Written: 11th June 2024
Axel Rudi Pell has long been considered a veteran of the heavy metal and melodic rock scene. It has been forty years since Steeler released their debut album and thirty-five years since Pell unleashed his first solo offering, Wild Obsession. He has consistently released albums, building a loyal fanbase and maintaining a presence in the genre. Risen Symbol is his twenty-second solo album and it sees him retaining all the melody and power for which he is known, while aiming to remain relevant in 2024.
Instrumental opener The Resurrection welcomes the listener, setting a slightly ominous scene. Howling winds sweep across a barren terrain as low synths herald the arrival of the band, including an oriental flavouring from Pell’s first notes. Thunderous drums start almost unexpectedly and an urgent riff begins the first track proper, Forever Strong. Dynamic and rousing, it is a fist-pumping opener that rattles along at a high pace. With an uplifting message to remain defiant and resilient in the modern world, while it covers familiar lyrical ground, vocalist Johnny Gioeli’s exuberant delivery means this would be an excellent song in the live environment. Guardian Angel and Darkest Hour are more typical Axel Rudi Pell tracks with both drawing on more anthemic choruses and fulfilling all the requirements for this type of spirited hard melodic rock song: catchy, full of hooks and an uncomplicated rhythm. During Guardian Angel, the guitars fall back, allowing Volker Krawczak’s bass to drive the song before rapid descending glissando from Pell announces his re-introduction. His solos are soaring and melodic. The lyrics again are the usual fare and challenging, conceptual lyrics are not the overall aim on most of the tracks. Guardian Angel / You stand the test of time / Guardian Angel / In a world of crime / Guardian Angel / Life’s no pantomime / Guardian Angel / The fools don’t give a dime.
Pell pays tribute to one of his favourite bands – Led Zeppelin – with a cover of Immigrant Song. Tackling Zeppelin and one of their best-known songs in particular is not for the faint hearted and leaves anyone open to ridicule. Thus, it was something on which all the band needed to be in agreement. “I discussed the idea with our drummer Bobby Rondinelli, who also drums in a Led Zeppelin cover band. Bobby thought it was great and agreed with me that to get away with a number like that, you need an outstanding singer like Johnny Gioeli. Johnny can sing Robert Plant’s high notes, rising to that challenge with flying colours!” Opening with an extended introduction that does not lead to Page’s recognisable riff until over a minute into the song and an additional central instrumentation section, it is an extremely interesting version of the track. Gioeli’s vocals do justice to the original material and while nothing can truly challenge the original, for the most part, this adaptation has to be deemed a success.
The relationship between the album and Zeppelin does not end with Immigrant Song as Pell – tongue in cheek - calls ten-minute epic Ankhaia, “The number that Led Zeppelin forgot to compose. Although of course, Ankhaia doesn’t come with a 70s sound, but has a contemporary flair and an awesome drum groove. I’m sure Page and Plant will love it when they hear it.” Pell’s self-penned lyrics about the fictitious city of the same name, a place of refuge that disappears into nothingness like a mirage, also fit the theme. Coincidentally, the ancient Egyptian ‘ANKH’ symbol, Pell’s inspiration for the song title, stands for a continuation of life in the afterlife. Evoking a sense of a mystical and epic journey, the lyrics tackle both the physical and metaphorical aspects of such an odyssey. We sailed across the sea / passing the moon and the sun / We set our course so free / On our way to Ankhaia. Sitting somewhere between the sonic colours of Rainbow and Black Sabbath, Pell takes us through a variety of mainly mid-tempo musical landscapes but the ten minutes rushes by – the sign of an engaging song. Further mirroring the feel of a desert-based quest, there is the sway of travelling by camel at various points during the track reminiscent of a heavier version of Rajaz by the progressive rock band named after that particular creature.
Crying in Pain is a slow-paced ballad, which pulls at the heartstrings making the most of Pell’s ability to play both rock and the blues – the guitar introduction being a prime example of the latter. Ferdy Doernberg is given the opportunity to display just how important he is to the overall sound of such songs and while the track might be a little long at almost seven minutes, his use of both piano and synths prove extremely effective in developing the emotion within the track. Bookending Crying In Pain, Hell’s On Fire and Right On Track ramp up the tempo once again achieving a great balance between melody and heaviness. Ending the album with the slower but groove laden Taken By Storm, Pell demonstrates his understanding of the importance of variety across an album’s length. Tackling the fragility of a world in crises, grappling with both internal and external battles, the themes of destruction, of survival and a search for meaning in the face of overwhelming odds are passionately examined via Gioeli’s vibrant and powerful vocals. Breaking my heart in the darkness / Calling out, will we ever know? / Darker times, alone forever / It ain’t always good what you get.
Across his thirty-five years as a solo artist, Pell has seen the rise (and fall) of various sub-genres of rock and metal. That he should have stuck steadfastly to the classic rock and metal that he enjoys and believes in is testament to his commitment to the cause and his faith in his music. His band play a significant part in the consistency of his music with Krawczak having been with Pell since 1989, Gioeli and Doernberg since 1998 and Rondinelli for more than ten years. While there may not be anything truly surprising here and it may not demand to be counted among the very highest pinnacles of his career, Risen Symbol is another strong album from the Bochum-based guitarist and songwriter and longtime fans will find plenty to enjoy - as will fans of bands such as Rainbow, Gotthard, Dio or even Saxon or Scorpions.
Risen Symbol is released on 14th June 2024
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