#neoclassicalmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #neoclassicalmetal, aggregated by home.social.
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TOBY KNAPP (Estats Units) presenta nou àlbum: "Power Metal Prophecy" #TobyKnapp #TechnicalProgressive #NeoclassicalMetal #Shred #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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TOBY KNAPP (Estats Units) presenta nou àlbum: "Power Metal Prophecy" #TobyKnapp #TechnicalProgressive #NeoclassicalMetal #Shred #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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CONCERTO MOON (Japó) presenta nou àlbum en directe: "Between Live and Death" #ConcertoMoon #PowerMetal #NeoclassicalMetal #Abril2026 #Japó #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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CONCERTO MOON (Japó) presenta nou àlbum en directe: "Between Live and Death" #ConcertoMoon #PowerMetal #NeoclassicalMetal #Abril2026 #Japó #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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Burned in Effigy – Tyrannus Aeternum Review
By ClarkKent
On their debut, Rex Mortem, the king was dead, but on Burned in Effigy’s sophomore effort, Tyrannus Aeternum, the king is now eternal. Their brand of neo-classical melodeath impressed Holdeneye three years ago—he hailed the debut as a mix of “brutal and beautiful.” However, he showed a rare moment of restraint in scoring Rex Mortem just shy of the vaunted 4.0, and plenty of commenters felt it should have earned that extra notch. Melodeath acts are a dime a dozen, and they don’t always successfully elevate themselves above the generic. So when Burned in Effigy infused their songs with virtuoso-level guitar melodies that emulated classical compositions, they quickly rose above the pack. At just a tidy 32 minutes, fans wanted moar, and now they seek to deliver—moar songs, moar length—on Tyrannus Aeternum.
Be careful what you wish for—moar is not always better. While there are certainly more songs, this album of neo-classical melodeath is notably shy of the neo-classical riffs that made the debut so electric. Tyrannus Aeternum hews a little too close to Burned in Effigy’s main source of inspiration, The Black Dahlia Murder, and some tracks, like “Masquerade,” sound like they could have come straight off of Abysmal or Nighbringers. This isn’t to say there’s nothing to enjoy. The front half has good energy and concise song lengths, even if most of the songs don’t hit quite as hard as anything on the debut. Plus, the record sounds great. The dual guitar approach remains impressive—there’s still plenty of noodly stuff and some melodic riffs that will remind you of the debut. As usual, Smedy’s vocal attack provides a lot of character, as he alternates between Strnad-like rasps and throaty growls. The kit work by Eddie Dec is a particular standout. His speedy, muscular blast beats steal the show on “Sacrificial Seance” and “Monstrosity Reborn.”
One of Rex Mortem’s strengths was its conciseness, and on Tyrannus Aeternum, Burned in Effigy introduce some bloat. It’s not that 45 minutes is necessarily too long, but where songs on the debut hit the 3-4 minute sweet spot, here they often drag on too long. This gets worse on the back half, where most tracks top five minutes. This final stretch becomes wearying, except for the fantastic “The Racking.” The back half also shifts away from the energetic melodeath and more into death-doom territory. These songs still have plenty of good moments, but the lack of hooks makes some of them, frankly, boring. The final two tracks represent the worst stretch on the record. It would have been better to end on the high note of “The Racking” rather than make us wade through an extra ten minutes of forgettable tunes.
Burned in Effigy show signs of their former selves on the two standout tracks, but it takes until song number five, “Wage of Exile,” to get there. The song opens with a neo-classical melodic lead—finally!—and doesn’t let up the energy until ending on the thematically appropriate, “Long live the king!” As good as this is, it’s “The Racking” that steals the show. It sounds fresh and lively, employing a wide variety of guitar techniques—melodic leads, tremolos, and even a neo-classical bass line—as well as some classical strings to keep it sounding fresh and energetic. Tyrannus Aeternum also has a couple of one-minute interludes where Burned in Effigy are at their most experimental musically. “Procession” takes a brief break with some upbeat Spanish guitar, while “Gallows Hymn” is more whimsical and cinematic, sounding like it could find a home on the score for Wednesday. Since these interludes precede the two best tunes on Tyrannus Aeternum, one could argue they should have included more of them.
Sadly, this is probably the biggest disappointment of the year for me. There’s a part of me that wonders if I’m more down on this just because it doesn’t live up to its predecessor. Yet, if this were the debut instead, I don’t think Burned in Effigy would have garnered as much attention. Nonetheless, there’s plenty to enjoy on Tyrannus Aeternum, and plenty to show that Rex Mortem wasn’t a fluke. This feels like a band still trying to shore up its own identity, and hopefully, by the next go-around, they’ll have a better grasp on who they are and return to their exciting roots.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: October 31st, 2025#25 #2025 #americanMetal #burnedInEffigy #deathMetal #melodicDeathMetal #neoClassicalMetal #oct25 #review #reviews #selfReleased #theBlackDahliaMurder #tyrannusAeternum
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Ho scoperto solo recentemente #MichaelRomeo un chitarrista semplicemente #SPAZIALE 🎸
Sì, avevo sentito qualcosa dei #SymphonyX ma paradossalmente i suoi 3 album da solista sono un pozzo infinito di virtuosismi e invenzioni tecniche di genere, devo dire gradevolissimo da ascoltare
(in particolare l'ultimo da cui è tratto questo brano)
Bella scoperta! 😉 😎
#progmetal #metal #neoprogmetal #hardrock #neoclassicalmetal
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Ho scoperto solo recentemente #MichaelRomeo un chitarrista semplicemente #SPAZIALE 🎸
Sì, avevo sentito qualcosa dei #SymphonyX ma paradossalmente i suoi 3 album da solista sono un pozzo infinito di virtuosismi e invenzioni tecniche di genere, devo dire gradevolissimo da ascoltare
(in particolare l'ultimo da cui è tratto questo brano)
Bella scoperta! 😉 😎
#progmetal #metal #neoprogmetal #hardrock #neoclassicalmetal
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Ho scoperto solo recentemente #MichaelRomeo un chitarrista semplicemente #SPAZIALE 🎸
Sì, avevo sentito qualcosa dei #SymphonyX ma paradossalmente i suoi 3 album da solista sono un pozzo infinito di virtuosismi e invenzioni tecniche di genere, devo dire gradevolissimo da ascoltare
(in particolare l'ultimo da cui è tratto questo brano)
Bella scoperta! 😉 😎
#progmetal #metal #neoprogmetal #hardrock #neoclassicalmetal
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Ho scoperto solo recentemente #MichaelRomeo un chitarrista semplicemente #SPAZIALE 🎸
Sì, avevo sentito qualcosa dei #SymphonyX ma paradossalmente i suoi 3 album da solista sono un pozzo infinito di virtuosismi e invenzioni tecniche di genere, devo dire gradevolissimo da ascoltare
(in particolare l'ultimo da cui è tratto questo brano)
Bella scoperta! 😉 😎
#progmetal #metal #neoprogmetal #hardrock #neoclassicalmetal
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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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#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore -
#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore -
#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore -
#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore -
#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore -
#NowPlaying #TheMetalDogIsNowPlaying
#JasonBecker
Perpetual Burn
AltitudesYouTube Search:
https://youtube.com/results?search_query=Jason+Becker+Perpetual+Burn+AltitudesLyrics:
https://genius.com/Jason-becker-altitudes-lyricsLastFM:
https://www.last.fm/music/Jason+Becker/_/Altitudes#guitarvirtuoso #instrumental #guitargod #Shred #neoclassicalmetal