BRUJERIA
Decades before Breaking Bad, Narcos, or Mayans M.C., BRUJERIA put the world of cartels and ritualistic murder on wax with a brutal power equivalent to when Compton arrived in pop culture via NWA.BRUJERIA emerged, shrouded in mystery and infamy, in 1989. They forcefully introduced phrases like Matando Güeros, La Migra, Marijuana y Brujerizmo into the lexicon of extreme subcultures from hardcore punk to death metal. The brutal death grind band from Mexico came to represent the notoriously violent world of illegal drug trafficking, vicious retaliation, and a sinister syncretism between Afro-Caribbean sorcery like Palo Mayombe and Santeria with outright demonic possession. They brandish rifles and machetes. Most importantly, they’re armed with an arsenal of brutal riffs. Rumors abound that frontman Juan Brujo ingeniously surrounded himself over the years with members of legendary bands like NAPALM DEATH, CARCASS, and AT THE GATES and performers from beloved TV shows like Orange Is The New Black and Jackass. But nobody knows for certain. That’s because the men and women of BRUJERIA conceal themselves with bandanas, serapes, and balaclavas. Conjured like a cabal whenever society reaches a new tipping point between order and chaos, Brujeria sacrifices songs to full-length albums and singles, as decidedly apocalyptic as the Mayans, by their own calendar. Records like Raza Odiada (1995) and Brujerizmo (2000) are undeniable classics. Ripping excoriations of daily news like “Amaricon Czar” (2019) and “COVID - 666” (2020) are bitingly topical. Coco Loco (a metal mascot as iconic to many metalheads as IRON MAIDEN’s Eddie or MEGADETH’s Vic Rattlehead) returns in 2023, emblazoned on a ferocious fifth full-length album dubbed simply Esto Es Brujeria. BRUJERIA makes the metal version of the corrido, a traditional Mexican song style built on storytelling. The narratives cover everything from history to daily life for outlaws. In Brujeria’s case, the narrator’s tales range from righteous murders of oppressors and rivals to drug deals gone wrong. On Esto Es Brujeria, their blistering new platter, they growl about everything from being Party Boss to a first night in jail. Brujeria’s 1993 debut, Matando Güeros, was so extreme that record stores and distributors returned copies en masse the moment translators made English versions of the lyrics available. But it was too late to stop BRUJERIA, as word of the devastating riffs and wild tales of drugs, sex, and murder spread. The book Heavy Metal: The Music And Its Culture included it on their 100 Definitive Metal Albums list. One of the songs landed on the soundtrack to Harmony Korine’s controversial drama Gummo. Two years later, sophomore slab Raza Odiada declared war on then - California governor Pete Wilson (portrayed on the album by DEAD KENNEDYS’ frontman Jello Biafra) and his controversial immigration policies. Drug smuggling and related themes abounded, as well as a song supporting Mexico’s revolutionary Zapatistas. A music video for “La Ley De Plomo” somehow made it (briefly) to MTV. Melody Maker called 2000’s Brujerizmo “wonderfully demented thrash” and “murderous noise, absolutely bereft of anything approaching accessibility.” CMJ praised Brujo’s “growling political rants,” while NME declared, “They take a hyper-violent idea to its logical, bowel-churning, and comically thrilling end.” The title track remains one of BRUJERIA’s most streamed songs on Spotify. After a long absence, BRUJERIA returned with Pocho Aztlan in 2016. The band’s first album with Nuclear Blast Records injected fresh blood into the unstoppable crew in the form of new recruits. The songs combined the focused groove of Brujerizmo with the impenetrable death grind of the mid - 90s. Esto Es Brujeria brings BRUJERIA roaring full circle into the post-pandemic era, with the deep polarization, civil unrest, ongoing brutality, and social upheaval of the day ripe for the band’s notorious critiques. Steeped in dense myth, extreme metal’s most notorious antiheroes materialize anytime, anywhere, to spin their tales of anarchic mayhem and lawless fury . They are eternal banditos, prepared to party. Brujeria Website Brujeria @ Deezer Brujeria @ Facebook Brujeria @ Instagram Brujeria @ SoundCloud Brujeria @ Spotify Brujeria @ X Brujeria @ YouTube |
DIE KRUPPS
Critics worldwide hail them alongside KRAFTWERK and EINSTUERZENDE NEUBAUTEN as pioneers of Electronic and Industrial music, bands like FRONT 242 and NITZER EBB called them their inspiration, and their musical ideas found their way into the sound of a wide spectrum of music, from DEPECHE MODE to the innovative pioneers of Detroit Techno. Over 30 years and many internationally successful albums, DIE KRUPPS have developed an unmistakable signature sound that is meant to stay!After monumental and industrial beginnings with the album 'Stahlwerksinfonie', the foundation for Electronic Body Music was laid by the single 'Wahre Arbeit Wahrer Lohn' (both Album and Single Of The Week in the British NME), and the following albums 'Volle Kraft Voraus' and 'Entering The Arena', which created international interest in the band's characteristic synthesis of hard electronics and highly danceable beats. European wide releases secured the band a large following, that was only meant to increase in the '90s. After a 3-year break, international chart positions of a remake of their classic track 'Wahre Arbeit', now called 'The Machineries Of Joy', which was a collaboration with NITZER EBB (U.S. Billboard Dance Charts Top 10), marked the next chapter in the history of the band. The following widening of their musical spectrum, which saw the addition of a more metal inspired aggressive vocal style and guitar riffs on the album 'I', and the essential single track 'Metal Machine Music', was like a slap in the face of conservative critics and listeners alike. The mini album 'A Tribute To Metallica' underlined this daring step, gaining the attention of Lars Ulrich and Co., who helped to secure the band a deal in the U.S. The highly successful albums (european-wide chart positions, Germany Top-20) 'II - The Final Option', 'The Final Remixes', which consisted of remix interpretations of DIE KRUPPS tracks by fellow bands such as NINE INCH NAILS, THE SISTERS OF MERCY, FAITH NO MORE, CLAWFINGER and many others, and the album '..III - Odyssey Of The Mind', were again inspiration to many upcoming new bands, such as RAMMSTEIN, whose song 'Tier' was a direct adaptation and tribute to DIE KRUPPS' 'The Dawning Of Doom' from the album 'I'. After several worldwide tours, and another chart-topping album, 'Paradise Now' (Germany No.17), on which the band collaborated with Arthur Brown ('Fire'), it was decided to bring a temporary stop to the bands extraordinary career. 2005 marked the 25th anniversary of DIE KRUPPS, which was reason enough for the 2 original members Engler and Doerper to prove to the rest of the world that DIE KRUPPS are far from being dead. The reunited group played festivals across Europe and proved that their live shows are as energetic as ever. The audience response was overwhelming and proved that the band had not lost any ground during its absence. In November 2007, DIE KRUPPS' new album 'Too Much History' was released. The album included re-recordings of the greatest hits from almost every album the band had released in the past, plus several unreleased new tracks, including 'The Great Divide', '5 Millionen' and several collaborations, with Client B from the band CLIENT, and again Douglas McCarthy from NITZER EBB. The end of 2008 saw the release of a remix album of the 1982 album 'Volle Kraft Voraus', entitled 'Volle Kraft Null Acht'. KMFDM, FUNKER VOGT, PROJECT PITCHFORK, LEAETHER STRIP, SPETSNAZ and MODULATE are only a few acts who besides many others contributed to the project. The 2 singles 'Volle Kraft Voraus' and 'Ende Der Träume' topped the German Alternative Charts for weeks. In 2010 the mini-album 'Als Wären Wir Für Immer', consisting of all new material, hit the stores. It also stayed in top positions of the Deutsche Alternative Charts for many weeks, and re-entered during the NITZER EBB/DIE KRUPPS European tour in April of 2011. The tour, which was launched under the motto 'Join In The Rhythm Of Machines', was a huge success. A joint NITZER EBB/DIE KRUPPS EP, consisting of re-worked versions of each band's favorite songs, was sold exclusively at the shows. Those songs were also played live, followed by the definite highlight for many fans, the anthemic 'Machineries Of Joy', which saw both bands perform the song together for the first time. At the end of 2012, the first single from the upcoming album 'The Machinists Of Joy' was released. 'Risikofaktor' made it No.1 in the German DAC Charts again, and stayed in the pole position for a full month. 2013 was to become the year when DIE KRUPPS machinery went back into full swing. The machines were greased, the dust shaken off, the factory gates opened again. After shift operation was restored, the long-awaited new prototype 'The Machinists Of Joy' rolled off the assembly line on 25.10.2013. With this most recent effort DIE KRUPPS seamlessly picked up the streak of their genre-defining releases in the '80s and '90s. DIE KRUPPS still deliver 'Metal MACHINE Music' - heavy, danceable, sometimes epic machine-music, adorned with well-placed guitar attacks and the ever-onward hammering of the 'steel-o-phone', paired with critical contemporary lyrics, setting themselves off from what has become the norm today. Referring to their top-10 Billboard-hit from 1989 'Machineries Of Joy', the album title already hinted at a stronger focus on electronic sounds, rather than guitars, which dominated the current outfit of DIE KRUPPS. Nevertheless, hard guitar riffs were interwoven with the pumping signature sequencers. The album also made it to No.1 in the German DAC Charts, where it was holding the pole position again for several consecutive weeks. The second single of the album 'Schmutzfabrik' peaked at No.2, staying there for 7 weeks. In mid-February 2014, the factory bell rang in the night shift on European stages, to be known as 'THE MACHINISTS OF JOY'-TOUR 2014. 12 dates on which DIE KRUPPS were going to present their first studio album of the new millennium in sweat-inducing manner! On August 28th 2015, DIE KRUPPS returned with their new release 'V - Metal Machine Music'. Back to the distinctly guitar-based sound from the late '90s, the new songs showed a much increased level of aggressiveness! DIE KRUPPS had never before combined such heavy guitars and powerful sequencers. The upcoming shows proved that this direction was well reserved by the audience Europe wide. Alongside mastermind Juergen Engler (vocals, steel-o-phone), the line-up was machinist Ralf Doerper on Korg MS-20 synthesizer, Marcel Zuercher on guitar, with Volker Borchert from former metal band Accuser on drums, and Nils Finkeisen on second guitar. The album 'V' made the official sales chart in Germany and cracked the Top 40! The singles 'Battle Extreme' and 'Kaltes Herz' both made it to No.1 in the German DAC Charts, the latter stayed in the pole position for 6 consecutive weeks! Steel, hard work, muscle strength, sweat, machines ... but also structural change, unemployment, dislocation, xenophobia and anxiety about the future: powerful words that DIE KRUPPS have always used and filled with content, that they attach visions to, that they transform into a solid base for their music - their very own, unique sound that has consistently evolved over the past four decades and that continues to be unmistakable. "Vision 2020 Vision" is their latest masterpiece, a concept album: music, artwork and lyrics are inextricably linked, they fuel and cross-fertilize each other. The world of Engler and Dörper is monochromatic and grim, but the imminent world they see through their lens, ought to, and indeed must, frighten you. In all this, DIE KRUPPS's themes are as topical and relevant as ever: "Extinction Time" and "Vision 2020 Vision" describe our world on the edge of the abyss. Chaos and violence rule the streets, governments are powerless. The great flood will come, wash everything away and leave nothing but darkness. "Alllies" and "Fuck You" are directed overseas; where egoism, borders and ruthlessness are dictated from the very top while Europe looks on passively, turning into a compliant minion. "Human" is a reckoning with the whole human race which has been regressing for several decades. Civilizations increasingly turn into hordes of wild, murderous barbarians. The title song puts in a nutshell where this development is bound to take us: "Violence will soon explode, frustration reaches overload, revolution is imminent, we're in the year of discontent" (quote: "Vision 2020 Vision"). What remains is the hope that Jürgen Engler will be proved wrong in this instance. Die Krupps Website Die Krupps @ Bandcamp Die Krupps @ Facebook Die Krupps @ Instagram Die Krupps @ Spotify Die Krupps @ Threads Die Krupps @ X Die Krupps @ YouTube |
JOHNNY TUPOLEV
Wuppertal's alternative electro rockers inspire with a perfect synthesis of hard-hitting guitar riffs, pounding machine beats and driving sequencer loops.The three surprise with their astonished international sound, which is no wonder given that they are actively supported by England's legendary producer John Fryer, known for his work with Depeche Mode, Nine Inch Nails and White Zombie. In 2021, the band was signed to the US label Cop-International, and five releases have followed to date, three of which have made it into the top ten of the German alternative charts. Also worth mentioning is the collaboration with Richard Kruspe, (Rammstein), Billy Gould, (Faith No More) and Chris Hall, (Stabbing Westward) as part of a joint aid project for victims of the Ukraine war in 2022. The three exceptional artists were last able to impressively demonstrate their special live qualities in the summer of 2023, when they were the first band in the world to sell out a 360-degree multimedia rock show with an extraordinary silent concert concept 10 times in a row. Responsible for this and for everything visual with Johnny Tupolev are two other friends and unofficial members of the band: Oscar-nominated VFX specialist Frank Petzold (All quiet on the western front, Armageddon, Starship Troopers) and Emmy Award winner and video artist Christoph Vitt. Johnny Tupolev Website Johnny Tupolev @ Bandcamp Johnny Tupolev @ Facebook Johnny Tupolev @ Instagram Johnny Tupolev @ SoundCloud Johnny Tupolev @ Spotify Johnny Tupolev @ YouTube |
JESUS ON EXTASY
Industrial rock insurgents Jesus on Extasy are back—darker, heavier, and more relentless than ever. Led by founding member Dorian Deveraux, The band has returned with an uncompromising sound that elevates their signature mix of industrial beats, searing guitars, and raw emotion to an entirely new level. “It looks like the world is going to hell. We might as well deliver the soundtrack for that”, says Deveraux about the JoE’s inevitable return.Jesus on Extasy made a lasting mark on the genre with tracks like "Assassinate Me" and "Neochrome" before stepping away from the spotlight and disappearing into the night. Now, with their upcoming album "Between Despair & Disbelief" set for release in August 2025 via Metropolis Records, they’re proving that this comeback isn’t just a fleeting return - it’s a resurgence built to last. Following the release of the singles "Wide Awake" and "Days Gone By," which gave fans a taste of the new era, the band will drop the heavy-hitting single "Soul Crusher" ahead of the album, offering a brutal preview of what’s to come: heavier, more intense, and unapologetically aggressive. To mark their return, Jesus on Extasy will be hitting the road as the support act for Die Krupps on their upcoming European tour. Fans can expect an unrelenting live set packed with crushing new material and reimagined classics, proving that the band’s resurgence isn’t just a return - it’s here to stay. With a harder edge and a fire that refuses to burn out, Jesus on Extasy are ready to leave their mark on the industrial rock landscape once more. Jesus on Extasy Website Jesus on Extasy @ Bandcamp Jesus on Extasy @ Facebook Jesus on Extasy @ Instagram Jesus on Extasy @ Spotify Jesus on Extasy @ TikTok Jesus on Extasy @ X Jesus on Extasy @ YouTube |
BATUSHKA
Embrace the essence of musical ecstasy, fascina tion,passion and the urge to create… the substitute of modernity and classical perfection,a road to free dom…It’s a distinct world of so unds lavishing us with all their divine glory, sounds of liberation, sounds of spiritual spheres, sounds of harmony… Pronounced „Batjushka”,the band’s Cyrillic name Батюшка means „father” and is used to address an Eastern Orthodox priest. Despite their themes and imagery, they are not a Christian band. Batushka @ Bandcamp Deezer @ Facebook Batushka @ Facebook Batushka @ Instagram Batushka @ Spotify Batushka @ X Batushka @ YouTube |
HOULE
Birthed from the wrath of the Seas, Houle has wreaked havoc since releasing its debut EP in 2022.Houle @ Bandcamp Houle @ Facebook Houle @ Facebook Houle @ Instagram Houle @ Facebook Houle @ YouTube |
NENA
NENA remains one of the most authentic singers of our time and a significant piece of pop culture made in Germany. Following the overwhelming success of her WIR GEHÖREN ZUSAMMEN tour in 2024, which attracted150,000 visitors across 45 shows in Germany, Austria, Switzerland, France, and the Netherlands, pop icon NENA is now announcing the first open-air dates for 2025.This is fantastic news, as experiencing NENA live is a must! Her energetic stage presence is as distinctive and captivating as her voice. Audiences can look forward to a live show lasting over two hours, featuring hits and gems from NENA's vast repertoire. Music spanning over four decades will be brought to life by her 10-piece band. Each live concert is a unique rock 'n' roll experience filled with emotion and heart. The tour title, WIR GEHÖREN ZUSAMMEN, represents more than just a motto; it embodies the deeply felt and lived sense of connection that makes each concert a heartfelt affair for NENA. NENA states, “It’s a wave of love that builds and grows stronger. I feel this with a new powerful intensity. It comes from us, the people who are here, in front of, behind, and on stage. People who love to spend a wonderful time together. Those who know that music builds bridges. We sing, dance, laugh, and celebrate life. 'We belong together' is a simple message that we carry out into the world together.” With 25 million records sold worldwide, NENA is one of the most successful German artists of all time. Her music has shaped several generations of music fans and continues to represent a way of life that resonates with everyone, somewhere. The current album, “Licht,” is an energetic pop album full of brilliance and the soundtrack for new beginnings. With every note and in every line, “Licht” offers hope, lightness, and depth of heart. Whether it’s folk-inspired acoustic guitar or electronically dancing synthesizer beats, “Licht” inspires us to celebrate life. Nena Website Nena @ Facebook Nena @ Instagram Nena @ TikTok Nena @ YouTube |
WOLFHEART
The most overworked and undervalued busy bee on the Finnish metal scene, Tuomas Saukkonen shocked everyone in 2012 with his announcement that he will bury all of his metal music projects at the same time to start a new. Before The Dawn, Black Sun Aeon, Dawn Of Solace and RoutaSielu received their coup de grâce February 23rd 2013 with one last show. After years of pouring his creative juices to projects too numerous to count, Saukkonen decided to focus mainly on just one labour of love, Wolfheart.Saukkonen recorded and released the first Wolfheart album “Winterborn” entirely by himself playing all the instruments and doing all the vocals, with Mika Lammassaari (Eternal Tears Of Sorrow, Mors Subita) as his only guest, playing guitar solos. Such confidence Saukkonen showed in his new material that he self-financed the album release. This bold leap of faith was rewarded with sales placing the album to #7 on the Official Finnish Album Chart and to the Pole Position on the alternative indie chart “Rumban Lista” (which tracks the sales in specialized record stores not eligible for the official chart). Yet, probably even more rewardingly for Saukkonen, “Winterborn” proved a roaring critical success scoring high ratings in reviews left and right. To cap off a great year for his project, “Winterborn” was elected the best debut album of 2013 in the annual Record Store Äx customers’ poll. Wolfheart deserved to be a fully operating band so Saukkonen called to arms solo guitarist Mika Lammassaari, drummer Joonas Kauppinen (ex-Before the Dawn, Disease of the Nation) and bassist Lauri Silvonen (Bloodred Hourglass), and since the spring of 2014 Wolfheart has been a fully operating, touring band. The same year also took the pack on the road to the national stages with Shade Empire and showcased them to metal fans abroad for first time at big European metal festivals (e.g. RockHarz Open Air, Summer Breeze Open Air). Wolfheart started 2015 by touring Finland (with Finntroll) but had already been busy with writing successor for the debut “Winterborn”. The climax of the year was the release of the 2nd album “Shadow World” which was recorded as a full band and was the first product from the co-operation with the distinguished record label Spinefarm Records. The album commanded critical praises and placed #6 on the Official Finnish Album Chart. Music video for the first single “Aeon of Cold” was captured from the band’s live performance in front of a full tent at Summer Breeze Open Air festival, and the video for the second single “Zero Gravity” was shot in the breathtaking and mountainous nature of northern Norway. Another highlight for 2015 was Wolfheart’s first full-scale European tour (with Swallow The Sun) and get to perform in Tokyo, Japan (with Sonata Arctica etc.) also. After a rapid ride since the release of the debut album the band cleared their calender in the beginning of 2016, started the pre-production of their 3rd album. The legendary Petrax studios in Finland (CoB, HIM, Nightwish etc.) were booked for the recordings and only a few selected festival shows broke the studio cycle. The album was mastered in fall and the first single, bombastic “Boneyard” saw daylight in December. The album preparations also marked co-operation with Nikos Stavridakis / Vision Black – a talented Greek artist and graphic designer who has answered from the graphics of the band ever since. Wolfheart returned to Europe immediately in January 2016 for a full tour (with Insomnium and Barren Earth), and thanks to their solid performances, took another significant step forward by singing a booking deal with Continental Concerts & Management in March 2017. Before the actual album release, Wolfheart showed their calmer side with the release of clean-sung acoustic song “The Black Light” as a standalone single. “The Black Light” immediately hit Finland Viral 50 list in Spotify. Wolfheart then had a busy spring as they toured Finland as headliner and did their own mini-tour in Spain. The pack also did a short tour in Scandinavia (with Insomnium) before hitting multiple European metal festivals during the summertime. In November 2017 the band released their 3rd album “Tyhjyys” (“Emptiness”), again via Spinefarm Records. Single/video tracks like the “World on Fire” and “The Flood” alongside “Boneyeard” had cleared the path for the album and it stayed two weeks in the top ten of the official Finnish album charts. “Tyhjyys” also continued the path of critical praises of the previous albums and was well received with the ever-growing fanbase. Before the end of the year Wolfheart toured Europe again, this time with Ensiferum, and played in Russia as well. It’s safe to say that the band had concreted their place as top-tiers with their winter metal. Early 2018 took Wolfheart to the international waters when they joined the line-up of the epic 70 000 tons of Metal cruise and performed also at Nordic Metal Cruise. Wolfheart then took two significant steps forward as they announced they had joined the roster of Hard Impact Music Management and signed a recording deal with the mighty Napalm Records. The pack also once again entered studio, this time to record their 4th album. During the spring and summer of 2018 Wolfheart did shows in Finland, two weeks tour in Canada, and again performed in multiple summer metal festivals in Europe. The first single “Breakwater” from the upcoming album “Constellation of the Black Light” was released with a music video that was shot both in Finland and in Iceland. The video depichered the song and DNA of the band perfectly: aggression and beauty, harshness and fragileness combined with a close connection to the nature – a great example of what Wolfheart is about. “Constellation of the Black Light” was released in fall 2018 and the new album was again received with anticipation and praises from medias and fans all-around. The album again charted not only in Finland but also in North America where it hit #53 in US “Top New Artist Albums”, #89 in US “Top Hard Artist Albums” and #38 in Canada “Top Hard Music Albums”. All this was followed by intense touring: Wolfheart toured Europe extensively with Omnium Gatherum and right after headed to the United States for the first time (with Carach Angren) for a full tour. The band also covered Finland with several shows before the end of the year. Even if 2018 was busy, it proved to be just a warm-up for 2019: The year started with a mini tour in Japan (with Ne Obliviscaris) which was followed by extensive new North American tour (with Children of Bodom and Swallow the Sun). Wolfpack then had a short pitstop at home, visited Russia for a couple of shows and continued to conquered another new continent by touring Latin America (with Fleshgod Apocalypse). 2019 also brought a line-up change: during spring Mika Lammassaari decided to step aside from Wolfheart. Line-up changes could be difficult for bands to tackle but instead the pack found new strength when Vageliss Karzis (ex-Rotting Christ) stepped in to handle the lead guitar duties for the upcoming summer tour. The six weeks long summer tour “Black Light Constellation over Europe” was the seventh tour within ten months period and the longest tour Wolfheart had ever made. It marked shows all around Europe and UK as well as hitting many festivals such as legendary HellFest and Full Force. After completing the tour Wolfheart had played over 140 shows in less than a year. 2019 took Wolfheart to Dubai for the first time and tied Vageliss to the band as an official member. Unable to settle down, despite being constantly on the road the pack headed for the studio before the end of the year to deliver another new album. In January 2020 Wolfheart joined the roster of Decibel Touring booking agency and a month later released “Ashes” – the first single from the upcoming 5th album “Wolves of Karelia”. Tuomas was inspired to write “Wolves of Karelia” by the personal stories of local veterans, conveying the tales of what they experienced and survived from during the Winter War that waged between Russia and Finland during the winter of November 1939 – March 1940. Hence “Wolves of Karelia” could be described as Wolfheart’s first theme album. With singles like “Hail of Steel” and “The Hammer”, “Wolves of Karelia” commanded great reviews and charted also in new territories: #8 Finnish Official Chart and #3 Finnish Physical Album Chart, #73 German Official Chart, #45 Switzerland, #48 iTunes Albums Italy, multiple rock album charts in North America (e.g. #16 Current Hard Music Albums in the US and #13 Hard Music Albums in Canada). Wolfheart had extensive touring plans in support of the album: the band was supposed to return to US as a part of “Devastation of the Nation” package, and also announced their first own full headliner tour in Europe (for 2021) but unfortunately global pandemia put all this on hold. Despite the uncertain times Wolfheart didn’t hesitate and were among the first bands to deliver an exclusive virtual gig to reach their fans and support the album release in April 2020. Music video for the song “Reaper” was also shot during the virtual gig. Despite the pandemia, Tuomas’ music gathered over 6 million Spotify plays and 3 million YouTube views during 2020. During 2021 world still suffered from covid, and gigs and tours were announced, rescheduled and cancelled. Wolfheart used the time to finish their first EP “Skull Soldiers”. Before the release of the EP the pack played another virtual gig, this time playing the debut album “Winterborn” in full. “Skull Soldiers” was released in March 2021 and the EP contained two completely new songs, an eerie acoustic version of “Aeon of Cold” and a live version of “Reaper”. The EP also marked the first time Wolfheart had guest vocals on a release when Petro Solovey (Wolfanger) delivered his lines in Ukrainian for the title track. A couple of Finnish shows happened in the later year and a one-off show in Switzerland – which gave a slight light that world might actually be opening up. Wolfheart also reached over 100.000 followers on Facebook while their official music videos had gathered over 15 million views in YouTube and songs 14 million plays in Spotify before the end of 2021. If things started to look brighter at the end of 2022, the next year took the band to another level: after so many setbacks, Wolfheart got back to the USA (with Fleshgod Apocalypse and Obscura) for a tour that proved to be by far the most successful tour the band had ever done. The winning streak continued with a decent festival run throughout Europe, and Wolfheart could be seen on the big stages of A-list metal festivals such as Rockharz, Metaldays, Brutal Assault, Summer Breeze, etc. The year then ended with a home run when Wolfheart released a massive stand-alone single, "Iku-Turso," toured Finland with their brothers Before the Dawn, and then did their first full-length headliner European tour (with Before the Dawn and Hinayana). The tour was a success and left the Pack hungry for more. Wolfheart Website Wolfheart @ Deezer Wolfheart @ Facebook Wolfheart @ Instagram Wolfheart @ Last.fm Wolfheart @ Spotify Wolfheart @ X Wolfheart @ YouTube |
BEFORE THE DAWN
The band was founded in 1999 by Tuomas Saukkonen and during the 1st chapter of BTD existence the band released 6 full length albums and toured Europe, Asia and Scandinavia with metal legends Amorphis, Katatonia, Insmonium, Moonspell etc and built a big following and solid fanbase all around the world.On 10 January 2013 through a press statement, Tuomas Saukkonen announced that he was putting Before the Dawn to rest along with his other active bands (Black Sun Aeon and RoutaSielu), ending them in order to create new project called "Wolfheart", which he has been pushing higher and higher in the metal scene ladders with 6 albums and heavy touring in Asia, North America, South America and Europe. Since the burial of BTD in 2013 a lot has happened and during the years that slowly the idea of bringing the band back from the dead started to grow to a firm decision. Pandemic that provided 2 years of empty calendar was the biggest sole reason to release vinyl version from "Deadlight" album (2006) and writing a brand new song was the best that happened during 2020 musically to the core members of BTD and as a cherry on top of a cake the album opened #1 in Finnish album chart. Needles to say a huge boost of motivation and creativity followed. Still the biggest reason for the comeback is that even when buried in 2013 the band and specially the music never died. The past 9 years BTD Spotify has grown with tens of thousands of followers and hundred thousands of monthly plays with no promotion, no label working for, no social media marketing or constant posting. Did the music found the people or people found the music...we don't know but after being dead for almost a decade BTD is stronger and bigger than ever. Instead of riding on the wave of nostalgia and looking back to the old releases BTD crew wanted to look far into the future and continue where we left 2013 with reinforced line-up that could jump into festival stages and tour buss with a brand new album. Voice of Finland 2022 brought so far the biggest change into BTD line-up when the finalist Paavo Laapotti took over all vocalist duties in the band. His majestic version of "Deadsong" made a huge impact to BTD members and specially to the song written Tuomas who immediately started planning a project with Paavo. After the first song for Paavo was ready and mixed the first idea that came into Tuomas head was: "This sounds like BTD but upgraded version". And there was no coming back from that thought. "Downhearted" was the first single from what we like to call Before The Dawn 4.0 and BTD is currently in the studio recording a new album scheduled to come out in early summer 2023 through Napalm Records. Before the Dawn Website Before the Dawn @ Bandcamp Before the Dawn @ Deezer Before the Dawn @ Facebook Before the Dawn @ Instagram Before the Dawn @ Spotify Before the Dawn @ X Before the Dawn @ YouTube |
SUOTANA
Melodic death/black metal from the Arctic Circle.Suotana @ Bandcamp Suotana @ Deezer Suotana @ Facebook Suotana @ Instagram Suotana @ SoundCloud Suotana @ Spotify Suotana @ YouTube |
FULL HOUSE BREW CREW
Full House Brew Crew is a dynamic and energetic metal band hailing from Athens, Greece. Formed in 2009, the band has cultivated a unique sound that fuses elements of heavy, groove, and metalocore. Known for their powerful live performances, Full House Brew Crew has built a strong reputation in the metal scene, captivating audiences with their intense and melodic compositions.Full House Brew Crew @ Bandcamp Full House Brew Crew @ Facebook Full House Brew Crew @ Instagram Full House Brew Crew @ Spotify |
BETTER LOVERS
By challenging each other to progress, Better Lovers challenge heavy music to move forward along with them.Driven by the same restless spirit and clear intention, this cohort of longtime musicians have rallied around a shared vision of creative fearlessness and relentless energy. Playing with a chemistry bordering on magic, the musicians—Greg Puciato [vocals], Jordan Buckley [guitar], Will Putney [guitar, producer], Steve Micciche [bass], and Clayton “Goose” Holyoak [drums]—naturally evolve on their 2024 full-length debut album, Highly Irresponsible [Sharptone Records]. Puciato keeps it simple, “New album. First full-length. It’s a typical thing to say, but we’re excited to start getting this thing out there. Everyone really brought their best to this and brought out the best in each other.” It’s been that way since the winter of 2022 when longtime friends Jordan, Steve, and Goose congregated in a cold Buffalo, NY basement to jam, sowing the seeds for early song ideas. They initially tapped Will to produce (he also jumped at the chance to play guitar), while Greg officially joined the fold upon hearing demos. Without warning in 2023, the group made their presence known with “30 Under 13” followed by the God Made Me An Animal EP. Metal Hammer christened the latter “one of the finest examples of savage modern hardcore you’ll hear in 2023.” Inciting further critical applause, Revolver raved, “they attack like a fresh, hungry band out for blood. Which is what they are,” and KERRANG! profiled them with a cover story. Not to mention, they sold out the bulk of dates on their very first tour. They capitalized upon and catalyzed this momentum into Highly Irresponsible. Putney resumed his role as producer, and the bandmates ignited ten tracks with calculated intensity. Putney notes, “Being a member of the band and the producer is actually a real advantage for Better Lovers. We’re so dialed in to exactly what we want to do, and our creative process is so in sync and natural that we rarely hit a wall when we work on music.” “Writing and recording our first full length was slightly more surgical than the EP, but had a similar lack of restraint. I feel more pressure writing this press release than I felt all winter in Will’s studio. I got to wake up everyday and watch the masters perfect their craft. I was a student. It was a playground. Everything was funny. We were reading each other’s minds. Even creating our own language at some points. I didn’t know if I was watching my closest friends write music, or if I was watching music use us to exist. The voice in my head warning me how highly irresponsible it was to hop on this bull again was gone. Replaced by bad ideas, inside jokes, and a rejuvenated love for helping to write songs that don’t sound like anything else. That brings us to the first single “A White Horse Covered In Blood.” Gritty guitar rolls in tandem with a punchy drumbeat, and Puciato teasingly warns, “Oh, there’s nowhere to run to buddy.” He delivers manic taunts with insidious charisma matched only by the wild dueling riffing across the bridge. “I’m honestly just over here happy that I fit the word ‘buddy’ into a song,” the frontman grins. Elsewhere, high-pitched squeals drain into a rollicking riff on “Future Myopia.” The melodic chant on the chorus belies menace in the lyrics as Puciato proclaims, “Hard to look up when you’re down. No perspective from the ground.” Eerie guitar echoes over a loose bass groove on the spacey “At All Times.” Simultaneously, an arresting vocal performance takes hold, “We corrected the lines we drew. Didn’t we?” Opener “Lie Between The Lines” leans into a sinister melodic lead before culminating on a realization, “I can’t believe I’m just like you.” The finale “Love As An Act of Rebellion” might just be the perfect clarion call for the quintet. The breakneck beatdown and tense ticking clock give way to Puciato’s last word, “In a world where we’re the only. I’d still take life without you. I’d still be lost without you.” Better Lovers found each other, and they’re going to keep pushing each other and heavy music forward. “This is a band firing on all cylinders that is both dynamic and destructive,” Putney leaves off. “That translates through the speakers on this LP, and I can’t wait for people to experience the whole record.” Buckley smiles, “Humans and animals alike are programmed to do wild things for what they love—Highly Irresponsible things. And we love what we’ve created. We know you will too.” Better Lovers Website Better Lovers @ Facebook Better Lovers @ Instagram Better Lovers @ TikTok Better Lovers @ X |
'68
The greatest rock duo on both sides of the Mississippi.'68 Website '68 @ Facebook '68 @ Instagram '68 @ X |
GREYHAVEN
Greyhaven, a four-piece progressive post-hardcore group from Louisvile, Kentucky are back and ready shed light on life’s darkest areas with the announcement of their new record, ‘This Bright and Beautiful World’. But first, Brent Mills (vocals), Nick Spencer (guitar), Johnny Muench (bass) and Ethan Spray (drums) are ready to have some fun with the drop of the newest single, “ALL CANDY”.With two records under their belt (‘Cult America’ and ‘Empty Black’), the band began writing their third record utilizing classic Greyhaven chaotic energy. Having written this record in 5 different locations, the band wanted to make sure that all of their ideas were able to present themselves once they entered the studio with producer Will Putney. Taking pride in simply being “4 guys who like to play music”, Greyhaven was confident that they would be able to sort through the 18 demos that they entered the studio with and pick out the best new songs of the batch. The guys endured a very organic process and like to ensure that this record sounds like it was meant to be played live. Compared to ‘Empty Black’, Mills had a hard time distinguishing a clear path for ‘This Bright and Beautiful World’. His desire to express topics in a more poetic light left Mills feeling like his lyrics weren’t doing them justice. Wanting to really flow with the emotions of the songs, Mills even stated that some of his favorite parts of this record were written on a whim. The lyrics dive into the themes of frustration, depression, the inability to fully express yourself and appreciating the darker parts of life even though that may seem impossible at times. ‘This Bright and Beautiful World’ is an extremely personal record for Mills and is mainly “a record about someone who is really frustrated at how they operate in the world.” The first single off of their new record, “ALL CANDY”, is a bit of a different sound than what Greyhaven has released in the past. Not following their usual pattern of spastic riffs laced with sarcastic lyrics, the band really wanted to not shy away from the poppier route that surprisingly unfolded with this song. While it may sound lighter than their typical work, the lyrics and meaning behind the song are actually very dark. Written while Mills was struggling with his own mental health, this song demonstrates one’s ability to completely block out any negative thoughts and pretend like everything is fine. Mills personified the worst parts of himself as ghost that follows him no matter where he goes. He wanted to shed light on the realization that “you might go out in the world and pretend that you’re happy, but the depression is still there and you will never see life the same way as long as it’s around.” This may be the “fun” song on the album, but it sure does not skimp out on Greyhaven’s darker persona. While “ALL CANDY” invokes a “bittersweet” emotion, the remainder of the album touches on the darker side of mental health. For example, “AND IT’S STILL TOO LOUD” indulges the listener in what it feels like to feel empowered by self destructive behavior. While writing, Mills reflected on the emotion stating, “I have the power to really lean into this and destroy everything if I wanted to”. Accompanied with fast-paced melodies and intricate riffs, it takes the listener on the wild ride that destructive behavior can lead someone down. Mills hopes listeners develop a “gratitude for life” after listening to ‘This Bright and Beautiful World’ and wants to help people come to terms with who they are. Even if things seem dark, this record has an important takeaway – “Find joy in small things. It’s worth putting in the work to find what you think is beautiful in the world.” Greyhaven Website Greyhaven @ Facebook Greyhaven @ Instagram Greyhaven @ TikTok Greyhaven @ X |
CONAN
Hear the roar of battle. Smell the stench of spilled blood. A thousand heads piled high like a grim mound of suffering. England’s doom metal masters CONAN strike back again! Following their much acclaimed 2018 full-length, Existential Void Guardian, and their Live at Freak Valley record released just last year, the trio is gearing up for the release of their fifth studio album, entitled Evidence of Immortality, due out on August 19, 2022 via Napalm Records.From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! Conan Website Conan @ Bandcamp Conan @ Deezer Conan @ Facebook Conan @ Instagram Conan @ SoundCloud Conan @ Spotify |
THRA
For seven years, Arizona’s Thra have performed tirelessly, transforming the arid desert landscape into an corrupted bog of eternal suffering for the duration of every one of their absorbing, transcendent, and ear-punishing shows. Possessing more creative talents, stage presence, and musical curiosity than many active metal bands of the moment, the band has built on the strong root system its established in the southwest, and its artistic fruit are beautiful, dark, and deadly. While death, doom, and sludge are all in vogue at the moment, it is clear to any discerning listener that Thra’s music is the product of a group of masterful musicians who are also aficionados, dedicated not only to doing right by the forbears of their varied genre influences but also to intertwining diverse creative sources to further develop the overall metal sound.Thra @ Bandcamp Thra @ Deezer Thra @ Facebook Thra @ Instagram Thra @ Spotify |
TESTAMENT
The time has arrived for TESTAMENT to unleash new thunder to the masses and reveal their thirteenth studio album: Titans OF Creation. Just as the elements of this planet thrive within all living creatures, each musician in TESTAMENT represents a necessary component of this latest musical endeavor. Still filled with a massive and unstoppable energy since their last release, TESTAMENT has taken their style to the next level and present an album that is loyal to the roots of traditional thrash metal while still bringing alluring, brilliant, and progressive ingredients to the table. Bass is showcased, new vocals are introduced, and as expected, the guitarwork of Peterson and Skolnick is greatly complex and mesmerizing.Eliran Kantor stepped up once again to create a new piece of artwork for the cover of this release. His classic, almost Renaissance style of painting melds beautifully with the ancient, psychological, and enlightened subject matter of the songs. Three monstrous titans stand in the place where the planets are formed. One pours molding liquid which the others hammer into human DNA, twisting and turning into the ring of a newborn planet. Each titan has the flame of a dying star burning in their chest; the origin of the atoms making up the bodies that are bubbling and boiling on the curves of the spiraling helix. Titans OF Creation has many moods and material contained within; all of which somehow tie into a common philosophy of creation and its necessary counterpart: destruction. “Children Of The Next Level” smashes through the gates as the opening track with a flood of sound that prepares the listener for an abundance of violent thrash. Meanwhile, the lyrics rage about the outrageous philosophies of the Heaven’s Gate cult (founded in 1974). Songs like “Dream Deceiver” carry more old school sound that will tickle the senses of any common TESTAMENT fan. The lyrics describe being trapped in a dream by an otherworldly female force who is slowly working to degrade the mind. Dreams are part of existence, but when we are asleep we are entirely vulnerable; one of the many mysteries of being human. “Someone’s haunting you and won’t leave you alone; the only time they pick at you is at night when they can control the way you sleep,” describes vocalist Chuck Billy. “Night of the Witch” features frightening and captivating vocals from Eric Peterson. Carrying a vibe far more akin to Black Metal, Peterson swoops in with a power that melds perfectly with Billy’s ground shaking, guttural growls. Taking some influence from Robert Egger’s 2015 horror masterpiece “The VVitch: A New England Folktale,” the song carries with it a magical quality that directly reflects the mood of the film. At the very end of the track, a theremin howls through the air much like witches rising towards the moon; setting the final tone. “The album has a lot about it that’s fresh to the ear,” explains Peterson. Written by guitarist Alex Skolnick, “Symptoms” is filled with detailed with intricate guitar work that well represents the complicated and spellbinding journey that comes along with handling depression, mood swings, and a countless list of mental health frustrations. The lyrics in this song discuss a sad truth: that mental illness is more common than we all think, and than many of us are willing to acknowledge. On a lighter note, a vibrant track entitled “The Healers” swings back and forth between waves of death and thrash, heavy and melodic, light and dark. The words are spiritual, and extremely personal. They describe Billy’s own experience dealing with all natural medicine men; the elders of the earth, and how they managed to help him pinpoint and heal his past illness. “City Of Angels” comes bearing an entirely new sound for TESTAMENT. The creeping sludgieness and slow, stalking tempo, walk hand in hand with the almost unbelievably gruesome tale of the Nightstalker Richard Ramierz, all combining to form another stand-out track on the record. In 2020 the days of writing an album all together in one room are far gone, but to be able to take advantage of technology allows for TESTAMENT to go about a very similar writing process to what they always have. Basic songs are molded, structures are added by everyone in the group, instrumentals are highlighted, and finally the lyrics and vocals are created to finalize the sonic story. Facetime and human on human contact still remain crucial elements to TESTAMENT’s song writing process and at some point throughout, every member physically interacts and writes with one another. In between writing this album, the band toured relentlessly which allowed for less stress, more time in between, and greater inspiration for this album cycle. There was also plenty of anxiety-free and level-headed time for pre-production and the initial recording process with Juan Urteaga of Trident Studios. Andy Sneap was then able to tweak, mix, and master this album to his usual perfection. TESTAMENT’s process of creation has evolved and progressed yet they’ve remained steadfast over the course of literal decades. While always managing to present the genuine aspects of thrash metal that solidify their existence, they spread into unique horizons through developing crisp and fascinating sounds. Testament Website Testament @ Deezer Testament @ Facebook Testament @ Instagram Testament @ ReverbNation Testament @ SoundCloud Testament @ Spotify Testament @ TikTok Testament @ X Testament @ YouTube |
OBITUARY
Obituary launched in 1984 as Executioner. Influenced by local Tampa, Florida heroes Nasty Savage and Savatage, as well as then-nascent thrashers Metallica and Slayer, Executioner honed their craft via a dedicated practice routine in the Tardys garage, which was soon brought to live stages. While some of the members of Executioner were well below the drinking age, their live shows — complete with drum risers, smoke bombs and urns — displayed an already mature unit that understood the value of presentation.The band (also featuring lead guitarist Jerry Tidwell and bassist Jerome Grable) trekked later in 1984 to Tampa’s famed Morrisound Recording to track its thrash-inspired two-song Metal Up Your Ass debut demo. Shortly after that, two moments occurred that would forever change the band’s career: Peres discovered Celtic Frost and Hellhammer, helping him shape his guitar tone, and John Tardy discovered his iconic death metal voice. Combined with Donald Tardy’s innate rhythmic ability and new lead guitarist Allen West’s solos, Obituary had forged its sound. After catching wind of another outfit named “Executioner,” a name change to “Xecutioner” was in order. It was followed by the band’s inclusion in the pivotal 1987 Raging Death compilation. Word quickly circulated through the metal underground of Xecutioner’s unrestrained heaviness, particularly John Tardy’s vocals. For many, it was unlike anything they’d ever heard. Now armed with eight songs, new bassist Daniel Tucker and eying an eventual record deal, Xecutioner re-entered Morrisound Recording with producer/engineer Rick Miller to track their Slowly We Rot debut in 1988. However, an accident forced Miller to leave the sessions, putting Xecutioner in the hands of the fledgling producer/engineer Scott Burns, who quickly bonded with the members of the band. A deal with Dutch label Roadrunner Records was signed in late 1988 that coincided with a name change to Obituary. Slowly We Rot was unleashed upon unsuspecting ears in May 1989. The sheer brutality of it all — from Peres and West’s subterranean riffs to John Tardy’s rabid, indecipherable bellows — was an immediate revelation in death metal circles. Never before had a band sounded this extreme while having the songs to back it all up. Flanked by promotional shots that obscured the band’s faces (courtesy of a back-alley photo shoot in Ybor City by Tampa scene photographer Tim Hubbard), Obituary quickly became one of the most talked-about names in the death metal underground, with fans and journalists alike taking their turns trying to decipher John Tardy’s lyrics (he never used a lyric sheet) while trying to put a face to the band. (Obituary’s live appearances were limited at this time.) The impact of Slowly We Rot is immeasurable; it remains a standard-bearer for extremity and one of death metal’s most impactful debuts. Cause of Death arrived a year later, this time with James Murphy stepping in for Allen West in the lead guitar spot and Frank Watkins assuming the bass position for Daniel Tucker. While Murphy’s classically inspired solos added a new dimension to Obituary’s sound, Peres and Donald Tardy carried nearly the full songwriting load, assembling a batch of cuts that would remain live set mainstays, “Chopped in Half,” “Dying” and “Turned Inside Out.” Obituary’s first U.S. tour followed the release of Cause of Death, including an appearance on the legendary “S.O.S.” bill alongside headliners Sepultura and opening act Sadus. Behind the momentum of Cause of Death, Obituary’s third studio album, The End Complete, arrived two years later. Once again partnering with Scott Burns and West returning to his lead guitar spot, The End Complete’s raw and natural production values highlighted songs that were now fully enmeshed in groove, as signified by the opening cut “I’m in Pain” as well as the title track, which also received music video treatment and heavy rotation on MTV’s Headbanger’s Ball. The album eventually reached 150,000 units in sales, making it one of the highest-selling death metal albums of all time. Obituary’s fourth studio album, 1994’s World Demise, arrived at a time when death metal became oversaturated and outfits such as Machine Head, Pantera and Sepultura ruled the day. Obituary, however, used it as an opportunity to diversify its sound. Peres, Donald Tardy and Morrisound Recording engineer “Super” Brian Benscoter incorporated a myriad of industrial effects to add a new angle to Obituary. Combined with John Tardy’s harsh lyrical take on corporations plundering the world for their greed, World Demise stands alone as Obituary’s most adventurous album. With Burns approaching retirement from studio work, Obituary tapped Madball producer Jamie Locke for Back from the Dead, the band’s fifth studio album. Recorded at Miami’s legendary Criteria Studios, Back from the Dead housed some of the band’s most groove-oriented material, such as “By the Light,” “Download” and “Lockdown.” In 1998, the members of Obituary decided to take a much-deserved break to focus on their families and other projects. Peres started Catastrophic and released The Cleansing studio album in 2001. Donald Tardy joined over-the-top rocker Andrew W.K.’s band, whose major label debut, I Get Wet, spawned several hit singles, affording Donald the opportunity to perform on Saturday Night Live as well as the 2002 installment of Ozzfest, where an impromptu reunion with Donald, John and Trevor set the stage for the band’s 2003 reactivation. Obituary’s first album in eight years, Frozen in Time, arrived in 2005, followed by a switch in record companies to Candlelight Records and the addition of new lead guitarist Ralph Santolla in 2007. The changes signified a new era for Obituary, prompting the Xecutioner’s Return album title for the band’s sixth studio effort. The album also marked another drastic change for Obituary: The band built its own studio with a Pro Tools rig on John Tardy’s property, enabling them to record at all hours of the day. The process helped shape the band’s next album, Darkest Day, which arrived two years later and highlighted Santolla’s elaborate, Michael Schenker-inspired guitar solos. Bassist Terry Butler (formerly of Death, Massacre and Six Feet Under) joined Obituary in 2010, a long overdue event considering he has been one of the band’s closest friends since their formation. And Santolla (who passed away in 2018) was replaced by Andrew W.K. guitar tech Kenny Andrews in 2012, stabilizing Obituary’s lineup. Behind a crowdfunding effort and a new deal with Relapse Records, Inked in Blood was released in 2014. It was immediately hailed by fans and critics as one of Obituary’s finest efforts in years, propelled by a heavy touring cycle. Simply titled Obituary, the band’s tenth studio album was released during a death metal renaissance. A new wave of fans started to discover bands like Obituary, while old standbys were reminded of the band’s greatness through cuts like “Brave” and “Sentence Day.” A marquee spot on Slayer’s European tour ensued, where the sound of Peres’s ungodly guitar tone melted arenas across the continent. The 2020 Covid pandemic took Obituary and their peers off the road. The band made the most of its downtime with a series of livestreams that gave fans the opportunity to hear classic albums in full and deep cuts that are rarely performed live. Along the way, Obituary kept writing new material, culminating with Dying of Everything, which, once again, was recorded at the band’s own RedNeck Studios in Gibsonton, Florida and produced and mixed by Joe Cincotta, with engineering credits yet again falling to Mark Prator, a longtime friend of the band. Dying of Everything, as one would surmise, is everything one would expect from Obituary. From the thrashy “Barely Alive” to the all-out stomp of “The Wrong Time” and the innate groove of “My Will to Live,” Dying of Everything is Obituary at its finest, fitting for a band that has defied age, expectations and shifting musical tastes. Obituary is built upon brotherhood, friendship and music—three unbreakable bonds. From the garages of Brandon, Florida, to the big festival stages of Europe and beyond, Obituary has never lost sight of what matters: a prime recipe for longevity. Obituary Website Obituary @ Bandcamp Obituary @ Deezer Obituary @ Facebook Obituary @ Instagram Obituary @ ReverbNation Obituary @ SoundCloud Obituary @ Spotify Obituary @ X Obituary @ YouTube |
DESTRUCTION
After their 40-year-anniversary tour through South America and Europe German Thrash-Teutons DESTRUCTION take no rest and strike again with their new album Birth Of Malice – out March 7, 2024 via Napalm Records! Founder Schmier once again combines his dual vocal/bass attack with crashing riffs from dual battle axe masters Martin Furia and Damir Eskić, while Randy Black blasts his drums to new heights. As witnessed on their previous thrash-fest Diabolical (2022), DESTRUCTION return with their uniquely raw and brutal sound, delivering merciless songs with a touch more variety and groove this time. All twelve songs straight from the butchers hit with a direct and clean sound – resulting in addictive metal anthems for the next generation of thrashers!Their newest onslaught is opened by the brutal “Destruction” with a luring intro transforming into a true thrashing hymn with razor sharp guitars honoring the band’s 40+ year legacy, where mastermind Schmier reflects on the old days. Like the title Birth Of Malice suggests, lyrically Schmier delves deep in human errors – like selfish behavior on “Greed” and “Evil Never Sleeps”, while stomping “A.N.G.S.T.” delivers shredding guitar solos and flirts with our paranoid instinct, criticizing evil forces who prey on the weaknesses of others. A clear statement is made with carnage on “Scumbag Human Race”, exploring the mistakes mankind makes and pushing authorities in its memorable chorus “I will count your days!”. The same rebellious attitude can be witnessed on the banging “No Kings – No Masters”. On the album, DESTRUCTION also shift to futuristic topics, like the unconscious influence of technology and new forms of war on “Cyber Warfare”. To close this brutal tour de force on a positive note, the thrashing legends celebrate their strong allyship with metal colleagues Accept, by presenting their own version of classic neck breaker “Fast As A Shark”. All of these heavy topics are combined in the brutal cover artwork, designed by talented Hungarian artist Gyula Havancsák, known for his works for bands like Accept, Kreator and Blind Guardian. Birth Of Malice was recorded at Switzerland’s Little Creek Studio by V.O.Pulver and guitarist Martin Furia mixed and mastered the masterpiece at The Black Mancave in Hannover, Germany. DESTRUCTION mark themselves once again as a tight metal-machine, switching between ruthless thrash and pounding melodic moments, proving they are more than ready to slaughter again on this new album, and at their upcoming shows all over the world! Destruction Website Destruction @ Bandcamp Destruction @ Deezer Destruction @ Facebook Destruction @ Instagram Destruction @ SoundCloud Destruction @ Spotify Destruction @ X Destruction @ YouTube |
NERVOSA
Nervosa was formed in 2010 by Prika Amaral and Fernanda Terra (drummer). Despite previously being part of bands with different styles, they found a shared passion in Nervosa's compositions: thrash metal with strong influences from bands in the classical school of this genre.In 2012, due to the recognition gained from their hard work, NERVOSA achieved a significant milestone: a contract with the Austrian label Napalm Records. They released their debut work, a demo with three tracks, titled '2012' in Brazil, and 'Time Of Death' internationally. In 2014, they released their first album, titled “Victim of Yourself”. The album was recorded at the legendary studio of Pompeu and Heros (both from the band Korzus). It was launched in March of the same year by Napalm Records in Europe and North America, and by other labels and distributors in South America, Japan, and Russia. Alongside the traditional CD format, four vinyl versions were released - in black, blue, red, and clear, distributed by Napalm Records and Nuclear Blast. In 2016, the band recorded their second album, titled 'Agony', produced in California and Oregon, United States, by Brendan Duffey. The album was mixed and mastered by thrash master Andy Classen. The album's worldwide premiere was announced on June 3rd again by the Austrian label Napalm Records. In the same year, they embarked on an intense concert tour to promote their latest album, performing more than 160 concerts. In June 2018, the band released their new album "Downfall of Mankind", produced by Martin Furia. They extensively toured Europe, Latin America, and Asia. The album received high praise from critics, and in 2019, Nervosa played at Rock in Rio in front of an audience of over 70 thousand people. In 2020, the band underwent a lineup change and announced a new lineup. The following year, they released their most successful album to date, "Perpetual Chaos", also produced and mixed by Martin Furia. The album, released in January 2021, reached the top of the charts in many countries. It received critical acclaim, earning spots in various "best album of the year" rankings and other categories. In 2023, the band underwent a transformation, adding another guitarist, Helena Kotina, a virtuoso Greek guitarist influenced by Classic Rock, Heavy Metal, and Thrash Metal. Prika Amaral assumed vocal duties and leadership of the band, injecting more aggression, diversity, and stability. In April of the same year, Nervosa released the video for “Endless Ambition”, featuring the current lineup, which was well-received by critics and fans. From May to August, the band performed at major festivals in Europe, such as Inferno Metal Fest in Norway, Resurrection in Spain, Copenhell in Denmark, Gefle Metal Fest in Sweden, Metal Days in Slovenia, Wacken in Germany, Vagos Metal Fest in Portugal, Rock Castle in the Czech Republic, and Summer Breeze in Germany, among others. With the recent release of "Seed Of Death," the band demonstrated extraordinary growth, leaving fans eagerly anticipating their upcoming album, which promises to be the pinnacle of Nervosa's career. Titled “Jailbreak”, the album's release is scheduled for September 29th with global distribution. Nervosa is considered a significant reference in the new generation of world metal, standing as one of the prominent female bands. Recognized as the Latin phenomenon, Nervosa's history showcases a remarkable example of overcoming challenges. Nervosa Website Nervosa @ Bandcamp Nervosa @ Deezer Nervosa @ Facebook Nervosa @ Instagram Nervosa @ ReverbNation Nervosa @ SoundCloud Nervosa @ Spotify Nervosa @ TikTok Nervosa @ X Nervosa @ YouTube |
GUTALAX
Do you like dancing? In that case gore grind GUTALAX are here for you. Come to have a dance in the moshpit, because this Czech band know very well how to pump it up on the stage.The Shitty River boys will tour South America before our anniversary to improve their movements in the samba rhythm which they will then, in a brownish connection with their disco, release into your bodies. Band members: Martin MATY Matousek - vox Tomas KOJAS Anderle - guitar Petr FREE Svoboda - drums Pavel KEBAB Troup - bass Gutalax @ Bandcamp Gutalax @ Deezer Gutalax @ Facebook Gutalax @ Instagram Gutalax @ Spotify Gutalax @ X Gutalax @ YouTube |
SPASM
The Epoch of Spasm started at the beginning of winter month January in 2000. At that time the band was intended as a side-project of the hordes Psychopathia and Romantic Love, but everything completely changed. When Psychopathia (up to that time a regular and running band) was laid to rest, nothing prevented us from leading the band as a full featured group. Our aim was evident – we wanted to play extreme music with an extraordinary concept. The first line-up was formed with the help of another member of Psychopathia – Mira - guitar, but after a short engagement, the line – up slowly crystallized to the three – members’ band. At that point in time line – up was: Sam – bass grind inferno, Lukáš – drums and cymbals and Máňa- vocals. During the next year, Spasm composed and rehearsed songs for the debut demo CD - “ Spasmatic Secretion”, which was released in May 2001, but it wasn’t released nor spread among audience. Then Spasm made a progression, we tried to form our original style of playing (the band refuses using guitars) and participated in various actions and gigs. In 2004 Spasm experienced the turning point in its career – we recorded a promo CD for an eventual label release, what finally happened.Copremesis prod. released the debut album of Spasm in May 2005. Later on, when ideal and conceptual disputes appeared, Máňa left the band and his post was taken by owner of the releasing label Copremesis- Radim (Copretina). So, the line – up was: Sam – bass guitar, Lukáš – drums and Radim – vocals. After releasing our debut album “Lust For Feculent Orgasm”, the band started playing in different fests and gigs, Obscene extreme 2006 was the most important performance in our career. In next tree years our horde intensively played dozens of shows in Czech Republic, Poland, Slovakia, Germany and Austria, we participated in several compilations and we were hardly working on another CD. As a result of our effort, we met with growing warm reception of fans and with growing interest and popularity as well. At the beginning of 2008 Spasm entered the studio to record new material for the second full – length CD. We succeed in realizing it, recorded a big amount of songs, so some of them were put on Split EP with our grinding Slovakian friends Mizar. This Split Ep was released by a friend of our band - Bohdan and his Rarach Katus rec. in March 2008. In October 2008 another glorious period of our history was started, when our second CD called “Paraphilic Elegies“ was released on German label Rotten Roll Rex. after some major technical inconveniences. Firstly, we unobtrusively had a few shows supporting our actual release, but we decided to play intense and maximal shows all around for the next year 2009. Between 2009 - 2010 the band participated in many gigs and festivals throughout Europe (Ukraine, Portugal, The Netherlands) and also in their homeland. Moreover, Spasm filmed their first music video. That was the time for preparing another CD as well. In summer 2011 Spasm released the third full-lenght album "Taboo Tales" and the whole crazy carousel starts up again. In the same year Spasm shot another official video, which awarded amazing 4th place in Czech music survey Břitva in "Video of the year". The year of 2012 brings the first real European tour with friends Gutalax. We played 10 gigs in 10 days in 5 countries. The whole venue was really successful and also the new merchandise has been maximally promoting the band. We appeared on great summer festivals – awesome Obscene Extreme and also Extreme Fest in Austria, Germany and Switzerland. Afterwards we played gigs in the Netherlands, Poland or Switzerland and Germany again. In 2013 we experienced playing in Russia for the first time and we took part in some great small Czech festivals like Antitrend Fest and also in famous Rape The Escape Fest in Austria. January 2014 brought us the golden opportunity to play headlining and successful tour which took place in different parts of Mexico. In May we played twice in the Netherlands, two awesome fests like Grindhoven and the biggest European indoor extreme festival Neurotic Death Fest. March 2014 Luke decided to leave the band but promised us that he played all booked gigs. Sam and Radim looked around the scene and after great gig on Brutal Assault they found new drummer Rudy from Slovak republic. After that we fixed new drummer Sam and Rudy Worked on live play list and practise for gigs. 2015 after some rehealsals we entered the studio in April and recorded new CD called PUSSY –DE LUXE- With the new concept of new cd helped us our old friend David and his girlfriend Romca. They found for us pretty model girl Pavla and we made small photosession and we recorded new videoclip. Cd + LP and other merch were out in November under Rotten Roll Rex again. This year we are hard working for promote our new album and spread our beauty bodies… Spasm @ Facebook Spasm @ Instagram Spasm @ Spotify Spasm @ YouTube |
GUINEAPIG
Guineapig is an Italian Goregrind unit formed in 2013, fascinated by splatter movies, medical experiments and rare diseases, fueled by ultra-massive riffs and guttural vocals.Conceived by an idea of guitarist/vocalist Fra, soon after composing 2 demo tracks he involved drummer Cristiano and bassist/vocalist Alessio. Right after the release of their debut album, Gina joins the band as drummer. Their 2014 debut album ‘Bacteria’ was a clear statement, a Goregrind ensemble built to destroy, an operation that led the three-piece to be recognized as one of the most interesting and original names in the over-saturated extreme music world. With this release alone, along with a split with Rompeprop in 2017 – both via Rotten Roll Rex – the band has treaded the stages of some of the most important European festivals around, including Brutal Assault, Party.San and Obscene Extreme, and also shared the Gorecrusher European Tour with fellows Gutalax and Spasm on multiple occasions. Eight long years after ‘Bacteria’, Guineapig finally make their comeback in June 2022 via Spikerot Records with the crisp and blistering sophomore work ‘Parasite’, praised all around the globe by fans and critics alike. An album that redefines the very concept of Goregrind with a cutting-edge and forward-thinking vision, without ever losing sight of the roots, with a songwriting fluctuating between abysmal tunings, Death Metal mid-tempos and ripping breakdowns. Expect nothing but The Heaviest Goregrind. Guineapig Website Guineapig @ Bandcamp Guineapig @ Facebook Guineapig @ Instagram Guineapig @ ReverbNation Guineapig @ Spotify Guineapig @ X Guineapig @ YouTube |
PERTURBATOR
James “Perturbator” Kent has never been one for half measures. From the moment he emerged, he embodied the raw, visceral spirit of a resurrected retro-electronic sound, reconfiguring its codes with the ferocity of a revolutionary. But where others wallowed in the sugar-coated nostalgia of synthwave, Kent obliterated those clichés, leaving a scorched-earth legacy in his wake.Perturbator’s genesis dates back to 2012, when releases like “Night Driving Avenger”, “TERROR 404”, and “I Am the Night”propelled him to the forefront of the retro- electronic scene. Critics eagerly likened him to giants such as John Carpenter, Tangerine Dream, and Goblin, but Kent already had a vision that went beyond easy comparisons. His restless ambition led to a pivotal moment in 2014 with “Dangerous Days”, a magnetic and shadow-drenched masterpiece. By 2016, “The Uncanny Valley” had cemented his status, climbing the Billboard charts while plunging into even darker sonic depths. But for Kent, it still wasn’t enough. In 2017, “New Model” signaled a bold shift. Gone were the pop culture references and neon nostalgia. In their place, Kent channeled the icy austerity of Kraftwerk, the visceral intensity of Nine Inch Nails, and the claustrophobic textures of Lorn, determined to defy the expectations of a fanbase hungry for retro comfort. With “Lustful Sacraments”, Perturbator further solidifies his reputation as a visionary artist, unflinchingly exploring humanity’s inevitable decline. “This album is about bad habits, chronic dissatisfaction, and addiction,” Kent explains. “It’s an overall look at how we, as a species, lean toward self-destruction.” Musically, the album delves into the shadowy aesthetics of the 1980s and 1990s, blending gothic atmospheres with suffocating electronic textures and precision-cut production. After two years of relentless touring across the globe – sharing stages with HEALTH in the U.S. and joining forces with Carpenter Brut in Europe – Perturbator is poised to make 2025 a year to remember. He's joining forces for the first time with the well-known metal label Nuclear Blast Records, and as good news never comes alone, he's also announcing a European headline tour for November 2025, featuring Gost and Kaelan Mikla as support acts. 2025 won’t just be a year where you hear about Perturbator. It will be the year he once again redefines what it means to push the boundaries of music. Perturbator Website Perturbator @ Bandcamp Perturbator @ Facebook Perturbator @ Instagram Perturbator @ Spotify Perturbator @ X |
KÆLAN MIKLA
Kælan Mikla soars through the worlds of legends, fairy tales, magic and mysticism. Extraordinary soundscapes conjured by synths, dreamy vocals, screams and droning bass lines dominate and pull the listener ever deeper into their mythical world.The band, consisting of Sólveig Matthildur, Margrét Rósa, and Laufey Soffía, lets the complex interplay of musical and visual experience play a key role in their stagings, captivating audiences with a unique blend of post-punk, goth, and dream-pop influences, evoking a moody, otherworldly atmosphere inspired by the darkened landscapes of their native Reykjavík. The band first gained attention after winning a poetry slam competition, which led to them transforming their literary explorations into music. Their debut album, "Mánadans" (2014), introduced their signature atmospheric sound, and their subsequent albums, “Kælan Mikla” (2016), "Nótt eftir nótt" (2018), and "Undir Köldum Norðurljósum" (2021), showcased their progression into a darker, more refined sonic space. Kælan Mikla’s ethereal live performances have earned them a dedicated international following, and they have embarked on several major tours with artists such as Ville Valo, Alcest, and Chelsea Wolfe, whose audiences resonated deeply with Kælan Mikla's atmospheric and intense stage presence. Their tour with Ville Valo was particularly significant, as it introduced them to a wider audience of gothic and rock enthusiasts whilst touring with Chelsea Wolfe also aligned them with similarly dark, evocative acts, creating a synergy that made for unforgettable live experiences. A key milestone in their career was the BBC Radio 1 Maida Vale session in 2023, which served to showcase their evocative sound to a broader audience and highlighted their growing international appeal. This milestone underscored their position as a key force in the darkwave movement, bringing Icelandic gothic soundscapes to the global stage. On their upcoming album, the forces of nature will play a key role and the personification of their powers will shine through, “We look at Iceland's nature in the form of female figures who dominate the rugged landscape of lava, fog and cliffs. A powerful feminine energy ties the stories together in a balanced yet provocative way”. The elegant lyricism of their poetry builds mountain peaks shrouded in mist and mystery. Kælan Mikla’s otherworldly force continues to profoundly inspire audiences through a cathartic realm of emotional exploration. Kælan Mikla Website Kælan Mikla @ Bandcamp Kælan Mikla @ Facebook Kælan Mikla @ Instagram Kælan Mikla @ Spotify Kælan Mikla @ X Kælan Mikla @ YouTube |
GOST
Gost exist in the dark crack between black metal and the most shadowy end of electronic music. Since the release of the Radio Macabre EP at the start of 2013, and the remorseless digital nightmare of their Skull debut album six months later, Texas-based multi-instrumentalist, producer and main-brain James Lollar has become an increasingly singular force in music. Far more aggressive and sinister than the synthwave he’s often grouped with, Gost is a harsh and unique digital nightmare that takes the listener right into the heart of the abyss.Now Gost return with their sixth album, and their most exhilarating and dangerous-sounding work to date, Prophecy. It’s a record that perfectly reflects the horror and grim anxieties of a world beset with religious and political overreach, and progress “being rolled back to the fucking 1950s“. “It’s about an imaginative fall of the Western civilization, the biblical end of the world – the rise of Satan and Armageddon,” says James. “In America, there’s been a big rise of scared, reactive Christianity again, and almost like a re-emergence of the Satanic Panic. So it felt like an appropriate time to bring Satan back into things.“ Recorded alone in Texas during a burst of creativity at the end of 2022 (“I can’t put a song down once I start it, I’m too OCD, I have to finish it“), Prophecy is the perfect vessel for such things. Following the experimentation and more melodic touches of 2019′s Valediction, James says it also acts as something of a return to older roots, to recapture the spirit of Gost. “When Valediction came out, COVID hit, and I guess people weren’t so into art while the world was on its knees,” he says. “I also wanted to reconnect with some of my older fans who maybe didn’t feel that album so much. I wanted to go back in time and bring some of the older shit back, some of the older sounds.“ Indeed, on tracks like the industrial scrape of Death In Bloom, the doomy Decadent Decay and Golgotha‘s demonic pulse, it’s clear what he means. Throughout, he welds together elements of pulsing synthwave, the otherworldly nastiness of black metal, and the pound and snarl of Ministry at their most unhinged to create a whole that sounds genuinely dangerous, somewhere between metal and a rave in Hell. “If people listened to my music at a rave they would have a bad fucking trip,” laughs James. “But it’s a fun challenge to try to make metal with digital noises. I love processing on a computer and electronic equipment, and trying to make it sound raw. It’s a unique challenge, because everything in there is clean, and you’re using plug in distortion and things like that. It’s just a whole different realm than using pedals and amps and shit.” For an artist who drinks so heavily from the world of electronic and dance music – albeit at its most extreme edges – James says Gost hasn’t been taken in by that world at all. Instead, he’s built a home in metal, as seen when he was invited to tour with black metal legends Mayhem. “On the Mayhem tour, I ended up one night in a hotel bar talking to [bassist] Necrobutcher. I was thanking them for having me on the tour, and he’s like, ‘That was me, I wanted you on this tour.’ That’s fucking bizarre. But it’s cool, man,” says James. “It’s weird to be accepted by the metal community, it’s humbling, it’s honourable. It’s where I come from.” Whatever you call it, Gost have made something intense, cathartic, creatively rich and not quite like anything else out there. Watch them fulfil their Prophecy… Gost Website Gost @ Facebook Gost @ Instagram |
BATTLE BEAST
Famous for their energetic shows, incredibly catchy choruses and odd sense of humour, Battle Beast are destined for glory. Topping the Finnish charts for the fourth consecutive time and hitting #tt in Germany with their 2022 album “Circus of Doom”, the Helsinki-based sextet is looking and sounding stronger than ever.Ever since winning two major band competitons in 2010, Battle Beast have been busy on the road. Throughout the years, fans around the globe have grown to love the explosive combinating of shredding guitars, symphonic keyboards and the unique voice of frontwoman Noora Louhimo. Battle Beast were awarded the “Metal Album of the Year” award at Emma Gaala (Finnish Grammys) for both “Bringer of Pain” (2017) and “No More Hollywood Endings” (2019). Battle Beast Website Battle Beast @ Deezer Battle Beast @ Facebook Battle Beast @ Instagram Battle Beast @ SoundCloud Battle Beast @ Spotify Battle Beast @ X Battle Beast @ YouTube |
DOMINUM
And just when you thought it couldn't get any worse, it always can. The living dead are ready to emerge. Emerging seemingly out of nowhere, they give us a taste of what we all fear: a redefinition of what it means to be alive. But to be honest, with DOMINUM, that new life has already begun.DOMINUM deliver an epic metal show that takes the living on a journey into a world of the undead. The band combines the energy of metal with the drama and intensity of a horror movie, creating an intense and captivating reality. With songs that tell stories of zombies, survival, and an insatiable hunger for more, they bring their undead characters to life and provide a live experience that couldn't be more alive. Frankenstein is yesterday. Dominum Website Dominum @ Bandcamp Dominum @ Deezer Dominum @ Facebook Dominum @ Instagram Dominum @ Spotify Dominum @ TikTok Dominum @ YouTube |
MAJESTICA
MAJESTICA, the symphonic and power metal band from Sweden, is set to embark on an exciting new journey with their upcoming album Power Train, scheduled for release in February 2025. This spellbinding experience awakens sleeping dreams with powerful riffs and epic choruses in singles such as "Power Train," "Battle Cry," and "A Story in the Night." The enchantment rises like a breath of stars, propelling listeners into the heart of a fairytale world.Back in 2019, MAJESTICA made a significant impact in the metal community with their debut album, Above The Sky. This album showcased their signature blend of soaring melodies and powerful instrumentation, quickly gaining acclaim and amassing over 17 million streams. It established them as prominent players in the power metal scene, setting high expectations for their future work. In 2020 then, the band delighted fans with a unique release: a Christmas musical power metal album titled A Christmas Carol. This project beautifully intertwines the classic tale of Ebenezer Scrooge with their symphonic power metal style, drawing inspiration from artists like RHAPSODY and film composers such as Alan Silvestri and Danny Elfman. The album not only highlighted their musical versatility but also offered listeners a captivating retelling of the beloved story, complete with orchestral elements and theatrical storytelling. Musically, fans can expect real power metal with an even more symphonic and epic sound in Power Train. Tommy Johansson describes: "You can expect to hear an explosive and very melodic Power Metal album with alot of catchy melodies, epic guitars solos, strong power metal vocals with fast, but also heavy drums!”. The album features ten brand new tracks, which showcase especially musically a natural evolution and growth in style and skill compared to the previous albums, giving their fanbase exactly what MAJESTICA are known for and doing the logical next step in their career. "We’ve taken the melodies and the Power Metal elements from our first album and mixed it with some of the choir and orchestral arrangements from the last one - perfect mix!” adds Tommy. When it came to the process of recording and putting all the pieces together, the band did not change a lot compared to the last projects. Again the music was written, recorded, and produced by MAJESTICA themselves. "Like our previous albums this one is also produced by ourselves, and we recorded most parts in our new place ”Majestic Studios”. For mixing we went back to Jonas Kjellgren as we have been very happy with the sound of ’A Christmas Carol’ and ’Metal United’“ says bassist Chris Davidsson. Regarding the amazing artwork for Power Train, Chris explains: "For the artwork we teamed up with Jan Yrlund / Darkgrove design. It invites you to join this majepic ride of the Power Train, imagine standing there on the platform eagerly waiting, and you hear ”all aboard”!“. With Power Train launching on February 7th 2025, MAJESTICA continues to evolve their sound and connect with their ever-growing fanbase. Fans can catch MAJESTICA on tour in Europe in December 2024, and look forward to appearances at notable festivals in 2025, including Epic Fest, Metalfest and Time to Rock. They will also perform in the USA at 70,000 Tons of Metal and ProgPower, where fans can have legitimate hopes that MAJESTICA will also play a few new tracks live from Power Train. Majestica Website Majestica @ Deezer Majestica @ Facebook Majestica @ Instagram Majestica @ Spotify Majestica @ X Majestica @ YouTube |
SINISTER
Starting in 1989, Sinister was a band arising in the middle of the Death-Metal hype. Mike, André, Aad en Ron were joining forces and the Sinister sound was born. After releasing a demo, which sold about 1500 copies, a promo tape followed. Sending out the promo to various labels resulted in signing up at Nuclear Blast Records, Germany 1991. Their debut CD 'Cross the Styx' saw the light in early 1992, and sold many copies worldwide. Many live shows all over Europe followed. Touring with bands like Suffocation, Cannibal Corpse and Deicide increased the number of people knowing Sinister.In the years after that, Sinister succeeded in maintaining their popularity by releasing their second and third album 'Diabolical Summoning' (1993) and 'Hate' (1995) and doing many live shows all over Europe and a very successful 55 show-tour through all the USA. At the end of this period, Death-Metal got less popular, lots of Death-Metal fans switched over to Black-Metal, Gothic and other atmospherically music. Sinister never thought about playing other music than their favorite; Death-Metal. Some years passed and the band released their mini-CD 'Bastard Saints' (1996), and played a few live-shows. Several line-up changes followed, and led Sinister to write their most aggressive brutal and intense album so far 'Aggressive Measures' (1998). These time their presence in Death-Metal paid off. Death-Metal is back, where for Sinister it never left. The response from fans and critics where good. Sinister sold lots of albums and played lots of good shows, of which a short US-tour and good festivals like Wacken open air, Milwaukee Metal fest and Czech Dynamo blessed their way. Yet the cooperation between Sinister and vocalist Eric didn't work out very well, which lead to Eric's departure in August 1999. Sinister was searching for a new singer. After some serious tryouts with different singers, Rachel came out best and the band started concentrating on the next record. 'Creative Killings' was released at Hammerheart Records, September 2001. Shortly, after the release guitarist Bart decided to quit the band. A replacement was found in Pascal. The album was promoted with shows in Russia, Belarus and a 26 show tour across the rest of Europe. In 2002 Sinister decided to join forces again with Nuclear Blast records. The result is the release of their album 'Savage or Grace'. The album was massively promoted through shows in Mexico, Columbia and a two week tour with Cannibal Corpse across Europe. After a short split Sinister reformed in March/April 2005 due to letters from the fans around the world. A slight position change though. Former bassist Alex Paul moved to guitar, drummer Aad moved to vocals and newcomer Paul on drums. After the recordings of 'Afterburner', several promotional gigs, and after launching there DVD 'Prophecies Denied', which was taken in Poland, Paul left the band in late 2007 to pursue other interests. A new record deal was signed with Massacre Records for an album to be recorded in May 2008 titled 'The Silent Howling' with Edwin van den Eeden on drums.The 'Legacy of Ashes' album, recorded in 2010, would be the last with Edwin and Alex. After some shows in South-Africa and Russia the band parted ways because of different opinions in the band. Aad didn't hesitate and immediately he called his mates from project band Absurd Universe; Toep, Bastiaan, Mathijs and Dennis. Bastiaan, Aad and Toep knew each other already from the band Supreme pain. With this band they recorded 'Nemesis Enforcer'. Toep and Dennis knew each-other also from their cooperation in former bands, like Putrefied. Bastiaan and Mathijs are brothers ? So, putting this band together again with these guys, was just as logical as it could probably be. In 2011 they started with recordings of 'The Carnage Ending' in Soundlodge with Jorg Uken. The band had to prove itself more than ever, after a serious lineup change. But the reactions were amazingly good and positive. With this record the band was back on track. Fans were even referring to Cross the Styx and the beginning of Sinister. Also with bookings agency D19, Sinister was able to play big shows and festivals like; 70.000 tons of metal cruise, Hell fest, Extreme Hate Festival Brazil and Eindhoven Metal Meeting. After touring the Balkans and many festival shows in Italy and Germany, Sinister did not rest but started writing songs for the monster album 'The Post-Apocalyptic Servant', a CD which can be considered as the fastest and hardest work ever from Sinister. In 2014 recordings in Soundlodge were completed and Sinister started to promote this CD with a tour in Australia and many club shows in Europe. The critics were again amazingly good!! After launching the 7 "EP 'The Unborn Dead', containing two cover songs of Novembers Doom and Grotesque in 2014, Sinister recorded a complete cover CD to celebrate the existence of the band for 25 years, not counting the breakup for two years. This CD was entitled 'Dark Memorials' and came out in 2015 and got great responses! Heading for a new CD in 2017, Mathijs was forced to stop the band due to personal conditions and not much later the same applies for Bastiaan. Luckily Alesa (Aad's wife) was able to help the band with their mini tour in Brazil and some other great festivals in 2016 as Summer Dying Loud in Poland, gigs in Portugal and Spain, and so on. With Ricardo Falcon on guitar Sinister was on full strength again, for the live and shows and to work on the new songs for 'Syncretism', as Bastiaan stayed on the bands side to take responsibility for the 2/3 of the guitar parts on 'Syncretism'. In November 2016 recordings were done at Soundlodge with Jorg Uken again !! A majestic dark album with 100% pure Death metal will be released in 2017. In 2017 Sinister played at some great festivals as Netherlands Death Fest, In Flammen, Steelfest, Rockstad, Metal Days, Obscene Extreme and many others! Meanwhile Ghislain van der Stel was recruited on bass-guitar to join the squad!! Touring South America with Pestilence, again the 70000tons of Metal and Maryland Deathfest were just few highlights that followed. Unfortunately Sinister and Ricardo parted ways in 2018. Both parties had different opinions and therefor it was better to split up. It was decided with full respect of each other. The good part is that Sinister really quick came in contact with Michal Grall. This great guy just played his first gig at Otero Brutal Fest after just a few weeks of study and two rehearsals! Killer!! Heading for some great summer festivals Sinister is already busy writing new stuff for their new album to be released in 2019. Meanwhile a 7"split EP with Profanity sees daylight in 2018. Sinister Website Sinister @ Facebook Sinister @ Instagram Sinister @ SoundCloud Sinister @ Spotify |
PESSIMIST
Originally conceived in Los Angeles, 1989 with the "Tunnel Vision" demo, then later became one of the premiere bands to emerge out of the early Baltimore, MD death metal scene, with their 1993 demo Dark Reality, PESSIMIST played their first shows opening for national acts Incantation, Deicide, and Malevolent Creation. In 1995, the band self-released the EP Absence of Light on cassette and landed gigs opening for Testament, Forbidden, Suffocation, and Napalm Death.In 1997 PESSIMIST signed to Lost Disciple Records and released their debut CD Cult of the Initiated, which charted on CMJ Top 40 Loud Rock Charts, and received acclaim from around the world. The band continued to play shows in the Mid-Atlantic region, opening for Cryptopsy, Nile, Gorguts, Dying Fetus, Vader, Monstrosity, and festival appearances at Milwaukee Metalfest XII, New England Metal and Hardcore Fest – and the band’s first European tour with Fleshless (Cz) in 1999. PESSIMIST released their second CD, Blood For the Gods, in 1999, which soared into the CMJ Top 30 and received the prestigious “Pick of the Issue.. 10 Fucking Skulls” in SOD Magazine. PESSIMIST became recognized for their unique brand of brutal and technical Black/Death Metal, with old-school thrash influences, an emphasis on quality songwriting, powerful live shows and a dark, evil sound. In 2001, the band traveled to Tampa, FL to record with producer Erik Rutan, for their third CD, Slaughtering the Faithful, which featured a re-vamped lineup and a faster, more extreme musical direction. More shows followed with Morbid Angel, Hate Eternal, Krisiun, Immolation, Cannibal Corpse, Dark Funeral, festival appearances at March Metal Meltdown, New England Metal and Hardcore Fest, and November to Dismember. PESSIMIST returned in 2008 with the Evolution Unto Evil CD, a compilation of rare/live demo recordings and tributes to Kreator, Megadeth, and Possessed, which was co-released on Pathos Prod and Deathgasm Recs. This was followed by appearances at New England Deathfest and Hostile City Deathfest. In 2009, the band returned to Europe for their second European tour with label-mates Pandemia (Cz). In between downtime with the band, founder/guitarist Kelly McLauchlin had also been a member of bands such as UNHOLY GHOST, DIABOLIC, filled in live with ANGELCORPSE, and had later joined Death Metal legends POSSESSED, touring with the band from 2011-2013. In 2018, PESSIMIST returned to the stage at Maryland Deathfest, headlining Las Vegas Deathfest, Rage of Armageddon Fest (NY), and Ruinfest (CA), and in 2019 released a new single, Keys to the Underworld, which featured studio drummer Kevin Talley (Dying Fetus, Suffocation) and bassist Kelly Conlon (Monstrosity, Death). Now, in their latest incarnation, the current PESSIMIST lineup includes founder/guitarist Kelly McLauchlin (I Am Morbid, Possessed, etc.), new bassist recruit Andrew Bowen (Carnal Necrosis), and vocalist Ivan Alison aka “The Evil One” (Black Mass). The band recently welcomed drummer Tim Yeung (I Am Morbid, former Morbid Angel, Divine Heresy, etc.) to the recording lineup. PESSIMIST is currently in the studio recording "Keys to the Underworld", for release on Season of Mist. Pessimist Website Pessimist @ Bandcamp Pessimist @ Facebook Pessimist @ Instagram Pessimist @ SoundCloud Pessimist @ Spotify Pessimist @ X Pessimist @ YouTube |
GRACELESS
Graceless (NL) play Death Metal. Founded in 2016 the four piece quickly gained a respectable reputation, releasing 3 albums, 2 splits and playing countless memorable live performances, including Ruhrpott Metal Meeting, Party.San Metal Open Air, Eindhoven Metal Meeting, Stonehenge, Into the Grave and many more.The latest milestone in the rise of Graceless is the inking of a worldwide deal with Listenable Records in 2023: including LP, CD and MC reissues of their first three albums as well as the release of the bands fourth full-length, being the follow up to their critically acclaimed third record Chants from Purgatory (2022). Graceless @ Bandcamp Graceless @ Deezer Gracelesst @ Facebook Graceless @ Instagram Gracelesst @ Spotify Graceless @ YouTube |
