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 |
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 |
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 |
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 |
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 |
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 |
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 @ Last.fm 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 |
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 @ Last.fm 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. Svalbard @ Bandcamp Svalbard @ Facebook Svalbard @ Instagram Svalbard @ Spotify Svalbard @ TikTok Svalbard @ X Svalbard @ YouTube |
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 Doodseskader @ Bandcamp Doodseskader @ Deezer Doodseskader @ Facebook Doodseskader @ Instagram Doodseskader @ Spotify Doodseskader @ YouTube |
CRADLE OF FILTH
Belched from Hell’s depths onto the piss-stained concrete of Suffolk thirty long and disturbing years ago, Cradle Of Filth are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.From primitive early works like 1992 debut The Principle Of Evil Made Flesh to more expansive and theatrical classics like Cruelty Of The Beast and Midian, Cradle Of Filth defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful. In more recent times, Cradle Of Filth have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s Hammer Of The Witches, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s Cryptoriana - The Seductiveness Of Decay repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, Cradle Of Filth were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, Existence Is Futile, is yet another monumental and electrifying journey through the dark. “We’ve enjoyed that momentum since this line-up came together,” states Dani Filth. “It was a line-up we needed to pull together for a tour, but it worked so much better than it was before. 2019 was our busiest year ever, we were everywhere. And here we are again, with the difficult third album! There was only one change for this record – we parted ways with Lindsay [Schoolcraft]. Our new keyboardist has been in the band since November last year and still no one knows who the fuck she is! We were going to reveal it for our planned live performance, but obviously that got put back. So you’ll have to wait and see.” Buoyed by their recent triumphs, Cradle Of Filth – completed by drummer Martin ‘Marthus’ Škaroupka, guitarists Ashok and Richard Shaw, and bassist Daniel Firth - recorded Existence Is Futile during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk, with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the 13th Cradle Of Filth album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of How Many Tears To Nurture A Rose or monstrous ballad Discourse Between A Man And His Soul for anyone other than Cradle Of Filth, of course, but Existence Is Futile confirms that the band’s exploratory instincts remain as sharp as ever. “The last one was very ornate and fiddly and meandered all over the place,” Dani notes. “We tried to put all the ingredients of all the Cradle records onto one album. With that out of our systems, we tried to experiment a little bit this time. I hate that word, because you know what happens when Metallica experiment or Megadeth experiment! [Laughs]. Obviously there’s really stupidly brutal songs and some less brutal songs. But despite the extremes prevailing, we still wanted to do something really catchy. So there are, god forbid, choruses too!” Underpinned by its huge and disarmingly organic production, Existence Of Futile is plainly the darkest and most unsettling album Cradle Of Filth have made in a long time. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written. “The album is about existentialism, existential dread and fear of the unknown. The concept wasn’t created by the pandemic. We’d written it all before that began, but the pandemic is the tip of the cotton-bud as far as the way the world’s going, you know? I guess the title, Existence Is Futile, does sound a little bit morbid. But again, it’s more about recognising that and saying that everything is permitted because nothing is really real, which was Aleister Crowley’s maxim. We all know we’re going to die, so we might as well enjoy it while we’ve got it. The last track on the album - Us, Dark, Invincible – it really emphasises that. We’re saying ‘Fuck it, we know the world’s fucked so let’s enjoy it while we can!’ The artwork for this record was done by Arthur Berzinsh, who also did the last two albums, and that’s very apocalyptic, too.” With the best possible timing, Cradle Of Filth were already due to make a new album during those long, lonely months of lockdown in 2020. Having Grabbed the opportunity with both scabby-knuckled hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience. “I’d spend all day in the studio and see no one, and then I’d drive back home through a totally empty town. It just felt like you were in this little sleep chamber. It was a great feeling but very surreal. It was all during the summer, when the weather was fabulous. It was just me and Scott, for three months! The good thing was, while we were in there, at least three of the songs got a complete overhaul. I listened to the demos again and thought, ‘Fuck, why didn’t we put this on the album?’ But we /did/ put it on the album, we just changed it so much that it’s not the same song anymore. So that was a good bi-product of the lockdown situation.” Sonically speaking, Existence Is Futile is easily the most powerful and dramatic record Cradle Of Filth have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, and Existence Is Futile may be the most vivid representation of the Cradle Of Filth experience yet. “We were definitely leaning towards making sure that it sounded as live as possible, and especially the drums,” says Dani. “We tried to make everything as concise as possible as well. If there was clutter, we removed it. We wanted it to sound as big as possible, especially when Martin’s playing at a million miles an hour. With songs like Crawling King Chaos and Existential Terror, it’s a battle to make it sound massive, with choirs and the feel of the apocalypse coming, without it becoming a complete mess. I think we did a great job with it.” Diehard fans will be thrilled to learn that horror icon Doug ‘Pinhead’ Bradley makes a welcome return to the Cradle fold, lending his dulcet tones to the epic Suffer Our Dominion, and to one of the forthcoming new record’s bonus tracks, as Dani explains. “There’s two bonus tracks, and one of them is the third part to Her Ghost In The Fog, the culmination of that story. We decided to keep that from the record, because it didn’t encapsulate what the rest of the album was about, but obviously Doug Bradley makes an appearance once again. He lives in Pittsburgh, which he calls ‘The Pit’, and we did it over Skype. Naturally he did it really quickly. He also does this almost David Attenborough-ish role on Suffer Our Dominion, which is probably the most politically correct song we’ve ever done! We’re not really branching into politics, but it’s something that needed saying. It’s just saying that we fucked the planet up and we need to address the situation… but in Cradle-speak, of course!” If we’re all going to perish in the flames of our own stupidity, we might as well have a suitably deranged and destructive soundtrack. A bewitching, fearless nosedive into the abyss, Existence Is Futile confirms the ferocious efficacy of Cradle Of Filth in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!” Cradle of Filth Website Cradle of Filth @ Bandcamp Cradle of Filth @ Deezer Cradle of Filth @ Facebook Cradle of Filth @ Instagram Cradle of Filth @ SoundCloud Cradle of Filth @ Spotify Cradle of Filth @ X Cradle of Filth @ YouTube |
BUTCHER BABIES
For over a decade, Butcher Babies have been crushing stages worldwide with their vicious live performance and explosive energy. Their stage presence is a hypnotic spectacle that leaves audiences hungry for more. Frontwomen Heidi Shepherd and Carla Harvey, guitarist Henry Flury, drummer Chase Brickenden and bassist Ricky Bonazza juxtapose brutal, aggressive riffs with beautiful melodies that wail with emotional redemption.Hailing from the City of Angels, Butcher Babies aided in the jubilant revival of the metal scene on LA’s iconic Sunset Strip, landing the band a record deal with Century Media Records. The group’s first two studio albums reached the Top 5 on multiple Billboard charts. Butcher Babies hit a new record high with their latest LP, ‘LILITH’ as it debuted at No. 1 on the iTunes Metal Charts and No. 7 on the iTunes Rock Charts with a duo of tracks hitting the U.S. Radio airwaves. With three albums and two EPs under their belt, Butcher Babies have reached a new level of maturity solidifying a triumphant return after a brief creative hiatus to write and rebuild. The band kicked off 2021 by releasing a barrage of new singles, reflecting their growth as a band. The group is ready to take on new heights while they continue to knock down barriers. Butcher Babies have toured relentlessly among the likes of Megadeth, Rob Zombie, Marilyn Manson, Five Finger Death Punch, Danzig, In This Moment, Hollywood Undead, Cradle of Filth, Black Label Society, etc; played music festivals including Mayhem, Download (UK), Hellfest (France), Knotfest (US & Japan), Hell and Heaven (Mexico), Rock on The Range, Carolina Rebellion, Louder Than Life, Aftershock, Welcome to Rockville, etc. They have recently appeared in the film ‘Alleluia! : The Devils Carnival’ and the Netflix horror hit ‘Slasher’. Butcher Babies Website Butcher Babies @ Facebook Butcher Babies @ Instagram Butcher Babies @ Last.fm Butcher Babies @ Spotify Butcher Babies @ X Butcher Babies @ YouTube |
MENTAL CRUELTY
With their latest album „A Hill To Die Upon“ Mental Cruelty combined blackened- breakdowns and blast beats formula with epic arrangements, orchestral ornaments and a pinch of “SLAM”. The result is a real monster of brutality, which is underlined by its high musical ability like in the last release (Inferis, 2019, Unique Leader Records) with producer Sky Van Hoff (Kreatur, Rammstein, Caliban).With the third work, especially the orchestral background music with US producer Josh Schroeder (Lorna Shore, In Hearts Wake, The Browning, The Plot in You) is refined and mixed in a new guise. Even if with an average age of 23. The guys have set a pace that seems tireless up to now, they have grown from their "angry slam kid" attitude to a permanent instance of the German metal scene and have since been able to keep up with well-known bands of their genres. Their goal is to deliver uncompromising live performances with outstanding vocals and precise instrumental work. Mental Cruelty has created a formative function in social media as well as in the metal community and plans to continue its course now with their new label Century Media Records (Sony Music). More music is currently in the making. Mental Cruelty Website Mental Cruelty @ Bandcamp Mental Cruelty @ Deezer Mental Cruelty @ Facebook Mental Cruelty @ Instagram Mental Cruelty @ Spotify Mental Cruelty @ YouTube |
FAUN
FAUN are one of the world's leading bands for the fusion of medieval instruments with modern music and have released eleven studio albums since 2002. Their CD releases reach top positions in the German album charts (e.g.: "Pagan" & "Midgard" #3). They have also been nominated three times for the Echo, the biggest German music award, and reached platinum status with their albums "Von den Elben" and gold status with "Luna".FAUN have played more than 1000 concerts worldwide and excite the audience in cultural and seated venues as well as at music events, like for example folk and heavy metal festivals. With a variety of virtuously played medieval instruments, polyphonic vocals and archaic beats, FAUN are a live act that inspires thousands of visitors all over the world. Faun Website Faun @ Facebook Faun @ Instagram Faun @ Spotify Faun @ X Faun @ YouTube |
MARCUS & MARTINUS
Wonder of twin power! The 22-year-old brothers from Norway and successful artists Marcus & Martinus will play 15 exclusive club concerts in selected European venues as part of the “We Are Not The Same Tour” in 2024/2025. With it, they are returning on stage with an amazing live performance. The successful musicians celebrated their 10th anniversary on stage only last year and started their arena tour “We Are Not The Same Tour” through Scandinavia with great success in January 2024. Marcus & Martinus are now looking forward to seeing their fans in Europe during this year and in 2025. The advance ticket sale will start on 8th April 2024!Marcus & Martinus started their career at the age of ten at the Norwegian “Melodi Grand Prix Junior” and are since then already established as successful artists in large parts of Europe. In 2015, Marcus & Martinus released their debut album "Hei", which climbed straight to number one in Norway. The albums “Together” from 2016 and “Moments” from 2017 were followed by further number one hits in Norway and also in Sweden. In 2017, they won the Nickelodeon Kids' Choice Award in the category "Favorite Music Star: Norway". During these years they’ve been a supporting act for Jason Derulo, sold out Globen twice within minutes, and performed at the 2016 “Nobel Peace Prize” ceremony in Oslo. Their song “Elektrisk” holds the record for the most streamed Norwegian song of all time. This has resulted in large social channels hundreds of millions of streams and devoted fans all over the globe. Prior to their European tour, Marcus & Martinus will participate in the “Eurovision Song Contest 2024” for Sweden with their electric hit single "Unforgettable", which will also be featured on their latest album. The pop-duo won the Swedish preliminary round by a large margin and the song immediately hit the Spotify and Airplay charts in the Nordic countries. The electro pop song "Unforgettable", which the two 22-year-old Norwegians wrote together with the hit writers Jimmy "Joker" Thörnfeldt, Joy Deb and Linnea Deb, is about the unforgettable encounter with a femme fatale. The story of Marcus & Martinus is like a modern fairy tale. Two boys from a small village in Norway have managed to conquer the world with their music. They are a role model for young people and show that anything is possible if you follow your dreams. And they don’t stop dreaming - they want to continue making music, touring the world and sharing their passion for music with their fans. Their catchy pop music and magnetic stage presence is impossible not to like. The "We Are Not The Same Tour" promises an absolute highlight for all fans of the pop-duo: They can expect electrifying live performances that showcase Marcus & Martinus's dynamic stage presence and unparalleled talent. Get tickets now! Marcus & Martinus Website Marcus & Martinus @ Facebook Marcus & Martinus @ Instagram Marcus & Martinus @ Spotify Marcus & Martinus @ TikTok Marcus & Martinus @ X Marcus & Martinus @ YouTube |
