#alcatrazz — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #alcatrazz, aggregated by home.social.
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Did someone say "Waste, fraud, and abuse"?
https://www.theguardian.com/us-news/2026/apr/03/trump-alcatraz-prison
#trump #trumpcrimefamily #trumpstein #trumpsteinclass #epsteinclass #alcatrazz #waste #fraud #abuse #abuseofpower #overreach #idiocracy #kakistocracy #plutocracy #sanfrancisco #kqed #bureauofprisons -
Did someone say "Waste, fraud, and abuse"?
https://www.theguardian.com/us-news/2026/apr/03/trump-alcatraz-prison
#trump #trumpcrimefamily #trumpstein #trumpsteinclass #epsteinclass #alcatrazz #waste #fraud #abuse #abuseofpower #overreach #idiocracy #kakistocracy #plutocracy #sanfrancisco #kqed #bureauofprisons -
ALCATRAZZ (Estats Units) presenta nou àlbum: "Prior Convictions" #Alcatrazz #HardRock #HeavyMetal #Shred #Novembre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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By Dolphin Whisperer
In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.
In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.
Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.
Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).
Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord
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By Dolphin Whisperer
In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.
In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.
Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.
Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).
Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord
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By Dolphin Whisperer
In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.
In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.
Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.
Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).
Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord
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By Dolphin Whisperer
In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.
In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.
Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.
Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).
Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord
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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
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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
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Girlschool Books West Coast Tour, Second Leg of Final North American Tour with Lillian Axe, and Alcatrazz - Ghost Cult Magazine -
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#BraveWords
Today In Metal History 🤘 July 31st, 2024🤘 ARCH ENEMY, MÖTLEY CRÜE, JOURNEY, KATAKLYSM, ALCATRAZZ#ArchEnemy #MotleyCrue #Journey #Kataklysm #Alcatrazz #John5 #MarilynManson #RobZombie #AvengedSevenfold #TheAgonist
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#BraveWords
Today In Metal History 🤘 July 31st, 2024🤘 ARCH ENEMY, MÖTLEY CRÜE, JOURNEY, KATAKLYSM, ALCATRAZZ#ArchEnemy #MotleyCrue #Journey #Kataklysm #Alcatrazz #John5 #MarilynManson #RobZombie #AvengedSevenfold #TheAgonist
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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