#axelrudipell — Public Fediverse posts

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #CA #Canada #Entertainment #FallenDimension #Fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/ca/653915/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #Fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #Reviews #Rexoria #Sabaton #SwedishMetal #UK #UnitedKingdom #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/uk/571095/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/us/628926/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/us/628926/

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

https://www.europesays.com/be-nl/34762/ Axel Rudi Pell – Ghost Town #Amusement #AxelRudiPell #BE #België #Belgium #Entertainment #GhostTown #HeavyMetal #JohnnyGioeli #Music #Muziek #recensie #review #steamhammer #UdoDirkschneider #ZwareMetalen

https://www.europesays.com/nl/172331/ Axel Rudi Pell – Ghost Town #Amusement #AxelRudiPell #Dutch #Entertainment #GhostTown #HeavyMetal #JohnnyGioeli #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #review #steamhammer #UdoDirkschneider #ZwareMetalen

https://www.europesays.com/at/58297/ Bei mir kann jeder machen, was er will. #AT #Austria #AxelRudiPell #BobbyRondinelli #Entertainment #FerdyDoernberg #GHOSTTOWN #JohnnyGioeli #Music #Musik #Österreich #UdoDirkschneider #Unterhaltung

https://www.europesays.com/at/56337/ Die Metal-Alben der Woche vom 20.03. mit Exodus, Axel Rudi Pell u.a. #Alben #AT #Austria #AxelRudiPell #Entertainment #exodus #Music #Musik #Neuerscheinungen #Österreich #PoisonTheWell #Releases #Tyketto #Unterhaltung #Veröffentlichungen

AXEL RUDI PELL (Alemanya) presenta nou àlbum: "Ghost Town" #AxelRudiPell #HeavyMetal #PowerMetal #HardRock #Març2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

AXEL RUDI PELL (Alemanya) presenta nou àlbum: "Ghost Town" #AxelRudiPell #HeavyMetal #PowerMetal #HardRock #Març2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/es/430810/ Vídeo en directo de HEAVEN AND HELL. Axel Rudi Pell estrena single. Vídeo de EMPIRE OF DISEASE. #AXELRUDIPELL #EMPIREOFDISEASE #Entertainment #Entretenimiento #ES #España #HEAVENANDHELL #Music #Música #Spain

AXEL RUDI PELL (Alemanya) presenta nou single: "Sanity" #AxelRudiPell #HeavyMetal #PowerMetal #HardRock #Gener2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

AXEL RUDI PELL (Alemanya) presenta nou single: "Sanity" #AxelRudiPell #HeavyMetal #PowerMetal #HardRock #Gener2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Axel Rudi Pell und Neverland
24.03.2026 Berlin / Huxleys

Lacrimas Profundere
03.09.2026 Berlin / Cassiopeia

#AxelRudiPell #Berlin #Cassiopeia #Huxleys #LacrimasProf #SteelFeed

Hier gab es was auf die Ohren: Knock Out Festival – Karlsruhe

Beim Knock Out Festival präsentierten sich auch diesmal wieder sechs Bands, die alle Facetten zeitgemäßer Rockmusik der härteren…
#Karlsruhe #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #AlexanderWesselsky #AxelRudiPell #Baden-Württemberg #ChrisBoltendahl #Fächerstadt #Gangart #Germany #HeavyMetal #lokal #Rockmusik #Schwarzwaldhalle
https://www.europesays.com/de/646473/

#RockOutFestival Dann gab's #AxelRudiPell und #Eisbrecher

#RockOutFestival Dann gab's #AxelRudiPell und #Eisbrecher

#RockOutFestival Dann gab's #AxelRudiPell und #Eisbrecher

#RockOutFestival Dann gab's #AxelRudiPell und #Eisbrecher

#RockOutFestival Dann gab's #AxelRudiPell und #Eisbrecher

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

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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#BraveWords
Today In Metal History 🤘 June 21st, 2024🤘DON AIREY, AEROSMITH, WINGER, MÖTLEY CRÜE, WHITE LION, EXODUS
Heavy Birthdays 80th Ray Davies (THE KINKS) - 1944 THE KINKS have sold over 50 million albums worldwide. .

https://bravewords.com/news/today-in-metal-history-june-21st-2024don-airey-aerosmith-winger-motley-crue-white-lion-exodus

#DonAirey #Aerosmith #Winger #MotleyCru #WhiteLion #Exodus #DeepPurple #JudasPriest #OzzyOsbourne #Rainbow #RayDavies #TheKinks #Kvelertak #Sunburst #Queen #AxelRudiPell #RobinTrower #Candy #Intranced

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#BraveWords
Today In Metal History 🤘 June 21st, 2024🤘DON AIREY, AEROSMITH, WINGER, MÖTLEY CRÜE, WHITE LION, EXODUS
Heavy Birthdays 80th Ray Davies (THE KINKS) - 1944 THE KINKS have sold over 50 million albums worldwide. .

https://bravewords.com/news/today-in-metal-history-june-21st-2024don-airey-aerosmith-winger-motley-crue-white-lion-exodus

#DonAirey #Aerosmith #Winger #MotleyCru #WhiteLion #Exodus #DeepPurple #JudasPriest #OzzyOsbourne #Rainbow #RayDavies #TheKinks #Kvelertak #Sunburst #Queen #AxelRudiPell #RobinTrower #Candy #Intranced

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 21st, 2024🤘DON AIREY, AEROSMITH, WINGER, MÖTLEY CRÜE, WHITE LION, EXODUS
Heavy Birthdays 80th Ray Davies (THE KINKS) - 1944 THE KINKS have sold over 50 million albums worldwide. .

https://bravewords.com/news/today-in-metal-history-june-21st-2024don-airey-aerosmith-winger-motley-crue-white-lion-exodus

#DonAirey #Aerosmith #Winger #MotleyCru #WhiteLion #Exodus #DeepPurple #JudasPriest #OzzyOsbourne #Rainbow #RayDavies #TheKinks #Kvelertak #Sunburst #Queen #AxelRudiPell #RobinTrower #Candy #Intranced

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#BraveWords
Today In Metal History 🤘 June 21st, 2024🤘DON AIREY, AEROSMITH, WINGER, MÖTLEY CRÜE, WHITE LION, EXODUS
Heavy Birthdays 80th Ray Davies (THE KINKS) - 1944 THE KINKS have sold over 50 million albums worldwide. .

https://bravewords.com/news/today-in-metal-history-june-21st-2024don-airey-aerosmith-winger-motley-crue-white-lion-exodus

#DonAirey #Aerosmith #Winger #MotleyCru #WhiteLion #Exodus #DeepPurple #JudasPriest #OzzyOsbourne #Rainbow #RayDavies #TheKinks #Kvelertak #Sunburst #Queen #AxelRudiPell #RobinTrower #Candy #Intranced

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#BraveWords
Today In Metal History 🤘 June 21st, 2024🤘DON AIREY, AEROSMITH, WINGER, MÖTLEY CRÜE, WHITE LION, EXODUS
Heavy Birthdays 80th Ray Davies (THE KINKS) - 1944 THE KINKS have sold over 50 million albums worldwide. .

https://bravewords.com/news/today-in-metal-history-june-21st-2024don-airey-aerosmith-winger-motley-crue-white-lion-exodus

#DonAirey #Aerosmith #Winger #MotleyCru #WhiteLion #Exodus #DeepPurple #JudasPriest #OzzyOsbourne #Rainbow #RayDavies #TheKinks #Kvelertak #Sunburst #Queen #AxelRudiPell #RobinTrower #Candy #Intranced

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Today In Metal History 🤘 June 17th, 2024🤘 MICHAEL MONROE, VAN HALEN, MARILLION, MEGADETH, GOJIRA
Heavy Birthdays 77th Gregg Alan Rolie (SANTANA, JOURNEY, RINGO STARR & HIS ALL-STARR BAND, THE STORM) - 1947 62nd MICHAEL MONROE (HANOI ROCKS) - 1962 Heavy Releases 39th MARILLION's Misplaced Childhood ...

https://bravewords.com/news/today-in-metal-history-june-17th-2024-michael-monroe-van-halen-marillion-megadeth-gojira

#MichaelMonroe #VanHalen #Marillion #Megadeth #Gojira #Santana #Journey #RingoStarr #HanoiRocks #Queen #AxelRudiPell #MartyFriedman

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#BraveWords
Today In Metal History 🤘 June 17th, 2024🤘 MICHAEL MONROE, VAN HALEN, MARILLION, MEGADETH, GOJIRA
Heavy Birthdays 77th Gregg Alan Rolie (SANTANA, JOURNEY, RINGO STARR & HIS ALL-STARR BAND, THE STORM) - 1947 62nd MICHAEL MONROE (HANOI ROCKS) - 1962 Heavy Releases 39th MARILLION's Misplaced Childhood ...

https://bravewords.com/news/today-in-metal-history-june-17th-2024-michael-monroe-van-halen-marillion-megadeth-gojira

#MichaelMonroe #VanHalen #Marillion #Megadeth #Gojira #Santana #Journey #RingoStarr #HanoiRocks #Queen #AxelRudiPell #MartyFriedman

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#BraveWords
Today In Metal History 🤘 June 17th, 2024🤘 MICHAEL MONROE, VAN HALEN, MARILLION, MEGADETH, GOJIRA
Heavy Birthdays 77th Gregg Alan Rolie (SANTANA, JOURNEY, RINGO STARR & HIS ALL-STARR BAND, THE STORM) - 1947 62nd MICHAEL MONROE (HANOI ROCKS) - 1962 Heavy Releases 39th MARILLION's Misplaced Childhood ...

https://bravewords.com/news/today-in-metal-history-june-17th-2024-michael-monroe-van-halen-marillion-megadeth-gojira

#MichaelMonroe #VanHalen #Marillion #Megadeth #Gojira #Santana #Journey #RingoStarr #HanoiRocks #Queen #AxelRudiPell #MartyFriedman

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 17th, 2024🤘 MICHAEL MONROE, VAN HALEN, MARILLION, MEGADETH, GOJIRA
Heavy Birthdays 77th Gregg Alan Rolie (SANTANA, JOURNEY, RINGO STARR & HIS ALL-STARR BAND, THE STORM) - 1947 62nd MICHAEL MONROE (HANOI ROCKS) - 1962 Heavy Releases 39th MARILLION's Misplaced Childhood ...

https://bravewords.com/news/today-in-metal-history-june-17th-2024-michael-monroe-van-halen-marillion-megadeth-gojira

#MichaelMonroe #VanHalen #Marillion #Megadeth #Gojira #Santana #Journey #RingoStarr #HanoiRocks #Queen #AxelRudiPell #MartyFriedman

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 17th, 2024🤘 MICHAEL MONROE, VAN HALEN, MARILLION, MEGADETH, GOJIRA
Heavy Birthdays 77th Gregg Alan Rolie (SANTANA, JOURNEY, RINGO STARR & HIS ALL-STARR BAND, THE STORM) - 1947 62nd MICHAEL MONROE (HANOI ROCKS) - 1962 Heavy Releases 39th MARILLION's Misplaced Childhood ...

https://bravewords.com/news/today-in-metal-history-june-17th-2024-michael-monroe-van-halen-marillion-megadeth-gojira

#MichaelMonroe #VanHalen #Marillion #Megadeth #Gojira #Santana #Journey #RingoStarr #HanoiRocks #Queen #AxelRudiPell #MartyFriedman

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

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

#TheMetalDogArticleList
#BraveWords
AXEL RUDI PELL Shares New Single "Guardian Angel"; Lyric Video

https://bravewords.com/news/axel-rudi-pell-shares-new-single-guardian-angel-lyric-video

#AxelRudiPell #GuardianAngel #RisenSymbol #MelodicHardRock #JohnnyGioeli #BobbyRondinelli #FerdyDoernberg #VolkerKrawczak

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#BraveWords
AXEL RUDI PELL Shares New Single "Guardian Angel"; Lyric Video

https://bravewords.com/news/axel-rudi-pell-shares-new-single-guardian-angel-lyric-video

#AxelRudiPell #GuardianAngel #RisenSymbol #MelodicHardRock #JohnnyGioeli #BobbyRondinelli #FerdyDoernberg #VolkerKrawczak

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#BraveWords
AXEL RUDI PELL Shares New Single "Guardian Angel"; Lyric Video

https://bravewords.com/news/axel-rudi-pell-shares-new-single-guardian-angel-lyric-video

#AxelRudiPell #GuardianAngel #RisenSymbol #MelodicHardRock #JohnnyGioeli #BobbyRondinelli #FerdyDoernberg #VolkerKrawczak

#TheMetalDogArticleList
#BraveWords
AXEL RUDI PELL Shares New Single "Guardian Angel"; Lyric Video

https://bravewords.com/news/axel-rudi-pell-shares-new-single-guardian-angel-lyric-video

#AxelRudiPell #GuardianAngel #RisenSymbol #MelodicHardRock #JohnnyGioeli #BobbyRondinelli #FerdyDoernberg #VolkerKrawczak

#NowPlaying #TheMetalDogIsNowPlaying
#AxelRudiPell
Lost XXIII
Survive

YouTube Search:
https://youtube.com/results?search_query=Axel+Rudi+Pell+Lost+XXIII+Survive

Lyrics:
https://genius.com/Axel-rudi-pell-survive-lyrics

Song Link:
http://www.youtube.com/watch?v=3EXiGNhZVSo

LastFM:
https://www.last.fm/music/Axel+Rudi+Pell/_/Survive

#hardrock #2020s #2022

#NowPlaying #TheMetalDogIsNowPlaying
#AxelRudiPell
Lost XXIII
Survive

YouTube Search:
https://youtube.com/results?search_query=Axel+Rudi+Pell+Lost+XXIII+Survive

Lyrics:
https://genius.com/Axel-rudi-pell-survive-lyrics

Song Link:
http://www.youtube.com/watch?v=3EXiGNhZVSo

LastFM:
https://www.last.fm/music/Axel+Rudi+Pell/_/Survive

#hardrock #2020s #2022

#NowPlaying #TheMetalDogIsNowPlaying
#AxelRudiPell
Lost XXIII
Survive

YouTube Search:
https://youtube.com/results?search_query=Axel+Rudi+Pell+Lost+XXIII+Survive

Lyrics:
https://genius.com/Axel-rudi-pell-survive-lyrics

Song Link:
http://www.youtube.com/watch?v=3EXiGNhZVSo

LastFM:
https://www.last.fm/music/Axel+Rudi+Pell/_/Survive

#hardrock #2020s #2022

#NowPlaying #TheMetalDogIsNowPlaying
#AxelRudiPell
Lost XXIII
Survive

YouTube Search:
https://youtube.com/results?search_query=Axel+Rudi+Pell+Lost+XXIII+Survive

Lyrics:
https://genius.com/Axel-rudi-pell-survive-lyrics

Song Link:
http://www.youtube.com/watch?v=3EXiGNhZVSo

LastFM:
https://www.last.fm/music/Axel+Rudi+Pell/_/Survive

#hardrock #2020s #2022

#NowPlaying #TheMetalDogIsNowPlaying
#AxelRudiPell
Morning Star
Morning Star

YouTube Search:
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Lyrics:
https://genius.com/Axel-rudi-pell-falling-star-lyrics