#yngwiemalmsteen — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #yngwiemalmsteen, aggregated by home.social.
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https://www.europesays.com/es/554848/ Alcatrazz probó en secreto a Steve Vai y Chris Impelliteri para sustituir a Yngwie Malmsteen: “Se estaba convirtiendo en una persona con la que era difícil trabajar” #ALCATRAZZ #ChrisImpellitteri #Entertainment #Entretenimiento #ES #España #MR2022 #Music #Música #Spain #SteveVai #YngwieMalmsteen
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Velvet Chains se suma a las estrellas de MASTERS OF VOICES | vía #SonidosOcultos
https://www.sonidosocultos.com/noticia/velvet-chains-se-suma-a-las-estrellas-de-masters-of-voices/
#edufalaschiangraalmah #ericmartinmrbig #felipeandreolibajo #journey #marcelobarbosayleomanciniguitarrasyeducominatobatería #masterofvoices #timripperowensjudaspriestkkspriesticedearthyjeffscottsototalisman #velvetchains #yngwiemalmsteen
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Velvet Chains se suma a las estrellas de MASTERS OF VOICES | vía #SonidosOcultos
https://www.sonidosocultos.com/noticia/velvet-chains-se-suma-a-las-estrellas-de-masters-of-voices/
#edufalaschiangraalmah #ericmartinmrbig #felipeandreolibajo #journey #marcelobarbosayleomanciniguitarrasyeducominatobatería #masterofvoices #timripperowensjudaspriestkkspriesticedearthyjeffscottsototalisman #velvetchains #yngwiemalmsteen
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https://www.europesays.com/at/89297/ Deshalb will Ronnie Romero nicht mit Yngwie Malmsteen arbeiten #AT #Austria #ElegantWeapons #Entertainment #JudasPriest #Music #Musik #Österreich #RichieFaulkner #RonnieRomero #Unterhaltung #YngwieMalmsteen #Zusammenarbeit
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https://www.europesays.com/es/485859/ Ronnie Romero expresa su rechazo a trabajar con Yngwie Malmsteen: «Le colgaría el teléfono» #Entertainment #Entretenimiento #ES #España #HeavyMetal #MatsLevén #Music #Música #RonnieRomero #Spain #YngwieMalmsteen
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Yngwie Malmsteen – Tokyo Sounds https://www.byteseu.com/1895013/ #Norway #YngwieMalmsteen
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https://www.europesays.com/uk/798706/ Tom Morello really needed to stop copying Yngwie Malmsteen #Entertainment #music #RageAgainstTheMachine #TomMorello #UK #UnitedKingdom #YngwieMalmsteen
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Tom Morello really needed to stop copying Yngwie Malmsteen
(Credits: Far Out / alterna2 / Raph_PH) Sun 1 March 2026 23:00, UK While a large portion of…
#NewsBeep #News #Music #Entertainment #RageAgainsttheMachine #TomMorello #UK #UnitedKingdom #YngwieMalmsteen
https://www.newsbeep.com/uk/453193/ -
Masters Of Voices llega a Chile con Eric Martin, Edu Falaschi, Tim “Ripper” Owens y Jeff Scott Soto | vía #SonidosOcultos
#edufalaschi #edufalaschiangraalmah #ericmartinmrbig #felipeandreolibajo #journey #marcelobarbosayleomanciniguitarrasyeducominatobatería #mastersofvoicesllegaachileconericmartin #metal #timripperowensjudaspriestkkspriesticedearthyjeffscottsototalisman #timripperowensyjeffscottsoto #yngwiemalmsteen
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Masters Of Voices llega a Chile con Eric Martin, Edu Falaschi, Tim “Ripper” Owens y Jeff Scott Soto | vía #SonidosOcultos
#edufalaschi #edufalaschiangraalmah #ericmartinmrbig #felipeandreolibajo #journey #marcelobarbosayleomanciniguitarrasyeducominatobatería #mastersofvoicesllegaachileconericmartin #metal #timripperowensjudaspriestkkspriesticedearthyjeffscottsototalisman #timripperowensyjeffscottsoto #yngwiemalmsteen
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https://www.europesays.com/es/312139/ Jeff Scott Soto niega que Yngwie se refiriera a él en su último comunicado. MASTERPLAN ultimando su próxima obra. Vídeo en directo de WIND ROSE. #Entertainment #Entretenimiento #ES #España #JEFFSCOTTSOTO #MASTERPLAN #Music #Música #Spain #WINDROSE #YngwieMalmsteen
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https://www.europesays.com/es/296379/ Yngwie Malmsteen deja en evidencia a sus excantantes. EP de LEAVES’ EYES. BULLET estrenan vídeo. #BULLET #Entertainment #Entretenimiento #ES #España #LEAVES'EYES #Music #Música #Spain #YngwieMalmsteen
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Malmsteen einfach Legende ❤ und Yannis natürlich auch einfach n absolut unfassbar geiler Sänger ❤
Yannis Papadopoulos - Yngwie Malmsteen - You Don't Remember, I'll Never Forget (Vocal Cover)
https://www.youtube.com/watch?v=0xfTaXsSGhI -
Malmsteen einfach Legende ❤ und Yannis natürlich auch einfach n absolut unfassbar geiler Sänger ❤
Yannis Papadopoulos - Yngwie Malmsteen - You Don't Remember, I'll Never Forget (Vocal Cover)
https://www.youtube.com/watch?v=0xfTaXsSGhI -
Ted Tocks Covers
Lazy
Originally posted on March 25, 2022
#IanGillan of Deep Purple turns 80 today.
“Well my trying ain't done no good
I said my trying ain't done no good
You don't make no effort no not like you should”#oscarbrownjr #JohnMayallsBluesbreakers #hugoalfven #ritchieblackmore #yngwiemalmsteen #IanPaice #ForeverDeep #jonlord #dreamtheater #JimmyBarnes #joebonamassa
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Ted Tocks Covers
Lazy
Originally posted on March 25, 2022
#IanGillan of Deep Purple turns 80 today.
“Well my trying ain't done no good
I said my trying ain't done no good
You don't make no effort no not like you should”#oscarbrownjr #JohnMayallsBluesbreakers #hugoalfven #ritchieblackmore #yngwiemalmsteen #IanPaice #ForeverDeep #jonlord #dreamtheater #JimmyBarnes #joebonamassa
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Ted Tocks Covers
Lazy
Originally posted on March 25, 2022
#IanGillan of Deep Purple turns 80 today.
“Well my trying ain't done no good
I said my trying ain't done no good
You don't make no effort no not like you should”#oscarbrownjr #JohnMayallsBluesbreakers #hugoalfven #ritchieblackmore #yngwiemalmsteen #IanPaice #ForeverDeep #jonlord #dreamtheater #JimmyBarnes #joebonamassa
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By ClarkKent
LOMMI first formed in 2007, but these Swedes are essentially digital ghosts. You’d think an 18-year history would at least come with a multi-album discography, but I have no idea what these guys have done between then and the release of their latest (and possibly only) album, 667788. A Google search mostly pulls results for Tommy Iommi; they have no dedicated page on Metal Archives; and even their label, Majestic Mountain Records, has zilch about them on their site. This lack of a written history leads me to have some doubts about the promo’s claim that these guys are a “formidable force in [Sweden]’s heavy metal underground.” Still, I’ll give them the benefit of the doubt that maybe they’re just too trve to have built up a digital presence. The promo blurb also states that 667788 was a “decade in the making,” so maybe these guys were just really busy with life. With these scant details at our fingertips, it’s time to play a dangerous, but exciting, game of promo bin roulette.
Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”
While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”
From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.
667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.
Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025#2025 #40 #667788 #AliceInChains #Aug25 #BlackSabbath #Blues #DoomMetal #GrooveMetal #Grunge #HighOnFire #LOMMI #MajesticMountainRecords #Motörhead #Pantera #Review #Reviews #RobZombie #StoneTemplePilots #StonerMetal #SwedishMetal #TheSword #TransportLeague #YngwieMalmsteen
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By ClarkKent
LOMMI first formed in 2007, but these Swedes are essentially digital ghosts. You’d think an 18-year history would at least come with a multi-album discography, but I have no idea what these guys have done between then and the release of their latest (and possibly only) album, 667788. A Google search mostly pulls results for Tommy Iommi; they have no dedicated page on Metal Archives; and even their label, Majestic Mountain Records, has zilch about them on their site. This lack of a written history leads me to have some doubts about the promo’s claim that these guys are a “formidable force in [Sweden]’s heavy metal underground.” Still, I’ll give them the benefit of the doubt that maybe they’re just too trve to have built up a digital presence. The promo blurb also states that 667788 was a “decade in the making,” so maybe these guys were just really busy with life. With these scant details at our fingertips, it’s time to play a dangerous, but exciting, game of promo bin roulette.
Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”
While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”
From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.
667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.
Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025#2025 #40 #667788 #AliceInChains #Aug25 #BlackSabbath #Blues #DoomMetal #GrooveMetal #Grunge #HighOnFire #LOMMI #MajesticMountainRecords #Motörhead #Pantera #Review #Reviews #RobZombie #StoneTemplePilots #StonerMetal #SwedishMetal #TheSword #TransportLeague #YngwieMalmsteen
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By ClarkKent
LOMMI first formed in 2007, but these Swedes are essentially digital ghosts. You’d think an 18-year history would at least come with a multi-album discography, but I have no idea what these guys have done between then and the release of their latest (and possibly only) album, 667788. A Google search mostly pulls results for Tommy Iommi; they have no dedicated page on Metal Archives; and even their label, Majestic Mountain Records, has zilch about them on their site. This lack of a written history leads me to have some doubts about the promo’s claim that these guys are a “formidable force in [Sweden]’s heavy metal underground.” Still, I’ll give them the benefit of the doubt that maybe they’re just too trve to have built up a digital presence. The promo blurb also states that 667788 was a “decade in the making,” so maybe these guys were just really busy with life. With these scant details at our fingertips, it’s time to play a dangerous, but exciting, game of promo bin roulette.
Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”
While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”
From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.
667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.
Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025#2025 #40 #667788 #AliceInChains #Aug25 #BlackSabbath #Blues #DoomMetal #GrooveMetal #Grunge #HighOnFire #LOMMI #MajesticMountainRecords #Motörhead #Pantera #Review #Reviews #RobZombie #StoneTemplePilots #StonerMetal #SwedishMetal #TheSword #TransportLeague #YngwieMalmsteen
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By ClarkKent
LOMMI first formed in 2007, but these Swedes are essentially digital ghosts. You’d think an 18-year history would at least come with a multi-album discography, but I have no idea what these guys have done between then and the release of their latest (and possibly only) album, 667788. A Google search mostly pulls results for Tommy Iommi; they have no dedicated page on Metal Archives; and even their label, Majestic Mountain Records, has zilch about them on their site. This lack of a written history leads me to have some doubts about the promo’s claim that these guys are a “formidable force in [Sweden]’s heavy metal underground.” Still, I’ll give them the benefit of the doubt that maybe they’re just too trve to have built up a digital presence. The promo blurb also states that 667788 was a “decade in the making,” so maybe these guys were just really busy with life. With these scant details at our fingertips, it’s time to play a dangerous, but exciting, game of promo bin roulette.
Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”
While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”
From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.
667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.
Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025#2025 #40 #667788 #AliceInChains #Aug25 #BlackSabbath #Blues #DoomMetal #GrooveMetal #Grunge #HighOnFire #LOMMI #MajesticMountainRecords #Motörhead #Pantera #Review #Reviews #RobZombie #StoneTemplePilots #StonerMetal #SwedishMetal #TheSword #TransportLeague #YngwieMalmsteen
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Yngwie Malmsteen arrasó en Teatro Coliseo en el marco de su 40th Anniversary Tour | vía #iRock
#conciertos #internacional #livereviewinternacional #metal #rock #teatrocoliseo #transistor #yngwiemalmsteen
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Yngwie Malmsteen arrasó en Teatro Coliseo en el marco de su 40th Anniversary Tour | vía #iRock
#conciertos #internacional #livereviewinternacional #metal #rock #teatrocoliseo #transistor #yngwiemalmsteen
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Yngwie Malmsteen arrasó en Teatro Coliseo en el marco de su 40th Anniversary Tour | vía #iRock
#conciertos #internacional #livereviewinternacional #metal #rock #teatrocoliseo #transistor #yngwiemalmsteen
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Yngwie Malmsteen arrasó en Teatro Coliseo en el marco de su 40th Anniversary Tour | vía #iRock
#conciertos #internacional #livereviewinternacional #metal #rock #teatrocoliseo #transistor #yngwiemalmsteen
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YNGWIE MALMSTEEN (Suècia) presenta nou àlbum en directe: "Tokyo Live" #YngwieMalmsteen #NeoclassicalPowerMetal #Shred #Abril2025 #Suècia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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YNGWIE MALMSTEEN (Suècia) presenta nou àlbum en directe: "Tokyo Live" #YngwieMalmsteen #NeoclassicalPowerMetal #Shred #Abril2025 #Suècia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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https://www.magmoe.com/2279237/music/2025-04-22/ Yngwie Malmsteen（イングヴェイ・マルムスティーン）『トウキョウ・ライヴ』デビュー40周年記念コンサートの日本公演を収録した最新ライヴ・アルバム – TOWER RECORDS ONLINE #CD #DVD #MUSIC #YngwieMalmsteen（イングヴェイ・マルムスティーン）『トウキョウ・ライヴ』デビュー40周年記念コンサートの日本公演を収録した最新ライヴ・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
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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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#MetalShout
Here's our definitive ranking of the most legendary guitarists to have ever lived. We take a look at their achievements and popularity.https://metalshout.com/most-legendary-guitarists/
#TonyIommi #RandyRhoads #JohnPetrucci #DaveMustaine #KirkHammett #DimebagDarrell #ZakkWylde #JamesHetfield #KerryKing #Slash #YngwieMalmsteen #MartyFriedman #ToniLoomer #ChuckSchuldiner #MikaelÅkerfeldt
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#TheMetalDogArticleList
#MetalShout
Here's our definitive ranking of the most legendary guitarists to have ever lived. We take a look at their achievements and popularity.https://metalshout.com/most-legendary-guitarists/
#TonyIommi #RandyRhoads #JohnPetrucci #DaveMustaine #KirkHammett #DimebagDarrell #ZakkWylde #JamesHetfield #KerryKing #Slash #YngwieMalmsteen #MartyFriedman #ToniLoomer #ChuckSchuldiner #MikaelÅkerfeldt
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“I thought, ‘Man, I am so out of my depth here. This is like asking me to play basketball!’”: Rob Chapman recalls his trial by fire transcribing Yngwie for his debut session, and reveals what he learned about Malmsteen’s phenomenal picking speed -
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“I thought, ‘Man, I am so out of my depth here. This is like asking me to play basketball!’”: Rob Chapman recalls his trial by fire transcribing Yngwie for his debut session, and reveals what he learned about Malmsteen’s phenomenal picking speed -
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Because-- astonishingly-- i didn't get enough of #YngwieMalmsteen yesterday.
Somehow.https://youtu.be/Fj0410Ehipo?si=UYxyDTYi6efYjNRG
I forget why today. Oh. Because #RonnieJamesDio
And. You never need a reason for #Yngwie
Oh, upon these troubled times.You just gotta shred.
I'd say.
#Shred -
#YngwieMalmsteen does not approach the #Pentatonic in the same way a person who is accustomed to listening to blues might approach it.
This is why some people perceive his "blues" as shitty blues.
Yngwie doesn't eat donuts. And Yngwie doesn't play the blues.
You get it? Now you get it.
🤣😂
@alexskolnick 🧐🧐
😊 -
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