#yngwie-malmsteen — Public Fediverse posts

https://www.europesays.com/uk/1254901/ Yngwie Malmsteen on Refusing to Join David Lee Roth's Solo Band: 'I Probably Should've Done It' – Ultimate Guitar #Celebrities #DavidLeeRoth #EddieVanHalen #Entertainment #guitar #Rock #SteveVai #UK #UnitedKingdom #YankeeRose #YngwieMalmsteen

Yngwie Malmsteen on Refusing to Join David Lee Roth's Solo Band: 'I Probably Should've Done It' – Ultimate Guitar

Yngwie Malmsteen on Refusing to Join David Lee Roth’s Solo Band: ‘I Probably Should’ve Done It’  Ultimate GuitarYngwie Malmsteen:…
#NewsBeep #News #Celebrities #DavidLeeRoth #EddieVanHalen #Entertainment #Guitar #Rock #SteveVai #UK #UnitedKingdom #YankeeRose #YngwieMalmsteen
https://www.newsbeep.com/uk/802969/

I have fond memories of homebrewing with my dad. We honed the best methods for small-batch beers, experimented with dozens of styles, learned tough lessons from a couple of bottle bombs, and got to drink some great beer (and, yeah, some bad). Those are memories I’ll cherish for the rest of my life, and it’s something that drew me to the father and sons Swedish power metal outfit, Tungsten. Anders Johansson started out as a drummer for Yngwie Malmsteen in the ’80s.1 He would later spend 15 years with Hammerfall before starting a band with his two sons, Karl and Nick, and the longtime Cloudscape vocalist, Michael Andersson. In 2016, they formed Strokkur, but after one album decided to go in a heavier direction and changed their name to Tungsten. This father and son project has been going strong ever since, with Ashes as their fifth full-length and their second with Reigning Phoenix Music. Do strong familial bonds make for good music?

One thing is clear when listening to Ashes—Tungsten are having tons of fun. Rather than aim for the semi-serious cheese of power metal acts like Fellowship, or the ostentatious approach of Rhapsody of Fire, Tungsten play a tightly-written, high-energy, and semi-jokey style of power metal. Anders’s kitwork places Ashes in borderline dance music status, approaching the poppiness of Battle Beast’s latest. Industrial touches on the likes of “Bite My Tongue” only serve to heighten this techno-dance connection. “Fuego del Sol” goes full-on Latin American dance music, with a “Gangnam Style”-like opening that’ll make you think you stepped into the wrong album. I don’t mean to make it sound like Tungsten eschew guitars completely. Chugging riffs often provide a sense of heft, but play second fiddle to the synths and choruses in terms of hooks. Nick Johansson delivers some gnarly solos on “Bite My Tongue” and “Ted the Exorcist” to help ensure this doesn’t turn into full-blown power pop.

Tungsten have no illusions about their silliness. They make use of silly folk elements and lyrics in a similar vein as Trollfest. The yodeling on the catchy “Joker” makes for some fun hooks, while cuckoo bird noises add to the lightness of the breezy “Supernova.” “Ted the Exorcist” sounds like it could have been written for a bawdy comedy act with lyrics like “Ted the Exorcist/he showers the world in piss.” The folk instruments also allow Ashes to have a tremendous amount of variety. Whistles on “Sunshine of Fall” lead into some anthemic power pop, and a sort of flute or pipe provides a Celtic character to the cheerful “For Thee.” The biggest surprise comes from “The North Will Rise,” which electrifies with a cool opening riff, some great energy, and guest vocals from Sonata Arctica’s Tony Kakko. What begins as a silly educational song with Kakko listing off northern European countries turns into a rousing call for those countries to unite in defense against a common foe.

Perhaps the biggest drawback from an album like Ashes is that the style can only sustain so many repeat spins before it begins to grow tiresome. Tungsten keep things short and sweet, crafting a concise record at only 39 minutes with tracks largely falling in the 3-minute range. It’s true that the last few songs start to fall off, but they’re still pretty enjoyable. Trollfest’s Flamingo Overlord is a great example of how this kind of record can work over the long haul, and Tungsten isn’t that far off. There’s plenty of variety, tons of catchy hooks, and some great energy. Andersson delivers a strong vocal performance, singing with enough gruffness to ground the bounciness of the music, but also belting out some memorable anthems. Yes, Ashes works best in snack-sized portions, but it also proves to be some fun lighter fare that’s perfect for breaking up your doom sessions.

Clearly, father and sons have put together a metal record that was a lot of fun to make. Ashes is a work of pure escapism that’ll compel you to get up on your feet and dance instead of headbanging to sick riffs and punishing kit work. It’s not quite so wild and subversive as the day’s other comedic release from Netherwilds, instead taking a much more formulaic and polished approach. Where some bands of this ilk can overdeliver on the silliness, Tungsten strikes a well-balanced approach between silly comedy and music that’s just pure fun to listen to.

Rating: 3.0/5.0
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Reigning Phoenix Music
Websites: Facebook | Official Site
Releases Worldwide: October 9th, 2026

https://www.europesays.com/pt/538337/ Monsters of Rock 2026 revela line-up completo #AllianzParque #DirtyHoney #Entertainment #Entretenimento #Extreme #GunsN'Roses #Halestorm #Jayler #LineUp #LynyrdSkynyrd #MonstersOfRock2026 #Music #Música #Portugal #PT #SãoPaulo #YngwieMalmsteen

https://www.europesays.com/es/781587/ Thomas Youngblood (Kamelot): “Queríamos tocar como Iron Maiden, Yngwie Malmsteen o Judas Priest, pero no pensábamos que nos diera para un contrato discográfico” #Entertainment #Entretenimiento #ES #España #IronMaiden #JudasPriest #KAMELOT #MR2022 #Music #Música #Spain #ThomasYoungblood #YngwieMalmsteen

https://www.wacoca.com/media/756783/ Yngwie Malmsteen（イングヴェイ・マルムスティーン）『Hell Or Highwater』祝・来日 ソロ名義では23作目となるスタジオ・アルバム #CD #DVD #music #YngwieMalmsteen（イングヴェイ・マルムスティーン）『HellOrHighwater』祝・来日ソロ名義では23作目となるスタジオ・アルバム #オンラインショッピング #タワーレコード #タワーレコードオンライン #タワレコ #音楽

https://www.europesays.com/es/725794/ Ritchie Blackmore (Rainbow, ex-Deep Purple) valora a Yngwie Malmsteen como guitarrista: “Quizá sea demasiado alto” #Celebrities #Entertainment #Entretenimiento #ES #España #Famosos #MR2022 #RitchieBlackmore #Spain #YngwieMalmsteen

O que Ritchie Blackmore realmente pensa sobre Yngwie Malmsteen

https://fed.brid.gy/r/https://rollingstone.com.br/musica/ritchie-blackmore-opiniao-sobre-yngwie-malmsteen/

https://www.europesays.com/es/704348/ Nuevo disco y single de Yngwie Malmsteen. ÑU de nuevo en Madrid. Vídeo de EXUMER. #Entertainment #Entretenimiento #ES #España #EXUMER #Music #Música #nu #Spain #YngwieMalmsteen

https://www.europesays.com/es/696572/ Yngwie Malmsteen estrena «Now Or Never», primer single de «Hell Or High Water», con su sello de barroquismo y Heavy Metal #Celebrities #Entertainment #Entretenimiento #ES #España #Famosos #HeavyMetal #Spain #VídeosMusicales #YngwieMalmsteen

https://www.europesays.com/es/696410/ Yngwie Malmsteen canaliza su espíritu neoclásico en “Now or Never”, primer adelanto de "Hell or High Water": “Me quedé en casa componiendo durante ocho meses” – MariskalRock.com #Entertainment #Entretenimiento #ES #España #HellOrHighWater #MR2022 #Music #Música #NowOrNever #Spain #YngwieMalmsteen

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

Der Mischer von #YngwieMalmsteen hat auf dem #Wacken Auftritt die Gitarre auf der Main PA ausgeschaltet (auf der Bühne war sie mega-laut). Erst als der Maestro sich Mitte des Konzertes einmal beim Publikum bedankt hat war sie plötzlich wieder an. Ich nehme an Herr Malmsteen hat sich wieder unsterblich beliebt gemacht bei allen 😂

If unrepentant guitar shredding gets your juices flowing, be warned that Arise from Worms bursts at the seams with face-melting indulgence on A Bleeding Tree Hanging Self Destruction. Boasting legends from essential death metal bands, Arise from Worms sports a first-rate, international pedigree. The project’s genesis stems from Sonny Lombardozzi, who seeks to push past genre boundaries in his quest for technical ecstasy. Lombardozzi spent time with Incantation from 2017 to 2019, contributing guitars for Profane Nexus, and recruited Morbid Angel vocalist Steve Tucker while supporting the Tampa institution on tour.1 From there, Lombardozzi rounded out the band with first-rate musicians. Cryptopsy‘s Flo Mounier bashes skulls and skins with his signature percussive shellacking, and ex-Dream Theater, ex-Yngwie Malmsteen keyboardist Derek Sherinian lends his high-velocity runs and proggy accents. Armed with enough firepower to defend a small nation, does A Bleeding Tree Hanging Self Destruction pack enough punch to make our collective worms arise?

Based solely on the members involved, A Bleeding Tree Hanging Self Destruction may not sound like what listeners expect to hear. Though Morbid Angel embodies an apt starting place with their serpentine riffs, Arise from Worms accelerates the speed and jolts guitar tones with a candied DragonForce coating. Sherinian’s contributions occasionally skew towards Dream Theater,2 though A Bleeding Tree requires a darker degree of menace and foreboding. Overall, Arise from Worms sounds a lot like Necrophagist, but with keyboards and a penchant for wankery. And though this comparison isn’t perfect, it gives prospective listeners a point to begin shaping expectations.

Arise from Worms’ performances across A Bleeding Tree Hanging Self Destruction doubtlessly spellbind with technicality. Lombardozzi’s masterclass shredding eats up the stage at every turn as he dances up and down the fretboard with enough gusto to make Yngwie blush. From the gratuitous weedlies in “Forgotten Kings” to the Annihilator-ready precision chugging in “Laolongtou,” Lombardozzi never leaves listeners doubting his greed for speed, whether on guitars or bass (“Axes of the Viovode 2”). In fact, Arise from Worms showcases excellent bassmanship throughout A Bleeding Tree, often shadowing the guitars with rousing plucking and impossibly dextrous burbles. Meanwhile, Mounier discharges an unimpeachable onslaught behind the kit, where furious double bass rolls (“Psionic Being”), jazz-flavored snare and cymbal finesse (“Nine Walls”), and tempered beatdowns amidst metronomic grooves (“Raize Demons Breath,” “Axes of the Viovode 1”) epitomize his exacting style and capture what makes him one of my favorite metal drummers. Similarly, Sherinian embeds synth flourishes and eldritch atmospherics to give Arise from Worms ample mystique while loosing dazzling keyboard cascades every now and again (“Laolongtou”). Though not as immediately eye-popping as the instrumentation, Tucker delivers an appropriately monstrous performance on A Bleeding Tree, and if there’s one ingredient Arise from Worms could use more of, it’s Tucker’s vicious vocals.

Unfortunately, despite the wizardry dripping off Arise from Worms’ A Bleeding Tree, insufficient songwriting prevents the technicality from coalescing into fully formed songs. “Forgotten Kings” and “Axes of the Viovode 1 & 2” give Tucker just enough of a platform to build towards proper tracks, but after a few listens, A Bleeding Tree loses its allure and leaks its jaw-dropping magic—even at a reasonable thirty-six minutes. More positively, the music sounds great, with Lombardozzi commanding Arise from Worms with frictionless licks and searing speeds. Given the bad reputation technical death metal gets for poor production, I find A Bleeding Tree a step above in this department, where strings, keys, drums, and vocals crash into one another with satisfying zeal while allowing each other plenty of room within the mix.

As a fan of technical showmanship and a high tolerance for self-indulgent instrumentation, Arise from Worms’ debut leaves me impressed yet mostly unmoved. A Bleeding Tree Hanging Self Destruction sounds incredible on paper, and lead single “Forgotten Kings” had me convinced that this would be a special album. In the promo materials, Arise from Worms touts breaking new musical ground and pioneering the writing of novel harmonies and time signatures. Yet in reality, A Bleeding Tree often exhibits the technicality of a clinic or workshop while lacking the songwriting cohesion to elevate songs past the surface. In the end, A Bleeding Tree lingers between outstanding performances and an inadequate execution of fulfilling metal songcraft, and while A Bleeding Tree may be worth Hanging around for, Arise for Worms carries more promise than they deliver on their debut.

Rating: Mixed
DR: 7 | Format Reviewed: V0 or ~260 kbps VBR mp3
Label: Church Road Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 10th, 2026