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MORTADO Rupert the King



The MORTADO project started somewhere in 2018 when MANUEL TOGNI (drummer of ALEPH, SOULPHUREUS, SPELLBLAST and deluxe sessionman for artists like ULI JON ROTH, BLAZE BAYLEY, KEE MARCELLO, DOOGIE WHITE) contacted GIANLUCA “GL” PEROTTI (singer and rhythm guitarist in the very beginning of MORTADO), after he had left EXTREMA for personal reasons, after a 30 year long artistic partnership.

GL’s career deserves a spot of its own, here, since he was the charismatic frontman and leader of one of the absolute top metal bands Italy has ever seen. With EXTREMA GL recorded six studio albums, three Eps, one live album (even on DVD) and a “best of” album, besides many singles (including two major chart-climbing ones in collaboration with mainstream hip hop artists ARTICOLO 31).

And still the picture gets even more interesting looking at the live activity: EXTREMA, when still in their prime, opened for italian biggest rock act VASCO ROSSI and for METALLICA, MEGADETH e SUICIDAL TENDENCIES in 1993 in Turin; played SONORIA FESTIVAL 95 with FAITH NO MORE, PAUL WELLER, ROLLINS BAND, PARADISE LOST AND BIOHAZARD; participated at SWEDEN ROCK FESTIVAL 2006 with ALICE COOPER, DEEP PURPLE, DEF LEPPARD, ANVIL, ARCH ENEMY, CATHEDRAL, CELTIC FROST; toured Europe with DEATH ANGEL in 2008; opened for MOTORHEAD in 2009; played at VANS SPRING CLASSIC 2013 with MILLENCOLIN in 2013 and several ITALIAN GODS OF METAL FESTIVALS. In addition GL released two albums with REBEL DEVIL and one with ALLEHELLUJA.

At first, GL and Manuel were focused on writing more catchy and even commercial music in the field of rock and metal music, and a first line up was born to fulfill that goal; but it soon proved clear that the two founding members had a stronger attraction for the tough, uncompromising edge of the BAY AREA THRASH METAL they both grew up with.

So, GL called no one more than Manuel back into the building and finally gave life to MORTADO in the way you can listen to now, a project and a name GL had kept in his mind for 30 years. Soon after, Simone Franzè and Stefano Franzè were recruited on bass and lead guitar (both of them live members in the bands of Dennis Stratton, Blaze Bayley and Will Hunt). The completed line up started then working on the songs of the first record and shot their first video and  single, “Rupert the King” (directed by Daniele Farina, responsible for the videos of the major italian metal artists), which will be the title of the album as well.

The record was funded by the fans through a Music Raiser campaign, recorded by Carlo Meroni at the A.D.S.R. studio in Milan and will be released by BLASPHEMOUS RECORDS.

“RUPERT THE KING” will finally be out on April 26 2019: many gigs will follow, starting from the release party at the Slaughter Club in Milan on April 27. The huge request for MORTADO concerts is evidence of the hype surrounding this newborn exploding band



The Debut Album for the new band of Italian Thrash Legend GL PEROTTI Ex Extrema









  8. VENOM





Label: Blasphemous Records

Format CD Jewel box

Band Facebook:

Informazioni aggiuntive

Peso 2 kg
Dimensioni 10 × 15 × 08 cm

2 recensioni per MORTADO Rupert the King

  1. From Metal Hammer . it: Cancellare il proprio passato e ripartire da zero non deve essere semplice, soprattutto se con la tua ex band hai scritto alcune delle pagine migliori della storia del metallo tricolore. Ma GL Perotti all’immobilismo ha preferito la rabbia, basta sentire i primi due pezzi dell’esordio dei suoi Mortado, ‘Rupert The King’ e ‘In The Middle Of The Night’, per capirlo. Thrash d’annata che paga egual tributo ai mostri del genere degli anni 80 e a quello più ricco di groove dei 90. Ma chi sono i Mortado? La band vede oltre al cantante nelle proprie fila Manuel Togni alla batteria, Simone Franzè al basso e Stefano Franzè alla chitarra solista. Il disco parte subito forte e in maniera violenta, mediamente i brani conservano questa caratteristica anche nel continuo del disco, però le sfumature variano, per esempio ‘Babylon’s Flag’ e ‘No Escape’ hanno un’anima quasi hard core, mentre ‘Double Face’ chiama in causa gli Extrema, poiché si tratta di una cover dei milanesi. Il confronto con l’ex band diventa quindi inevitabile, i Mortado, da un certo punta di vista, racchiudono tutte le fasi della carriera precedente di GL, dal thrash-core (‘Tension at the Seams’) al groove metal (‘The Positive Pressure (Of Injustice)?’), passando per il “modernismo” di ‘Better Mad than Dead’. Un brano come ‘Dangerous Deal’, nella parte iniziale gioca con il metal più estremo per sfociare nei Testament di ‘Low’/’Demonic’, mentre a ‘The Great Spirit’ tocca il compito di mettere in evidenza la parte più spirituale della band. Dal punto di vista lirico, pur non avendo a mia disposizione i testi, mi par di capire che vengano riprese certe tematiche politico-complottistiche care a GL e già da lui sviscerate in ‘The Seed of Foolishness’. Il disco si chiude con la cover di ‘Blood Shower’, brano dei Blind Illusion, che ben si sposa a livello musicale e testuale con le altre tracce di ‘Rupert The King’. Questo esordio dimostra che la band, sfruttata la notorietà derivante dalla presenza di GL, può continuare il proprio percorso in maniera indipendente, senza la necessità di dover vivere nell’eterno confronto con gli Extrema.

  2. From Janny Tate wordpress: MORTADO is the new project of legendary Italian vocalist GL Perotti. The band launched new album, ‘Rupert The King’ on 26th April 2019, throughout Europe, as a co-release, between Self Distribuzione Milano and CODE 7/Plastic Head UK, on behalf of Blasphemous Records.

    New Blind Illusion cover single ‘Blood Shower’ is available to stream and download, at their bandcamp page and on spotify.

    The video for the track, ‘Rupert The King’ is also now available on YouTube.

    MORTADO began in 2018, when Gianluca GL Perotti (founding member) was contacted by Manuel Togni (drummer for SOULPHUREUS, SPELLBLAST and session player for Uli Jon Roth, Blaze Bayley, Kee Marcello, Doogie White), following his departure from EXTREMA.

    GL fronted one of Italy’s greatest ever metal bands. During his time in EXTREMA, he recorded 6 studio albums, 3 EP’s, a live album and DVD and ‘best of’ album, in addition to numerous singles – 2 of them, chart-topping tracks, via a collaboration with hip-hop band ARTICOLO B.

    EXTREMA’s live catalogue includes; opening for Italy’s biggest rock band VASCO ROSSI, Metallica, Megadeth and Suicidal Tendencies; Sonoria Fest, ’95, alongside Faith No More, Paul Weller, Rollins Band, Paradise Lost and Biohazard; Sweden Rock Fest 2006, with Alice Cooper, Deep Purple, Def Leppard, Anvil, Arch Enemy, Cathedral, Celtic Frost; a European tour, with Death Angel, 2008; opening for Motorhead, 2009; Vans Spring Classic 2013, alongside Millencollin, 2013 and numerous Italian Gods Of Metal Fests. GL also launched 2 albums with REBEL DEVIL and 1 with ALLEHELLUJA.

    Born from their original intention to create catchier, more commercially based material, came the edgier, more powerful genre of Bay Area thrash metal. The rest of the line-up was formed, from live members of Dennis Stratton, Blaze Bayley and Will Hunt. The debut video for ‘Rupert The King’ was shot and directed by Daniele Farina, (known for producing other videos, for major Italian metal bands).

    The album was financed through crowdfunding, via a Music Raiser campaign, produced by Carlo Meroni, at the A.D.S.L. studio, in Milan and launched by Blasphemous Records. There’s been massive demand for MORTADO’s gigs, in the wake of the publicity about the band.

    Rupert The King – A shrill beeping intro’s, …. then it explodes into a very deathy vocal growl. Classic metal accompaniments surround it. Well produced sound, precision timing, loaded with extremity.

    In The Middle Of The Night – A blast of metal opens, with all the controlled fury you’d expect of such a seasoned band. Good underlying bass sound. The rhythm increases, as the riffs hit their stride, with plenty of punch. Getting heavier and edgier, till the end.

    Babylon’s Flag – Cymbals hit the intro pace, hard and the metallic aura grows. Effortless vocals, building momentum, it gets catchier, as the track progresses. Ending on a final crash of drums and a thunderous atmosphere, it’s certainly a strong sound, though so far, it’s not quite connecting.

    No Escape – Gritty vocals intro, more of an old school vibe here. The delivery’s exemplary and the audio production consistent, but it just doesn’t have that something for me. Plenty of inventive paradiddles and oozing metallic spirit, but the hooks are missing.

    Double Face – A battery of drums opens. An upbeat sense to it, within the clear vocal aggression. Good bit of well-placed bass and a strategic in and out effect in there. A lot of passion and you can’t fault the performance. Stacked with great features, though it needs more catch.

    Dangerous Deal – Bang! Unarguably heavy intro. Dark, deathy and accomplished. This one’s a bit catchier. More of a narrative thread to it and a steady pace, within the random alternations and sounds of background riots.

    The Great Spirit – Gradually fading in, with a traditional Native American chant. Effective touch. Liking the sound effects. It’s unusual and more memorable, for that. A bluesier feel to this and a gentler melody. The rhythm’s quite hypnotic. As is the sound, generally. A nice addition, breaking up the sameness.

    Venom – Explosive intro and here, the Blaze Bayley influence is instantly audible. It’s rabid, rapid and radically different. The best track yet. A clear standout number. Well employed whammy and riff scales and this one hits the point where melody and thrash combine. That’s what was needed and it works).

    The Art Of Soul – Angry rage meets a cymbal attack intro, followed by heavy accompaniments. Again, this is better. Now, it’s catchy! A strong Pantera-esque echo adds the extra touch. Great vocal harmonies form an effective rhythm and the high melody hits the riffs at just the right point, taking the whole track in the hoped-for direction. Bringing it to a building crescendo, the finale’s heavy and hard, like a block of steel.

    Secret Society – A drumming blitz intro’s, returning to growly death vocals, but quickly combining them with the more melodic side of thrash. Pace doing it equal favours and it flows this way. A very pleasant fading riff, at the mid-section and a gathering thunder infiltrates the drums. Great riff melodies there and the passion and conviction’s audible, through the lyrics. A well-positioned action movie chasing pace provides that additional atmospheric edge, as it tumbles to an end.

    Blood Shower – Heavy drum and riff intro, much in the classic metal vein. Great effective Metallica-esque stop starts and a real metallic drawl to the vocals. Monster-ish and melodic, all at once. Increasingly thrashy, as it paints the bloodstained picture. Liking the placing of guitar melodies in here and the twang effect, adding a note of extra power. Coming to a crashing crescendo, at the finale, it’s a strong note to end on.

    Overall – So ‘RTK’ took a while to get into its stride, but once it did, it really picked up, at the latter end. That was where its real strengths lay and those last few tracks contain the power, driving the album. Flawless, in performance and production terms, it combines a lot, within one album. Though it didn’t initially connect, during the deathier segments, I’m happy to say that picture changed, within the latter tracks and once the thrash and melody had met in the middle, its attraction came to life. Give it a whirl and stick with it, till the end, cos it’s worth the wait.

    9/10 *********

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