Rebellion: We Are The People-2021.

Rebellion:Power Metal from Germany.

Discography:

Shakespeare’s Macbeth – A Tragedy in SteelFull-length2002
Born a RebelFull-length2003
Sagas of Iceland – The History of the Vikings – Volume IFull-length2005
Shakespeare’s Macbeth – A Tragedy in Steel / Born a RebelBoxed set2006 
MiklagardSingle2006
Miklagard – The History of the Vikings – Volume IIFull-length2007
The Clans Are MarchingEP2009
Arise: From Ginnungagap to Ragnarök – The History of the Vikings Volume IIIFull-length2009
The Best of Viking HistoryCompilation2012
Arminius: Furor TeutonicusFull-length2012
Wyrd bið ful aræd – The History of the SaxonsFull-length2015
A Tragedy in Steel Part II: Shakespeare’s King LearFull-length2018
We Are the PeopleFull-length2021

Members:

Tomi GöttlichBass (2001-present)
See also: ex-Asgard, ex-Exray, ex-Iron Breed, ex-Grave Digger
Michael SeifertVocals (2001-present)
See also: WolfchantXiron, ex-Black Destiny, ex-High Jacker
Martin GiemzaGuitars (2019-present)
Sven TostDrums (2021-present)
See also: Beyond the Border, Foll, ex-Blakylle
Fabrizio CostantinoGuitars (2021-present)

Past Members:

Uwe LulisGuitars (2001-2010)
See also: AcceptGiftdwarf, ex-Digger, ex-Hawaii, Uwe Lulis Project, ex-Grave Digger, ex-Brutal Godz, ex-V8 Wankers, ex-Vivian
Björn EilenGuitars (2001-2005)
See also: ex-Inverness, ex-Warhead
Gerd LückingDrums (2004-2010)
See also: Holy MosesLightmareKlonque (live), Giftdwarf, ex-Trampire, Veritas Maximus, ex-Melancholic Seasons (live), ex-Tankard (live), ex-Courageous, ex-Rawboned
Simone WenzelGuitars (2006-2010)
See also: Holy Moses (live), Revolution Eve, ex-Misfit
David FaiferDrums (2011)
Matthias KarleDrums (2011-2013)
See also: ex-Squealer (live)
Oliver GeibigGuitars (2011-2018)
Stephan KarutGuitars (2011-2020)
Timo SchneiderDrums (2013-2016)
See also: ex-Arms to Amen, ex-Sencirow
Tommy TelkemeierDrums (2016-2020)
See also: Vinterbarn, No Joke, Stonehenge Connection

One thought on “Rebellion: We Are The People-2021.

  1. hells_unicorn December 3rd 2021.
    The practice of utilizing the metal medium to cover the topics of war and history is far from novel, but lately it has achieved a strong level of popularity, owing heavily to the singular fixation that power metal superstar outfit Sabaton has had towards both subjects since 2005’s Primo Victoria. Although the aforementioned sub-genre of metal is known for its tendencies towards campiness and joyous pomp, and Sabaton’s renditions lean heavily in this direction, this isn’t the lone manner in which power metal can depict the less flattering moments of the past. Indeed, the grittier and rawer stylistic template employed by German conceptual storytellers and Grave Digger offshoot project Rebellion is an ideal context for a darker realism pertaining to the topic of modern warfare can be fostered. This is precisely the road taken by their most studio excursion We Are The People, a sonic saga chronicling the most ruinous conflicts to afflict Europe from the French Revolution until the post-World War II era, and the results are quite compelling.

    This Teutonic quintet’s take on the events being depicted are by no means dispassionate, as the anger and disgust purveyed through the music and words delivered is very deliberate in conveying a sense of moral condemnation. If the haunting mixture of guitar noise and fragmented speech samples conveying the summation of the album’s message that rounds out the opening prelude “Voices Of War” don’t ram this album’s distaste for bigotry, hatred and political manipulation home, what follows is sure to do so. The first foray into dark, forbidding heavy metal protest “Risorgimento (Tear Down the Walls)” has the basic harmonic structure of a banger anthem, and the chorus hook is quite catchy, but most of the album is peppered with dissonant elements that sound eerily similar to something heard off Slayer’s South Of Heaven. The heavy chugging riff machine and ode to the horrors of war “Sweet Dreams” and the punchy turned speed demon “Vaterland” also showcase some pretty blatant thrash metal tendencies and lay on the dissonant elements pretty thickly.

    The stark contrast between the almost national anthem-like character of most of the chorus sections and the much bleaker and chaotic segments that surround them seem jarring at times, but ultimately they convey the dueling perspectives of those who glorify war and profit from it versus those who actually live it, and the result is an album that is ultimately within the power metal realm, but often veers outside of it. Whether the pacing of a given song is a multifaceted journey through slow-creeping murkiness and bursts of speed metal mayhem like “Verdun”, or a more straight up affair like the up tempo crusher “Ashes To Light” or the swampy ballad turned speedy killer “World War II”, this overarching sense of outrage is constantly maintained. Rebellion even manages to transfer this heavy and bleak sense of condemnation into the power ballad format on “All In Ruins”, which showcases one of the few moments where Michael Seifert trades in his signature growl for a cleaner tone, and also one of the finest guitar solos of an overall impressive arsenal of tasteful yet impressive lead breaks.

    Few albums are able to successfully combine the darkness of real life with power metal and avoid it coming out as something else, as the combination of sing-along chorus segments with such weighty subjects as war and history being told from a realistic angle is inherently counterintuitive, but We Are The People pulls it off admirably. This isn’t to say that the more Hollywood-like rendering of military history presented on Sabaton’s various hit records aren’t without a degree of merit, but albums such as this are a needed counterbalance to remind future generations where fiction and tall tales give way to the real world. Those who have followed Grave Digger’s career since Tunes Of War and existing fans of Rebellion’s prior conceptual releases are its primary audience, but this is an album that just about any fan of power metal should hear at least once, if only to further ram home the point that said sub-genre is not only relegated to depicting the fantastical in the campiest of fashions.

    Like

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