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WINTERSUN Bio: The amazing artwork from the self-titled debut album "Wintersun", courtesy of Necrolord already gives you a hint where this act might come from, exactly, Finland! Hailing from the land of the thousand lakes where the winters are long and cold, WINTERSUN is the new project of singer and multi instrumentalist Jari Mäenpäa, who recently left his former band ENSIFERUM. Powerful and majestic with a lot of energy, the music of WINTERSUN mainly flows with great melodies influenced by folk and Scandinavian traditional music. If you enjoy bands like AMORPHIS (in their early days), CHILDREN OF BODOM, FINNTROLL or ENSIFERUM, "Wintersun" is the right choice for you! Lyrically the album deals with mastermind Jari's life, feelings, emotions, hallucinations and dreams, facts that make the record a very personal piece of work. Beside Jari, drummer Kai Hahto from the Finish Grindcore/Death Metal band ROTTEN SOUND playes on "Wintersun" and provided the album with a hellish pummelling in all of the right parts. The rest – vocals, guitars, bass and programming – was done completely by the perfectionist Mäenpäa. They both managed to create a diversified song spectrum from speed metal tracks over heavy guitar tracks to bombastic mid tempo opuses. While fast songs like opener 'Beyond The Dark Sun' and 'Winter Madness' stress out the high technical abilities of WINTERSUN, epic songs with big choruses like 'Sleeping Stars' and 'Death And The Healing' show the unique feeling of Jari for emotional and melancholic melodies. The vocals always fit perfectly to the present mood – Jari masters everything, no matter if you take melodic clean vocals, brutal screams or Viking-like chants. Currently WINTERSUN are searching for band members to be able to play live concerts. And you can be sure: As soon as Jari and Kai have completed their line-up, you'll get a pure feast of Finish Metal also on stage! WINTERSUN is epic Melodic Death Metal once more over the top! The band wanted to increase their success after the release of "Wintersun" with a new album. After a few years of hard work on new material the album “Time I” was released in October 2012. Because of the very extensive elements, the whole works of the “time saga” is split in the two individual albums" Time I" and "Time II". Now - after another 5 years - WINTERSUN return with their 3rd studio album entitled »The Forest Seasons«. Its release is accompanied by a massive crowdfunding campaign the band set up to finance their planned WINTERSUN headquarters. After finishing this Indiegogo campaign with an impressive amount of several hundreds of thousands euros, the band also confirmed their new guitar player Asim Searah, who will play his live debut at this year’s summer festivals. Wintersun Website Wintersun @ Facebook Wintersun @ Twitter Wintersun @ YouTube

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THE BIRTHDAY MASSACRE Bio: The Birthday Massacre is from Toronto, Canada. Combining their interests in various musical and artistic styles, the band has successfully accumulated an impressive international fan base, press accolades, and defied categorization with their unique sound and visuals. The band was formed in 1999 and independently produced and recorded their first two albums, Nothing and Nowhere and Violet. Through both of these high-demand releases, as well as their highly acclaimed and beautifully atmospheric website, the band obtained a large and loyal fan base throughout the world. Due to their independent success, in 2005 they were approached and signed by Metropolis Records and the band began its steady climb to reaching a much wider audience with the 2007 release of the acclaimed and wildly popular Walking With Strangers. In the last few years, the band has been performing internationally, traveling extensively across Canada, the United States, Mexico, Australia, the U.K. and Europe. They have become renowned for their high-energy live performances, drawing large, mixed crowds through their appeal to fans of a surprisingly wide range of genres. Equally comfortable playing intimate venues as they are on a festival stage, the band's highly-praised performances will continue into the next year as they continue touring. Their fourth full length album "Pins And Needles", released September of 2010, landed on the Billboard Top 200 chart and in the top 10 of Billboard's Heatseekers chart. Currently, the band is writing and recording new music and preparing for shows in 2011. The Birthday Massacre Website The Birthday Massacre @ Facebook The Birthday Massacre @ SoundCloud The Birthday Massacre @ Twitter The Birthday Massacre @ YouTube

SIRENIA Bio: SIRENIA was formed by Morten Veland in January 2001. Morten’s musical work was already well known through his work with his former band Tristania, a band he co-founded back in the mid nineties. Being the main songwriter for this band he was a part of defining the gothic metal sound from a very early time on. With SIRENIA his intention was to bring it to the next level, a task he succeeded to fulfil. Up to date SIRENIA has released 7 albums, an EP and several singles. Their albums have made it to the charts in 6 countries, receiving great reviews worldwide. Meanwhile their singles have topped radio charts in several countries. Their 8th album ‘Dim Days of Dolor’ will be released on the 11th of November 2016 by Napalm Records. ‘Dim Days of Dolor’ is a very diverse and complete album that sums up the bands career in addition to adding new and exciting elements. With this album the band shows that they have staked out their musical path and perfected their unique style. SIRENIA has also toured extensively in Europe, Central and South America, Australia for over more than a decade and performed at the biggest festivals in Europe on the same billing as huge acts like; Ozzy Osbourne, Iron Maiden, Aerosmith and Korn, to mention a few. SIRENIA sounds like a mixture of gothic metal and rock with classical orchestrations, in addition to some elements from more extreme metal genres. Their sound have a solid base in the powerful drums and bass supported by massive rhythm guitars, dressed with atmospheric keyboards and spiced with melancholic violins and 12-string guitars. The music is at all times melodic and groovy. The vocal styles are diverse and consist of female vocals, choirs, growls, screams, clean male vocals, whispers and samples. The songs are very intense and the atmosphere changes frequently. The lyrics are based on reflections on life, death, love, hate, paranoia, anxiety and mental decline in general. The band has been through some line-up changes over the years, but has now settled with a fixed and strong line-up. Sirenia is: Morten Veland [guitars and vocals], Emmanuelle Zoldan [female vocals], Jonathan A. Perez [drums] and Jan Erik Soltvedt [guitars]. Sirenia Website Sirenia @ Facebook Sirenia @ YouTube

THE AGONIST Bio: Over the course of three full-lengths The Agonist have proved they’re no “Flavor of the Week.” Through great songs, hard work, and an ardent fanbase, the Montreal-based five-piece quickly established themselves as torchbearers of a new generation of Canadian metal, much of it on the shoulders of founding members Danny Marino, Chris Kells, and Alissa White-Gluz. Throughout the last decade, The Agonist spread their respective wings wide, touring with a wide array of notable artists, including Danzig, Kamelot, Corrosion of Conformity, Enslaved, Kittie, and Epica. Times and circumstances change, however. After parting ways with White-Gluz in 2014—she’s now center stage in labelmates Arch Enemy—, The Agonist set out to find a new vocalist. For a split second, the group considered a frontman to replace White-Gluz, but quickly realized the dynamic wouldn’t work. Searching high and low, they found American vocalist Vicky Psarakis on Youtube. Psarakis wasn’t just covering songs by Iron Maiden, Nevermore, Adele, and Nightwish in the comfort of her home studio. She was magically altering them. Her online performance was enough for The Agonist to request an audition, for which she nailed and the rest is history. “The change has actually been quite smooth overall,” guitarist Marino acknowledges. “Part in thanks to Vicky’s ability to rise to the occasion and our fans open mindedness. I think the fact that the Agonist has often gone outside the box musically has attracted fans that welcome change and new things pretty easily.” The Agonist, now with Psarakis fronting, are preparing to unfurl Eye of Providence. Powerful, diverse, aggressive, and epic are all buzzwords used to describe the group’s fourth full-length. Album opener “Gates of Horn and Ivory” immediately shows The Agonist’s intentions. There is no escape from Marino and Pascal Jobin’s aggro-melodic riffing, Kells’ storm-like bass, and Simon McKay’s thunderous drums. And no doubt will Psarakis’ screams, growls, and full-bodied clean vocals floor longtime fans and hook new acolytes. This is The Agonist reborn! This fact couldn’t be truer in lead single, “Disconnect Me”. The frontwoman immediately demonstrates she’s ready to be in the ruling class of metal singers, while the rest of her bandmates cleverly pound out a killer song as if it’s nothing. Turns out, Eye of Providence was as effortlessly awesome to make. Says Marino: “It was a whole new experience and the most enjoyable we’ve ever had. There was an air of full collaboration like never before. It was a good balance of group effort and individual composition and understanding that balance. While Danny and Vicky were the main composers, every member composed part of this album and this was the first album where lyrical content was also shared between Vicky, Danny and Simon.” The Eye of Providence, or God’s all-seeing eye, is a piece of religious iconography with origins stemming back to ancient Egypt. But The Agonist aren’t going all History Channel on their new album. The lyrical center isn’t about pyramids, the Freemasons, or its appearance on the United States one-dollar bill. As on previous albums, The Agonist are commenting heavily on advances in monitoring technology, particularly as it relates to governments intruding on the private lives of its citizens. “We are embracing a number of new topics,” admits Marino with a cryptic smile. “The Agonist still wants to be a voice for change. However, there are many socio-political and personal topics that we haven’t yet covered. We get into some of those on this record.” Recorded at The Grid Studio (Beneath the Massacre, Beyond Creation) with longtime producer Christian Donaldson, Eye of Providence sounds incomparable to albums previous. Donaldson captured The Agonist fresh, alive, and, most importantly, heavy. They fed viciously off a spontaneous and collaborative work environment and ended up with a record that’s completely “in the moment”. So much so, an injury to Jobin’s hand forced him to approach a solo with a little innovation. “While tracking “Disconnect Me” Paco punched a wall,” Marino laughs. “He ended up breaking a bone in his finger, but he still had to write and track his guitar solo. Since picking was very difficult he ended up writing the whole solo using tapping. The solo ended up really cool and like nothing he’s really done before. So, in the end, it was a good thing he punched that wall!” If The Agonist were to weather a storm it wouldn’t be the departure of White-Gluz and the arrival of Psarakis. The great struggle is making a record that sounds like The Agonist. A fingerprint solely made from five individuals with like motivations and goals. Eye of Providence is that record. It is The Agonist’s crowning achievement to date. “I feel like we have come into our own sound, especially on Eye of Providence,” says Marino proudly. “I am influenced by artists like Devin Townsend and Mikael Åkerfeldt. I am inspired by artists with the courage to take a listener to many different places in one album. That’s what we have been trying to do since our second album [Lullabies for the Dormant Mind]. With the Eye of Providence we were able to find that balance.” As with many bands so to with The Agonist. They live and breathe on stage. In fact, if a song doesn’t pass the “live test” it doesn’t make it on the album. The music is only right when it can be translated from the stage to The Agonist’s rabid fanbase. So, expect to see The Agonist in 2014 and 2015 all over the world. And be fully ready to hear the full brilliance of Eye of Providence. The Agonist Website The Agonist @ Facebook The Agonist @ ReverbNation The Agonist @ Twitter The Agonist @ YouTube

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OUR LAST NIGHT Bio: Our Last Night is a rock band redefining success in the music industry. With no label and a massive fan base their DIY approach has become a model for those seeking to make a living doing what they love. Self-producing everything from their music to their videos, they have grown their online presence into a force to be reckoned with. Their unique sound and ability to create rock solid covers of today’s top hits has solidified their success while launching their original music into new realms. The band looks forward to carrying their momentum forward with viral plans that extend well beyond 2017. Our Last Night Website Our Last Night @ Facebook Our Last Night @ Twitter Our Last Night @ YouTube

BLESSTHEFALL Bio: A leading force in the metalcore genre, Arizona quintet blessthefall have spent years taking their message globally; each body of work more impressive than the last. Their last album Awakening(2011) achieved their best sales to date hitting #32 on the Billboard Top 200. Noted as Alternative Press' Most Anticipated album of 2013, the band commissioned producer Joey Sturgis (Asking Alexandria, The Devil Wears Prada, Of Mice & Men) to record new album Hollow Bodies. Never before recruiting outsiders, the band enlisted the help of friends to feature 3 guest vocal spots on Hollow Bodies, including Jake Luhrs of August Burns Red, Jesse Barnett of Stick To Your Guns, and electro-rock sensation Lights. The band is currently on the entire Vans Warped Tour for their main stage slot, adding to an already impressive tour resume that includes runs with As I Lay Dying, Avenged Sevenfold, Bullet For My Valentine, and August Burns Red. Throughout the album's 11 charging tracks, Hollow Bodies is blessthefall's reinvigorating approach to an already impressive catalog and career. Blessthefall Website Blessthefall @ Facebook Blessthefall @ Twitter Blessthefall @ YouTube

THE COLOR MORALE Bio: Life brings two kinds of pain: the kind that hurts and the kind that transforms. THE COLOR MORALE stands with their fans. Hurting together. Healing together. Strengthening each other through the common bonds of brokenness, suffering and a hope for redemption. The group’s ever-building following stands with them, too: they made the Alternative Press cover stars’ third album #1 on Billboard’s Heatseekers chart and flood their social media channels with heartfelt messages of encouragement. The Color Morale is conscious of the power of heavy riffs, big melodies and impassioned truths to relieve and communicate. The idea behind Hold On Pain Ends, is as refreshingly simple as the old adage, “If you’re going through Hell… Keep going.” On their fourth album and first for Fearless Records, the Alternative Press cover stars and Breakthrough Band nominees explore new depths of power, emotion and feeling. This generation is under assault. Broken homes, neglectful parents, dystopian urban landscapes, draconian education centers – it’s no wonder so many are in the throes of addiction, or succumbing to self-harm, or starving themselves, or inducing vomiting just to feel “good enough” or “good looking,” or in some cases, just to feel at all. But anguish doesn’t have to be permanent. That’s why the album is called Hold On Pain Ends. Lead singer and cofounder Garret Rapp doesn’t mince words when talking about purpose. “If you’re in a band and your band gets big at all, you really can use that to do a lot of good. Bands come and go, so make the best of your time. When I’m at the show, my time should be spent out there on the ground, in the dirt, with everyone else there.” It’s from that pressing of the flesh and conversation with the fans that Rapp and the rest of The Color Morale – guitarists Devin King and Aaron Saunders, bassist Mike Honsonand cofounder/drummer Steve Carey – drew inspiration for Hold On Pain Ends. Producer Mike Green (Paramore, Pierce The Veil, All Time Low) enabled the band to hone in on their most vibrant, focused and overwhelmingly powerful collection of songs. The early rumble of We All Have Demons (2009) and My Devil in Your Eyes (2011) can still be heard, with plenty of slices of the creative bombast of the band’s breakthrough album, Know Hope (2013), throughout. Longtime The Color Morale true believers will be thrilled with Hold On Pain Ends. Fans of rabblerousing radio saboteurs Rise Against, post-hardcore artisans Glassjaw and post-punkers Face To Face should take heed, too. Armed with the life experience and the talent to convey a realistic but ultimately positive message in a way that resonates with those under the thumb of life’s more awful alternatives to a healthy existence, The Color Morale confess their personal problems as a means of showing empathy with what their audience is going through. “Prey for Me” sets the tone for The Color Morale’s fully realized musical identity. “Damnaged” offers an impassioned exploration of Rapp’s rocky childhood. “Outer Demons” has an old-school punk meets metalcore feel. “Suicide doesn’t end the pain, it passes it to the ones you loved and remains,” Rapp bellows in “Suicide;Stigma,” which offers some semblance of solutions. Dave Stephens from We Came As Romans guests. Speaking of guests, Craig Owens from Chiodos lends a hand on “Developing Negative,” which tackles another difficult subject from a very personal place. “I’ve struggled with addiction,” Rapp confesses. “Even my best friends don’t know about it.” The Color Morale’s insistence on communication, participation and inspiration puts them in front of the pack, as the band crisscrosses the globe connecting with crowds while on tour with contemporaries like Of Mice & Men, We Came As Romans, Escape The Fate, August Burns Red and The Devil Wears Prada. Each performance is a chance to further erode the false divide between band and audience. The Color Morale breaks down that wall, brick by brick, with every performance and every fan interaction. “At the end of the day, I just want to find the place where I can do the most good in my life,” Rapp concludes. “I think the place I’ll do the most good right now is helping kids deal with messed up their surroundings are and how hard life can be at times.” The Color Morale @ Facebook The Color Morale @ Twitter

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ANATHEMA Bio: After Anathema’s 2012 award-winning album Weather Systems and 2014’s spellbinding Distant Satellites, the ambient rockers are back with their eleventh full-length, The Optimist. Due for release on 9th June through Kscope The Optimist will soon reveal some of the darkest, most challenging and unexpected music the sextet have put their name to. Anathema, led by brothers Daniel and Vincent Cavanagh, along with drummer John Douglas, singer Lee Douglas, bassist Jamie Cavanagh and drummer/keyboardist Daniel Cardoso began recording The Optimist in the winter of 2016 at Attica Audio in Donegal, Ireland and then finished at Castle Of Doom studios in Glasgow with producer Tony Doogan [Mogwai, Belle & Sebastian, Super Furry Animals] at the helm. Vincent elaborates on Doogan’s influence on the recording process “he suggested that we record as a live band, which we hadn’t done for years. Having played a few tunes on the last tour, we were ready for that. Tony wanted to capture that energy you can only get with everyone facing each other… it makes a big difference. He was a superb guy to work with and I learned a lot making this record” The idea for The Optimist was born from the front cover artwork of the band’s 2001 album A Fine Day To Exit Daniel Cavanagh explains “I suppose you might say the album is semi-autobiographical because this time we used a surrogate,” he says, of the character that is The Optimist “We put sound, feelings and crucially, our own hopes and fears into another person and made him the subject of the songs then weaving my own internal monologue into the narrative of The Optimist. It was John’s idea to write a narrative, so I took A Fine Day To Exit as the starting point”. Vincent elaborates further on the earlier album’s artwork influence “The guy who disappeared – you never knew what happened to him, did he start a new life? Did he succumb to his fate? It was never explained. The opening track title is the exact coordinates for Silver Strand beach in San Diego – the last known location of The Optimist – shown on the cover of A Fine Day to Exit. To continue the theme further, the band brought back designer and illustrator Travis Smith to create the artwork for The Optimist. The artwork was created from a series of photographs Smith took on a West Coast road trip. With the character’s unresolved destiny the three song writing members, meticulously brought the unfinished story to an end – and most strikingly of all – one which is decided by the listener. Anathema Webpage Anathema @ Facebook Anathema @ ReverbNation Anathema @ Twitter

ALCEST Bio: Alcest - Music from another world. Alcest was founded in the year 2000 by songwriter and multi-instrumentalist Neige (aka. Stéphane Paut) and later joined by drummer Winterhalter (Jean Deflandre) in 2009. Labeled as post metal/shoegaze or “blackgaze”, Alcest were the pioneers within this genre, crafting a unique sound based on musical opposites from their very first EP “Le Secret” (2005), and thru their full length releases “Souvenirs D'Un Autre Monde” (2007), “Écailles De Lune” (2010) and “Les Voyages De L'Ame” (2012). In 2014 their fourth album “Shelter” was released, marking the band's departure from the more metal sound, in favor of dream-pop aesthetics, surprising and somewhat challenging their fan base. In retrospective, the album opened new doors for Alcest, bringing them an audience from different horizons and a positive sense of unpredictability as musicians. Over the years, Alcest influenced a lot of other artists and gained a significant popularity around the world, leading them to do several tours all over Europe, North America, South America, Asia and Australia. "Kodama" (2016), the upcoming fifth album by Alcest marks the French duo's ferocious return to the epic and contrasted style of its early works while continuing the band's relentless pursuit for fresh ideas. Combining poetic elements with darker ones, that were not present in Alcest’s earlier works, “Kodama” manifests as an intense album, featuring a more organic, punchy sound and showcasing impulses from an array of different places. Originally triggered by Hayao Miyazaki's anime film "Princess Mononoke", "Kodama" picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature, the physical and spiritual one. By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep "Kodama" from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a front runner that not only upholds the band's trailblazing legacy, but actually makes you want to see where they go next. Alcest Webpage Alcest @ Bandcamp Alcest @ Facebook Alcest @ Last.fm

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DYING FETUS Bio: In 1995, DYING FETUS self-released, promoted and distributed their first album, ‘Infatuation With Malevolence.’ In support of the album, the band toured the Eastern U.S., including a high-profile performance at the CMJ Music Convention at New York’s Lincoln Center. DYING FETUS also represented death metal as a genre on a panel at the convention. In 1996, DYING FETUS ‘ second album, Purification Through Violence was released simultaneously in America on Pulverized Records and in Europe on Diehard Music Worldwide. The band immediately embarked on their first full North American tour, hitting 25 cities with Canada’s KATAKLYSM and Florida’s MONSTROSITY. The response to the band’s unreal live show was astounding and the DYING FETUS name began to take residence in the minds of metal heads everywhere. 1998 saw the release of DYING FETUS ‘ third album, Killing on Adrenaline on both Germany’s Morbid Records and in the U.S. through the band’s own label, Blunt Force Records. DYING FETUS embarked on unprecedented 52-date North American/European tour, hitting 12 countries in the process- from Denmark to Spain and Belgium to Poland. The band performed at dozens of festivals, including co-headlining shows on the Morbid Metalfest, as well as the Superbowl of Hardcore. During this time, DYING FETUS continued to make a name for themselves, appearing in national and international magazines, placing tracks on dozens of compilation CDs, and consistently doing radio and internet promotional activities. All on their own accord. In 1999, DYING FETUS reissued the out of print ‘Infatuation with Malevolence’ CD (their 93-94 demo collection) with extra tracks via their own label, Blunt Force Records. The new version contained three live songs recorded on the 1998 European tour, as well as one demo track not included on the previous edition of the disc. Looking to expand their scope even further, DYING FETUS signed to Relapse Records in early 2000 and immediately hit the road for a U.S. tour with DESTRUCTION and KATAKLYSM. The band re-issued their Grotesque Impalement EP, a collection of old material and covers before completing work on their first Relapse album ‘Destroy The Opposition’. A musical mugging aimed at corporate “rock,” ‘Destroy The Opposition’ was a brutal response to the everyday stress and pressures of reality in today’s age, providing a natural outlet for the alienation and frustration that such a pathetically consumer-oriented and greed-dominated society creates. The record was an immediate success and the band hit the road, touring internationally in support of the album for the next 16 months. In 2012, the album went on to receive Decibel Magazine’s prestigious Hall of Fame honor. After almost three years DYING FETUS returned with Stop At Nothing in 2003. Symbolically representative of the greater alliance of anti-mainstream death metal/grindcore/hardcore-punk scenes, DYING FETUS stand in direct opposition to what is considered “normal” in the overwhelmingly conformist American musical arena. The band quickly hit the road in support of Stop At Nothing completing numerous North American and European headlining tours as well as delivering stand-out performances at international metal festivals. Since then, DYING FETUS has been on a path toward supremacy, destroying everything in their path while attracting more loyal followers with every step. 2007 saw the release of War of Attrition, which found the band touring with CANNIBAL CORPSE and label-mates NECROPHAGIST . This release was followed by Descend Into Depravity, the 2009 masterpiece which led to numerous headlining tours in North America and abroad, including the band’s first ever appearances in China and Southeast Asia. On June 19th 2012, DYING FETUS took their biggest leap yet, with their earth-shattering album Reign Supreme. Long-term fans rejoiced at the band’s consistency and critics lauded the band’s unparalleled musicianship, with Heavymetal.about.com raving that “Dying Fetus are at the top of their game with this record, which is sure to thrill old fans and gain them even more new ones.” With Reign Supreme, arguably their heaviest release yet, it is clear why the band has been hailed as “one of the most dominating forces in death metal,” and why they were booked to play the UK’s infamous Download Festival almost purely on a fan campaign via Facebook and Twitter. Anything less than total supremacy is simply not an option for this band. Now in 2017, DYING FETUS once again raise the bar of sonic extremity with their 8th studio album and first new material in over 5 years, Wrong One To Fuck With . The seasoned veterans manage to further stretch their creative and technical boundaries across 10 complex tracks of pulverizing death metal, filled with more dynamic intricacies, brutal breakdowns and varied vocal patterns than ever before. Now over 25 years into their distinguished career, DYING FETUS cement their legacy with Wrong One To Fuck With and uphold their position as the most dominant force in death metal today. Dying Fetus @ Bandcamp Dying Fetus @ Facebook Dying Fetus @ ReverbNation Dying Fetus @ Twitter Dying Fetus @ YouTube

PSYCROPTIC Bio: Isolation can often result in unique outcomes. Hailing from the tiny, frosty, untamed and detached Australian state that is Tasmania, Psycroptic have become an unparalleled act in an enigmatic world wide movement commonly known as death metal. Fifteen years have passed since their formation in 1999, the band having released five critically acclaimed studio albums, all which show an organic progression along a clandestine path from which they will never stray. Now on their sixth full-length, though more technical and brutally intuitive than ever, the four-piece has not been afraid to get in touch with their softer side. Long known as the ‘Tasmanian devils’, they recently became the first band in the world to adopt their own Tasmanian Devil, whom they dubbed Psycro, in an attempt to help preserve the critically endangered carnivorous marsupial. Newer elements too can be expected when the new album is finally unleashed - more vocal variation, a heightened handle on instrumental melody, and an overwhelming sense that this act has truly mastered their craft. Psycroptic have toured all corners of the globe with names that need no introduction to those in the know - Cannibal Corpse, Suicide Silence, Decapitated, The Faceless, Obituary, Carcass, Nile, The Black Dahlia Murder, Origin, Kataklysm, Aborted, Despised Icon, Suffocation, Veil of Maya, Cryptopsy, Misery Index, Vader, Born of Osiris, Hate Eternal… you get the picture right? They also recently guest hosted the ABC music video program Rage, an honour reserved for only the most class Australian acts. Metal legend Max Cavalera has also been sporting the band’s merch in recent promotional photos, bringing things full circle from the days when they were influenced by Sepultura in their youth. It’s safe to say that Psycroptic’s place in the history of heavy metal is solidified, and that everything that happens from here on in is simply a bonus… Psycroptic @ Facebook Psycroptic @ SoundCloud Psycroptic @ Twitter Psycroptic @ YouTube

BEYOND CREATION Bio: Beyond Creation was formed in 2005 in Montreal, Canada by Simon Girard (guitar/vocals) and Nicolas Domingo Viotto (guitar). For the first few years, they worked on their music without the right musicians to turn the project into a live band. In 2008, Guyot Begin-Benoit joined as the drummer while Nicolas left the to be replaced by Kevin Chartré (Brought by Pain, Unhuman), a good friend. Beyond Creation was ready to hit the stage in 2010, when Dominic "Forest" Lapointe (Ex-Quo Vadis, Augury, Teramobil, Ex-Atheretic), completed the formation with his six-string fretless bass. A year later, the band self-released their debut full-length album "The Aura", which became a highlight in the genre. Since then, Beyond Creation has been known as the progressive, innovative and exciting new metal sound of their homeland, Quebec. Blazing their own trail through hard work, originality and a fresh perspective on the metal scene, their fanbase kept growing as fast as their will to push the boundaries of the style. In late 2012, the band had Philippe Boucher (Ex-First Fragment, Incandescence, Chthe'ilist, Décombres) take Guyot's place on drums. They joined Season Of Mist Record Label in 2013, re-releasing "The Aura" touring North America on the Decibel Magazine Tour with giants Cannibal Corpse, Napalm Death and Immolation and in Japan with Sweden’s Vomitory. In 2014, they performed several shows, festivals and tours in US/Canada. Their second album, ‘’Earthborn Evolution’’ was released towards the end of the year, right before their Australian tour direct supporting Ne Obliviscaris and their second time in Japan with Mors Principium Est on a sold out tour. The next year started with the addition of Hugo Doyon-Karout (Brought by Pain, Equipoise, Conflux Collective) as the new bassist. Always looking to increase their visibility and fanbase, they embarked on the Summer Slaughter Tour in support of Arch Enemy, Born of Osiris, Veil of Maya, The Acacia Strain and Cattle Decapitation. Beyond Creation also played the large-scale summer festivals; Heavy MTL and Amnesia Rockfest and ended the year touring with heavy weights; Hate Eternal and Misery Index. In early 2016, they got featured at the largest music trade show, NAMM, representing their partnership with Strandberg guitars. They then headlined their first appearance in Mexico, which included a sold out show in Mexico City and just got back from their first shows in Eastern Canada with Gorod. Catch them on the road on the recently announced North American Tours and stay tuned, Beyond Creation will continue to crush the metal scene and have more international tours to announce this year! Beyond Creation Website Beyond Creation @ Bandcamp Beyond Creation @ Facebook Beyond Creation @ Last.fm Beyond Creation @ ReverbNation Beyond Creation @ Twitter Beyond Creation @ YouTube

DISENTOMB Bio: Australian Brutal Death Metal titans DISENTOMB return to devastate Europe with their unique blend of bone crushing slams, dissonance and hyper-blasts. DISENTOMB have been delivering carnage across the globe since releasing their sophomore album ‘Misery’ in 2014. Having toured Australia, Asia and Europe on the back of 2010 debut album ‘Sunken Chambers Of The Nephilim’, the band finally made it across the pacific on their 2014 effort to unleash hell upon the USA, making them truly a world travelling experience in death and slam, unmatched in brutality and unrivalled in their work ethic. Expect to be crushed as you witness DISENTOMB unleash a set of relentless brutality, and hear tracks from their upcoming album set for release in 2018. Disentomb @ Facebook

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ELUVEITIE Bio: It happened in winter of 2002/2003 that Chrigel started ELUVEITIE as a studio project to breathe life into his exceptional musical vision. The first self-financed EP “Vên” was recorded in spring of 2003, was released in the same year – and completely sold out about six months later. The logical conclusion of the rhapsodical public reaction was quickly found: ELUVEITIE had to become a “real” combo with a consistent line-up for the purpose of being able to play live henceforth (the first concert in the band’s history as support act of TRIMONIUM, MENHIR and SKYFORGER took place on the 5th of February 2004 in Winterthur, Switzerland). Quickly, ELUVEITIE were identified as an exceptionally gifted live band which enabled them to indulge in tour life extensively within the next months together with prestigious acts such as AMON AMARTH, FINNTROLL and KORPIKLAANI, before they returned to the studio in winter of 2005 to lay down their eagerly anticipated debut album. This very record named “Spirit” finally came out in 2006 and let the Swiss around maestro Glanzmann go down in the annals of metal as the founders and figureheads of the “New Wave Of Folk Metal”. The rest is history… Now ELUVEITIE have intensively recapitulated this exciting booster phase of their career. They’ve re-recorded the entire rare “Vên” EP in the line-up of 2012, by which a modern dimension was added to the legendary material, without the slightest loss of its historical splendour. Together with a re-mastered version of the full-length debut “Spirit”, this results in a profound retrospect that will send both long-time followers and nostalgia addicts as well as ELUVEITIE-newbies and those who have been chasing for these releases for years into rapture. So look forward to a very special journey through time! Eluveitie Website Eluveitie @ Facebook Eluveitie @ SoundCloud Eluveitie @ Twitter Eluveitie @ YouTube

AMARANTHE Bio: Formed as a project in 2007 by guitarist Olof Mörck and vocalist Jake E., Gothenburg, Sweden’s AMARANTHE have carved their name into the annals of metal in capital letters. Band with an exceptional vision right from the outset, Amaranthe are an institution; trailblazers of a genre they almost single-handedly forged. According to some sources “melodic death metal” and somewhere else pegged as “metalcore” Amaranthe keeps driving genre purists loopy. Sporting three singers, each with characteristics of their own, Amaranthe constantly defies pigeonholing and sound like no one – and nothing – else. Morten Løwe Sørensen's rhythmic thrust and Johan Andreassen's booming low-frequency assault lay the foundation to Olof Mörck’s surgically precise, almost machine-like guitar riffing and layers of lush, contemporary keyboards. Timeless, glistening pop choruses coated with an icing of three layers of sublime singing from Elize Ryd's emotive, angelic voice and Henrik Englund Wilhelmsson’s screams combine for a mix of edgy, powerful melodic music that is not only unique and unforgettable, it’s trend-setting and inimitable as well. Amaranthe has already proved they’re the next step in the evolution of metal. After seeing major labels chomping at the bit that was their one song Myspace demo in 2008, in April 2011 their eponymous debut album was released via the prestigious metal hotbed Spinefarm Records to worldwide acclaim, charting high in Sweden and Finland. Right off the bat throbbing to the pulse of the digital music revolution, “Amaranthe” was the 84th most played album on Spotify in the whole world, counting all genres. After a completed run of 92 live shows after the release of their eponymous debut, the sextet returned to Hansen Studios in Ribe, Denmark where the Amaranthe magic has been plucked from the air since the days of the debut album. March 2013 saw the release of “The Nexus” where everything was upped a notch. Featured was more of the band's innovative mix of melodic pop, harsh screamo metal, and techno-influenced hard rock. Extensive touring followed, more chart entries garnered (Top 10 entries both in Sweden and Finland, #12 on US Billboard Heatseeker chart etc.). Now their career on an ever-upward trajectory, October 2014 saw the release of Amaranthe’s 3rd outing MASSIVE ADDICTIVE. Third time seemed to be the charm, as the album immediately charted in six countries, even manning the pole position on the Billboard Heatseekers chart. The album also yielded Amaranthe’s first major single hit with “Drop Dead Cynical”, which stayed several weeks at the top of USA's premier rock station, Sirius XM Octane, and had massive airplay all around the world. The band’s fourth album “Maximalism” was released in October 2016. The album charted everywhere, reaching #1 on the Billboard Heatseakers, Top 100 Billboard, #3 in Finland and even charted in Canada. Maximalism took a small, tiny step closer to pop on some of the songs, with the first single “That Song” managing to incorporate pop with metal. Other singles “Fury” and now the latest, “Boomerang” have all received massive radio play and even larger Spotify plays. Followers and copycats come and go, but Amaranthe remains the leader of the pack. Amaranthe Website Amaranthe @ Facebook Amaranthe @ YouTube

THE CHARM THE FURY Bio: Four years on from their 2013 debut album, The Charm The Fury have upped their game. An angry record driven by a collective distaste for the state of the planet in the 21st century, underpinned by ferocious intelligence and a heartfelt desire to wake people out of their smartphone stupors, sophomore assault The Sick, Dumb And Happy is sure to bring a new fire to the metal world. A startling slab of ultra-modern but utterly distinctive heavy fucking metal, it shrewdly and honestly redefines what The Charm The Fury are all about, showcasing a band at the height of their powers, driven by a collective passion for making music that goes for the jugular and demands the banging of heads. Showing a range from melodic and intimate singing, to full-force guttural screaming, singer Caroline Westendorp seeks to demonstrate that a female metal vocalist can be much more than a marketing tool to please the masses. Fittingly, her band mates have clicked into a higher gear and provide the singer with the most vibrant and vicious of backdrops. “People don’t listen to metal music to hear this big glossy pop thing, they listen to it because they’re sick of that and they want something different,” says drummer Mathijs Tieken. “So we stripped everything down to the core and worked super hard on that core. The people that are really into metal music, even the young kids, gravitate to bands like Metallica and Pantera. That says something, that even with labels marketing stuff directly to kids, you still see kids with Metallica shirts throwing the horns. Those are the bands that we always go back to. That stuff is timeless.” Powered by thunderous grooves and laced with incisive melodies combined with darker and moodier materials, The Charm The Fury have established themselves as one of the most promising new metal bands in Europe. The Dutch quintet are armed, ready and hungry for the next big push. When The Sick, Dumb & Happy explodes in 2017, the smart money is on these diehard noisemakers claiming their rightful place among the new metal elite. They have the songs, the determination and the charisma to make it happen. Bet against them at your peril. The Charm The Fury Website The Charm The Fury @ Facebook

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KING DUDE Bio: Reverent as it is prophetic and stark, King Dude has previously shared his spiritual visions with releases on Dais, Avant!, Bathetic, Clan Destine, and Ván records. Pulling together the biblical sound and isolation of the bygone days of revelation with an atmosphere filled with hope and salvation, King Dude has woven his own brand of American music. He brandishes many varied influences in his songwriting. Everything from British Folk, Americana, Country and Blues can be heard in his songs. Even the heavier sounds of Heavy Metal tend to sneak and slither it's way into the King Dude canon. The resulting songs are much more of a modern day hymn then your average pop song. King Dude's music beg's the soul to lift itself up from the darkness of ignorance, towards the ever shining glorious "Light" that exists outside of all of us yet that which we are eternally connected to and at once connects everyone on Earth. King Dude @ Bandcamp King Dude @ Facebook

THE RUINS OF BEVERAST Bio: The Ruins of Beverast is a black metal solo project by ex-Nagelfar member Alexander von Meilenwald. In 2004, the debut album was released. As of 2017, five studio albums, one EP and one compilation have been released. Discography: - Unlock the Shrine (2004) - Rain upon the Impure (2006) - Foulest Semen of a Sheltered Elite (2009) - Enchanted by Gravemould (2011) - Blood Vaults – The Blazing Gospel of Heinrich Kramer (2013) - Exuvia (2017) The Ruins of Beverast @ Bandcamp The Ruins of Beverast @ Facebook

CARONTE Bio: Formed in Parma, Italy, in 2010 by the three brothers Bones; Dorian, Henry and Tony and by the eccentric drummer Mike De Chirico. Caronte's sound was conceived as an heavy acid doom metal, their songs are inspired by drugs, alcohol abuse, death, black masses, sex, esoterism and misticism. First release came in 2011 with a three tracks Ep called "Ghost Owl", followed after one year by their first full-length "Ascension", released both by LO-FI CREATURES, the independent label of the singer Dorian. 2013 was the year of the split album with the doom metal band DOOMRAISER, released by LO-FI CREATURES and BLOOD ROCK RECORDS and of the first european tour that has seen CARONTE to play throughout Europe. The good feedbacks received have permitted at the band to share the stage with bands like Electirc Wizard, Blood Farmers, Cough, Forgotten Tomb, The Devil’s Blood, In Solitude, Pagan Altar, Doomraiser, Jarboe, OM, Angel Witch, Grand Magus, Orange Goblin, The Secret, Ufomammut and Abysmal Grief. At the end of 2013 Caronte has received the compliments by FENRIZ with a great review on his page "Band of the Week". Now the band is ready to release their new album for the german label VAN RECORDS. The new album will be called "CHURCH OF THE SHAMANIC GOETIA" and will be a true esoteric trip through 7 tracks that describe the journey of an adept at this new esoteric/philosophical current theorized by the band. Caronte @ Facebook

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MONOLITHE Bio: Among the contemporary Doom Metal bands who have risen in the international scene during the last decade, French-based MONOLITHE, whose musical journeys opened up new horizons for the genre, stood out from the mass since its early days. MONOLITHE’s music needs to be lived more than listened to. Its atmosphere is grandiose and epic. The entire discography is a musical saga that mixes heaviness, mysticism and complex structures tinged with hints of progressive flair. The listener is invited into a world of beauty, horror and nothingness. Formed in 2001, MONOLITHE is the creation of Sylvain Bégot. Their debut album, “Monolithe I” was released in 2003 (Appease Me…) and started the series of 50-minute, single-track albums which would later become the band’s trademark. “Monolithe I” was a well-received effort and MONOLITHE were able to establish themselves on the international stage. With “Monolithe II” released in 2005 (Candlelight Records/ Appease Me…) the band maintained they did not want to become repetitive but intended to harmonize their saga by maintaining consistency in their lyrics and music. With their EPs “Interlude Premier” (2007) and “Interlude Second” (2012), MONOLITHE tried to push the frontiers of the genre by experiencing and using unusual musical vocabulary. These two records have been released on the internet free of charge. Heralded as a progression in continuity, the third full-length album “Monolithe III” (2012) marked the beginning of a partnership with Debemur Morti Productions. Again, the album met with universal acclaim, allowing the band to reach a new level of worldwide recognition. MONOLITHE is now getting ready to unleash the last instalment of its epic saga: “Monolithe IV”, which will spread around the world in late 2013. Alongside this new single-track album, the closure of a saga that started exactly ten years ago will be celebrated with the reissue of the entire MONOLITHE back catalogue through Debemur Morti Productions. “Monolithe I”, “Monolithe II” & “Monolithe Zero” (including “Interlude Premier”, “Interlude Second” and bonus material) will all be made available once more including enhanced and congruous artwork. Monolithe @ Bandcamp Monolithe @ Facebook

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INTERVALS Bio: Intervals is a window into the mind of guitarist & composer, Aaron Marshall. Founded in 2011, Intervals is a progressive and forward thinking staple in modern instrumental music with roots firmly planted in all things traditional, & an open eye on the future. The Shape of Colour is the natural evolution of Aaron's sound & a testament to his knack for infectious melody, & engaging compositions. Intervals Website Intervals @ Bandcamp Intervals @ Facebook Intervals @ Twitter Intervals @ YouTube

POLYPHIA Bio: Blending technical, weaving instrumentations with hip-hop, jazz and R&B influenced grooves, Dallas, TX-based instrumental outfit Polyphia has created a massively impressive sound that is all their own. Polyphia re-released their debut full-length, Muse, on Equal Vision Records on April 21st, 2015. The album was originally self-released as an independent artist and is now available as a re-mastered, re-packaged release through the label. Upon its initial release, the full-length debut landed on several Billboard Charts including: No. 5 on Internet Albums, No. 6 on Hard Rock Albums, No. 13 on Independent Albums, No. 22 on Top Rock Albums, No. 71 on Top Current Albums, and No. 76 on Top 200. The band released their highly anticipated sophomore full-length Renaissance, on March 11 and has sold over 11k copies to date, 2016. The album was recorded with Nick Sampson (Asking Alexandria, Of Mice & Men) who co-produced it with Polyphia guitarists Tim Henson and Scott LePage. Renaissance introduced a new conceptual and artistic direction for the trio's sound, vibe and visual aesthetic, that sees the band embracing their eclectic musical tastes (which include EDM, hip hop, pop and classical music) to create their own innovative blend of technical, yet melodic instrumental arrangements. Polyphia is also currently writing for a new EP that they will release in 2017, which will take on a very different direction from all previous releases, with guitarists Tim Henson and Scott LePage taking creative lead on the project as both artists and producers. Polyphia Website Polyphia @ Facebook Polyphia @ Twitter Polyphia @ YouTube

NICK JOHNSTON Nick Johnston Website Nick Johnston @ Facebook Nick Johnston @ YouTube

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VULTURE INDUSTRIES Bio: “Vulture Industries come across as complete oddballs. They are the mad hatter’s tea party irregulars with an “Alice In Wonderland” surrealist brand of dark metal cabaret” The Norwegian coastal city of Bergen is famous for its vibrant Rock and Metal scene. Surrounded by fjords and mountains, this beautiful but rain ridden place would be associated with Black Metal by most people, yet VULTURE INDUSTRIES are of a very different breed. The bands 3'rd album, "The Tower" explores dark musical vistas with a unique mixture of progressive, experimental, industrial, doom, extreme and even symphonic elements. This amalgamate of styles may conveniently be dubbed Avant-Garde Metal, which can be further explained by drawing possible comparisons with FAITH NO MORE, MR. BUNGLE, ARCTURUS, DEVIN TOWNSEND, VED BUENS ENDE and THE CULT. Starting out in 1998, they changed members and consequently the band’s name to VULTURE INDUSTRIES in 2003. Now the band consists of current and former members of SULPHUR and BLACK HOLE GENERATOR. After two demos "The Sleeper" (2003) and "The Enemy Within" (2004), which captured attention in progressive circles, the EP "The Benevolent Pawn" (2005) was the first official release. It was followed by two full-length albums, namely "The Dystopia Journals" (2007) and "The Malefactor's Bloody Register" (2010). Both releases gained high critical acclaim and praise from the fans alike. Now the band from Bergen takes another step in their steadily climbing career. "The Tower" was recorded at the Conclave & Earshot Studios in Bergen (ENSLAVED, AUDREY HORNE, HELHEIM, TAAKE) and produced by frontman Bjørnar E. Nilsen. The mixing was excellently handled by ENSLAVED keyboarder Herbrand Larsen and the album was mastered by Jens Bogren at Fascination Street Studios (OPETH, KATATONIA, DEVIN TOWNSEND, IHSAHN). "The Tower" is yours to climb... Vulture Industries Website Vulture Industries @ Bandcamp Vulture Industries @ Facebook Vulture Industries @ ReverbNation Vulture Industries @ SoundCloud

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TESTAMENT Bio: The forbearers of thrash resemble a Lovecraftian brotherhood. They’re the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high. Testament stand proudly among the same vanguard that boasted “The Big 4” and beyond. For over three decades, the Bay Area quintet—Chuck Billy [vocals], Eric Peterson [guitar], Alex Skolnick [guitar], Steve DiGiorgio [bass], and Gene Hoglan [drums]—has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without compromise or any signs of slowing down. Over the course of seminal releases ranging from The Legacy and Practice What You Preach to The Gathering and The Formation of Damnation, which won “Best Album” at Metal Hammer’s 2008 Golden Gods Awards, the group’s sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012’s critically praised Dark Roots of Earth assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band’s highest U.S. chart bow ever. However, in 2016, Testament returns with more teeth than ever on Brotherhood of the Snake [Nuclear Blast]. “The first record is always classic because you form the band, you’re totally into it, you go through the club scene, find yourself, and write your initial album over multiple years,” explains Eric. “Then, you get signed and end up in a cycle. We took some time to do Brotherhood of the Snake, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven’t had this many thrash tracks since The Legacy. It’s a new era.” “I view Testament like I did when we started,” adds Chuck. “I’ve been fortunate to be doing this for over 30 years. It means a lot. We’re just going to continue doing what we do.” Following a whirlwind of touring in support of Dark Roots of Earth, the guys began individually writing in late 2013. In between a rigorous tour schedule, new music organically assembled. During the spring of 2016, they hit the studio with Juan Urteaga [Machine Head, Exodus] and quickly cut the album’s 10 tracks. “Having separate periods to write set it apart,” Eric continues. “Everybody played hard. Chuck really surprised me and belted out stuff that’s more melodic over the heavy speed metal riffs. It blended really well together.” “It does flow,” Chuck agrees. “There’s a lot of musicianship going on there, and I was finding hooks in the moment. I was able to feel it and just go.” The record commences on a deadly note with the title track. A whiplash-inducing riff catapults Chuck’s unmistakable growl forward before snapping into mind-numbing leads. It’s a brutal breakneck basher on par with the band’s best. “It was actually one of the first songs we put together,” says the singer. “Once we heard it mixed, we were all like, ‘Wow, we have the direction we’re going in. It’s really heavy.’” Elsewhere on the record, “The Pale King” gallops ahead on an apocalyptic barrage of drums and guitars before culminating on an unshakable chant. “It was really natural,” smiles Eric. “It has that old school vibe, but this new energy to it. It never lets up. I love that!” Brotherhood of the Snake concludes on the crushing yet cinematic “The Number Game,” which evinces Chuck’s knack for a vivid lyrical story. “I actually wrote it with Steve ‘Zetro’ Souza,” he recalls. “I had that chorus, and it was one of those things where it had to be repeated. It’s 14 days and 14 nights where this guy’s on a killing spree. He does a countdown, and your life is based on the number you are. It was trip.” A fascinating concept rears its head during many of Brotherhood of the Snake’s key moments, nodding to the mythical race from which the record it shares a name. “There’s a connection between the alien world and religion, and the whole storyline came from it,” explains Chuck. “There’s a story of a Sumerian race 6,000 years ago that went on crusades to basically dethrone religions. The earth was basically the place where their leader, The Pale King, set people to be imprisoned and mine for gold. It got the ball rolling.” Ultimately, this Brotherhood remains as powerful as ever. “If a Testament fan knows our history or has followed our last couple of records, they’ll hear the progression,” the frontman leaves off. “Everything is right there and in-your-face. That’s the way it should be with us.” Testament Website Testament @ Facebook Testament @ ReverbNation Testament @ Twitter Testament @ YouTube

ANNIHILATOR Bio: Canada’s ANNIHILATOR is the lifework of guitarist Jeff Waters. Founded in 1984, the band took the metal scene by storm with their debut 1989 release “Alice In Hell”, upped the ante with 1990’s “Never, Neverland” and has continued a non-stop career-pattern of releasing records and touring with many of the biggest bands in the metal genre, ever since. After 18 months of touring for the band’s previous cd “Suicide Society” (nominated for a Canadian Juno), the band has just finished up their 16th studio cd and is getting ready to tour Canada, play some of the finest European metal festivals this summer and gearing up for what will be one of the metal fan’s biggest highlights of 2017: Testament, Annihilator and Death Angel, touring together in Europe this fall. The band’s founder, Jeff Waters (and guitarist, vocalist, songwriter, producer, engineer, mix engineer, mastering engineer, manager…etc.) was asked how it feels to be “back” touring with the mighty Testament: “Back in 1989, Testament was planning their North American tour for their classic record “Practice What You Preach”. We were very lucky to be chosen as their support act for the tour then and had some of the best touring and metal shredding moments with that band. When they recently asked us to come with them on their fall 2017 tour in Europe, it took me about 2 seconds to say yes. Add Death Angel to this bill and you have one of the best thrash bills of the year.” Annihilator has given the metal world a sound that is one of the clearest, most-tasteful mixtures of huge, metal riffs with the idea of the perfect song and some legendary solo shredding as the icing on the cake. Jeff and ANNIHILATOR have been a major influence on countless well-known metal acts and musicians around the world. In fact, countless and successful non-metal acts & musicians cite Waters and Co. as an influence in their careers. Annihilator Website Annihilator @ Facebook Annihilator @ ReverbNation Annihilator @ Twitter

DEATH ANGEL Bio: Three decades into their celebrated career, DEATH ANGEL remain as hungry as ever. As a result, uncompromising urgency and unpredictability define the Bay Area thrash quintet’s eighth full-length album, »The Evil Divide« (Nuclear Blast). The group - Mark Osegueda (vocals), Rob Cavestany (lead guitar), Ted Aguilar (guitar), Will Carroll (drums), and Damien Sisson (bass) - satiate the appetite for buzzsaw speed riffs, double bass mayhem, and scorching vocals over the course of ten new anthems. “I want every record of ours to always sound fucking hungry and desperate,” declares Mark. “An injured animal is a dangerous fucking animal. We feel that. We’re always striving for more and put everything into it until our bodies give out.” “We know who we are,” adds Rob. “We’re dedicated to this sound for both the fans and ourselves.” In order to siphon that energy, the group re-teamed with producer Jason Suecof (TRIVIUM, DEICIDE) for the third album in a row. They traded Northern California for Suecof’s Florida stronghold, Audio Hammer Studios, during two months in the fall of 2015. Following three consecutive records together, this lineup gelled more than ever while recording. “You could feel it,” continues Rob. “Everything was so much smoother in all regards. We progressed as a unit, and we all got on the same page pretty quickly. It makes recording and playing even more fun.” Death Angel Website Death Angel @ Facebook Death Angel @ ReverbNation Death Angel @ Twitter Death Angel @ YouTube

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