PETER AND THE TEST TUBE BABIES
In 1978 the 17 year old punks Peter Bywaters and Del Strangefish founded PETER AND THE TEST TUBE BABIES in the small town of Peacehaven near Brighton. After a couple of rehearsals they made their first recording ‘Elvis Is Dead’ which appeared on the Vaultage ‘78 compilation of Brighton new wave bands. Radio 1 DJ John Peel loved the song instantly and produced a John Peel session with the TEST TUBE BABIES. The success was breath taking and PETER AND THE TEST TUBE BABIES became one of the hottest unsigned bands in the UK overnight.The first single ‘Banned From The Pubs’ followed fast, and fans and press freaked out in equal measure. From that moment everything went crazy, sold out concert halls in England and Europe and their big success in the media pushed their debut album Pissed And Proud to #1 in the English independent charts. Directly after that The Mating Sounds Of South American Frogs was released – a must have for every record collection – and sold more than 100.000 copies, resulting in invitations from far and wide. THE TEST TUBES BABIES played shows all over the world and cemented their status as one of the most brilliant and funniest live bands in punk rock culture. They also had the honour to represent the United Kingdom at the historical MTV East/West party to celebrate the fall of the Berlin wall. A few bass players and drummers have served their time in the band, but the songwriters Peter & Del have always been the foundation of PETER AND THE TEST TUBE BABIES and together wrote records like Soberphobia, and the brilliant Supermodels, which brought them their comeback in 1995. Around this time the DVD Paralitico (Spanish: crazy disturbed perception, elicited by alcoholic and other suggestive excesses) was released , followed triumphantly by the albums A Foot Full Of Bullets and For A Few Bullets More with the guest appearances of Campino ( DIE TOTEN HOSEN ) and Olga from THE TOY DOLLS. All three products sold out worldwide. However, constant touring around the world made it nearly impossible to record a new record, until the day when Lars Friedrickson from RANCID told Peter at the REBELLION festival and Campino told Del in a hotel bar in Stuttgart: “I’m in need of a good, new Test Tubes album.” Del and Peter didn’t need to be told twice. Recruiting Nick Abnett and Sam Fuller on bass and drums respectively, was a masterstroke giving THE TEST TUBES the impetus to create their best album ever – the highly acclaimed That Shallot. Featuring not just one, but two hit singles ( None of Your Fucking Business and Crap Californian Punk Band ) , That Shallot is the album that the critics are raving about and the fans are buying in ever increasing numbers. Next year ( 2018 ) is the TEST TUBES 40th year , but nothing can hold them back from going on tour again and presenting their new record That Shallot. The band surprisingly now states: “We’ve actually held back our best record until just before retirement and we’re more than happy that we were able to create this.” Now THE TEST TUBE BABIES are planning more and even bigger things. For example to celebrate their 40th anniversary in 2018, the band will soon present their own TEST TUBE BABIES festival. PETER AND THE TEST TUBE BABIES remain indestructible. Peter and the Test Tube Babies Website Peter and the Test Tube Babies @ Facebook Peter and the Test Tube Babies @ X |
SRANJE
ShitPunk.Pives - bass, vocals Čik Niđud - guitar, vocals Vanja - drums Sranje @ Facebook |
OWLS WOODS GRAVES
Owls Woods Graves was formed in 2015 in Kraków. The forefathers of the project, that is The Fall and E.V.T., have collaborated before, for example in Medico Peste. They decided that they would like to start something that was still metal, but a lot closer to punk than the other projects they are involved in.Just a year later, the duo released the self-titled EP that, alongside the now-signature hit song it produced “Do You Deny the Evil?,” gained the band a lot of traction in the metal underground. Paired with a good concept and even better visuals, the band’s music started to get discovered by younger listeners too. Further evidence of the band’s growing success came with their first full-length album, “Citizenship of the Abyss” (2019), but the real boom came three years later with their sophomore album, “Secret Spies of the Horned Patrician”. It was with the release of this record that Owls Woods Graves doubled their size, with Mgła’s M. and Narbo Dacal’s B.K. joining the now four-piece band, and they started to perform live. As the recent tour with Furia, Zamilska and Krzta proved, it was the perfect decision. Owls Wood Graves @ Deezer Owls Wood Graves @ Facebook Owls Wood Graves @ Instagram Owls Wood Graves @ Spotify Owls Wood Graves @ YouTube |
ABOVE AURORA
Above Aurora @ BandcampAbove Aurora @ Deezer Above Aurora @ Facebook Above Aurora @ Instagram Above Auroras @ Spotify |
CANNIBAL CORPSE
Since 1988, Cannibal Corpse have been at the forefront of death metal, having helped shape and define the genre, and creating a seminal, incomparable body of work in the decades that followed. In 2021 they raised the stakes again with 15th album Violence Unimagined, growing ever more complex and intense, and now they return with its successor, the equally monstrous Chaos Horrific, starting a new chapter in their legacy. Written closely after the conclusion of the Violence Unimagined sessions due to the pandemic preventing them from touring like usual, echoes of that album exist in Chaos Horrific, but this is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” says bassist Alex Webster. “It’s a full-on death metal album, Cannibal Corpse style, and a very natural progression from Violence Unimagined.”While the band have always been noted for their technicality and complex songwriting, this does not define where the writing process takes them. “I believe that our songwriting has progressed in a manner where every song paves its own path whether it be a straightforward song or a technical song, sometimes a mix of both, so there’s no preconceived idea that we want to be more technical. The music just sort of takes its own course,” explains guitarist Rob Barrett. The band also had no specific plan for the record, always approaching each one with an open mind, just intent on writing the best songs that they can. “When we create a new record the writing flows freely and organically,” says guitarist/producer Erik Rutan. “One thing I had hoped for with the writing of Chaos Horrific was that the material would push the envelope a bit in a slightly different direction than Violence Unimagined; expand the dynamics, explore new territory without departing from what Cannibal Corpse is and always shall be. That naturally happened and is exactly what we achieved with this album.” The band also continue to uphold their legacy as they sonically progress and evolve with each and every release, never repeating themselves and working hard to make every song unique. With the intention of making albums on which every song is potentially the standout they have certainly pulled this off on Chaos Horrific’s ten tracks, showcasing a broad range of dynamics that propel the whole thing thrillingly. Kicking off with the aptly titled “Overlords Of Violence” they are in full on attack mode, the track a straight down the line rampant aural assault designed to kill. Then there are the likes of “Frenzied Feeding” and “Blood Blind”, the former alternating between high speed technical aggression and deeply atmospheric mid-tempo ugliness, and the latter a brutal, loping chug-fest that carries so much sonic weight it is quite devastating, but literally any track could be singled out. Likewise, every track stands apart from those alongside them, but together they make so much sense, the record flowing seamlessly. With the album named by drummer Paul Mazurkiewicz, the members all felt it was a great representation of the band, as is always the intention, and lyrically they linger in typically dark and twisted territory. Subjects covered include resetting the human race through mass mutilations (“Blood Blind”), fighting off hordes of zombies (“Chaos Horrific”), the selection of a random individual to be dismembered and sacrificed (“Summoned For Sacrifice”), and the violent revenge of victims of human trafficking (“Vengeful Invasion”). The album artwork - by longtime collaborator Vince Locke - is also suitably Cannibal Corpse-esque, featuring a chaotic tangle of the living and the undead, which evokes the lyrics of the title track. Having now produced six Cannibal Corpse albums - starting with 2006’s Kill - this is Rutan’s second release as a full fledged member, having officially joined in 2020, and his contributions have only improved the band. “He already was part of the Cannibal Corpse family so his transition from producer to guitarist/songwriter/producer was seamless,” says Webster. “Erik’s a super hard worker so somehow he’s able to do all of those things at the highest level. We were already very comfortable working with him, and it’s only gotten better. We’re energized and excited about the future, and Erik’s contributions are a big part of that.” Adds Rutan, “I feel like every album we’ve worked on together has progressed forward with a better understanding of each other, allowing us to push each other further even more to get the best out of one another.” Tracking at Rutan’s studio, Mana Recording in Florida, the band’s home state, was comfortable for all involved, though required everyone to work hard and be at the top of their game. Things went smoothly, and smoother than ever on the guitar front due to Barrett and Rutan having “custom guitars built with longer scale necks to hold the proper intonation necessary for lower tunings, which drastically reduced the hours spent on trying to track guitar that stays in tune throughout the session,” says Barrett. Webster asserts that it was a lot of hard work, and that “there’s a lot of attention to detail in the studio. We try to get the best possible tones from our gear, and capture the best possible performances. This can take a lot of time and effort but the end result is absolutely worth it.” Rutan states that the sessions were a “powerhouse”, with so much effort going into what has emerged as a massive album, further asserting that “everything about recording albums is hard but damn I love doing it! Creating albums, something that will last an eternity beyond our time, is something so very special, and every album we create I feel very grateful to have such an opportunity to do so.” With the pandemic behind them, Cannibal Corpse were thrilled to hit the road again in 2022, finally able to unleash the Violence Unimagined tracks live. “We’re so grateful to be able to get back out there and play for all of our fans,” says Webster. “We’ve always enjoyed it, but after being forced off of the road for almost two years we appreciate the opportunity to play live that much more, and we are so thankful for all of the fans who’ve come out to the shows since we’ve been back at it. It’s great to see you all again!” They are already looking ahead to the touring in support of Chaos Horrific, every track on there destined to go off like a bomb when played live, and the band are primed and ready to destroy everything in their path. Though they have not given much thought to the fact that 2023 is their 35th anniversary, Rutan sums up how everybody feels about this milestone. “I think it is such an amazing feat. It speaks to the work ethic and dedication that everyone has put into Cannibal Corpse. When you think about how many bands never make it a decade, let alone three plus, it is such a testament to the creativity aspect and determination and loyalty towards what we do.” Cannibal Corpse Website Cannibal Corpse @ Bandcamp Cannibal Corpse @ Deezer Cannibal Corpse @ Facebook Cannibal Corpse @ Instagram Cannibal Corpse @ ReverbNation Cannibal Corpse @ SoundCloud Cannibal Corpse @ Spotify Cannibal Corpse @ Twitter Cannibal Corpse @ YouTube |
MUNICIPAL WASTE
Thrash should leave you breathless, busted-up, and maybe even a little drunk (in a cutoff denim vest adorned with barely legible patches).Since 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet—Tony Foresta [vocals], Ryan Waste [guitar], Philip “Landphil” Hall [bass], Dave Witte [drums], and Nick Poulos [guitar]—have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted The Art of Partying in its coveted “Hall of Fame” and asserted it “revved up interest in thrash and inspired a fresh wave of youthful new bands.” Metal Hammer christened The Art of Partying one of “The 50 Greatest Thrash Metal Albums Ever,” while Loudwire pegged The Art of Partying as “The Best Thrash Album of 2007” and Hazardous Mutation as “The Best Thrash Album of 2005.” The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017’s Slime and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. However, Municipal Waste maintain course as vicious and vital as ever on 2022’s Electrified Brain [Nuclear Blast]. “We’re not writing any love ballads to sell records,” affirms Tony. “We’re just doing what we’ve always done since the band started—and that’s try to write fun, fast, and ripping hardcorepunkmetal.” The boys commenced work on Electrified Brain before the Global Pandemic swallowed 2020 whole. However, they took advantage of the time off the road to perfect their assault. “It allowed us to focus on putting together structured songs,” says Ryan. “We wanted to diversify some of the tempos and bring in some new dynamics that we hadn’t ventured into before.” “It was by far the hardest I’ve ever worked on a record personally,” adds Tony. “We all put a lot into this one.” They recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange]. The sessions would be the first time the band reunited in person after a year. Together, they achieved “a thicker and heavier sound.” Now, the single “Grave Dive” hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips. “It’s in the vein of songs like ‘Headbanger Face Rip’ and ‘Wave of Death’,” Tony notes. “It’s an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.” “High Speed Steel” practically splits asphalt with its jagged thrashing. Elsewhere, the title track “Electrified Brain” charges forward on a breakneck riff as a solo wails underneath the vocal snarl. “Electrified Brain is a part of a continuing story about a character we created called ‘The Deathripper’,” the frontman goes on. “The band has a lot of angles we return to lyrically. This is just one of them. Another example would be the large amount of Kurt Russell songs we’ve amassed throughout our catalog. Ryan wrote the lyrics to ‘Electrified Brain,’ and it’s one of my favorites.” “Crank The Heat” trudges over a thick doomy groove into menacing verses. “Our approach to writing it matches the lyrical content insofar as not trying to overthink things all of the time and remembering to enjoy what you’re doing,” exclaims Tony. At the same time, they’ve expanded their influence throughout alternative culture. Ryan released a signature Waste guitar with RIP Custom Guitars, and Dave owns a vegan restaurant called Hang Space in Richmond. Of course, Municipal Waste will present their next beer from Three Floyds Brewing soon. In the end, Electrified Brain will give you everything you’d want from a Municipal Waste record or heavy metal record, period. “We hope you walk away with some bloody ears, blown speakers, pissed off parents, black eyes, and a healthy distrust of authority,” grins Tony. Municipal Waste Website Municipal Waste @ Bandcamp Municipal Waste @ Deezer Municipal Waste @ Facebook Municipal Waste @ Instagram Municipal Waste @ ReverbNation Municipal Waste @ SoundCloud Municipal Waste @ Spotify Municipal Waste @ TikTok Municipal Waste @ Twitter Municipal Waste @ YouTube |
IMMOLATION
Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna. The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explains Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable. “Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.” A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world. Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album. The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios. Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction. Immolation Website Immolation @ Bandcamp Immolation @ Deezer Immolation @ Facebook Immolation @ Instagram Immolation @ ReverbNation Immolation @ SoundCloud Immolation @ Spotify Immolation @ Twitter Immolation @ YouTube |
SCHIZOPHRENIA
Back in January 2020, SCHIZOPHRENIA came out of nowhere with their debut EP ‘VOICES' to hit the Extreme Metal underground like a bomb. The big question was: would these youngsters from Antwerp, Belgium be able to top this with their debut full-length album? Answer: WOW, HELL YES!SCHIZOPHRENIA have crafted a pure Deathrash diamond on which the band is displaying everything that Extreme Metal has made so legendary over the past decades! On top of the uncompromising ferocity and groove of the ‘VOICES' EP, their debut full-length RECOLLECTIONS OF THE INSANE is going even further in every aspect, sometimes even flirting with some melodic Death/Black Metal influences! Morbid Angel, Demolition Hammer, Slayer, early Sepultura, Dissection, Death, At The Gates, Obituary, Bolt Thrower, Pestilence…if any of these bands already gets you going, then imagine a blend of all those bands combined with SCHIZOPHRENIA’s unique and fresh interpretation of Extreme Metal! Schizophrenia @ Bandcamp Schizophrenia @ Deezer Schizophrenia @ Facebook Schizophrenia @ Instagram Schizophrenia @ Spotify Schizophrenia @ Twitter Schizophrenia @ YouTube |
ELLENDE
The austrian black metal project was founded in the year 2011 by L.G. as a soloproject and turned into a live project in 2012 with session musicians.The band’s name comes from a Middle High German adjective originating from the West Germanic *alja-landja-, which can be translated as „being out of the(/one’s) country“. In the sense of „exiled“, this took on a negative connotation over time, reflected nowadays in modern German elend, i.e. „miserable“. Ellende is strictly L.G.’s solo-project. All other people involved are session/live musicians. Ellende Website Ellende @ Bandcamp Ellende @ Deezer Ellende @ Facebook Ellende @ Instagram Ellende @ Spotify Ellende @ YouTube |
GROZA
Black Metal from Bavaria, Germany. Founded in 2016.Groza @ Bandcamp Groza @ Facebook Groza @ Instagram Groza @ Spotify |
SERVANT
Servant is a German black metal band from lower saxony which was founded in 2021 within the release of their well reviewed debut ‘Blessed By The Light Of A Thousand Stars’. Servant stands on the shoulders of great Scandinavian bands without the lack of an individual sound. Servant presents their style of Black metal both in a majestic and furious way.New Album ‘Aetas Ascensus’ out now! Servant @ Bandcamp Servant @ Facebook Servant @ Instagram Servant @ Spotify |
MIZMOR
Mizmor is a one-man heavy music exploration that began in 2012 as a way of processing the mental and spiritual anguish I, A.L.N., underwent through my loss of faith in Christianity. Over the course of the proceeding decade, I slowly changed from struggling Christian, to agnostic, and finally to atheist. During this evolution I used Mizmor, which means “psalm,” “prayer,” or “melody” in Hebrew, as a form of therapy. The songs literally started as prayers to God, grappling with doubt and depression, much like some of the darker chapters of the book of Psalms. After some time the songs became more existential - primal and innate musings about cause, purpose, self, and god (in a more universal sense). Eventually Mizmor became about the absence of god and the healing I’ve experienced through accepting this. Nowadays my songs are about consciousness, ideas, mankind, and the future to name a few things (and still depression and anxiety, which I continue to battle). Mizmor will always be about following the most reasonable path given the current evidence and processing grief through creating and sharing art so that others may be helped with similar struggles.Mizmor appears live with the help of Andrew Black, Blake Ferrin, and Jesse Shreibman. Mizmor @ Bandcamp Mizmor @ Deezer Mizmor @ Facebook Mizmors @ Instagram Mizmor @ Spotify |
TASTE OF PLAGUE
We are a young band from Maribor, Slovenia and we play a mixture of death metal, black metal, slam, and deathcore. Our music is about horror and the release of darkest thoughts. Our goal is clear: to show our sound and our quality to the world.Taste of Plague @ Bandcamp Taste of Plague @ Facebook Taste of Plague @ Instagram Taste of Plague @ SoundCloud Taste of Plague @ Spotify Taste of Plague @ Twitter Taste of Plague @ YouTube |
CLASSIFIED
Classified, Slovenian Thrash from Medvode!Classified @ Facebook Classified @ YouTube |
SLUGPIT
Slugpit is a four-headed deathpunk beast, unleashing a nasty fusion of black and death metal with relentless d-beat ferocity.Slugpit @ Bandcamp Slugpit @ Facebook Slugpit @ Instagram Slugpit @ YouTube |
ABIGAIL
The band has dubbed themselves as "The Most Evil Band in Japan", and Yasuyuki Suzuki has called their musical style "street metal".Abigail @ Bandcamp Abigail @ Facebook Abigail @ Spotify |
PERPETUAL WARFARE
Perpetual Warfare is one of the most relevant bands in the Thrash metal scene in Colombia and South America after a sold out 35 dates tour throughout the whole spanish speaking continent. The band has shared stage with acts such as Slayer, Sepultura, Suicidal Tendencies,Napalm Death Testament, Venom, Cannibal Corpse, Possessed, Unleashed, Goatwhore,Annihilator, Razor, Coroner, Havok and many more.Perpetual Warfare Website Perpetual Warfare @ Bandcamp Perpetual Warfare @ Facebook Perpetual Warfare @ Instagram Perpetual Warfare @ ReverbNation Perpetual Warfare @ Spotify Perpetual Warfare @ X Perpetual Warfare @ YouTube |
BLACK MASS
Thrash metal power trio from Boston, MA,Boston Music Awards Metal Artist of the Year 2019 Winners. 2021 New England Music Awards Nominee. Black Mass @ Bandcamp Black Mass @ Facebook Black Mass @ Instagram Black Mass @ ReverbNation Black Mass @ SoundCloud Black Mass @ Spotify Perpetual Warfare @ YouTube |
ULCERATE
Originating from Auckland, New Zealand, the unorthodox Death Metal ensemble ULCERATE was conceived in 2000 by guitarist Michael Hoggard and drummer Jamie Saint Merat. Their initial intention was to craft dark, oppressive Death Metal – a vision that subsequently evolved into an innovative, nuanced approach embracing atmospheric and mood-rich elements. This progression was significantly influenced by the addition of bassist/vocalist Paul Kelland, pushing the band's will for constant development even further.ULCERATE's artistry is characterized by a whirlwind of scything art-metal guitars, thunderous, intricate drumming, and guttural vocal roars which create an overwhelming sense of impending doom. This signature sound was perfectly executed on their first three groundbreaking and highly dissonant albums: "Of Fracture And Failure" (2007), "Everything Is Fire" (2009), and "The Destroyers Of All" (2011), each of which have become milestones. Recognition from fans/critics and extensive touring brought about a partnership with the esteemed label Relapse Records. The resulting two albums "Vermis" (2013) and "Shrines Of Paralysis" (2016) found the band heading to deeper and darker climes, proving ULCERATE to be at the vanguard of modern Death Metal. In 2020 ULCERATE joined pioneering French Extreme Metal label Debemur Morti Productions due to a shared artistic vision. The same year marked the release of the band’s sixth album, "Stare Into Death And Be Still," a groundbreaking exploration of melody, harmony, and power. Despite the challenges posed by the Covid-19 pandemic and limited touring opportunities due to travel restrictions, "Stare Into Death And Be Still" garnered widespread acclaim, noted for its unique mixture of emotive melodicism and crushing darkness. In 2022 and 2023, ULCERATE were finally able to triumphantly tour Europe, Australasia and the United States, showcasing their unparalleled technical skill and creative vigor as they presented the compositions of "Stare Into Death And Be Still” on stage. The year 2024 will herald the arrival of “Cutting The Throat Of God”, a mind-bending seventh album from these unparalleled Death Metal titans. Ulcerate Website Ulcerate @ Bandcamp Ulcerate @ Deezer Ulcerate @ Facebook Ulcerate @ Instagram Ulcerate @ SoundCloud Ulcerate @ Spotify |
SELBST
Formed in 2010 in Venezuela by multi-instrumentalist/lyricist N and vocalist Frozen. N subsequently moved to Chile in 2016. The first self-titled full-length was released in 2017 with great underground acclaim.In 2018 N became lead vocalist and the project turned into a fully-fledged live band, taking to the stage for the first time as the next step of their evolution. Selbst @ Bandcamp Selbst @ Deezer Selbst @ Facebook Selbst @ Instagram Selbst @ Spotify |
VEIL OF MAYA
By channeling energy in one direction, force grows exponentially. Veil of Maya harness the individual experiences and talents of four distinct musicians—Marc Okubo [guitar], Sam Applebaum [drums], Danny Hauser [bass], and Lukas Magyar [vocals]—into airtight groove-laden metal accented by fits of instrumental virtuosity and vocal catharsis. This approach has endeared them to a devout fan base with critical acclaim and over 100 million total streams and counting (unprecedented for an outfit this crushingly heavy). The Chicago band draw on the strength of their union on their seventh full-length offering, [m]other [Sumerian Records].“We’re very focused on what our strengths are now,” observes Marc. “We’re in different spots of our lives, and we’ve figured out a lot more. We’re so excited to be back.” “We each had more control over what we individually did on the album,” adds Sam. “We took the time to make what we wanted to make. It’s definitely Veil of Maya.” Veil of Maya have consistently pushed the boundaries of heavy music by pushing themselves collectively. 2015’s Matriarch made major waves, crashing the Billboard US Hard Rock Albums Chart at #2 powered by “Aeris,” “LeeLoo,” and “Mikasa.” The latter has gathered over 25.4 million Spotify streams and counting. In 2017, False Idol saw the band return to the Top 3 of the Hard Rock Albums Chart as “Overthrow” and “Doublespeak” each eclipsed 8 million-plus Spotify streams apiece. The record also incited the applause of LoudWire, Substream Magazine, Metal Hammer, and Invisible Oranges who raved, “False Idol is undeniably Veil of Maya: greatly contrasting the band’s past, it serves as a companion and booster for their older work.” Simultaneously, they toured alongside Animals As Leaders, Upon A Burning Body, Chelsea Grin, Oceans Ate Alaska, and more. In the midst of the Pandemic, they dropped “Outsider,” “Viscera,” and “Outrun.” Meanwhile, Marc decamped to Los Angeles where he found new inspiration and a creative kindred spirit in producer Zach Jones [FEVER333, Poorstacy]. “I had to get out of where I was staying, and L.A. was a nice change of pace at the time,” he reveals. “We really enjoyed working with Zach. We had tried one song and just kept going. He was able to execute our ideas very clearly. His approach was positive and inspiring. He brought the best out of us and added modern twist, tightening everything up.” After sharing “Synthwave Vegan,” the band set the stage for the album with “Godhead.” Menacingly pulsating electronics set the tempo only to give way to a guttural scream and methodically chugging riff. “It’s looking at a very terrifying situation from a third-party perspective,” notes Lukas. “The instrumental made me think of a heist or a bank robbery, so it feels like a metaphorical invasion. You don’t have any control over what’s happening, and you’re scared. That’s the feeling vocally.” Elsewhere, “Red Fur” layers clean vocals above an airy soundscape only to snap into a head-spinning and hard-hitting groove offset by a hummable hook. “I got convinced to go to a Rufus Du Sol concert,” recalls Marc. “I was immediately inspired though. The next day, I was like, ’Let’s combine some of this with our style’. That explains the electronic opening.” “It’s pretty focused on today’s society and the inner dynamics of how toxic it can be,” adds Lukas. “A lot of people don’t seem content unless they’re bringing harm to another person—whether it’s with their words or actions. It’s gotten to a point where it seems pretty unavoidable.” Inspired by everything from Nine Inch Nails to the E.T. soundtrack, “Mother Pt. 4” continues a long-running series for the band in epic fashion. “There’s a theory that space travel is in fact time travel,” Lukas goes on. “The music gave me this weird Interstellar vibe. I was really attracted to it and decided to articulate the theory with a story in the lyrics.” “Artificial Dose” slips from a cybernetic groan into another soaring refrain bolstered by the mind-numbing onslaught of Kevlar-thick distortion. “It was based on a personal experience,” Lukas states. “You’re stuck in a situation that isn’t any good for you, but the only way to escape is to keep moving forward through it despite the fact you’d rather lay down and die.” The ride concludes with “Death Runner.” Screams pierce a steamrolling riff rife with pinch harmonics only to subside on an entrancing cello-wrapped bridge. “It ended up really starting the project,” reveals Marc. “We did something different with it.” In the end, this is Veil of Maya at their collective best. “I hope you’re inspired to listen to this again and again,” Marc leaves off. “Maybe you’ll hone in on the little details as you go further, and it will musically become a cinematic experience.” “We’re always growing and doing something different, “ Lukas concludes. “I think we’re all grateful to be doing this after so long.” Veil of Maya Website Veil of Maya @ Deezer Veil of Maya @ Facebook Veil of Maya @ Instagram Veil of Maya @ Spotify Veil of Maya @ X |
SIGNS OF THE SWARM
Deathcore was once dismissed as a trend, so it’s ironic that it now has trends within itself. Downtempo, slamming and now blackened variants of the style have dominated its scene at various points, with many bands jumping ship.Pittsburgh’s Signs of the Swarm aren’t just any band, though. They’re a once-a-generation beacon that radiates the sounds that surrounded them, preserving history by reframing it. On fourth LP Absolvere, they’re bleak without being blackened, smashing without being slam, and downtempo as a choice rather than a stylistic confine. And as many of their deathcore peers experiment with adding singing, often gruff in tone, they add a more ethereal style that soothes on “Dreaming Desecration” and “Death Whistle.” The band contrasts that with some of the most brutal moments in their eight-year career, with riffs more punishing than pensive and a rhythm section that frames them in creatively cacophonic ways. Above it all, they’re utilizing vocalist David Simonich monstrous range in a much fuller capacity than on his debut, 2019’s Vital Deprivation. That transitional album found the band experimenting to re-find their footing, which here lands on solid ground through the addition of guitarist Jeff Russo, a former bandmate of Simonich’s fin Improvidence. The proof is in the placing, with Absolvere landing at #15 on “Current Hard Music Albums,” #21 on “Top New Artist Albums” and #139 on “Heatseekers.” Behind the cohesive crusher is drummer-turned-bassist-turned-drummer Bobby Crow, who acted as de facto producer, arranging the riffs written across Skype to make the songs more than the sum of their parts. This gave Simonich a lofty platform from which to roar about the real (loved ones struggling with addiction, submitting one’s self wholly to art despite negativity swirling about) and the surreal; he or his characters beg for the release of death only to be denied. “Nameless” centers around a character collecting souls marked by death to receive its blessing, while “Blood Seal” follows a ritual to summon it. “Dreaming Desecration” and “Hollow Prison” are two sides of the same coin. When one finds themselves trapped in a meaningless existence, they can either attempt to escape through murderous hallucinations or succumb to the grave, respectively. “Death Whistle” is the penultimate song, closing the album and the writing sessions for Absolvere with a tale concluding in sweet release. The piercing screech of the titular whistle contrasts with a subtle serenade. Indeed, sometimes contrast can be a perfect complement, but more often that effect is achieved when paired with something more in-line. So it is when Ben Duerr (Shadow of Intent) and Alex Erian (Despised Icon) join the band for growls and shouts, where Signs of the Swarm filter their guests’ bands through their own sound. Instead of taking away from their identity, it expands it. They’re steadily expanding their global reach, too. In the few short months since Absolvere’s release, Signs of the Swarm have toured with the likes of Fit for an Autopsy, Born of Osiris and Shadow of Intent. Forthcoming domination campaigns of Europe and Australia will be added to their tenure with Aborted, Lorna Shore, Brand of Sacrifice and more. Forget the signs, the swarm is already here, and it’s growing larger and louder every day. Signs of the Swarm @ Facebook Signs of the Swarm @ Instagram Signs of the Swarm @ Spotify Signs of the Swarm @ X Signs of the Swarm @ YouTube |
VARIALS
With their second album In Darkness, Philadelphia’s Varials traffic in moshy-metal. While the music is heavy enough to shift tectonic plates, it’s not merely about crowd-killing breakdowns – although those exist in spades on the record. Rather, the band explores other aspects of heavy from the lyrics to the tones to the song structures to the melodies. It’s a sonically dense, precise, and intense record, and it’s not pretty. The same can be said about the lyrics, which plume the depths to which humanity can sink.In Darkness isn’t interested in the light, and that’s just how Varials like it. Varials Website Varials @ Facebook Varials @ Instagram Varials @ Last.fm Varials @ Spotify Varials @ TikTok Varials @ X Varials @ YouTube |
TO THE GRAVE
Hard-line vegan deathcore crew To The Grave are one of Australia’s most uncompromising bands. Since the release of their 2019 debut album Global Warning, the caustic five piece have garnered international success, with 2021’s follow-up Epilogue, a re-issue of Global Warning with bonus tracks, solidifying their position as “one of the country's heaviest exports.” (Revolver).To The Grave have steadily built an audience in the underground, accumulating more than 20 million Spotify streams, all whilst crushing live audiences alongside Parkway Drive, Polaris, Cattle Decapitation, Thy Art Is Murder, Vulvodynia and Alpha Wolf. Throughout, the band have gained positive media attention, described in the press as, “one of the most intense, enthralling bands the genre can offer” (Distorted Sound), and “home to one of the most comprehensive vocal performances in modern deathcore” (New Transcendence), with recent reviews adding that they “are destined for greatness. The future of Australian deathcore is here” (Wall of Sound). Their latest album Director’s Cuts and the companion EP Offcuts are packed with ambition and conscience. To The Grave have never shied away from channeling the real horrors of animal cruelty and its impact into the violent, emotional intensity of their music. Songs such as ‘Cut Off The Head’ ‘Shock Tactics’ and ‘Deadskin Skimask’ perfectly conjure images of a world gone astray, exploring the band’s unwavering commitment to animal rights and environmental responsibility. Lyrically they expose a societal and environmental hell on earth whilst pushing the boundaries of accessible extremity, full of barbed hooks, thick with atmosphere and drenched in groove. Razor sharp guitars played with an exploratory approach - blending everything from whammy pedal squeaks and chiming cleans to death metal chainsaw tones - are entwined with live drums to give a level of dynamism that musically sets this band apart from the extreme metal pack, yet they maintain the weight of the heaviest bands today. Vocalist Dane Evans commands a multifaceted performance, bursting with vocal energy from throat ripping dissonant screeches to low end gutturals. Following sold-out Australian headline tours in 2022 and 2023, the band have joined the world stage, decimating audiences in North America and Europe with their relentless live show on tours with Shadow Of Intent, Carnifex, Signs Of The Swarm, Angelmaker, Enterprise Earth and The Last Ten Seconds of Life. To the Grave Website To the Grave @ Facebook To the Grave @ Instagram To the Grave @ Spotify To the Grave @ X To the Grave @ YouTube |
ALCEST
“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light. The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act. From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence. Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore. “I guess all musicians have more or less the same story to tell,” says Neige. “We did one tour in Europe for the release of the last album, and we were able to play the last show in Paris, but two days later, there was the lockdown. We had to cancel all our plans to tour in the States and everywhere else. But we’d been touring so much for the previous 10 years that it felt like a forced but necessary break, for me to just be able to be at home and focus a little bit on my family, my friends and myself. It was quite life-changing, to be obliged to stay at home. You had to review all your perspectives, you know? They were strange times, but now it almost feels like it didn’t happen…” Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming. “I needed to go back into my inner world,” Neige says. “That’s where most of my resources and most of my inspiration for Alcest comes from. The last couple of records were quite dark, because they were influenced by things that were happening around me, like the terrorist attacks in Paris. We are living in very dark times. For the new album, I wanted to do the opposite – to bring a little bit of light into this world. Everything is so dark, and I find that light and beauty are not things that are very familiar anymore, especially in metal music. But my inner world is very bright and uplifting, and I thought it would be nice to make a record around this. Despite the overall style of the album, all the songs have their own themes and individuality, exploring different facets of Alcest's concept. This album is a journey with a beginning and an end that should be listened to as a whole, bringing the listener to various musical landscapes and emotions.” Recorded by Neige and Winterhalter themselves, with a little help from talented friends, Les Chants de L’Aurore pulls off the neat trick of sounding both huge and intimate. From the opening Komorebi onwards, Alcest sound reborn and revitalised, as their most cherished trademarks are reinvented for a new era, and with new depths and sophistication on display. “We bought some new equipment, and we recorded the album like bands were doing it in the ‘70s,” Neige explains.” We went into this big house, and the drums were recorded in this big attic, with a really nice reverb! So it was interesting to do it ourselves, because we could spend as much time as we wanted to, to perfect the takes. We wanted some really organic production, but also I wanted this orchestral approach, with lots of arrangements and different kinds of sounds, like real piano and real choirs. It was quite an ambitious recording.” A band known for their empathetic ethos, Alcest have never sounded more blissful than they do on Les Chants de L’Aurore. As Neige explains, new songs like recent single L’Envol and the epic L’Enfant de la Lune aim to counteract the negativity and darkness that surrounds us in the so-called real world, with hazily expressed visions of a different place and time. After dealing with the abstract horrors of mortal existence on previous records, Neige has returned to the comforting cocoon of his spirituality, and with the specific intention of spreading some love and positivity. “This album is really coming back to the original concept of Alcest,” he notes. “It’s really about exploring this other world, in the same way that I wrote about it on the first album. The music should be a key to open the door to this other world. It’s like a gate to something else, and it’s a place that is the most beautiful thing you could imagine… but it’s difficult to describe, so that’s why I choose to make music. Because music can speak much more than words. There is a lot of beauty in it, as opposed to what is happening in the world, and I guess it touches people. I’m very thankful for that.” Five years after their last album, Alcest have reconvened with a refreshed perspective on their epoch-altering musical endeavours. Les Chants de L’Aurore arrives at a tumultuous point in human history, laden with gentle charm and ferocious conviction, and doggedly determined to push Neige’s musical identity ever further into an expansive future. More importantly, perhaps, Les Chants de L’Aurore gives Neige a fresh opportunity to connect with his adoring fan base, armed with some of the most beautiful and mesmerising music that he has ever written. “We always put all of our heart and soul into making a new record, but when it is released, it doesn’t belong to us anymore,” Neige shrugs. “People will decide if they like it or not, and that’s it, but I really love this album and I have a very special attachment to it. I’m never going to say ‘It’s the best fucking thing!’ [Laughs] That’s not our style, you know? But from the perspective of the latest feedback and the excitement people have expressed, I think it’s going to be great. We’ve got a 35-show tour booked for the end of the year, and we’ll play in some really nice venues, like the Olympia in Paris, the most iconic venue in Paris. Even the Beatles and the Rolling Stones played there! I’m so excited and honoured to play there. Then we will do the States and Asia next year, I hope. We don’t release albums very often, and this one took five years, so I think we’re going to tour a lot over the next three years.” Alcest @ Bandcamp Alcest @ Deezer Alcest @ Facebook Alcest @ Instagram Alcest @ Last.fm Alcest @ SoundCloud Alcest @ Spotify Alcest @ X |
SVALBARD
You'd be forgiven for struggling to summarise the sound of Svalbard in a few words. Since forming in 2011, the band have had their hands in black metal, post-rock, d-beat, shoegaze, hardcore, and post-metal. Whilst their music stubbornly refuses to fit neatly into one genre, one word remains a fitting adjective for the British quartet: unique. Svalbard spent their early years playing DIY shows, releasing 3 EPs, and honing their sound, before eventually dropping their debut album One Day All This Will End in 2015. Since then, Svalbard gained the momentum of a runaway freight train, releasing two further albums whilst continuing to refine their vast array of musical influences; drawing from video game soundtracks, grindcore and dream pop all buried within a distorted yet dynamic sound. But they're not just heavy in the musical sense of the word. No one articulates the reality of mental illness as succinctly as Svalbard. With 2020's When I Die Will I Get Better the band cut so deep both musically and lyrically that it raised the questions: where can Svalbard possibly go from here? How do you follow up an album created at the darkest point of your life? If this were a Disney movie, this would be the point where we say that new record The Weight of the Mask is the light piercing through the dark clouds, the hope returning into your heart, the promise of a happy ending… Well. It's not. The depression did not simply go away. It clinged like a limpet, it morphed over lockdown after lockdown, it grew into a beast. But it's a beast that Svalbard no longer fears. If the previous record was about facing your demons, then this album is about fighting them with everything you've got.Written in the band's freezing cold rehearsal room in Bristol - which required two members to drive 120 miles from London every weekend - the album did not come together painlessly. The pressure of the success of their fourth album was daunting and the band's response was to take an extremely meticulous approach to writing new material. "I've lost count of the amount of times these songs changed," joked Serena Cherry (lead guitar/vocals) "but in that process of deeply analysing each musical idea we certainly learned how to get the best from each other”. The band were keen to work with producer Lewis Johns again, as he truly understands both the heaviness and the beauty in Svalbard's sound. Lewis makes the band feel comfortable enough to draw out their darkest emotions when recording, with Serena admitting she "cried in the vocal booth when recording the lyrics to all of these songs”. With a fourth album now under their belts, Svalbard are going from strength to strength - not just as one of the brightest sparks in metal and contemporaries of a burgeoning modern British metal scene, but as advocates for mental health. Svalbard @ Bandcamp Svalbard @ Facebook Svalbard @ Instagram Svalbard @ Spotify Svalbard @ TikTok Svalbard @ X Svalbard @ YouTube |
DOODSESKADER
DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization. The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table. The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected. Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before. Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better. Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more. Doodseskader Website Doodseskader @ Bandcamp Doodseskader @ Deezer Doodseskader @ Facebook Doodseskader @ Instagram Doodseskader @ Spotify Doodseskader @ YouTube |
CRADLE OF FILTH
Belched from Hell’s depths onto the piss-stained concrete of Suffolk thirty long and disturbing years ago, Cradle Of Filth are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.From primitive early works like 1992 debut The Principle Of Evil Made Flesh to more expansive and theatrical classics like Cruelty Of The Beast and Midian, Cradle Of Filth defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful. In more recent times, Cradle Of Filth have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s Hammer Of The Witches, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s Cryptoriana - The Seductiveness Of Decay repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, Cradle Of Filth were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, Existence Is Futile, is yet another monumental and electrifying journey through the dark. “We’ve enjoyed that momentum since this line-up came together,” states Dani Filth. “It was a line-up we needed to pull together for a tour, but it worked so much better than it was before. 2019 was our busiest year ever, we were everywhere. And here we are again, with the difficult third album! There was only one change for this record – we parted ways with Lindsay [Schoolcraft]. Our new keyboardist has been in the band since November last year and still no one knows who the fuck she is! We were going to reveal it for our planned live performance, but obviously that got put back. So you’ll have to wait and see.” Buoyed by their recent triumphs, Cradle Of Filth – completed by drummer Martin ‘Marthus’ Škaroupka, guitarists Ashok and Richard Shaw, and bassist Daniel Firth - recorded Existence Is Futile during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk, with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the 13th Cradle Of Filth album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of How Many Tears To Nurture A Rose or monstrous ballad Discourse Between A Man And His Soul for anyone other than Cradle Of Filth, of course, but Existence Is Futile confirms that the band’s exploratory instincts remain as sharp as ever. “The last one was very ornate and fiddly and meandered all over the place,” Dani notes. “We tried to put all the ingredients of all the Cradle records onto one album. With that out of our systems, we tried to experiment a little bit this time. I hate that word, because you know what happens when Metallica experiment or Megadeth experiment! [Laughs]. Obviously there’s really stupidly brutal songs and some less brutal songs. But despite the extremes prevailing, we still wanted to do something really catchy. So there are, god forbid, choruses too!” Underpinned by its huge and disarmingly organic production, Existence Of Futile is plainly the darkest and most unsettling album Cradle Of Filth have made in a long time. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written. “The album is about existentialism, existential dread and fear of the unknown. The concept wasn’t created by the pandemic. We’d written it all before that began, but the pandemic is the tip of the cotton-bud as far as the way the world’s going, you know? I guess the title, Existence Is Futile, does sound a little bit morbid. But again, it’s more about recognising that and saying that everything is permitted because nothing is really real, which was Aleister Crowley’s maxim. We all know we’re going to die, so we might as well enjoy it while we’ve got it. The last track on the album - Us, Dark, Invincible – it really emphasises that. We’re saying ‘Fuck it, we know the world’s fucked so let’s enjoy it while we can!’ The artwork for this record was done by Arthur Berzinsh, who also did the last two albums, and that’s very apocalyptic, too.” With the best possible timing, Cradle Of Filth were already due to make a new album during those long, lonely months of lockdown in 2020. Having Grabbed the opportunity with both scabby-knuckled hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience. “I’d spend all day in the studio and see no one, and then I’d drive back home through a totally empty town. It just felt like you were in this little sleep chamber. It was a great feeling but very surreal. It was all during the summer, when the weather was fabulous. It was just me and Scott, for three months! The good thing was, while we were in there, at least three of the songs got a complete overhaul. I listened to the demos again and thought, ‘Fuck, why didn’t we put this on the album?’ But we /did/ put it on the album, we just changed it so much that it’s not the same song anymore. So that was a good bi-product of the lockdown situation.” Sonically speaking, Existence Is Futile is easily the most powerful and dramatic record Cradle Of Filth have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, and Existence Is Futile may be the most vivid representation of the Cradle Of Filth experience yet. “We were definitely leaning towards making sure that it sounded as live as possible, and especially the drums,” says Dani. “We tried to make everything as concise as possible as well. If there was clutter, we removed it. We wanted it to sound as big as possible, especially when Martin’s playing at a million miles an hour. With songs like Crawling King Chaos and Existential Terror, it’s a battle to make it sound massive, with choirs and the feel of the apocalypse coming, without it becoming a complete mess. I think we did a great job with it.” Diehard fans will be thrilled to learn that horror icon Doug ‘Pinhead’ Bradley makes a welcome return to the Cradle fold, lending his dulcet tones to the epic Suffer Our Dominion, and to one of the forthcoming new record’s bonus tracks, as Dani explains. “There’s two bonus tracks, and one of them is the third part to Her Ghost In The Fog, the culmination of that story. We decided to keep that from the record, because it didn’t encapsulate what the rest of the album was about, but obviously Doug Bradley makes an appearance once again. He lives in Pittsburgh, which he calls ‘The Pit’, and we did it over Skype. Naturally he did it really quickly. He also does this almost David Attenborough-ish role on Suffer Our Dominion, which is probably the most politically correct song we’ve ever done! We’re not really branching into politics, but it’s something that needed saying. It’s just saying that we fucked the planet up and we need to address the situation… but in Cradle-speak, of course!” If we’re all going to perish in the flames of our own stupidity, we might as well have a suitably deranged and destructive soundtrack. A bewitching, fearless nosedive into the abyss, Existence Is Futile confirms the ferocious efficacy of Cradle Of Filth in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!” Cradle of Filth Website Cradle of Filth @ Bandcamp Cradle of Filth @ Deezer Cradle of Filth @ Facebook Cradle of Filth @ Instagram Cradle of Filth @ SoundCloud Cradle of Filth @ Spotify Cradle of Filth @ X Cradle of Filth @ YouTube |
BUTCHER BABIES
For over a decade, Butcher Babies have been crushing stages worldwide with their vicious live performance and explosive energy. Their stage presence is a hypnotic spectacle that leaves audiences hungry for more. Frontwomen Heidi Shepherd and Carla Harvey, guitarist Henry Flury, drummer Chase Brickenden and bassist Ricky Bonazza juxtapose brutal, aggressive riffs with beautiful melodies that wail with emotional redemption.Hailing from the City of Angels, Butcher Babies aided in the jubilant revival of the metal scene on LA’s iconic Sunset Strip, landing the band a record deal with Century Media Records. The group’s first two studio albums reached the Top 5 on multiple Billboard charts. Butcher Babies hit a new record high with their latest LP, ‘LILITH’ as it debuted at No. 1 on the iTunes Metal Charts and No. 7 on the iTunes Rock Charts with a duo of tracks hitting the U.S. Radio airwaves. With three albums and two EPs under their belt, Butcher Babies have reached a new level of maturity solidifying a triumphant return after a brief creative hiatus to write and rebuild. The band kicked off 2021 by releasing a barrage of new singles, reflecting their growth as a band. The group is ready to take on new heights while they continue to knock down barriers. Butcher Babies have toured relentlessly among the likes of Megadeth, Rob Zombie, Marilyn Manson, Five Finger Death Punch, Danzig, In This Moment, Hollywood Undead, Cradle of Filth, Black Label Society, etc; played music festivals including Mayhem, Download (UK), Hellfest (France), Knotfest (US & Japan), Hell and Heaven (Mexico), Rock on The Range, Carolina Rebellion, Louder Than Life, Aftershock, Welcome to Rockville, etc. They have recently appeared in the film ‘Alleluia! : The Devils Carnival’ and the Netflix horror hit ‘Slasher’. Butcher Babies Website Butcher Babies @ Facebook Butcher Babies @ Instagram Butcher Babies @ Last.fm Butcher Babies @ Spotify Butcher Babies @ X Butcher Babies @ YouTube |
MENTAL CRUELTY
With their latest album „A Hill To Die Upon“ Mental Cruelty combined blackened- breakdowns and blast beats formula with epic arrangements, orchestral ornaments and a pinch of “SLAM”. The result is a real monster of brutality, which is underlined by its high musical ability like in the last release (Inferis, 2019, Unique Leader Records) with producer Sky Van Hoff (Kreatur, Rammstein, Caliban).With the third work, especially the orchestral background music with US producer Josh Schroeder (Lorna Shore, In Hearts Wake, The Browning, The Plot in You) is refined and mixed in a new guise. Even if with an average age of 23. The guys have set a pace that seems tireless up to now, they have grown from their "angry slam kid" attitude to a permanent instance of the German metal scene and have since been able to keep up with well-known bands of their genres. Their goal is to deliver uncompromising live performances with outstanding vocals and precise instrumental work. Mental Cruelty has created a formative function in social media as well as in the metal community and plans to continue its course now with their new label Century Media Records (Sony Music). More music is currently in the making. Mental Cruelty Website Mental Cruelty @ Bandcamp Mental Cruelty @ Deezer Mental Cruelty @ Facebook Mental Cruelty @ Instagram Mental Cruelty @ Spotify Mental Cruelty @ YouTube |
FAUN
FAUN are one of the world's leading bands for the fusion of medieval instruments with modern music and have released eleven studio albums since 2002. Their CD releases reach top positions in the German album charts (e.g.: "Pagan" & "Midgard" #3). They have also been nominated three times for the Echo, the biggest German music award, and reached platinum status with their albums "Von den Elben" and gold status with "Luna".FAUN have played more than 1000 concerts worldwide and excite the audience in cultural and seated venues as well as at music events, like for example folk and heavy metal festivals. With a variety of virtuously played medieval instruments, polyphonic vocals and archaic beats, FAUN are a live act that inspires thousands of visitors all over the world. Faun Website Faun @ Facebook Faun @ Instagram Faun @ Spotify Faun @ X Faun @ YouTube |
MARCUS & MARTINUS
Wonder of twin power! The 22-year-old brothers from Norway and successful artists Marcus & Martinus will play 15 exclusive club concerts in selected European venues as part of the “We Are Not The Same Tour” in 2024/2025. With it, they are returning on stage with an amazing live performance. The successful musicians celebrated their 10th anniversary on stage only last year and started their arena tour “We Are Not The Same Tour” through Scandinavia with great success in January 2024. Marcus & Martinus are now looking forward to seeing their fans in Europe during this year and in 2025. The advance ticket sale will start on 8th April 2024!Marcus & Martinus started their career at the age of ten at the Norwegian “Melodi Grand Prix Junior” and are since then already established as successful artists in large parts of Europe. In 2015, Marcus & Martinus released their debut album "Hei", which climbed straight to number one in Norway. The albums “Together” from 2016 and “Moments” from 2017 were followed by further number one hits in Norway and also in Sweden. In 2017, they won the Nickelodeon Kids' Choice Award in the category "Favorite Music Star: Norway". During these years they’ve been a supporting act for Jason Derulo, sold out Globen twice within minutes, and performed at the 2016 “Nobel Peace Prize” ceremony in Oslo. Their song “Elektrisk” holds the record for the most streamed Norwegian song of all time. This has resulted in large social channels hundreds of millions of streams and devoted fans all over the globe. Prior to their European tour, Marcus & Martinus will participate in the “Eurovision Song Contest 2024” for Sweden with their electric hit single "Unforgettable", which will also be featured on their latest album. The pop-duo won the Swedish preliminary round by a large margin and the song immediately hit the Spotify and Airplay charts in the Nordic countries. The electro pop song "Unforgettable", which the two 22-year-old Norwegians wrote together with the hit writers Jimmy "Joker" Thörnfeldt, Joy Deb and Linnea Deb, is about the unforgettable encounter with a femme fatale. The story of Marcus & Martinus is like a modern fairy tale. Two boys from a small village in Norway have managed to conquer the world with their music. They are a role model for young people and show that anything is possible if you follow your dreams. And they don’t stop dreaming - they want to continue making music, touring the world and sharing their passion for music with their fans. Their catchy pop music and magnetic stage presence is impossible not to like. The "We Are Not The Same Tour" promises an absolute highlight for all fans of the pop-duo: They can expect electrifying live performances that showcase Marcus & Martinus's dynamic stage presence and unparalleled talent. Get tickets now! Marcus & Martinus Website Marcus & Martinus @ Facebook Marcus & Martinus @ Instagram Marcus & Martinus @ Spotify Marcus & Martinus @ TikTok Marcus & Martinus @ X Marcus & Martinus @ YouTube |
