudi Pell has been around for a long time—longer than I’ve been alive, truthfully. As the eponymous band of German guitarist Axel Rudi Pell, who broke off from the Deutschland-nested Steeler way back in the 80s,1 Axel Rudi Pell has since released album after album of crunchy-riffed, flamboyantly-soloed, chorus-led heavy metal. Embracing both the neoclassical in lead and classic arena rock in power chord progressions, ARP has innovated little and iterated less for each of the now twenty-two albums of no-cover-charge good(ish) times.
ARP’s christening lineups boasted various powerhouse vocalists like Rob Rock (Impellitteri) and Jeff Scott Soto (ex-Yngwie Malmsteen, Trans-Siberian Orchestra), aiding the foundation on which ARP coasted. And to their credit, the albums from that era hold up pretty well as sometimes-Scorpions, sometimes-Rainbow, always-less-than-Fifth Angel slabs of flashy heavy metal with too many ballads but just enough power to make it through. Of course, Mr. Pell hasn’t gone anywhere, along with his long-time bassist Volker Krawczak (ex-Steeler). And since ’98, he’s been ridin’ steady with the golden pipes of Johnny Gioeli (Crush 40,2 Enemy Eyes) and the gently harmonizing keys of Ferdy Doernberg (Rough Silk). If it ain’t broke, don’t fix it.
It turns out, though, that if you continue to release the same kind of album with the same people through the same lens of influence, then the experience begins to wear out quickly. Risen Symbol busts its energy in the unwelcome foreplay of “The Resurrection (Intro)” into the mildly invigorated “Forever Strong.” Maybe you’ve never encountered ARP before, so you’ve probably never heard them play these riffs with these chorus progressions (and in “Guardian Angel” and in “Hell’s On Fire” and in “Right on Track”… you get it, right?)—but if you look, you don’t have to search far. And though ARP has, to date, six3 collections of ballads—most of which are covers—and two full-length releases dedicated to covers, there persists an ARPian for more covers. So we get an ambiguously MENA-mooded cover of Led Zeppelin’s “Immigrant Song.” Bet ya never heard that either.4
In addition to lacking diversity, Risen Symbol shows the cracks of aging ideals against a production style that attempts to bolster it. It would take a miracle for Gioeli to sound the way he did when he landed with ARP over twenty-five years ago. And since those kinds of acts are in short supply, his vocals find pumped volume pockets with extra mic distortion as a grit substitute (most egregiously while trying to Plant it up in “Immigrant Song”). While this kind of all-fists-pumping rock does not require a heavily trained voice, Gioeli has carried similar tunes better before, or at least less noticeably pitchy when he sat with less volume in the mix. Pell himself too fires on fewer cylinders, it seems. ARP has never been as shredtastic as visually similar acts like At Vance or Impellitteri, but drawing heavy inspiration from legends like Blackmore and Hendrix, Pell’s leads typically soar. But in most of Risen Symbol’s run, he mulls about in a flimsy-toned rhythm, and solo spots sputter (loudly) about as lazy melodic accouterment by his own past standards.
The world needs neither another vapid ballad (“Crying in Pain”) nor another desert adventure song lesser than Rainbow’s “Gates of Babylon” (“Ankhaia”). And up until the fake-out driving epic that closes Risen Symbol, the world didn’t really need more Axel Rudi Pell—certainly not a whole hour no matter how you slice it. I don’t know Pell’s full story, but I’m sure he came to be in a manner similar to how many become engrossed by rock and metal: he fell in love with the sound of a screeching guitar. That love shines through in his best works, and while he feels its throb enough to conjure more full-length collections, I don’t hear it resonating quite that way any longer. Never boundary-pushing enough to set a global audience ablaze, never sloggish enough to catch a whiff of public infamy, Axel Rudi Pell carries on in the local touring zone of “too good to crash and burn.” However, Risen Symbol inches this marathon-marked vanguard that much closer to a sparkless fade-out.
Rating: 1.5/5.0
DR: Somebody Call Me a… | Format Reviewed: Stream
Label: SPV/Steamhammer | Bandcamp
Websites: axel-rudi-pell.de | axelrudipell.bandcamp.com | facebook.com/axelrudipellofficial
Releases Worldwide: June 14th, 2024
#15 #2024 #AOR #AtVance #AxelRudiPell #FifthAngel #GermanMetal #HardRock #HeavyMetal #Impellitteri #Jun24 #LedZeppelin #Rainbow #Review #Reviews #RisenSymbol #RobRock #Scorpions #Steeler #YngwieMalmsteen
My conversation with former #Rainbow frontman #GrahamBonnett is a treasure trove of rock history and vocal wisdom. 🎤Graham shares his musical roots on our latest episode. Tune in for a journey through rock's evolution this Monday. #Impellitteri #MichaelSchenkerGroup #Alcatrazz
#Spotify の検索欄に im と入力するだけで #Impellitteri が一番上に出てくるワタクシ 🤘
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