A Tragedy In Steel Part II: Shakespeare's King Lear - Rebellion
- Release date:
- January 26, 2018
- Massacre Records
New tobacco in old pipes
Since the Rebellion of 2001 came from the Grave Digger, was the for signed interesting for one reason: guitarist Uwe Lulis' ear for swinging, teutoniske power-riffs. Rebellions first album, Shakespeare's Macbeth - A Tragedy in Steel, was a mixture of Lulis' abilities, and a generally well-executed metalopera on Shakespeare's well-known piece. But, as Uwe Lulis with most of the band in 2010 jumped from a sinking ship, after the first album showed creative slump, smoke my last interest for the band. Now I'm sitting so with the third album since 2010, A Tragedy in Steel, part II - Shakespeare's King Lear, and as the name implies, go back to Shakespeare's extensive catalog. However, I am afraid that it is a desperate attempt to recreate something that once was, without having to be creatively inspired. The previous two albums have certainly not called for optimism.
Back to the roots
German power metal does not have a rich tradition of success when it comes to follow-up on something classic. Thus fell the giants as Helloween and Gamma Ray flat when they sought back to the area Keeper of the Seven Keys and the Land of the Free. Rebellions reunion with Shakespeare and Tragedy in Steel the name belongs unfortunately to the same category of failed attempts, and it cries out generally speaking, of an assumed return to the band's roots.
Besides the obvious, thematic cast, recalls the production of the sound in the early 80's. Think early Acceptance as Uwe Lulis now is a member of, and you have an idea on how the drums and the vocals are centered in the soundstage, in order to provide the same experience on the plate as in the live setting, where the guitar is kept to the sides. Unfortunately it doesn't work for Rebellion, and the guitar disappears at times, in what appears as a messy sound. The riff should in my opinion be the focal point in the form of German power in order to be effective, and it is also the case on the "Dowerless Daughter", whereas an otherwise sensible riff becomes a peripheral part on the "Storm and Tempest". As to add insult to injury we will be on the composition reminded that the band is also here looking back to the roots – barndomsrødderne, mind you. For the majority of the songs seems like boring copies of what bigger and better bands did 30 years ago. It serves generic and non-dynamic songwriting, which by his own admission, was to capture the gloomy atmosphere of Shakespeare's lyricism, but with few exceptions do not create the right mood of a dark metalopera, which was the ambition.
The album bears the hallmarks of being creative idéforladt, and instead overcompensated in concept and sound, without succeeding with any of it. It should be grandiose and a return to greatness, but the Rebellion, despite good intentions, end up with a product that does not live up to the selvopstillede expectations. It means that we sit with an album that can best be categorized as boring and uninspired, to the point where you almost get pity on them. I can't recommend the album, with some of the Rebellion trying to bring forth, and assigns, therefore 3 stars.
>> Check the songs and lyrics here