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TOREK, 11.06.2024
Slaughter to Prevail (Rus/USA)

Media Center, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 37,89 €
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Slaughter to Prevail Kostolom is the epic second LP from the duo Alex Terrible and Jack Simmons’ band Slaughter to Prevail. The album expands on the dynamic extremes of their 2017 debut, Misery Sermon — pairing Alex’s dark, cathartic lyrics with Simmons’ pummeling riffs and tense, cinematic solos. “We wanted to make each song for us stand out in a different way,” the guitarist says. “On some of the songs, we focused on wanting to keep it uptempo, building to a breakdown as the focal point. Other songs it was about groove or the chorus — ‘how can we make this melodic?’ The albums we love the most have those dynamics, and we want to use them to make each part hit harder.”
The songs evolved over several years, the first demos constructed shortly before the release of Misery Sermon. And they finally finished the material in late 2020, with everyone (Alex, Simmons, bassist Mikhail Petrov, guitarist Dmitry Mamedov) having tracked their respective parts at home. (Evgeny Novikov recorded his drums at a nearby studio in Moscow.)
Tracks like “Made in Russia” and “Head on a Plate” pile-drive their detuned riffs straight into your skull, offering a platform for Alex at his most menacing. But the frontman also stretches out across the record, adding clean choruses to anthems like “Baba Yaga” and “Your Only.”
Alex’s words — largely sung in Russian, with occasional bursts of English — are also more balanced than the bleak song titles may suggest. “The lyrics,” Simmons says, “are quite personal to anyone who listens, I think — of personal struggle, keeping a positive mental attitude and going through the shit to have a better life and achieve your goals.”
As always, Slaughter to Prevail aim to provoke you, even as they empower you. “We want something that causes an emotion — whether it’s good or bad, disappointment or excitement or whatever,” Simmons says. “We don’t want something that’s stereotypical.”
Slaughter to Prevail Website
Slaughter to Prevail @ Facebook
Slaughter to Prevail @ Instagram
Slaughter to Prevail @ Spotify
Slaughter to Prevail @ Twitter
Slaughter to Prevail @ YouTube

11.06.2024 - Slaughter to Prevail (Rus/USA) @ Media Center, Ljubljana

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ČETRTEK, 13.06.2024
Igorrr (Fra), Sanguisugabogg (USA)

Kino Šiška, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 32 €
Cena vstopnice na dan koncerta: 37 €
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13. junija se vračajo IGORRR. Gre za ime ene osebe, oziroma za ''odrsko ime'' ene osebe. Ki se dela Francoza oziroma je Francoz. Gauiter Serre je njega pravo ime, vemo pa, da ''delati se Francoza'' v bistvu pomeni, da se ''narediš budalo'' oziroma ''da se požvižgaš na vse''. In Igorrr se požvižgajo (!!!) na vse. Vsa pravila, ves smisel, vse. So Unikat. Igorrr miksajo vse živo in to izpade zelo dobro, kar dokazujejo vsi njihovi albumi, še posebej pa aktualni Spirituality and Distortion, ki je osvojil svet s pomočjo založbe Metal Blade Records. V živo so Igorrr nenavadna sila bizarnosti, kakofonija zvoka, organiziran kaos, nepričakovanost v vsaki sekundi. Če je življenje kot škatla čokolade - saj ne veste, kaj boste dobili, potem je Igorrr eksplozija čokolade. Ne veste, kaj boste dobili, kdaj boste dobili in kaj vas bo zadelo. Bo pa sladko in večno si boste zapomnili to izkušnjo.
In to še ni vse, poleg Igorrr bodo nastopili še eni rušilci zvoka, Sanguisugabogg iz ZDA. Gre za novejši death metal četverec, ki je že podpisan pod založbo Century Media. Nazadnje ste jih lahko videli v Orto baru skupaj s Full of Hell!


Igorrr Initially influenced by the likes of Meshuggah, Chopin, Cannibal Corpse, Bach, Domenico Scarlatti, Taraf de Haidouks and Aphex Twin, traces of these artists can be found littered across Igorrr’s discography, but Serre has never been interested in remaining static or merely recycling ideas, and his work has dramatically evolved accordingly. It deeply explains how Igorrr’s music is such an explosion of creativity while keeping a cohesive universe records after records.
In recent years, Igorrr has also become a collective, rather than the work of one man alone, which has brought a new level of intensity into the group live representations.
Igorrr Website
Igorrr @ Facebook
Igorrr @ Instagram
Igorrr @ Twitter
Igorrr @ YouTube


Sanguisugabogg Ohio’s most promising and upcoming Death Metal ou6it SANGUISUGABOGG comes backwith their anAcipated full-length sophomore album Homicidal Ecstasy. AHer releasing theircriAcally acclaimed full-length album Tortured Whole in early 2021 the group went aboveand above by creaAng a reimagined, violent, more mature and technical Brutal Death Metalexplosion that can withstand any maneuvers. Mixed by Kurt Ballou (Converge, High on Fire,Nails, Every Time I Die, etc.) and mastered by MulA-Grammy Award Winning MasteringEngineer Alan Douches (Sepultura, Nile, Thrice, Fleetwood Mac, etc.), Homicidal Ecstasy willblow you away with unique and ferocious tracks as ‘Black Market Vasectomy’ or with aheavy, raw and fiery vocals feat. Aaron Heard from the band Jesus Piece on ‘Face Ripped Off’.
Sanguisugabogg @ Bandcamp
Sanguisugabogg @ Deezer
Sanguisugabogg @ Facebook
Sanguisugabogg @ Instagram
Sanguisugabogg @ Spotify
Sanguisugabogg @ YouTube

13.06.2024 - Igorrr (Fra), Sanguisugabogg (USA) @ Kino Šiška, Ljubljana

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PETEK, 14.06.2024
KBO! (Ser), Sereš (Slo)

Orto Bar, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 15 €
Cena vstopnice na dan koncerta: 18 €
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To niso NIET... so pa KBO!
Še ena stara punk legenda iz območja exYU! KBO! so začeli svojo pot leta 1982 v Kragujevcu – tako je, letos praznujejo 42 let obstoja!
Steber benda je srbska punk legenda Vuja, ki je prisoten tudi v skupinah Trula Koalicija in Zvončekova Bilježnica. Kljub temu, da imajo KBO! cel repertoar svojih himn, kot so Lopovi, Kragujevac, Samoča, Hvala, Za jedan korak, Mi smo... Milion glasova... so verjetno najbolj znani po svojih punk priredbah, najbolj znana med njimi Forver Punk (Alphaville - Forever Young), leta 2001 so posneli album (Ne) Menjajte stanicu, kjer so objavili priredbe bendov ABBA, Denis & Denis, Električni Orgazam, Pet Shop Boys, Mike Oldfield, Orchestral Manoeuvres in the Dark, Billy Idol, Black, Prince, Yazoo... kmalu zatem pa še priredbo Bacila je sve niz rijeku legendarnih Indexov.
Uglavnem fešta za vse stare nostalgike in ljubitelje dobrega starega punka! Kor predskupina bodo nastopili kranjski punksi SEREŠ!


KBO! KBO! is a Serbian punk rock band from Kragujevac, Serbia. They are one of the first hardcore punk acts on the former Yugoslav punk scene. Since the very beginning, the band accepted the DIY ethic by forming their own record label KBO! Records, through which they have released all their official releases. The band have toured across several European countries including Hungary, Austria, Greece, Belgium and Netherlands and shared the stage with acts such as Gorilla Biscuits and Babes in Toyland. They released several studio and live albums, some of them for foreign record labels and were included in numerous international punk compilations featuring eminent bands.
KBO! @ Facebook
KBO! @ Instagram
KBO! @ ReverbNation


Sereš Band Sereš, (“Bulshitting”) - we are punk/hard-core band. We do energetic performance, nasty humour, political satire while sticking to the roots.
Sereš @ Bandcamp
Sereš @ Facebook
Sereš @ YouTube

14.06.2024 - KBO! (Ser), Sereš (Slo) @ Orto Bar, Ljubljana

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PETEK, 21.06.2024
Tolminator Warm-up: Brujeria (Mex/USA), Smedja in Smetke (Slo) + 'Surprise 666'

Menza pri koritu, Metelkova, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 22 €
Cena vstopnice na dan koncerta: 25 €
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The official Tolminator warmup show that will happen in Ljubljana!
You all remember Brujeria from this year's Tolminator edition? Well they are coming back to Slovenia! Support: SMEDJA IN SMETKE + SURPRISE 666 (WTF could that be?) There will be lots of Tolminator stuff available at the venue, there`s gonna be party before and after the show.... Don`t miss out!


Brujeria Decades before Breaking Bad, Narcos, or Mayans M.C., BRUJERIA put the world of cartels and ritualistic murder on wax with a brutal power equivalent to when Compton arrived in pop culture via NWA.
BRUJERIA emerged, shrouded in mystery and infamy, in 1989. They forcefully introduced phrases like Matando Güeros, La Migra, Marijuana y Brujerizmo into the lexicon of extreme subcultures from hardcore punk to death metal. The brutal death grind band from Mexico came to represent the notoriously violent world of illegal drug trafficking, vicious retaliation, and a sinister syncretism between Afro-Caribbean sorcery like Palo Mayombe and Santeria with outright demonic possession.
They brandish rifles and machetes. Most importantly, they’re armed with an arsenal of brutal riffs. Rumors abound that frontman Juan Brujo ingeniously surrounded himself over the years with members of legendary bands like NAPALM DEATH, CARCASS, and AT THE GATES and performers from beloved TV shows like Orange Is The New Black and Jackass. But nobody knows for certain. That’s because the men and women of BRUJERIA conceal themselves with bandanas, serapes, and balaclavas.
Conjured like a cabal whenever society reaches a new tipping point between order and chaos, Brujeria sacrifices songs to full-length albums and singles, as decidedly apocalyptic as the Mayans, by their own calendar. Records like Raza Odiada (1995) and Brujerizmo (2000) are undeniable classics. Ripping excoriations of daily news like “Amaricon Czar” (2019) and “COVID - 666” (2020) are bitingly topical.
Coco Loco (a metal mascot as iconic to many metalheads as IRON MAIDEN’s Eddie or MEGADETH’s Vic Rattlehead) returns in 2023, emblazoned on a ferocious fifth full-length album dubbed simply Esto Es Brujeria.
BRUJERIA makes the metal version of the corrido, a traditional Mexican song style built on storytelling. The narratives cover everything from history to daily life for outlaws. In Brujeria’s case, the narrator’s tales range from righteous murders of oppressors and rivals to drug deals gone wrong. On Esto Es Brujeria, their blistering new platter, they growl about everything from being Party Boss to a first night in jail.
Brujeria’s 1993 debut, Matando Güeros, was so extreme that record stores and distributors returned copies en masse the moment translators made English versions of the lyrics available. But it was too late to stop BRUJERIA, as word of the devastating riffs and wild tales of drugs, sex, and murder spread. The book Heavy Metal: The Music And Its Culture included it on their 100 Definitive Metal Albums list. One of the songs landed on the soundtrack to Harmony Korine’s controversial drama Gummo.
Two years later, sophomore slab Raza Odiada declared war on then - California governor Pete Wilson (portrayed on the album by DEAD KENNEDYS’ frontman Jello Biafra) and his controversial immigration policies. Drug smuggling and related themes abounded, as well as a song supporting Mexico’s revolutionary Zapatistas. A music video for “La Ley De Plomo” somehow made it (briefly) to MTV.
Melody Maker called 2000’s Brujerizmo “wonderfully demented thrash” and “murderous noise, absolutely bereft of anything approaching accessibility.” CMJ praised Brujo’s “growling political rants,” while NME declared, “They take a hyper-violent idea to its logical, bowel-churning, and comically thrilling end.” The title track remains one of BRUJERIA’s most streamed songs on Spotify.
After a long absence, BRUJERIA returned with Pocho Aztlan in 2016. The band’s first album with Nuclear Blast Records injected fresh blood into the unstoppable crew in the form of new recruits. The songs combined the focused groove of Brujerizmo with the impenetrable death grind of the mid - 90s.
Esto Es Brujeria brings BRUJERIA roaring full circle into the post-pandemic era, with the deep polarization, civil unrest, ongoing brutality, and social upheaval of the day ripe for the band’s notorious critiques. Steeped in dense myth, extreme metal’s most notorious antiheroes materialize anytime, anywhere, to spin their tales of anarchic mayhem and lawless fury . They are eternal banditos, prepared to party.
Brujeria Website
Brujeria @ Deezer
Brujeria @ Facebook
Brujeria @ Instagram
Brujeria @ SoundCloud
Brujeria @ Spotify
Brujeria @ Twitter
Brujeria @ YouTube


Smedja in Smetke Primitivna glasba za primitivne ljudi.
Smedja in Smetke @ Bandcamp
Smedja in Smetke @ Facebook
Smedja in Smetke @ Instagram

21.06.2024 - Tolminator Warm-up: Brujeria (Mex/USA), Smedja in Smetke (Slo) + 'Surprise 666' @ Menza pri koritu, Metelkova, Ljubljana

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TOREK, 25.06.2024
Tolminator Warm-up: Vader (Pol), Bio-Cancer (Gre), Warside (Fra)

TrainStation SubArt, Kranj
Začetek: 20h
Cena vstopnice v predprodaji: 22 €
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Še eno ogrevanje v dobri družbi za Tolminator Metal Fest II
40 Years of the Apocalypse - European tour !!!
Legendarni poljski death metalci se ob svoji 40.obletnici ustavijo tudi pri nas.
Sporočilo Petra/Vaderja: VADERMANIAX !!!
Ta turneja ima dve posebnosti:
1. igrali bomo celoten album "Black To The Blind"
2. na celotni turneji se nam bo pridružil Maurycy Mauser Stefanowicz, ki bo na vsak večer prinesel nekaj klasičnih Vaderjevih melodij.
Vader s tremi kitarami je še bolj smrtonosen in zloben \m/


Vader Vader is a Polish death metal band from Olsztyn. Formed in 1983, the group was founded by then-bassist Piotr "Peter" Wiwczarek and guitarist Zbigniew "Vika" Wróblewski. Vader went through several lineup changes over the years, with Wiwczarek as the only constant member. Since 2011, the band has comprised Wiwczarek on guitars and vocals, guitarist Marek "Spider" Pająk, bassist Tomasz "Hal" Halicki, and British drummer James Stewart.
Starting as a heavy metal group, Vader eventually went to thrash, speed, and then in the late 1980s became a death metal band. It would not be until nine years after forming that they managed to release their debut album The Ultimate Incantation (1992); Vader has released eleven more studio albums since then. The band's name was inspired by Darth Vader from the Star Wars film series. Lyrical themes include stories by H. P. Lovecraft, World War II, horror, and science fiction. According to Billboard magazine, by 2002 Vader sold approximately 500,000 releases around the world.
Vader @ Bandcamp
Vader @ Deezer
Vader @ Facebook
Vader @ Instagram
Vader @ ReverbNation
Vader @ SoundCloud
Vader @ Spotify
Vader @ Twitter
Vader @ YouTube


Bio-Cancer Bio-Cancer are a thrash metal band from Athens, Greece, formed in late 2010.
Bio-Cancer @ Bandcamp
Bio-Cancer @ Deezer
Bio-Cancer @ Facebook
Bio-Cancer @ Instagram
Bio-Cancer @ ReverbNation
Bio-Cancer @ SoundCloud
Bio-Cancer @ Spotify
Bio-Cancer @ Twitter
Bio-Cancer @ YouTube


Warside Within Warside, there is an indomitable friendship that has bound its members together for over 20 years. We are more than a band, we are a family. Our unwavering bond is felt in our music, every note is imbued with this deep connection. There is also a real desire for integrity, honesty and transparency with the music we create. Each song is a deep dive into our soul, reflecting our experiences, emotions and beliefs.
We could tell you their names, but would it really matter?
Is it of any importance to know that they are French, from a town where you could drown yourself in absinth and blood from brawls?
All that matters is who they look up to: Trailblazers, that want it, right there and right now, who welcome followers and destroy naysayers. What’s the common denominator among those, that resonates with them ? The deep fire that rages inside for the real stuff, real people, real music, and real commitment. This rage to simply not quit, and yearn for more, always. This primitive urge to fight, scream, shout, destroy and survive. They believe that everyone has those feelings inside. And what they want to do is show you this side of yours. This brutal, unforgiving side that you have, they call it Warside...
Warside Website
Warside @ Bandcamp
Warside @ Deezer
Warside @ Facebook
Warside @ Instagram
Warside @ Spotify
Warside @ YouTube

25.06.2024 - Tolminator Warm-up: Vader (Pol), Bio-Cancer (Gre), Warside (Fra) @ TrainStation SubArt, Kranj

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SREDA, 03.07.2024
Thy Art Is Murder (Aus), Dying Fetus (USA), Fit for a King (USA), Alpha Wolf (Aus), Knosis (Jap)

Kino Šiška, Ljubljana
Začetek: 18h
Cena vstopnice v predprodaji: 42 €
Cena vstopnice na dan koncerta: 47 €
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... tokrat z novim almbum Godlike, ki bo izšel pri njihovi neodvisni založbi Human Warfare.
S seboj bodo pripeljali kar nekaj hudih gostov - ameriške death metal veterane Dying Fetus, prav tako ameriške metalcorovce Fit for a King, avstralske Alpha Wolf in pa japonske Knosis!
Šus za šusem, ne zamudit!


Thy Art Is Murder THY ART IS MURDER ascended the ranks of extreme metal’s top-tier bands with a meteoric underground rise as explosive as humankind’s seemingly inevitable descent into doom and death.
Australia’s most harrowingly brutal export since George Miller’s Mad Max franchise invites audiences worldwide to join them in a fresh Armageddon. A soundtrack to a divisive postmodern dystopia.
Two-time ARIA Music Awards nominees and tourmates with genre-titans like Cannibal Corpse, Slayer, Kreator, Lamb Of God, and Killswitch Engage, THY ART IS MURDER offers a savage take on blackened death metal combined with a heady but accessible approach to social commentary.
Songs like “Reign of Darkness,” “Atonement,” “The Purest Strain of Hate,” and “Puppet Master” became anthems for outsiders, those who dare to challenge, provoke, and resist the dark world around them. They make dark, chaotic, nihilistic, heavy music with sharp smarts beneath its surface.
Chris “CJ” McMahon (vocals), Andy Marsh (guitar), Sean Delander (guitar), Kevin Butler (bass), and Jesse Beahler (drums) spent lockdown isolated even more than most. The group’s guitar players put down their instruments for the first time since they started, resulting in a type of rebirth.
“Sean and I didn’t even pick up our guitars for two years,” Marsh explains. “It was deliberate. The muscle memory… When we came back, it freed everything up. The hands went to different places than they were used to going. It was easier to get outside of the box of Thy Art Is Murder. We tried to explore new dimensions. It’s still within a tight paradigm, but we went to some new places.”
The result is Godlike, 2023’s sixth full-length entry in the band’s ever-expansive discography. Sonically, new depths and dynamics are explored without sacrificing an ounce of intensity or urgency. Songs like “Join Me in Armageddon,” “Destroyer of Dreams,” “Blood Throne,” “Keres,” and “Lesson in Pain” deliver sharp stabs, guttural descents, and groove with muscular athleticism and confidence.
Earlier in the year, the group emerged from pandemic hibernation with a tour celebrating the tenth anniversary of their sophomore album, Hate, including a pro-shot concert film captured in Melbourne. The Aggression Sessions capped off a groundbreaking collaborative series with Fit For An Autopsy begun with The Depression Sessions, joined by Malevolence and The Acacia Strain, respectively. (Fit For An Autopsy includes Thy Art’s longtime producer and mixer, Will Putney.)
Godlike is the next logical step, cementing Thy Art Is Murder as death metal’s modern torchbearers. Thematically, the songs confront how cycles of violence continue over time and feelings of separation. Album closer “Bermuda” boasts what’s arguably McMahon’s strongest performance ever.
The first group of its kind to crack the Top 40 on the ARIA Charts, the Sydney-born band has charted higher than any other homegrown extreme metal outfit in their native country. The “deathcore” rumblings of an early demo and EP, recorded when the original lineup were teenagers, opened the door to the genuine death metal force Thy Art Is Murder would become.
Their first album, The Adversary (2010), is a classic with heightened aggression well beyond most of their contemporaries.
Thy Art Is Murder first worked with Putney (A Day To Remember, Knocked Loose, The Ghost Inside) on Hate, which arrived in 2012 via Halfcut Records and earned a broader release in 2013 via Nuclear Blast.
The Sydney Morning Herald wrote that the music video for the title track from Holy War (2015) sparked heated discussions with its graphic depictions of torture and violence. Despite the controversy and conversation, the Australian edition of Rolling Stone awarded the album four stars.
Dear Desolation (2017), which Metal Injection described as “a pounding adrenaline rush,” debuted in the Top 100 in the US and Australia’s Top 5.
As Kerrang! wrote upon the release of Human Target (2019), “When it comes to this stuff, few are capable of doing it with such devastating expertise.”
Marsh notes the ambitious but controlled pace of their continued creative evolution.
On Godlike, as with every album prior, “The dissonance in my mind between what we sound like and what I imagine we should sound like gets closer together.”
MetalSucks put Thy Art Is Murder among the Top 50 Most Popular Metal Bands Right Now, According to the Internet (based on page views), next to Metallica, Slipknot, Ghost, and Iron Maiden. Six albums in and with electrifying performances in clubs and theaters across the globe and at crucial festivals like Summer Breeze, Download, Graspop, and Wacken, it’s easy to understand why.
Thy Art Is Murder Website
Thy Art Is Murder @ Facebook
Thy Art Is Murder @ Instagram
Thy Art Is Murder @ Twitter
Thy Art Is Murder @ YouTube


Dying Fetus Formed in 1991, DYING FETUS have matured into one of the premiere extreme death metal/grindcore acts to emerge from the massive global metal underground. The band is recognized worldwide as a prime example of songwriting perfection, combining an innovative mix of technical virtuosity and catchy song structures to create the ultimate blend of death metal, hardcore and grind.
Dying Fetus Website
Dying Fetus @ Bandcamp
Dying Fetus @ Deezer
Dying Fetus @ Facebook
Dying Fetus @ Instagram
Dying Fetus @ ReverbNation
Dying Fetus @ SoundCloud
Dying Fetus @ Spotify
Dying Fetus @ TikTok
Dying Fetus @ Twitter
Dying Fetus @ YouTube


Fit for a King Fit for a King, also known as FFAK, is an American metalcore band from Dallas, Texas formed in 2007. The band comprises guitarists Bobby Lynge and Daniel Gailey, vocalist Ryan Kirby, bassist Ryan "Tuck" O'Leary, and drummer Trey Celaya. They released two independent EPs entitled Fit for a King in 2008 and Awaken the Vesper in 2009. They also released one independent album, Descendants, in 2011. After the band signed to Solid State Records, they released six studio albums through this label: Creation/Destruction (2013), Slave to Nothing (2014), Deathgrip (2016), Dark Skies (2018), The Path (2020) and The Hell We Create, which was released on October 28, 2022. In addition, a redux version of their debut studio album was released through the label in 2013.
Fit for a King Website
Fit for a King @ Facebook
Fit for a King @ Instagram
Fit for a King @ Spotify
Fit for a King @ TikTok
Fit for a King @ Twitter
Fit for a King @ YouTube


Alpha Wolf An iron will is only ever hardened within the forge, and Australia’s fastest rising metalcore act Alpha Wolfhave proven they are made of sterner stuff. The five piece bared their teeth in 2019 with the release oftheir EP Fault in joint partnership with Greyscale Records and SharpTone Records, it became a line in thesand that set expectations for all that would follow.
The band played sold out shows across Australia both headlining, and in support of acts such as Polarisand August Burns Red; as well as a slew of international tours across Asia, Europe, and even dippingtheir toes in to the American market.
If Fault was the line in the sand however, Alpha Wolf desired to make their mark permanent, somethingetched in stone for all to see. The band needed to push themselves harder, the band needed to provethey were worthy of their name, the band needed ‘a quiet place to die’.
2020 sees Alpha Wolf bite harder than ever with their Sophomore release ‘a quiet place to die’, theculmination of every lesson learnt, every hit taken, and every loss felt. ‘a quiet place to die’ is the endresult of five individuals who have faced the fire and refuse to flinch, pouring their everything into makingsomething they are truly proud of. The path to this point has only made their thirst greater, and soonenough, the wolves will be out for blood.
Alpha Wolf Website
Alpha Wolf @ Bandcamp
Alpha Wolf @ Facebook
Alpha Wolf @ Instagram
Alpha Wolf @ Spotify
Alpha Wolf @ Twitter
Alpha Wolf @ YouTube


Knosis Knosis @ Instagram
Knosis @ Spotify
Knosis @ Twitterk

03.07.2024 - Thy Art Is Murder (Aus), Dying Fetus (USA), Fit for a King (USA), Alpha Wolf (Aus), Knosis (Jap) @ Kino Šiška, Ljubljana

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NEDELJA, 28.07.2024
Tolminator Afterparty: D.R.I. (USA) + support

Menza pri koritu, Metelkova, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 25 €
Cena vstopnice na dan koncerta: 30 €
Pozor, na voljo samo 250 vstopnic!
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Ladies and gents, thrashers, punx, headbangers and the rest of the circle pit worshipers, get ready for Dirty Rotten Imbeciles!
We really tried to book them for the festival, but unfortunately it wasn't possible, so I said, "Let's make a Tolminator After Party at Metelkova City, Ljubljana!" and my crew were absolutely stocked about it, so here it is: TOLMINATOR AFTER PARTY with the one and only, the pioneers of crossover thrash, the mighty D.R.I. \m/
Mark your calendar on Sunday, 28th of July 2024. I will see you maniacs at Menza Pri Koritu - Metelkova City, Ljubljana. Thrash with Tolminator or die!


D.R.I. D.R.I. (Dirty Rotten Imbeciles) are a hardcore punk band formed in Houston, USA in 1982. Current line-up comprises founding members vocalist Kurt Brecht and guitarist Spike Cassidy, as well as drummer Rob Rampy and bassist Greg Orr. D.R.I. never gained a mainstream audience, but integrating hardcore punk roots with thrash-metal influences was a stylistic catalyst for their contemporaries - most notably Agnostic Front, Corrosion Of Conformity, Verbal Abuse, Cro-Mags, Dr. Know - alongside whom they are considered pioneers of what they called "Crossover" in their third album (1987). To date, D.R.I. have released 7 albums. Since then, the band has continued touring and intermittently going on hiatus. In 2004, D.R.I. released a web-only demo track "Against Me", their first recording in a decade. For years, there has been talk of an eighth D.R.I. album, which has yet to materialize. D.R.I. has also its own label called "Rotten Records".
D.R.I. Website
D.R.I. @ Bandcamp
D.R.I. @ Deezer
D.R.I. @ Facebook
D.R.I. @ Instagram
D.R.I. @ ReverbNation
D.R.I. @ SoundCloud
D.R.I. @ Spotify
D.R.I. @ YouTube

28.07.2024 - Tolminator Afterparty: D.R.I. (USA) + support @ Menza pri koritu, Metelkova, Ljubljana

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SOBOTA, 10.08.2024
The Black Dahlia Murder (USA)

Menza pri koritu, Metelkova, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 25 €
Cena vstopnice na dan koncerta: 30 €
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Morda ste bili na njih že davnega leta 2009 v Gala Hali, ali leta 2010 na Bonecrusher turneji v Kino Šiški? Ali pa na festivalih v Tolminu? No, tisti, ki ste jih že videli, veste da je to skupina, ki že dolga leta ruši vse pred sabo. Tudi nedavna tragična smrt pevca jih ni ustavila in prav je tako!
Se vidimo v Menzi!


The Black Dahlia Murder Detroit's Black Dahlia Murder, named for the infamous 1947 slaying of Elizabeth Short, aka the Black Dahlia, specializes in blackened Scandinavian-style death metal replete with blastbeats, guttural vocals, and blindingly fast guitar chops. Emerging in 2002, the band issued their debut LP, Unhallowed, to acclaim in the metal press one year later. 2007's Deflorate placed high on the U.S. album chart, and over the next 18 months, Black Dahlia Murder became a mainstay on festival stages across the United States and Europe. 2010's Ritual proved a crucible that precipitated lineup changes and became their highest-charting effort to date, while 2013's equally celebrated Everblack debuted at number 32 on the Billboard 200. 2015's dynamic Abysmal and 2017's taut and economical Nightbringers showcased a band in complete control of its artistic vision, delivering non-stop onslaughts of aggression, hooks, and melodic leads, while 2020's Verminous found the sweet spot between the group's old-school and progressive tendencies. On May 11, 2022, the band announced the untimely death of lead vocalist and co-founder Trevor Strnad.
The Black Dahlia Murder formed in Waterford, Michigan, a suburb of Pontiac and Detroit. Its original members included vocalist Trevor Strnad, guitarists Brian Eschbach and Jon Kemppainen, bassist David Lock, and drummer Cory Grady. By the time they issued their initial demo, What a Horrible Night to Have a Curse later that year, they were already making concert appearances (e.g., the Milwaukee Metal Fest). After another pair of demos and the four-track A Cold-Blooded Epitaph, they signed with Metal Blade in 2003 and were soon recording their debut album, Unhallowed. The 2005 release Miasma and 2007's Nocturnal kept death metal as their core inspiration, though the band began exhibiting an increasingly melodic streak that came to fruition on 2009's brutal and majestic Deflorate. Their fifth studio album, Ritual, arrived in the summer of 2011. By 2012, only founding members Strnad and Eschbach remained in the lineup. The pair, along with lead guitarist Ryan Knight, who'd joined in 2008, enlisted bassist Max Lavelle and drummer Alan Cassidy. 2013's Everblack was greeted with almost universal acclaim.
After a year touring, the Black Dahlia Murder went back into the studio. They re-enlisted producer Mark Lewis (who worked on 2011's Ritual) and former bass player Ryan Williams, who helped engineer Everblack. The band emerged with Abysmal, released in the fall of 2015, and followed it with a grueling schedule of touring for more than a year, playing headline and festival support gigs across the United States and Europe. It took its toll. Later in the year, guitarist Knight amicably left the group and was replaced by Brandon Ellis (Arsis, ex-Cannibal Corpse).
In 2017, TBDM commenced work on a new album with bandmembers working separately in different Metro Detroit-area studios with various engineers, including former bassist Williams and Joe Cincotta. In the end, Ellis emerged as an important new songwriter as well as a guitarist. The finished album, Nightbringers, was issued in October 2017 through Metal Blade. Three years later, the band returned with their ninth full-length effort, the punishing Verminous. First recorded at Plymouth, Michigan's Pipeyard Studio by ex-bassist and studio guru Ryan "Bart" Williams, the bulk of the album was recorded in New Jersey at Ellis' home studio, the Shred Light District. It was mixed by Tue Madsen and mastered by Alan Douches. Produced by TBDM, Verminous offered the band a greater level of control over every facet of recording than ever before, enabling them to tweak and fine-tune small details right up until the point they sent it to Madsen in Denmark. The set was issued on April of 2020. The group was mapping out details for a concert tour when lead singer and lyricist Trevor Strnad died on May 11, 2022, only six days after he celebrated his 41st birthday.
The Black Dahlia Murder Website
The Black Dahlia Murder @ Bandcamp
The Black Dahlia Murder @ Deezer
The Black Dahlia Murder @ Facebook
The Black Dahlia Murder @ Instagram
The Black Dahlia Murder @ SoundCloud
The Black Dahlia Murder @ Spotify
The Black Dahlia Murder @ TikTok
The Black Dahlia Murder @ Twitter
The Black Dahlia Murder @ YouTube

10.08.2024 - The Black Dahlia Murder (USA) @ Menza pri koritu, Metelkova, Ljubljana

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TOREK, 20.08.2024
Havok (USA), Dust Bolt (Ger)

Menza pri koritu, Metelkova, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 25 €
Cena vstopnice na dan koncerta: 30 €
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Še ena avgustovska mosherija!
Tokrat se vračajo nazaj HAVOK! Kot predskupino pa bomo lahko videli DUST BOLT, ki bodo malo prej nastopili na festivalu Tolminator!


Havok Colorado-based thrashers HAVOK are back! After a whirlwind yet rewarding cycle for 2017’s Conformicide effort, the high-octane outfit have emerged from the studio victorious with their new album, V. A sucker punch to the gut and a heady challenge to the status quo, HAVOK’s 11-song rager undeniably sets fresh standards. V extols the virtues of HAVOK’s past and yet celebrates with staccato brilliance where the group are at today. Indeed, the quartet are refining their craft, writing better, catchier songs, and pushing the sonic envelope without sacrificing the aggression, the attitude, the smarts, and the intensity that commanded Time Is Up (2011) and Unnatural Selection (2013) to circle-pit infamy. The same processes that informed the transformations of Slayer (South of Heaven), Testament (Practice What You Preach), and Death Angel’s (Act III) is heavily at work on V. From opener “Post-Truth Era” to closer “Don’t Do It,” HAVOK have in their midst a bonafide, modern-era thrash classic.
Havok Website
Havok @ Deezer
Havok @ Facebook
Havok @ Instagram
Havok @ ReverbNation
Havok @ SoundCloud
Havok @ Spotify
Havok @ X
Havok @ YouTube


Dust Bolt Never underestimate the dedication of the diehard. Formed in 2007 in Bavaria, Germany, DUST BOLT have been resolute and ruthless in their pursuit of metal glory over the last 16 years. Childhood friends with a collective passion for metal in all its various forms, the quartet led by vocalist/frontman Lenny Bruce have established themselves as one of Europe’s leading thrash metal bands. Across four acclaimed studio albums – Violent Demolition (2012), Awake The Riot (2014), Mass Confusion (2016) and Trapped In Chaos (2019) – and countless intense and celebratory live shows, Dust Bolt have paid their dues and earned the respect of an ever-expanding army of fans in the process.
For those eager to predict the future, Dust Bolt have looked like heavyweight contenders for a long time, but the truth is that the band have only just started their heavy metal mission. In 2024, the Germans will release their fifth album, Sound & Fury: an album that refines and noisily redefines the Dust Bolt sound for a new era. Written during those isolated months of pandemic lockdown, the new record represents the peak of the band’s creativity, and a major leap forward in every department. The first Dust Bolt record to feature new bassist Tom Liebing, alongside Lenny Bruce, guitarist Florian Dehn and drummer Nico Remann, Sound & Fury grew from a long period of self-reflection that began when the world shut down.
The end result of this admirable DIY crusade is Sound & Fury – the fifth and most fascinating Dust Bolt album yet. Although still rooted in thrash and old school metal, the new record adds dazzling colour and diversity to the band’s trademark sound. With pummelling grooves, spine-tingling dynamics and a startling, part-melodic vocal performance from Lenny Bruce, new songs like album opener Leave Nothing Behind and I Am The One mark the beginning of a new era of Dust Bolt destruction. Simultaneously catchier than any previous record and grittier and heavier than before, Sound & Fury is the sound of a great band realising their full potential.
As Dust Bolt’s chief songwriter, Lenny was newly motivated to breathe fresh fire into his band’s whole creative process. Entrenched in his own studio, the frontman dug deep to find some new inspiration.
Triumphant in their quest to complete the new record on their own terms, Dust Bolt hit new heights of intensity and verve on Sound & Fury. Songs like Burning Pieces and Love & Reality retain all the viciousness of previous albums, but without the restrictions of any particular metal subgenre. Instead, it is a brave, groove-powered and emotionally supercharged piece of work, fuelled by a heartfelt need to progress and push the boundaries. It is also, in lyrical terms, a much more raw, honest and thoughtful affair, as Lenny delves into his own personal experience to tangle with some undeniable, universal truths.
Dust Bolt will return in 2024, armed with the finest album they have ever made, and a newfound sense of purpose. The making of Sound & Fury has clearly given the German four-piece a new lease of life, and subtly enhanced ambitions for the future. While most bands are content to be tethered to the usual music biz cycles, Dust Bolt have freed themselves and delivered a potential game-changing chunk of music. Still metal diehard to the bone, they have simply found a better and more life-affirming way to gets head banging. On this form, there will be no stopping them.
Dust Bolt Website
Dust Bolt @ Bandcamp
Dust Bolt @ Deezer
Dust Bolt @ Facebook
Dust Bolt @ Instagram
Dust Bolt @ ReverbNation
Dust Bolt @ SoundCloud
Dust Bolt @ Spotify
Dust Bolt @ TikTok
Dust Bolt @ X
Dust Bolt @ YouTube

20.08.2024 - Havok (USA), Dust Bolt (Ger) @ Menza pri koritu, Metelkova, Ljubljana

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NEDELJA, 01.09.2024
Ill Niño (USA), Ektomorf (Hun), Mind Incision (USA)

Orto Bar, Ljubljana
Začetek: 19h
Cena vstopnice v predprodaji: 29 €
Cena vstopnice na dan koncerta: 34 €
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Vrnimo se v 2000-a skupaj z Ill Niño in Ektomorf!


Ill Niño Hailing from the vibrant music scenes of New Jersey and New York, Ill Niño has solidified their position as a formidable force in the world of Latin metal. Their groundbreaking album “Revolution Revolucion” marked the beginning of a legacy that continues to thrive 24 years later.
Fuelled by an unwavering passion for their craft and an undying loyalty from their fans, Ill Niño stands strong as they embark on a global tour in support of their latest release, “IllMortals”. From Europe to the U.S., Australia to the UK, South America to Japan and China, they are ready to bring their electrifying performance to audiences worldwide.
Don’t miss your chance to witness this legendary band live in action. Join us on this epic journey as Ill Niño showcases why they are still dominating the metal scene after a decade.
Ill Niño Website
Ill Niño @ Facebook
Ill Niño @ Instagram
Ill Niño @ Spotify
Ill Niño @ YouTube


Ektomorf The band Ektomorf was founded in 1994 by the charismatic singer/guitarist Zoltan “Zoli” Farkas in Mezőkovácsháza, Hungary. This group has traveled an impressive and remarkable journey to become one of the most well-known and influential metal bands in Europe.
After years of intense rehearsals and hard work, the band managed to sign their first record deal in 1996 and release their debut album “Hangok” in the same year. Although this album initially received modest attention, it marked the beginning of a long journey.
Ektomorf’s breakthrough came with their second self-titled album released in 1998. This album earned the band international recognition for the first time and piqued the interest of the metal community outside Hungary. Another significant step was their third album, “Kalyi Jag,” in 2000, which further solidified their reputation as an emerging metal band.
However, the pivotal turning point came with their fourth album, “Felüvöltök az égbe,” initially released in Hungarian. This album gained attention and led to a label switch to Silverdust Records from Germany. Under the new label, the album was released in English in 2002 under the title “I Scream Up to the Sky.” This move marked Ektomorf’s European breakthrough and opened doors to international stages.
The band embarked on years of touring in Hungary, but it was time to conquer the international market. Ektomorf brought their powerful grooves and intense lyrics to audiences around the world. Their unique blend of thrash, hardcore, and traditional Roma music began to gather a broad following. However, it wasn’t just the music that set them apart; it was also their legendary, high-energy, and destructive live performances. These not only earned Ektomorf the status of the most famous Hungarian metal band but also that of a leading force in their genre.
Magazines like Metal Hammer and Rock Hard covered Ektomorf, and the band took the stages of major European festivals. Their performances became unforgettable experiences where the energy on and off the stage was palpable.
Under contract with Nuclear Blast Records, they released hit albums in the subsequent years such as “Destroy” (2004), “Instinct” (2005), and “Outcast” (2006). These albums showcased that Ektomorf was on the right path with their powerful, groovy style. However, the band didn’t remain static. They experimented and incorporated more melodies and traditional acoustic elements to expand their sound. This demonstrated their willingness to evolve and explore new avenues.
In 2004, Ektomorf toured with bands like Pro-Pain and Fear Factory, further strengthening their live presence. In 2005, they embarked on their first headlining tour, the “Monster Mosh Down Tour 2005,” alongside bands like Disbelief, Betzefer, and By Night. This tour was a great success and solidified their status as a live act.
Ektomorf continued their streak of success by serving as the support band for acts like Children of Bodom. However, they weren’t just present in concerts and festivals but also on the charts. Their move to AFM Records in 2009 brought them their first entry into the German album charts with “What Doesn’t Kill Me…”
In 2010, they released “Redemption,” an album that showcased their ruthless and critical side. It was a manifestation of anger, hatred, and social critique, coupled with a human soul.
One of Ektomorf’s most notable projects was the acoustic album “The Acoustic,” released in February 2012. This experimental album featured cover versions, new and old songs re-recorded in an “unplugged” fashion. This unexpected musical turn helped the band reach a non-traditional audience and led to exclusive acoustic shows and radio performances.
In August 2012, they released “Black Flag,” an album that further developed their powerful sound. Recorded in Hungary by their longtime producer and friend Tue Madsen, the album marked another masterpiece.
The year 2013 was a crucial one for Ektomorf as they gained international recognition and success. They switched to the booking agency Artist Coalition Group, which not only secured their biggest headlining tour in Europe but also allowed them to perform at renowned festivals like Wacken Open Air, With Full Force, Sziget Festival, and even the 70000 TONS OF METAL cruise. Additionally, they collaborated closely with Ill Niňo and were part of the “European Epidemic Tour,” culminating in sold-out venues and enthusiastic audiences.
In 2015, they released the album “AGGRESSOR,” presenting a brand new sound and a focused style. With heavily downtuned guitars and a tight groove, they continued to gain recognition within the metal community, especially among those who had witnessed their impressive live performances.
After releasing many great albums and successful tours throughout Europe, Ektomorf set their sights on the United States of America. In the spring of 2016, the band took the decisive step to conquer the United States. In a successful breakout tour, Ektomorf enthralled American audiences during a 7-week, 40-show tour across the new continent. Few bands from Hungary, let alone the entire Eastern European region, had set foot on American soil before. However, with their already substantial and steadily growing international fanbase and the ever-metal-hungry youth of America awaiting Ektomorf, they were destined to make their mark in the United States. As a true international band, the members of Ektomorf became increasingly active in the metal scene and reached more people with their fantastic live performances and outstanding albums.
In 2018, the band released the album “Fury,” which retained their new style with heavily downtuned guitars and a stronger focus on the modern thrash genre. This was reflected in chart placements not only in Germany but also, for the first time, in Austria. The band embarked on their first world tour in history, performing in Europe, North and South America, Russia, and Asia for an extended period.
In January 2021, Ektomorf made a comeback with a new label, a new booking agency, and a new album titled “Reborn.” With this album, the band returned to their thrash metal roots. The album achieved their best chart placements to date and showcased the band’s versatility, refusing to be confined to a single genre.
In 2022, the band parted ways with their new label and booking agency but returned to their former booking agency, the Artist Coalition Group.
A turning point in Ektomorf’s career was their performance at the Rockharz Festival in 2022. Due to difficulties in thoroughly rehearsing the new songs from the “Reborn” album, the band decided to perform an “old school” set that included all their hits up to 2013. This decision received incredibly positive feedback from fans and led the band to start moving away from the thrash genre.
Throughout the entire Covid-19 pandemic, singer Zoli battled with depression. This not only resulted in fewer live performances but also personal challenges. However, the positive side of this time was that he intensely engaged with his music and experimented with many new things. In November 2022, he picked up his guitar and played a version of Nirvana’s “Heart-Shaped Box. He was so thrilled with his own version that he uploaded a short video to his personal Facebook account in November 2022. The fan response was overwhelming, prompting him to share the video on the band’s page as well. Here, too, it was enthusiastically received by fans, motivating him to record the song in professional quality. In December 2022, the song was recorded in Hungary at the No Silence Studios and produced and mastered by Tue Madsen. The release took place in February 2023 under Bleeding Nose Records. This single became a milestone in the band’s history, amassing over half a million streams on Spotify in a short period.
Shortly thereafter, AFM Records proudly announced the return of the leading European neo-thrash/groove metal band to their ranks: EKTOMORF! They praised the collaboration with Zoli and his band, emphasizing his clear vision for the band and commitment. Ektomorf’s return to AFM Records was a vote of confidence that both sides celebrated.
Now, the new album “VIVID BLACK” is on the horizon. This album reflects Zoli’s experiences during the Covid-19 pandemic, which were marked by depression. The result is an album that delves into personal relationships, hatred, and anger. It’s a work that comes from the heart and is 100% honest. There is nothing beautiful or friendly on this album, but it will provide solace to those going through similar struggles. Zoli wrote this album in just three weeks. “VIVID BLACK” marks another turning point in Ektomorf’s career. The band returns to its roots in thrash metal while bringing entirely new elements to light, including clear vocal passages and a modern metal sound.
Led by Zoli Farkas, the band Ektomorf remains a fixture in the European metal scene even after more than two decades. Their relentless style and dedication are unmatched. With “VIVID BLACK” and their unwavering passion, they will continue to dominate stages worldwide and get people headbanging around the globe, from small clubs to the biggest festivals. Ektomorf shows that music and the passion for what they do never cease.
Ektomorf Website
Ektomorf @ Bandcamp
Ektomorf @ Deezer
Ektomorf @ Facebook
Ektomorf @ Instagram
Ektomorf @ SoundCloud
Ektomorf @ Spotify
Ektomorf @ X
Ektomorf @ YouTube


Mind Incision Denver, CO-based frontman Jason Neil, formerly of Arcanium, has brought together a new cast of some of the most creative characters in his locale with his newest heavy rock band, MIND INCISION. Formed in September 2022, Mind Incision includes lead guitarist Jon Maggard (Fist Fight), bassist Joel Karschner (Adam’s Ruin, The Crimson Red), rhythm guitarist Kyle Loucks (Less Than Under), and drummer Kelly Morse (Crossphire), making them a “supergroup” of some of the best local independent metal talent.
Neil’s previous experience with Arcanium saw him sharing stages with heavy hitters like Megadeth, Bullet for My Valentine, Butcher Babies, Ill Niño, Otep, and Machine Head over a span of five to six years. “The very first tour I scored as the vocalist of Arcanium was with Megadeth. I grew up listening to Megadeth and was completely floored that Dave Mustaine had handpicked us for their tour,” Neil recalls. Karschner’s Adam’s Ruin played with the likes of Hellyeah, Static-X and Godsmack, among others.
The difference between MIND INCISION and Arcanium, according to Neil, lies in the diversity of their music. “There are slow melodic tones and riffs, and also chunky driving powerhouse riffs. So the album came out great!” After releasing their single "Aneurysm of a Narcissist" in March 2023, they gained significant attention from both fans and industry professionals, leading to their signing with Music Gallery International’s Shawn Barusch.
Maggard enthuses, “This project has turned out to be one of the best I’ve ever seen or been a part of. With MIND INCISION, there’s a lot of meaning behind each one of our songs. So much emotion goes into writing each one.” Maggard and Loucks initially wrote the music for the first album, bringing in Morse after most songs were written. Morse re-wrote all the drum parts, finalizing the songs in just a couple of weeks. Karschner's exceptional bass skills were the final piece of the puzzle, then Neil wrote all of the lyrics. The album was recorded and produced by Dave Otero at Flatline Audio.
The band is known for the deep meaning in their songs. Specific songs address particularly sensitive issues like “The Awakening,” that deals with the problem of suicide and self harm – it is directed toward teens, but is relatable for all ages. “Zero230” brings attention to PTSD and Veterans’ plight after returning home from deployment. Domestic violence awareness is the theme of "Aneurysm of a Narcissist." Loucks shares, “I just hope we reach people with our music. I hope that our music can help someone with anything they are going through.”
Having released a handful of singles and music videos, including “The Awakening” in recent months, MIND INCISION is now preparing to hit the road for the first time together. They will tour Europe with Ill Niño in August/September and will play in the US in October with Mushroomhead / Upon A Burning Body. “We’re ready now,” Neil says. “We are here to get out there and do some incredible things with the music we are creating for some good causes as well as for the fans,” states Neil. “If you liked our singles, you ain’t seen nothing yet!”
Mind Incision Website
Mind Incision @ Deezer
Mind Incision @ Facebook
Mind Incision @ Instagram
Mind Incision @ Spotify
Mind Incision @ YouTube

01.09.2024 - Ill Niño (USA), Ektomorf (Hun), Mind Incision (USA) @ Orto Bar, Ljubljana

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NEDELJA, 13.10.2024
Cannibal Corpse (USA), Municipal Waste (USA), Immolation (USA), Schizophrenia (Bel)

Kino Šiška, Ljubljana
Začetek: 17:30
Cena vstopnice v predprodaji: 45 €
Cena vstopnice na dan koncerta: 50 €
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Verjetno najbolj nor metal paket v 2024! Čim prej po karto!


Cannibal Corpse Since 1988, Cannibal Corpse have been at the forefront of death metal, having helped shape and define the genre, and creating a seminal, incomparable body of work in the decades that followed. In 2021 they raised the stakes again with 15th album Violence Unimagined, growing ever more complex and intense, and now they return with its successor, the equally monstrous Chaos Horrific, starting a new chapter in their legacy. Written closely after the conclusion of the Violence Unimagined sessions due to the pandemic preventing them from touring like usual, echoes of that album exist in Chaos Horrific, but this is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” says bassist Alex Webster. “It’s a full-on death metal album, Cannibal Corpse style, and a very natural progression from Violence Unimagined.”
While the band have always been noted for their technicality and complex songwriting, this does not define where the writing process takes them. “I believe that our songwriting has progressed in a manner where every song paves its own path whether it be a straightforward song or a technical song, sometimes a mix of both, so there’s no preconceived idea that we want to be more technical. The music just sort of takes its own course,” explains guitarist Rob Barrett. The band also had no specific plan for the record, always approaching each one with an open mind, just intent on writing the best songs that they can. “When we create a new record the writing flows freely and organically,” says guitarist/producer Erik Rutan. “One thing I had hoped for with the writing of Chaos Horrific was that the material would push the envelope a bit in a slightly different direction than Violence Unimagined; expand the dynamics, explore new territory without departing from what Cannibal Corpse is and always shall be. That naturally happened and is exactly what we achieved with this album.” The band also continue to uphold their legacy as they sonically progress and evolve with each and every release, never repeating themselves and working hard to make every song unique. With the intention of making albums on which every song is potentially the standout they have certainly pulled this off on Chaos Horrific’s ten tracks, showcasing a broad range of dynamics that propel the whole thing thrillingly. Kicking off with the aptly titled “Overlords Of Violence” they are in full on attack mode, the track a straight down the line rampant aural assault designed to kill. Then there are the likes of “Frenzied Feeding” and “Blood Blind”, the former alternating between high speed technical aggression and deeply atmospheric mid-tempo ugliness, and the latter a brutal, loping chug-fest that carries so much sonic weight it is quite devastating, but literally any track could be singled out. Likewise, every track stands apart from those alongside them, but together they make so much sense, the record flowing seamlessly.
With the album named by drummer Paul Mazurkiewicz, the members all felt it was a great representation of the band, as is always the intention, and lyrically they linger in typically dark and twisted territory. Subjects covered include resetting the human race through mass mutilations (“Blood Blind”), fighting off hordes of zombies (“Chaos Horrific”), the selection of a random individual to be dismembered and sacrificed (“Summoned For Sacrifice”), and the violent revenge of victims of human trafficking (“Vengeful Invasion”). The album artwork - by longtime collaborator Vince Locke - is also suitably Cannibal Corpse-esque, featuring a chaotic tangle of the living and the undead, which evokes the lyrics of the title track.
Having now produced six Cannibal Corpse albums - starting with 2006’s Kill - this is Rutan’s second release as a full fledged member, having officially joined in 2020, and his contributions have only improved the band. “He already was part of the Cannibal Corpse family so his transition from producer to guitarist/songwriter/producer was seamless,” says Webster. “Erik’s a super hard worker so somehow he’s able to do all of those things at the highest level. We were already very comfortable working with him, and it’s only gotten better. We’re energized and excited about the future, and Erik’s contributions are a big part of that.” Adds Rutan, “I feel like every album we’ve worked on together has progressed forward with a better understanding of each other, allowing us to push each other further even more to get the best out of one another.”
Tracking at Rutan’s studio, Mana Recording in Florida, the band’s home state, was comfortable for all involved, though required everyone to work hard and be at the top of their game. Things went smoothly, and smoother than ever on the guitar front due to Barrett and Rutan having “custom guitars built with longer scale necks to hold the proper intonation necessary for lower tunings, which drastically reduced the hours spent on trying to track guitar that stays in tune throughout the session,” says Barrett. Webster asserts that it was a lot of hard work, and that “there’s a lot of attention to detail in the studio. We try to get the best possible tones from our gear, and capture the best possible performances. This can take a lot of time and effort but the end result is absolutely worth it.” Rutan states that the sessions were a “powerhouse”, with so much effort going into what has emerged as a massive album, further asserting that “everything about recording albums is hard but damn I love doing it! Creating albums, something that will last an eternity beyond our time, is something so very special, and every album we create I feel very grateful to have such an opportunity to do so.”
With the pandemic behind them, Cannibal Corpse were thrilled to hit the road again in 2022, finally able to unleash the Violence Unimagined tracks live. “We’re so grateful to be able to get back out there and play for all of our fans,” says Webster. “We’ve always enjoyed it, but after being forced off of the road for almost two years we appreciate the opportunity to play live that much more, and we are so thankful for all of the fans who’ve come out to the shows since we’ve been back at it. It’s great to see you all again!” They are already looking ahead to the touring in support of Chaos Horrific, every track on there destined to go off like a bomb when played live, and the band are primed and ready to destroy everything in their path. Though they have not given much thought to the fact that 2023 is their 35th anniversary, Rutan sums up how everybody feels about this milestone. “I think it is such an amazing feat. It speaks to the work ethic and dedication that everyone has put into Cannibal Corpse. When you think about how many bands never make it a decade, let alone three plus, it is such a testament to the creativity aspect and determination and loyalty towards what we do.”
Cannibal Corpse Website
Cannibal Corpse @ Bandcamp
Cannibal Corpse @ Deezer
Cannibal Corpse @ Facebook
Cannibal Corpse @ Instagram
Cannibal Corpse @ ReverbNation
Cannibal Corpse @ SoundCloud
Cannibal Corpse @ Spotify
Cannibal Corpse @ Twitter
Cannibal Corpse @ YouTube


Municipal Waste Thrash should leave you breathless, busted-up, and maybe even a little drunk (in a cutoff denim vest adorned with barely legible patches).
Since 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet—Tony Foresta [vocals], Ryan Waste [guitar], Philip “Landphil” Hall [bass], Dave Witte [drums], and Nick Poulos [guitar]—have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted The Art of Partying in its coveted “Hall of Fame” and asserted it “revved up interest in thrash and inspired a fresh wave of youthful new bands.” Metal Hammer christened The Art of Partying one of “The 50 Greatest Thrash Metal Albums Ever,” while Loudwire pegged The Art of Partying as “The Best Thrash Album of 2007” and Hazardous Mutation as “The Best Thrash Album of 2005.” The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017’s Slime and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019.
However, Municipal Waste maintain course as vicious and vital as ever on 2022’s Electrified Brain [Nuclear Blast].
“We’re not writing any love ballads to sell records,” affirms Tony. “We’re just doing what we’ve always done since the band started—and that’s try to write fun, fast, and ripping hardcorepunkmetal.”
The boys commenced work on Electrified Brain before the Global Pandemic swallowed 2020 whole. However, they took advantage of the time off the road to perfect their assault.
“It allowed us to focus on putting together structured songs,” says Ryan. “We wanted to diversify some of the tempos and bring in some new dynamics that we hadn’t ventured into before.”
“It was by far the hardest I’ve ever worked on a record personally,” adds Tony. “We all put a lot into this one.”
They recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange]. The sessions would be the first time the band reunited in person after a year. Together, they achieved “a thicker and heavier sound.”
Now, the single “Grave Dive” hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips.
“It’s in the vein of songs like ‘Headbanger Face Rip’ and ‘Wave of Death’,” Tony notes. “It’s an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.”
“High Speed Steel” practically splits asphalt with its jagged thrashing. Elsewhere, the title track “Electrified Brain” charges forward on a breakneck riff as a solo wails underneath the vocal snarl.
“Electrified Brain is a part of a continuing story about a character we created called ‘The Deathripper’,” the frontman goes on. “The band has a lot of angles we return to lyrically. This is just one of them. Another example would be the large amount of Kurt Russell songs we’ve amassed throughout our catalog. Ryan wrote the lyrics to ‘Electrified Brain,’ and it’s one of my favorites.”
“Crank The Heat” trudges over a thick doomy groove into menacing verses. “Our approach to writing it matches the lyrical content insofar as not trying to overthink things all of the time and remembering to enjoy what you’re doing,” exclaims Tony.
At the same time, they’ve expanded their influence throughout alternative culture. Ryan released a signature Waste guitar with RIP Custom Guitars, and Dave owns a vegan restaurant called Hang Space in Richmond. Of course, Municipal Waste will present their next beer from Three Floyds Brewing soon.
In the end, Electrified Brain will give you everything you’d want from a Municipal Waste record or heavy metal record, period.
“We hope you walk away with some bloody ears, blown speakers, pissed off parents, black eyes, and a healthy distrust of authority,” grins Tony.
Municipal Waste Website
Municipal Waste @ Bandcamp
Municipal Waste @ Deezer
Municipal Waste @ Facebook
Municipal Waste @ Instagram
Municipal Waste @ ReverbNation
Municipal Waste @ SoundCloud
Municipal Waste @ Spotify
Municipal Waste @ TikTok
Municipal Waste @ Twitter
Municipal Waste @ YouTube


Immolation Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.
Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.
The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explains Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.
“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”
A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.
Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.
The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.
Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.
Immolation Website
Immolation @ Bandcamp
Immolation @ Deezer
Immolation @ Facebook
Immolation @ Instagram
Immolation @ ReverbNation
Immolation @ SoundCloud
Immolation @ Spotify
Immolation @ Twitter
Immolation @ YouTube


Schizophrenia Back in January 2020, SCHIZOPHRENIA came out of nowhere with their debut EP ‘VOICES' to hit the Extreme Metal underground like a bomb. The big question was: would these youngsters from Antwerp, Belgium be able to top this with their debut full-length album? Answer: WOW, HELL YES!
SCHIZOPHRENIA have crafted a pure Deathrash diamond on which the band is displaying everything that Extreme Metal has made so legendary over the past decades! On top of the uncompromising ferocity and groove of the ‘VOICES' EP, their debut full-length RECOLLECTIONS OF THE INSANE is going even further in every aspect, sometimes even flirting with some melodic Death/Black Metal influences! Morbid Angel, Demolition Hammer, Slayer, early Sepultura, Dissection, Death, At The Gates, Obituary, Bolt Thrower, Pestilence…if any of these bands already gets you going, then imagine a blend of all those bands combined with SCHIZOPHRENIA’s unique and fresh interpretation of Extreme Metal!
Schizophrenia @ Bandcamp
Schizophrenia @ Deezer
Schizophrenia @ Facebook
Schizophrenia @ Instagram
Schizophrenia @ Spotify
Schizophrenia @ Twitter
Schizophrenia @ YouTube

13.10.2024 - Cannibal Corpse (USA), Municipal Waste (USA), Immolation (USA), Schizophrenia (Bel) @ Kino Šiška, Ljubljana

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NEDELJA, 13.10.2024
Ellende (Aut), Groza (Ger), Servant (Ger)

Orto Bar, Ljubljana
Začetek: 19h
Cena vstopnice v predprodaji: 25 €
Cena vstopnice na dan koncerta: 29 €
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Tokratna črna nedeljska maša bo gostila tri mlajše evropske black metal skupine: avtrijske Ellende in nemške Groza in Servant!


Ellende The austrian black metal project was founded in the year 2011 by L.G. as a soloproject and turned into a live project in 2012 with session musicians.
The band’s name comes from a Middle High German adjective originating from the West Germanic *alja-landja-, which can be translated as „being out of the(/one’s) country“. In the sense of „exiled“, this took on a negative connotation over time, reflected nowadays in modern German elend, i.e. „miserable“.
Ellende is strictly L.G.’s solo-project. All other people involved are session/live musicians.
Ellende Website
Ellende @ Bandcamp
Ellende @ Deezer
Ellende @ Facebook
Ellende @ Instagram
Ellende @ Spotify
Ellende @ YouTube


Groza Black Metal from Bavaria, Germany. Founded in 2016.
Groza @ Bandcamp
Groza @ Facebook
Groza @ Instagram
Groza @ Spotify


Servant Servant is a German black metal band from lower saxony which was founded in 2021 within the release of their well reviewed debut ‘Blessed By The Light Of A Thousand Stars’. Servant stands on the shoulders of great Scandinavian bands without the lack of an individual sound. Servant presents their style of Black metal both in a majestic and furious way.
New Album ‘Aetas Ascensus’ out now!
Servant @ Bandcamp
Servant @ Facebook
Servant @ Instagram
Servant @ Spotify

13.10.2024 - Ellende (Aut), Groza (Ger), Servant (Ger) @ Orto Bar, Ljubljana

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PETEK, 08.11.2024
Pins & Knuckles Faces of Death Tour 2024: Veil of Maya (USA), Signs of the Swarm (USA), Varials (USA), To the Grave (Aus)

Orto Bar, Ljubljana
Začetek: 18:30
Cena vstopnice v predprodaji: 30 €
Cena vstopnice na dan koncerta: 34 €
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Pins & Knuckles Faces of Death Tour 2024 prihaja v Slovenijo!


Veil of Maya By channeling energy in one direction, force grows exponentially. Veil of Maya harness the individual experiences and talents of four distinct musicians—Marc Okubo [guitar], Sam Applebaum [drums], Danny Hauser [bass], and Lukas Magyar [vocals]—into airtight groove-laden metal accented by fits of instrumental virtuosity and vocal catharsis. This approach has endeared them to a devout fan base with critical acclaim and over 100 million total streams and counting (unprecedented for an outfit this crushingly heavy). The Chicago band draw on the strength of their union on their seventh full-length offering, [m]other [Sumerian Records].
“We’re very focused on what our strengths are now,” observes Marc. “We’re in different spots of our lives, and we’ve figured out a lot more. We’re so excited to be back.”
“We each had more control over what we individually did on the album,” adds Sam. “We took the time to make what we wanted to make. It’s definitely Veil of Maya.”
Veil of Maya have consistently pushed the boundaries of heavy music by pushing themselves collectively. 2015’s Matriarch made major waves, crashing the Billboard US Hard Rock Albums Chart at #2 powered by “Aeris,” “LeeLoo,” and “Mikasa.” The latter has gathered over 25.4 million Spotify streams and counting. In 2017, False Idol saw the band return to the Top 3 of the Hard Rock Albums Chart as “Overthrow” and “Doublespeak” each eclipsed 8 million-plus Spotify streams apiece. The record also incited the applause of LoudWire, Substream Magazine, Metal Hammer, and Invisible Oranges who raved, “False Idol is undeniably Veil of Maya: greatly contrasting the band’s past, it serves as a companion and booster for their older work.” Simultaneously, they toured alongside Animals As Leaders, Upon A Burning Body, Chelsea Grin, Oceans Ate Alaska, and more. In the midst of the Pandemic, they dropped “Outsider,” “Viscera,” and “Outrun.”
Meanwhile, Marc decamped to Los Angeles where he found new inspiration and a creative kindred spirit in producer Zach Jones [FEVER333, Poorstacy].
“I had to get out of where I was staying, and L.A. was a nice change of pace at the time,” he reveals. “We really enjoyed working with Zach. We had tried one song and just kept going. He was able to execute our ideas very clearly. His approach was positive and inspiring. He brought the best out of us and added modern twist, tightening everything up.”
After sharing “Synthwave Vegan,” the band set the stage for the album with “Godhead.” Menacingly pulsating electronics set the tempo only to give way to a guttural scream and methodically chugging riff.
“It’s looking at a very terrifying situation from a third-party perspective,” notes Lukas. “The instrumental made me think of a heist or a bank robbery, so it feels like a metaphorical invasion. You don’t have any control over what’s happening, and you’re scared. That’s the feeling vocally.”
Elsewhere, “Red Fur” layers clean vocals above an airy soundscape only to snap into a head-spinning and hard-hitting groove offset by a hummable hook.
“I got convinced to go to a Rufus Du Sol concert,” recalls Marc. “I was immediately inspired though. The next day, I was like, ’Let’s combine some of this with our style’. That explains the electronic opening.”
“It’s pretty focused on today’s society and the inner dynamics of how toxic it can be,” adds Lukas. “A lot of people don’t seem content unless they’re bringing harm to another person—whether it’s with their words or actions. It’s gotten to a point where it seems pretty unavoidable.”
Inspired by everything from Nine Inch Nails to the E.T. soundtrack, “Mother Pt. 4” continues a long-running series for the band in epic fashion.
“There’s a theory that space travel is in fact time travel,” Lukas goes on. “The music gave me this weird Interstellar vibe. I was really attracted to it and decided to articulate the theory with a story in the lyrics.”
“Artificial Dose” slips from a cybernetic groan into another soaring refrain bolstered by the mind-numbing onslaught of Kevlar-thick distortion.
“It was based on a personal experience,” Lukas states. “You’re stuck in a situation that isn’t any good for you, but the only way to escape is to keep moving forward through it despite the fact you’d rather lay down and die.”
The ride concludes with “Death Runner.” Screams pierce a steamrolling riff rife with pinch harmonics only to subside on an entrancing cello-wrapped bridge. “It ended up really starting the project,” reveals Marc. “We did something different with it.”
In the end, this is Veil of Maya at their collective best.
“I hope you’re inspired to listen to this again and again,” Marc leaves off. “Maybe you’ll hone in on the little details as you go further, and it will musically become a cinematic experience.”
“We’re always growing and doing something different, “ Lukas concludes. “I think we’re all grateful to be doing this after so long.”
Veil of Maya Website
Veil of Maya @ Deezer
Veil of Maya @ Facebook
Veil of Maya @ Instagram
Veil of Maya @ Spotify
Veil of Maya @ X


Signs of the Swarm Deathcore was once dismissed as a trend, so it’s ironic that it now has trends within itself. Downtempo, slamming and now blackened variants of the style have dominated its scene at various points, with many bands jumping ship.
Pittsburgh’s Signs of the Swarm aren’t just any band, though. They’re a once-a-generation beacon that radiates the sounds that surrounded them, preserving history by reframing it. On fourth LP Absolvere, they’re bleak without being blackened, smashing without being slam, and downtempo as a choice rather than a stylistic confine. And as many of their deathcore peers experiment with adding singing, often gruff in tone, they add a more ethereal style that soothes on “Dreaming Desecration” and “Death Whistle.”
The band contrasts that with some of the most brutal moments in their eight-year career, with riffs more punishing than pensive and a rhythm section that frames them in creatively cacophonic ways. Above it all, they’re utilizing vocalist David Simonich monstrous range in a much fuller capacity than on his debut, 2019’s Vital Deprivation.
That transitional album found the band experimenting to re-find their footing, which here lands on solid ground through the addition of guitarist Jeff Russo, a former bandmate of Simonich’s fin Improvidence. The proof is in the placing, with Absolvere landing at #15 on “Current Hard Music Albums,” #21 on “Top New Artist Albums” and #139 on “Heatseekers.”
Behind the cohesive crusher is drummer-turned-bassist-turned-drummer Bobby Crow, who acted as de facto producer, arranging the riffs written across Skype to make the songs more than the sum of their parts.
This gave Simonich a lofty platform from which to roar about the real (loved ones struggling with addiction, submitting one’s self wholly to art despite negativity swirling about) and the surreal; he or his characters beg for the release of death only to be denied. “Nameless” centers around a character collecting souls marked by death to receive its blessing, while “Blood Seal” follows a ritual to summon it. “Dreaming Desecration” and “Hollow Prison” are two sides of the same coin. When one finds themselves trapped in a meaningless existence, they can either attempt to escape through murderous hallucinations or succumb to the grave, respectively.
“Death Whistle” is the penultimate song, closing the album and the writing sessions for Absolvere with a tale concluding in sweet release. The piercing screech of the titular whistle contrasts with a subtle serenade.
Indeed, sometimes contrast can be a perfect complement, but more often that effect is achieved when paired with something more in-line. So it is when Ben Duerr (Shadow of Intent) and Alex Erian (Despised Icon) join the band for growls and shouts, where Signs of the Swarm filter their guests’ bands through their own sound. Instead of taking away from their identity, it expands it.
They’re steadily expanding their global reach, too. In the few short months since Absolvere’s release, Signs of the Swarm have toured with the likes of Fit for an Autopsy, Born of Osiris and Shadow of Intent. Forthcoming domination campaigns of Europe and Australia will be added to their tenure with Aborted, Lorna Shore, Brand of Sacrifice and more. Forget the signs, the swarm is already here, and it’s growing larger and louder every day.
Signs of the Swarm @ Facebook
Signs of the Swarm @ Instagram
Signs of the Swarm @ Spotify
Signs of the Swarm @ X
Signs of the Swarm @ YouTube


Varials With their second album In Darkness, Philadelphia’s Varials traffic in moshy-metal. While the music is heavy enough to shift tectonic plates, it’s not merely about crowd-killing breakdowns – although those exist in spades on the record. Rather, the band explores other aspects of heavy from the lyrics to the tones to the song structures to the melodies. It’s a sonically dense, precise, and intense record, and it’s not pretty. The same can be said about the lyrics, which plume the depths to which humanity can sink.
In Darkness isn’t interested in the light, and that’s just how Varials like it.
Varials Website
Varials @ Facebook
Varials @ Instagram
Varials @
Varials @ Spotify
Varials @ TikTok
Varials @ X
Varials @ YouTube


To the Grave Hard-line vegan deathcore crew To The Grave are one of Australia’s most uncompromising bands. Since the release of their 2019 debut album Global Warning, the caustic five piece have garnered international success, with 2021’s follow-up Epilogue, a re-issue of Global Warning with bonus tracks, solidifying their position as “one of the country's heaviest exports.” (Revolver).
To The Grave have steadily built an audience in the underground, accumulating more than 20 million Spotify streams, all whilst crushing live audiences alongside Parkway Drive, Polaris, Cattle Decapitation, Thy Art Is Murder, Vulvodynia and Alpha Wolf.
Throughout, the band have gained positive media attention, described in the press as, “one of the most intense, enthralling bands the genre can offer” (Distorted Sound), and “home to one of the most comprehensive vocal performances in modern deathcore” (New Transcendence), with recent reviews adding that they “are destined for greatness. The future of Australian deathcore is here” (Wall of Sound).
Their latest album Director’s Cuts and the companion EP Offcuts are packed with ambition and conscience. To The Grave have never shied away from channeling the real horrors of animal cruelty and its impact into the violent, emotional intensity of their music. Songs such as ‘Cut Off The Head’ ‘Shock Tactics’ and ‘Deadskin Skimask’ perfectly conjure images of a world gone astray, exploring the band’s unwavering commitment to animal rights and environmental responsibility.
Lyrically they expose a societal and environmental hell on earth whilst pushing the boundaries of accessible extremity, full of barbed hooks, thick with atmosphere and drenched in groove. Razor sharp guitars played with an exploratory approach - blending everything from whammy pedal squeaks and chiming cleans to death metal chainsaw tones - are entwined with live drums to give a level of dynamism that musically sets this band apart from the extreme metal pack, yet they maintain the weight of the heaviest bands today. Vocalist Dane Evans commands a multifaceted performance, bursting with vocal energy from throat ripping dissonant screeches to low end gutturals.
Following sold-out Australian headline tours in 2022 and 2023, the band have joined the world stage, decimating audiences in North America and Europe with their relentless live show on tours with Shadow Of Intent, Carnifex, Signs Of The Swarm, Angelmaker, Enterprise Earth and The Last Ten Seconds of Life.
To the Grave Website
To the Grave @ Facebook
To the Grave @ Instagram
To the Grave @ Spotify
To the Grave @ X
To the Grave @ YouTube

08.11.2024 - Pins & Knuckles Faces of Death Tour 2024: Veil of Maya (USA), Signs of the Swarm (USA), Varials (USA), To the Grave (Aus) @ Orto Bar, Ljubljana

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PONEDELJEK, 18.11.2024
Alcest (Fra), Svalbard (UK), Doodseskader (Bel)

Kino Šiška, Ljubljana
Začetek: 20h
Cena vstopnice v predprodaji: 32 €
Cena vstopnice na dan koncerta: 37 €
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Francoski Alcest prihajajo v Slovenijo!
Nazadnje smo jih lahko videli na turneji skupaj z Anathemo, sedaj pa končno kot glavno skupino večera. Tokrat bodo predstavili svoj zadnji album Les Chants de L’Aurore. Kot predskupini bomo lahko videli britanske postmetalce Svalbard in belgijske sonic terror Doodseskader.


Alcest “The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”
As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.
The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.
From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.
Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.
“I guess all musicians have more or less the same story to tell,” says Neige. “We did one tour in Europe for the release of the last album, and we were able to play the last show in Paris, but two days later, there was the lockdown. We had to cancel all our plans to tour in the States and everywhere else. But we’d been touring so much for the previous 10 years that it felt like a forced but necessary break, for me to just be able to be at home and focus a little bit on my family, my friends and myself. It was quite life-changing, to be obliged to stay at home. You had to review all your perspectives, you know? They were strange times, but now it almost feels like it didn’t happen…”
Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.
“I needed to go back into my inner world,” Neige says. “That’s where most of my resources and most of my inspiration for Alcest comes from. The last couple of records were quite dark, because they were influenced by things that were happening around me, like the terrorist attacks in Paris. We are living in very dark times. For the new album, I wanted to do the opposite – to bring a little bit of light into this world. Everything is so dark, and I find that light and beauty are not things that are very familiar anymore, especially in metal music. But my inner world is very bright and uplifting, and I thought it would be nice to make a record around this. Despite the overall style of the album, all the songs have their own themes and individuality, exploring different facets of Alcest's concept. This album is a journey with a beginning and an end that should be listened to as a whole, bringing the listener to various musical landscapes and emotions.”
Recorded by Neige and Winterhalter themselves, with a little help from talented friends, Les Chants de L’Aurore pulls off the neat trick of sounding both huge and intimate. From the opening Komorebi onwards, Alcest sound reborn and revitalised, as their most cherished trademarks are reinvented for a new era, and with new depths and sophistication on display.
“We bought some new equipment, and we recorded the album like bands were doing it in the ‘70s,” Neige explains.” We went into this big house, and the drums were recorded in this big attic, with a really nice reverb! So it was interesting to do it ourselves, because we could spend as much time as we wanted to, to perfect the takes. We wanted some really organic production, but also I wanted this orchestral approach, with lots of arrangements and different kinds of sounds, like real piano and real choirs. It was quite an ambitious recording.”
A band known for their empathetic ethos, Alcest have never sounded more blissful than they do on Les Chants de L’Aurore. As Neige explains, new songs like recent single L’Envol and the epic L’Enfant de la Lune aim to counteract the negativity and darkness that surrounds us in the so-called real world, with hazily expressed visions of a different place and time. After dealing with the abstract horrors of mortal existence on previous records, Neige has returned to the comforting cocoon of his spirituality, and with the specific intention of spreading some love and positivity.
“This album is really coming back to the original concept of Alcest,” he notes. “It’s really about exploring this other world, in the same way that I wrote about it on the first album. The music should be a key to open the door to this other world. It’s like a gate to something else, and it’s a place that is the most beautiful thing you could imagine… but it’s difficult to describe, so that’s why I choose to make music. Because music can speak much more than words. There is a lot of beauty in it, as opposed to what is happening in the world, and I guess it touches people. I’m very thankful for that.”
Five years after their last album, Alcest have reconvened with a refreshed perspective on their epoch-altering musical endeavours. Les Chants de L’Aurore arrives at a tumultuous point in human history, laden with gentle charm and ferocious conviction, and doggedly determined to push Neige’s musical identity ever further into an expansive future. More importantly, perhaps, Les Chants de L’Aurore gives Neige a fresh opportunity to connect with his adoring fan base, armed with some of the most beautiful and mesmerising music that he has ever written.
“We always put all of our heart and soul into making a new record, but when it is released, it doesn’t belong to us anymore,” Neige shrugs. “People will decide if they like it or not, and that’s it, but I really love this album and I have a very special attachment to it. I’m never going to say ‘It’s the best fucking thing!’ [Laughs] That’s not our style, you know? But from the perspective of the latest feedback and the excitement people have expressed, I think it’s going to be great. We’ve got a 35-show tour booked for the end of the year, and we’ll play in some really nice venues, like the Olympia in Paris, the most iconic venue in Paris. Even the Beatles and the Rolling Stones played there! I’m so excited and honoured to play there. Then we will do the States and Asia next year, I hope. We don’t release albums very often, and this one took five years, so I think we’re going to tour a lot over the next three years.”
Alcest @ Bandcamp
Alcest @ Deezer
Alcest @ Facebook
Alcest @ Instagram
Alcest @
Alcest @ SoundCloud
Alcest @ Spotify
Alcest @ X


Svalbard You'd be forgiven for struggling to summarise the sound of Svalbard in a few words. Since forming in 2011, the band have had their hands in black metal, post-rock, d-beat, shoegaze, hardcore, and post-metal. Whilst their music stubbornly refuses to fit neatly into one genre, one word remains a fitting adjective for the British quartet: unique. Svalbard spent their early years playing DIY shows, releasing 3 EPs, and honing their sound, before eventually dropping their debut album One Day All This Will End in 2015. Since then, Svalbard gained the momentum of a runaway freight train, releasing two further albums whilst continuing to refine their vast array of musical influences; drawing from video game soundtracks, grindcore and dream pop all buried within a distorted yet dynamic sound. But they're not just heavy in the musical sense of the word. No one articulates the reality of mental illness as succinctly as Svalbard. With 2020's When I Die Will I Get Better the band cut so deep both musically and lyrically that it raised the questions: where can Svalbard possibly go from here? How do you follow up an album created at the darkest point of your life? If this were a Disney movie, this would be the point where we say that new record The Weight of the Mask is the light piercing through the dark clouds, the hope returning into your heart, the promise of a happy ending… Well. It's not. The depression did not simply go away. It clinged like a limpet, it morphed over lockdown after lockdown, it grew into a beast. But it's a beast that Svalbard no longer fears. If the previous record was about facing your demons, then this album is about fighting them with everything you've got.
Written in the band's freezing cold rehearsal room in Bristol - which required two members to drive 120 miles from London every weekend - the album did not come together painlessly. The pressure of the success of their fourth album was daunting and the band's response was to take an extremely meticulous approach to writing new material. "I've lost count of the amount of times these songs changed," joked Serena Cherry (lead guitar/vocals) "but in that process of deeply analysing each musical idea we certainly learned how to get the best from each other”. The band were keen to work with producer Lewis Johns again, as he truly understands both the heaviness and the beauty in Svalbard's sound. Lewis makes the band feel comfortable enough to draw out their darkest emotions when recording, with Serena admitting she "cried in the vocal booth when recording the lyrics to all of these songs”.
With a fourth album now under their belts, Svalbard are going from strength to strength - not just as one of the brightest sparks in metal and contemporaries of a burgeoning modern British metal scene, but as advocates for mental health.
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Doodseskader DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).
Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.
The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.
The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.
Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.
Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.
Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.
Doodseskader Website
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18.11.2024 - Alcest (Fra), Svalbard (UK), Doodseskader (Bel) @ Kino Šiška, Ljubljana

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