KRYPTONOMICON
Kryptonomicon is an old school thrash/death metal band!Our sound is inspired by Celtic Frost and Hellhammer! Kryptonomicon Website Kryptonomicon @ Bandcamp Kryptonomicon @ Deezer Kryptonomicon @ Facebook Kryptonomicon @ Instagram Kryptonomicon @ SoundCloud Kryptonomicon @ Spotify Kryptonomicon @ YouTube |
DICKLESS TRACY
Dickless Tracy was formed in Brežice, Slovenia back in 1997. What started as a weekend hobby became a constant form of expression thru noise, speed, darkness and brutality. They released five albums, countless split tapes, live demos, even one 7’’ and played numerous shows wherever possible. Dickless Tracy is Tomi Cepanec on guitars and vokills, Jernej Rejc on bass and Ivan Cepanec on drums.Dickless Tracy @ Bandcamp Dickless Tracy @ Facebook Dickless Tracy @ Instagram Dickless Tracy @ YouTube |
TERMINAL DISEASE
Terminal Disease je metal glasbena skupina iz Zagorja ob Savi, ki je s svojim delovanjem začela leta 1998, ko so se lokalni mladci zbrali in začeli žgati metal. Glasbeno ustvarjanje je iz leta v leto raslo in se razvijalo, paralelno s številom koncertov. Na sami poti so se pojavljali problemi s prostori za vajo ter s samo zasedbo, ki se je nekajkrat spremenila.Leta 2010 se je začelo zadnje, najnovejše obdobje benda. Bovhcu (vokalist/kitarist, stalni član skupine) in Želvaku (bobni) se je pridružil basist Mirko Vresk. Prevetrena tričlanska zasedba je ohranila temelje in rdečo nit preteklega delovanja, obenem pa delovala sveže, z novimi idejami in energijo, ter tako pridobila pozitiven odziv publike, ki pomeni še največ. Poleti 2011 je, s pomočjo prijateljev, nastal demo s petimi pesmimi, ki so dostopne tudi na spletu. Enodnevno snemanje, je bilo zgolj povod in motivacija za nadaljnje delo. V letu 2012 je Mirko zapustil bend in že po nekaj mesecih je njegovo mesto na basu zapolnil Kristian. V drugi polovici leta 2013 je zasedba postala štiričlanska z Gašperjem Prašnikarjem na drugi kitari, in januarja 2014 je na dvodnevnem snemanju že nastal nov demo z devetimi pesmimi. Že nekaj mesecev kasneje pa je Gašper zapustil bend, vseeno so preostali delali naprej in tudi izvedli nekaj koncertov. Kmalu zatem, v drugi polovici leta 2014, pa je mesto druge/solo kitare prevzel Samo Poredoš. Vadimo v Zagorju ob Savi, v prostorih mladinskega centra. Kvaliteto poleg same energije postavljamo na prvo mesto, tako da želimo tako tehnično kot kreativno, s svežo energijo - popestriti naše izdelke, s tem pa okužiti in zadovoljiti marsikateri ušesni mešiček. Našo zvrst bi opredelili preprosto, kar kot metal, saj je skozi poslušanje možno slišati vplive različnih zvrsti - thrash, death, industrial, metalcore... Želimo si čim več koncertov in novih priložnosti, zato vse pristaše metala in dobre glasbe - vabimo na koncerte... Se vidimo tam! Terminal Disease @ Facebook Terminal Disease @ SoundCloud Terminal Disease @ Spotify Terminal Disease @ YouTube |
UPORABNIKI
Uporabniki @ FacebookUporabniki @ Instagram |
AVENGE THE FALLEN
A five-piece melodic death metal band from Slovenia.Avenge the Fallen @ Facebook Avenge the Fallen @ Instagram Avenge the Fallen @ YouTube |
ELUVEITIE
In a music world full of ephemeral appearances and fleeting trends, Eluveitie are a an example of what it means to relentlessly follow your own path and to stay true to yourself.Eluveitie was formed in 2002 by Chrigel Glanzmann, driven by the desire to combine modern metal music with musical traditions of the Celtic world. Born in the rural mysticism of the Swiss alps and since the beginning deeply rooted within Celtic history, mythology and spirituality, Eluveitie have long become one of the most original and inventive metal bands and a style-defining constant the modern metal scene can't be imagined without. From their fabled debut »Vên« (2004) onward, theirs was an approach of respect, historic accuracy, depth and the most thrilling, catchy, primordial melange of Melodic Death Metal and traditional Folk the world could have ever imagined. Success, of course, was not far behind. Their groundbreaking seminal work »Slania« saw them bond with Nuclear Blast, a friendship that lasts to this day and quickly turned the band into a worldwide phenomenon. In a rapid two-year-succession, they unleashed »Everything Remains (As It Never Was)«, »Helvetios« and that massive monument of all things inventive Metal called »Origins«, framed by the two elaborate and archaic acoustic albums »Evocation I – The Arcane Dominion« and »Evocation II – Pantheon«, the last of which was also presented on an unforgettable acoustic tour. On each release, they refined their trademark brand of Chrigel’s thundering roar, metallic fierceness and folkloric ingenuity that has always been miles above the usual “let’s add some bagpipes there”. Members came, members went. The soul of Eluveitie, though, the very essence of this pagan congregation remained undisturbed. Today they look back upon an impressive nine studio albums (of which many climbed top positions of the album charts in many countries), countless tours and myriads of headline shows all around the globe on every single continent of this planet and repeated headliner slots at the biggest metal festivals. Still, this was only the beginning. A 20-year-overture for the things about to come. The sky is darkening, the ravens fly. The stage is set for the thunderstorm that has already been heralded by the tempestuous harbinger »Aidus« in summer of 2022. The next chapter is about to be written... Eluveitie Website Eluveitie @ Deezer Eluveitie @ Facebook Eluveitie @ Instagram Eluveitie @ SoundCloud Eluveitie @ Spotify Eluveitie @ TikTok Eluveitie @ X Eluveitie @ YouTube |
INFECTED RAIN
Formed in 2008, INFECTED RAIN has become a prominent name in the metal scene, especially known for their unique blend of different genres of music. Their music resonates with a wide audience, thanks in large part to the charismatic and versatile vocals of frontwoman Elena Cataraga, a.k.a. Lena Scissorhands. The band’s line-up includes the guitarist Vadim ‘Vidick’ Ojog, who is also a principal songwriter, alongside drummer Eugene Voluta and bassist Alice Lane, who joined the band more recently.The Moldovan quartet has shown a steady ascent in the music world since their debut album “Asylum” was released in 2011. They have since continued to evolve, both in sound and in their approach to music. Their latest album, “TIME”, released on February 9, 2024, marks their sixth studio album and showcases their ability to experiment with a variety of sounds and themes, further cementing their status in the modern metal landscape. INFECTED RAIN is admired not only for their compelling music but also for the genuine emotion and passion that they infuse into their work. Each album, including “TIME”, is a journey through an array of intense emotions, complex musical layers, and thematic explorations that reflect both personal and universal experiences. Infected Rain Website Infected Rain @ Facebook Infected Rain @ Instagram Infected Rain @ TikTok Infected Rain @ X Infected Rain @ YouTube |
AD INFINITUM
Ad Infinitum stands as a formidable force in the modern metal scene, with a sound that melds haunting melodies, crushing riffs, and dynamic storytelling. Formed in 2018 by the charismatic and versatile frontwoman Melissa Bonny, the band has rapidly risen through the ranks, carving out a distinct niche with their intense and evocative music. Ad Infinitum’s 2020 debut, “Chapter I: Monarchy,” announced their arrival with a thunderous roar, setting the stage for what would be an unstoppable ascent. This record was shortly followed by “Chapter II – Legacy” in 2021 and “Chapter III – Downfall” in 2023.With their 4th album “Abyss”, the band further refined their identity, delivering an even more aggressive and sonically complex record that pushes the boundaries of modern metal. The powerful lineup— with Melissa Bonny’s limitless and versatile vocals, Adrian Thessenvitz’s intricate and masterly guitar work, Korbinian Benedict’s driving and powerful bass, and Niklas Müller’s thunderous and incisive drumming—creates a soundscape that is both grand and intimate, capturing the full spectrum of human emotion and experience. Ad Infinitum continues to blaze their path with unrelenting passion and innovation, drawing fans deeper into their mesmerising, immersive world with every release. As rising stars of the new wave of modern metal, they remain committed to exploring new territories and shattering expectations with each powerful performance. Ad Infinitum Website Ad Infinitum @ Bandcamp Ad Infinitum @ Deezer Ad Infinitum @ Facebook Ad Infinitum @ Instagram Ad Infinitum @ Spotify Ad Infinitum @ TikTok Ad Infinitum @ YouTube |
PAIN
PAIN is an industrial metal project created by Peter Tägtgren, a Swedish musician, multi-instrumentalist, and producer. If you want to hear this story from him, it would be short and straight to the point: “PAIN was just me f*cking around in the studio, and it grew into becoming a project”.Started as a one-man creation with all the vocals, instruments parts, and production made by one person... Well, it still is, but not only. It also became a prominent touring group that today consists of, apart from Peter, his son Sebastian Tägtgren (drums), Jonathan Olsson (bass), and Sebastian Svalland (guitar). Nevertheless, a long time ago, in 1997, when the debut album of the project was released, there was nobody but Peter. By this time, he already had four successful albums with Hypocrisy – and also had some ideas that wouldn’t go with the band’s style. That’s how the story of PAIN began – the story where 8 albums are known and loved for such smashing hits as ‘End Of The Line’, ‘Shut Your Mouth’, ‘Same Old Song’, ‘Follow Me’, ‘Coming Home’ and many more. This story also contains strong lyrics, rich arrangements, solid melodies, unflagging energy, killing live shows, and big plans for the future. In 2021, PAIN released the standalone single 'Party In My Head,' which became even more popular than the timeless 'Shut Your Mouth,' amassing over 35 million streams on Spotify to date. At the beginning of 2024, PAINheads (as the project's audience calls themselves) discovered that this hit would be part of the 9th album 'I Am,' set to be released on May 17, 2024. Speaking about PAIN creator Peter Tägtgren, it has to be mentioned that he has a rich history in music. He is the leader and co-creator of the legendary death metal band Hypocrisy, co-creator and music author of the project LINDEMANN (albums 'Skills in Pills' and 'Frau und Mann'), and owner of Abyss Studio (Sweden), where he produces many world-renowned metal bands and albums, among which are: Amon Amarth, Amorphis, Celtic Frost, Dark Funeral, Destruction, Dimmu Borgir, Immortal, Joe Lynn Turner, Marduk, Possessed, Sabaton, and Septicflesh. Pain Website Pain @ Bandcamp Pain @ Deezer Pain @ Facebook Pain @ Instagram Pain @ Spotify Pain @ X Pain @ YouTube |
OCEANS
All we know is just a drop. What we don’t know is an ocean.Powerful as a tsunami and as eternal as the deep sea, OCEANS rose from the blackened heart of the void in 2018, embracing despair, wrath and darkness. Oceans Website Oceans @ Bandcamp Oceans @ Deezer Oceans @ Facebook Oceans @ Instagram Oceans @ SoundCloud Oceans @ Spotify Oceans @ X Oceans @ YouTube |
SUFFOCATION
New York death metal legends SUFFOCATION unleash their ninth full-length album, Hymns from the Apocrypha, via Nuclear Blast. The follow-up to ...of the Dark Light (2017) pushes founder Terrance Hobbs (guitars), Derek Boyer (bass), Charles Errigo (guitars), Eric Morotti (drums), and newcomer Ricky Myers (vocals) to the very edges of extremity. Standout tracks ‘Seraphim Enslavement,‘ ‘Perpetual Deception,‘ and ‘Delusions of Mortality’ are emphatically SUFFOCATION but are enhanced with what Hobbs calls "progressive melodies." The crushing title track, ‘Immortal Execration,’ and the re-recording of ‘Ignorant Deprivation,’ featuring former throat-man Frank Mullen, are brutal alms to death metal's heaving masses.“Hymns from the Apocrypha has a more natural/organic feel," says Boyer. "We recorded this album ourselves and intentionally took an old-school approach. This was the first time SUFFOCATION captured the essence of the band ourselves. Musically, our goal is to evolve as musicians and songwriters. Our intention has always been to create aggressive, well-composed, well-made, and well-produced music. We put a lot of time and thought into every aspect of our work. Whether performing live or producing ourselves in the studio, we push ourselves to perform to the best of our ability." SUFFOCATION were founded in Long Island, New York, in 1988. Since then, they released foundational classics like Effigy of the Forgotten (1991), Breeding the Spawn (1993), and Pierced from Within (1995), with post-reformation slabs of savagery Souls to Deny (2004), Suffocation (2006), and Pinnacle of Bedlam (2013) proving death metal was not only SUFFOCATION's to own but that it also continued to be a viable art form, all three albums earning accolades at Metal Injection, Decibel, and Deaf Forever. To date, they've played over 2,000 shows, giving audiences from the United States and Germany to Australia and Brazil unforgettable blasts and trademark slams. Truly, the group's global influence is unmistakable and undeniable. Hymns from the Apocrypha isn't merely another album from the New Yorkers but a statement of intent. SUFFOCATION always have been and are here to slay. "We will always be pushing for an extreme edge," Boyer says. "With each album, there is a new maturity. Whether it's a new vision of how we'll structure a song or if our approach to capturing our performances is going down a new path, no matter what, when we put something out, it will always be SUFFOCATION. Even if we're experimenting in production with our tones or how we approach our compositions, it will always be SUFFOCATION. After decades of this, we're not just going add a violin or feature a spoon man or some other bullsh*t. SUFFOCATION's raw, aggressive, fast, heavy, brutal death metal. Just as it has always been and will always be." Without gigs, suffering from lockdowns, and having to cope with the physical distance between members—not everyone lives in Long Island—SUFFOCATION's creative principals conceived Live in North America (2021), featuring Mullen on his farewell tour, under the expert tutelage of Cryptopsy guitarist and burgeoning producer Christian Donaldson. After the pandemic, while SUFFOCATION toured their asses off in the US, Latin America, and Europe, the final pieces of Hymns from the Apocrypha emerged with utmost intensity. The first full song was ‘Seraphim Enslavement,’ with others like ‘Dim Veil of Obscurity,’ ‘Immortal Execration,’ and ‘Embrace the Suffering,’ arriving after tasking, if eventually productive writing sessions in Hobbs' lair. "We have a little more progressive riffage in the new stuff," says Hobbs. "We still keep the older elements, though—if the machine isn't broken, don't fix it. I think the band's direction is great, and we feel we have grown in maturity, writing, and playing live. We're on a good path for the future while we bring a few new elements to the table for our fans and friends alike. That said, SUFFOCATION writes for SUFFOCATION." Hymns from the Apocrypha's musical origins began in 2019 and lasted into the summer of 2023—’Descendants’ and ‘Immortal Execration’ were the last songs Hobbs and team penned. The album's lyrical bent—authored by inimitable frontman Myers—was fashioned throughout the songwriting process. The title track, ‘Hymns from the Apocrypha,’ tackles celestial envy and humanity's ruin. At the same time, ‘Perpetual Deception’ revisits the Son of Man (Jesus) and his continuous deceit, a nod to the classic SUFFOCATION track, ‘Jesus Wept.’ ‘Immortal Execration’ goes deeper into suicidal thoughts, cruelly bequeathed to humanity. Myers is a formidable vocalist—an absolute monster on ‘Seraphim Enslavement’ and ‘Delusions of Mortality’ — and the right man to formulate wicked lyrics. "The lyrics are mainly about divine entities deceiving mankind with lies and delusions through ancient scriptures," Myers says, "Obscuring them from knowledge of their true origin; giving them hope that someday they will join their makers in eternal life. I tried to provide a different perspective on these merciless entities that created vessels enslaving humanity to suffer mentally and physically for their amusement." SUFFOCATION took about a month and a half to record Hymns from the Apocrypha. They holed up at Hobbs and Boyer's InLine Studio in Long Island. The duo engineered and co-produced with Christian Donaldson (BENEATH THE MASSACRE, INGESTED), who was also re-enlisted to mix and master, with Dominic Grimard (CRYPTOPSY, SHADOW OF INTENT) assisting. If Breeding the Spawn was SUFFOCATION's production nadir, then Hymns from the Apocrypha is arguably the group's strongest-sounding, most sonically punishing album yet. From the growling bass and inhuman vocals on ‘Perpetual Deception’ to the merciless guitar crunch of Hobbs/Errigo and rapid-fire drumming on ‘Embrace the Suffering,’ SUFFOCATION have achieved death metal perfection. "The entire process took about two months," says Boyer. "That's considering the tracks were sent out to be mixed and mastered in a different studio. It was mixed in about two weeks—I'm looking at all the time it took to get the files out of our system, sent over, time for Christian to get them into his system, and all the back and forth, requesting mix adjustments. Then, finally, when we were happy, he still had to run off the master in all formats and send it out to us and the label." With stunning cover art by Greek illustrator Giannis Nakos (VOMITORY, THE CROWN), Hymns from the Apocrypha is characteristically SUFFOCATION. That is to say, it's uncompromisingly brutal, artistically gutsy, and aurally heavy. Clearly, SUFFOCATION, as they head into their 35th Anniversary, are at the peak of their potential. Death metal or die! "Perseverance isn't easy," says Hobbs. "Playing aggressive music is in our blood. Being a live band with actual recordings that are back-to-the-roots of being a real band—not a digital representation of over-edited stuff in today's overwhelmed music industry—shows who we are. SUFFOCATION, as a live band, is key to us all. I would've never thought that this would be a 35-year endeavor, but it's great that it has! We have met so many bands, fans, and friends out there. It's inspiring to see that kind of support. Hopefully, we'll keep everyone paying attention to SUFFOCATION for another 100 years!" Suffocation Website Suffocation @ Deezer Suffocation @ Facebook Suffocation @ Instagram Suffocation @ ReverbNation Suffocation @ SoundCloud Suffocation @ Spotify Suffocation @ TikTok Suffocation @ X Suffocation @ YouTube |
ANGELMAKER
AngelMaker levels listeners with a furious, focused, diverse, and violent extremity. Across a handful of split EPs and other releases, including two full-length albums, the Northern Vancouver seven-piece make their musical intentions clear. AngelMaker creates deathcore of the highest order, injected with blackened thrash, a smattering of power violence, and the urgent ferocity of underground hardcore.Like genre standard-bearers Black Dahlia Murder, Despised Icon, and Whitechapel, AngelMaker summon the most brutal elements of Floridian death metal and combine it with the coldest permafrost of Scandinavian black metal, without the theatricality sometimes clouding the genres. The brand-new music unleashed by AngelMaker in 2021, crafted in recent months with producer Tim Creviston (Spiritbox, Misery Signals, Vultures), is the band’s most confident and destructive yet. “We always strive to write music that makes people feel something emotionally intense,” explains singer Mike Greenwood, who shares vocal duties with Casey Tyson-Pearce. The triple-guitar assault of Coton Bennett, Matt Perrin, and Johnny Ciardullo, together with the rhythmic pulse of bassist Code Rideout, makes for a crushingly heavy, unforgivingly brutal, uniquely extreme metal sound. AngelMaker reveres the old-school 2005 – 2010 era of deathcore, constantly reevaluating their own material to improve upon it with each release. The music combines with lyrics about personal struggles (fear, loss, sadness, anxiety), worldly ideas and concepts, and fantastical, cinematic themes. “We are constantly pushing the boundaries of our signature sound, while staying true to the roots in classic deathcore,” says Greenwood. “There’s nothing more satisfying than having someone tell you, ‘This sounds like something I loved when I was growing up and just getting into deathcore.’ Nostalgia is such an intense emotion.” As the band adapted to the concert-less conditions of the worldwide shutdown due to COVID-19, they crafted a release strategy to ensure their increasingly perfected modern deathcore is heard. The first eight tracks from the new album “Sanctum” appear as two-song “quadrants,” building anticipation for the eventual full-length, and keeping AngelMaker top of mind as a return to the road draws nearer. The guys were all teenagers when the band formed (half of them even went to the same high school together) and began a decade long streak of independence that continues to this day. 2012’s Decay EP put them on the deathcore map. A three-way split EP with Lament and Isolations arrived the following year. AngelMaker’s full-length debut, 2015’s Dissentient, was a massive standout, demonstrated by ferocious songs like “Godless, “A Dark Omen,” and “Leech,” the latter of which accumulated 1.8 million views on YouTube and 4.4 million Spotify streams. One Bandcamp commenter likened the album’s sound to “cutting your heart out with a rusty spoon.” Portland, Oregon-based producer Stephan Hawkes (Chelsea Grin, Attila, Red Fang) produced and mixed it. The Unholy Alliance split with A Night In Texas arrived in 2016, less than a year before AngelMaker beat more than a dozen bands for a fan-voted spot on 2017’s Summer Slaughter Tour, featuring The Black Dahlia Murder, Dying Fetus, The Faceless, Oceano, Slaughter To Prevail, Origin, Rings Of Saturn, Betraying The Martyrs, and Lorna Shore, among others. That momentum continued across Canada, with AngelMaker selected as the only opening act for The Faceless on a short trek. The deathcore subreddit lit up in search of footage from AngelMaker’s spectacular performance at the Brutal Assault festival in 2018 in an 18th-century army fortress in Czechia. MetalSucks presented the fall’s Bloodletting North America tour, putting AngelMaker alongside Virginia’s Arsis; California’s Decrepit Birth; Slovenia’s Within Destruction; and New York’s Internal Bleeding and Pyrexia. AngelMaker’s self-titled sophomore album emerged in 2019, punctuated by unrelenting tracks like “Hollow Heart,” “BLOODTHIRSTER” and “Requiem.” They supported the record with shows and tours alongside Despised Icon, Kublai Khan, and Ingested. The band’s dual-vocal and triple-guitar composition allows for new and diverse explorations of extremity, setting AngelMaker both inside and apart from the traditions of the deathcore subgenre. As Greenwood points out, AngelMaker “continues to strive for the freshness of modern extreme music while bearing the coveted torch of the old-school deathcore sound. And if we can write songs that make listeners go through a sort of catharsis, then I think we have done our jobs correctly.” Beyond mere technicality and devastation, AngelMaker trade in emotion, eliciting unique feelings of sorrow, regret, anger, fear, and depression, taking listeners on immersive journeys within the songs. As the British Columbian ensemble’s first new material in roughly two years seeps out from the underground in 2021, diehards and newcomers alike discover new revelations in their music. Now ten-years strong as an independent, do-it-yourself force, AngelMaker triumphantly stands tall. AngelMaker @ Bandcamp AngelMaker @ Deezer AngelMaker @ Facebook AngelMaker @ Instagram AngelMaker @ SoundCloud AngelMaker @ Spotify AngelMaker @ TikTok AngelMaker @ X AngelMaker @ YouTube |
FUMING MOUTH
A fiery, resurrected rage barrels its way out of hell’s erupting chasms with blistering fury; Fuming Mouth has returned. Lead singer, guitarist, and founder Mark Whelan emerges triumphant after a life-threatening battle with Acute Myeloid Leukemia, rekindling the inferno of their music with Fuming Mouth's second full-length album, Last Day of Sun.What initially began as a full-on, fictional concept album underwent a profound transformation into a concept-reality hybrid, largely influenced by Whelan's harrowing conflict with his health and a near brush with death. Just three weeks away from recording the album, Whelan was struck with a devastating cancer diagnosis. While bravely fighting the illness, he rewrote melodies, drum sections, and lyrics, infusing the music with his personal journey of struggle and hope. The recording sessions began in October 2022, with Grammy Award winning Kurt Ballou of Converge at his studio, God City, in Salem, Massachusetts. Ballou reached out to Whelan after his battle with cancer and encouraged him to get back to their previously scheduled recording session. Working closely with Ballou in both engineering and production, the band found a wonderful and collaborative experience, as Ballou invested himself wholeheartedly in shaping their sound and vision. Salem itself also helped shape the album, as the Halloween Season had begun. Droves of tourists and residents mixing with people in costume made the streets of Salem seem like “Last Day of Sun” had come to life. The city where the Witch Trials took place presented the perfect setting for the album to be recorded. At the genesis of this record, there was no other artist that could have captured the album's essence better than Mariusz Lewandowski, with whom the band had already established a creative relationship through his work on the cover art of The Grand Descent. Tragically, Mariusz passed away while working on the album artwork, presenting the band with an immense obstacle to overcome. In tribute to his spirit and legacy, they joined forces with the talented artist Stefan Todorovic who crafted an evocative album cover depicting a Faustian city crumbling amidst the gray and sandy storms of the apocalypse. A colossal monster blocks the sun and hovers above the city as it burns, smoky buildings topple to the ground; all a visual representation of the chaos and darkness that permeates the album. Fuming Mouth stands resilient, a testament to the indomitable human spirit. Amidst the carnage and depression lies a flicker of hope - a beacon of light that emanates from within. But as the last rays of the sun cast their shadow, the question remains. Will the people in Last Day of Sun survive? Will their worst inhibitions play out, will they rip each other to shreds, will they give up? Will everything they’ve built have been for not? Will they find a way to overcome, or will their panic lead to failure? Fuming Mouth Website Fuming Mouth @ Bandcamp Fuming Mouth @ Deezer Fuming Mouth @ Facebook Fuming Mouth @ Instagram Fuming Mouth @ Spotify Fuming Mouth @ X Fuming Mouth @ YouTube |
CARCOSA
CARCOSA is a four piece deathcore band from BC, Canada.Carcosa @ Facebook Carcosa @ Instagram Carcosa @ SoundCloud Carcosa @ TikTok Carcosa @ X Carcosa @ YouTube |
MÉLANCOLIA
Mélancolia echos a tormented entity ensnared in the clutches of despair, angst, and haunting melancholy. Alex Hill takes center stage as the vocalist, accompanied by guitarists Joshua Taafe and Billy Morris, Bass with Toby Thomas & Mason Page on drums. Debuting in 2022, Mélancolia crafts melodic blackened deathcore, fusing elements from the depths of industrial goth and nü-metal into its powerful foundation, resulting in an unsettling sonic horror experience.Securing deals with Nuclear Blast Records (ROW) and Greyscale Records (AUS/NZ) based on a single release, the Australian ensemble unveiled their debut album, "HissThroughRottenTeeth," in April 2023 and promptly hit the road. Touring with renowned acts like Cattle Decapitation, Fallujah, To The Grave and a European tour supporting Ingested in only their second year as a band, this blackened quintet returns in 2025 with a brand new record on the horizon which will see them return to Europe / UK again this time support long Death Metal legends Suffocation. Mélancolia @ Bandcamp Mélancolia @ Deezer Mélancolia @ Facebook Mélancolia @ Instagram Mélancolia @ Spotify Mélancolia @ TikTok Mélancolia @ X Mélancolia @ 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 |
DARVAZA
"I am unclean, I am abominable,for I am Holy" Pure Black Metal in its original and uncompromised essence. Darvaza @ Bandcamp Darvaza @ Deezer Darvaza @ Facebook Darvaza @ Instagram Darvaza @ Spotify |
KRINGA
Bursting secrets, crushing spells - the ineffable darkness speaks!The band takes their name from Kringa, a village in Istria (Croatia) and home to perhaps the first real person described as a vampire in history (Jure Grando). Kringa Website Kringa @ Bandcamp Kringa @ Deezer Kringa @ Facebook Kringa @ Instagram Kringa @ Spotify |
MÝRDAL
W.K. - Vocal/ GuitarO.F. - Drum Mýrdal @ Bandcamp Mýrdal @ Facebook Mýrdal @ Instagram Mýrdal @ Spotify |
SOLFAR
Oh Sulphur, living fire!Animate the dead body and vivify the spirit! Black metal hailing from Friûl. Solfar @ Bandcamp Solfar @ Facebook Solfar @ Instagram Solfar @ YouTube |
GORGOROTH
Gorgoroth is a Norwegian black metal band based in Bergen. It was formed in 1992 by guitarist Infernus, who is the sole original member remaining, and has released nine studio albums. Gorgoroth are a Satanic band and have drawn controversy due to some of their concerts, which have featured impaled sheep heads and mock crucifixions. The band is named after the dead plateau of darkness in the land of Mordor from J. R. R. Tolkien's fantasy novel The Lord of the Rings. Gorgoroth @ Deezer Gorgoroth @ Facebook Gorgoroth @ Instagram Gorgoroth @ SoundCloud Gorgoroth @ Spotify Gorgoroth @ YouTube |
AETERNUS
Aeternus is a Dark Metal band from Bergen, Norway.Aeternus @ Bandcamp Aeternus @ Deezer Aeternus @ Facebook Aeternus @ Instagram Aeternus @ SoundCloud Aeternus @ Spotify |
DEATH RATTLE
New England has a long history of producing some of the most influential metal acts in modern metal. It has become a hotbed for bands hoping to follow in the footsteps of those that came before them, only to find themselves lost in a sea of other groups that have difficulty differentiating themselves from their talented local brethren. This is not the case for Death Rattle, who followed up the release of their seminal album "Volition" with multiple tours overseas in combination with a busy US touring schedule. Supported by strong streaming numbers on all of their digital platforms, the band received critical acclaim from many different sources. Katarina McGinn of 'Dead Rhetoric' wrote, "Death Rattle seize the moment with pure adrenaline from start to finish on Volition, even if it does occasionally lean somewhat heavily on familiar acts. If energy and groove is what you want, Death Rattle has it covered in a way that's entertaining and punishing."Reconstituted in 2016, founding members Ryan Vanderwolk (guitar) and Chris Morin (drums) alongside longtime bassist Kevin Adams brought Trey Holton (vocalist) into the fold. Death Rattle marries elements of groove metal and melodic passages to produce something aggressive and unique. There is an undercurrent of the corrupting nature of power that flavors the lyrical storytelling as the band pairs the violent nature of humanity with the tension and catharsis created by their music. They have proven themselves to be a group of artists that can craft something that resonates with metal fans worldwide and deliver a live show to captivate any audience. The elements that make Death Rattle such a special band, their passionate delivery, technical performance, and intensity, are apparent all throughout the record. They are also showcased brilliantly in the live show where Death Rattle truly sets themselves apart, connecting with every audience in every city in a way that is almost unmatched. Critics agree, as Metal Temple wrote of the album, "The inferno of intense riffs of "Love and War" (that shows very good tempos), the massive outburst of energy that comes from "Sentenced to Hell", the catchy tempos of "Snake in the Grass", the raw fury shown on the musical arrangements of "Adrenalize", the shrapnel of riffs shown on "Order Within Chaos", and the excellent work from bass guitar and drums on "Doomsday" are the best moments of the album. But I believe that the listeners will love all of the songs. "Volition" is a very good work, indeed." Following Adams' departure to pursue other music endeavors, Holton, Vanderwolk, and Morin persevered through the COVID-19 pandemic that plagued the music industry for a two-year span. They emerged on the other side with a new vision. Working with session bassist Rod Lopez, the three set to work on pre-production for their follow up LP. They used the impact and power of "Volition" and injected all of the raw emotion and isolation they felt during the pandemic to fuel the message behind the new songs. Trey said of the new album, "I think with 'Volition' we felt like we found a direction and with this new album we really found our voice as a band. The songwriting involved everyone, from the musicians to the engineers and producers, and we toiled over every second of each tune to make them all individual works of art." Armed with the songs for the new LP, the trio enlisted the help of engineer Kevin Billingslea (Halo Studios) and producer Jens Bogren (Fascination Street Studios) to complete their vision. The album promises to build on the heavy foundation the group has already put down with "Volition" with more blistering riffs and inspirational melodies. The lyrics and vocal delivery perfectly merge both beauty and malevolence as only Death Rattle can do. "What we tried to do with this album was to capture everything that the world was dealing with in isolation. The vast loneliness, the fear, the despair, and sometimes, the hope. We crafted each song as a snapshot of a visceral moment of the past three years and we poured it out in the audio. It means a great deal to all of us and we hope it will be an emotional outlet for all Death Rattle fans, old and new, when it comes out. We really love what we have created," Holton said. With their fans anxiously awaiting its release, Death Rattle is poised to take the metal world by storm in the coming years, one live show at a time. Death Rattle Website Death Rattle @ Facebook Death Rattle @ Instagram Death Rattle @ ReverbNation Death Rattle @ Spotify Death Rattle @ X Death Rattle @ YouTube |
ARCHAIC
Archaic have three full-length studio albums and hundreds of gigs in their long history. After the release of their first album ’Time Has Come to Envy the Dead (2005 Vic Records) and an intensive 5-year period of gigs and tours, including a support tour with Testament, the band was forced to stop for many years becuse of varoius personal reasons and line-up changes, until they reunited again with a new line-up and came back with a brand new release called ’How much blood would you shed to stay alive?’ in December 2017.With help of the label Nail Records, the album was an attachement of the Hungarian Hammerworld magazine thus reaching a wide audience in the country and became immediately popular and received positive reviews and feedback in all the major metal magazines. The album cover made by artist Peter Sallai (Annihilator, Sabaton, Hammerfall) and studio production done by Attila Vörös (ex- Nevermore, Satyricon) were voted as Hungary’s best in 2017 by the Hungarian metal press. The band went on to release new videos, playing as many gigs as possible, both in Hungary and in Europe. One of the most important stage in their life took place in 2019 when they managed to play in Wacken as part of the international Wacken Metal Battle competition representing Hungary and they made it to the 2nd place in the finals, making them the first band from their country reaching such a prominent position. Later on in 2020 they continued the recordings of their upcoming album but unfortunate line-up changes, the covid pandemic and other factors set new obstacles in the way. The most significant change happened at the position of the lead vocalist, as after Tamás left the band, the guitarist, Peter stepped into his place, and it took a while to rearrange and re-record the vocal tracks for the new songs. The new album named as “The Endgame Protocol” was finally finished by the end of 2021. The album was released on 4 March 2022.The album received excellent international reviews, resulting in a growing interest in the band. In Hungary, 'The'Endgame Protocol' was the album of the month in HammerWorld magazine and also opened at no. 2 in the domestic sales charts. Along with the outstanding reception of the album, the band has also received international acclaim. After this the band kept on playing live as much as possible in clubs and festivals, both in Hungary and in the neighbouring countries and at the end of 2023 signed a worldwide deal with the US based Extreme Managment Group in order to enter the international metal metal scene on a larger scale and to pave the the way for their upcoming 4th album which is currently in production. Archaic Website Archaic @ Bandcamp Archaic @ Facebook Archaic @ Instagram Archaic @ ReverbNation Archaic @ Spotify Archaic @ YouTube |
IV AND THE STRANGE BAND
"Patience is a virtue." Those words are tattooed across Coleman Williams' right arm, forever reminding the alternative-country singer/songwriter of the benefits of taking one's time.The lesson wasn't always so clear. As the great-grandson of Hank Williams Sr., grandson of Hank Williams Jr., and only son of Hank 3, Coleman spent years waging an internal battle with the expectations thrust upon him by his own lineage. He represented the fourth generation of country music's most legendary family — hence his nickname, "IV" — and the pressure to launch his own career was enormous. Although Coleman would eventually make his mark with Southern Circus — the genre-bending debut from his band, IV and the Strange Band, combining southern storytelling and country textures with 100-watt guitar amps and DIY attitude — he needed to break free first and discover his own musical approach along the way. "Before I even knew who I was, people were already expecting things of me," he says. "It felt like there was zero freedom of expression for someone with the last name 'Williams.' Singing about a bloodline didn't appeal to me, though. I wasn't interested in fitting into a shadow that already existed. What did appeal to me was the underground scene in Nashville." Coleman became a fierce champion of Nashville's house-show circuit as a teenager, drawn in by the scene's supportive spirit and DIY ethics. This was a community that valued principles over pedigrees. A community that offered artists of all stripes a place to express themselves. From punk shows to heavy metal gigs to electronic experiments, Coleman loved it all… and for the first time in his life, he felt like he belonged somewhere. "I was a weird kid who grew up in an unusual situation," he says. "When I began going to house shows in Nashville, I felt like I'd found a family of people whom nobody else wanted — kids who were different and misunderstood — and during these two-hour shows, everyone belonged, everyone felt accepted, and everyone had a place. The experience taught me to trust my instincts. It gave me a new sense of independence. I have to believe that's why Hank Williams made music, too; he could see what it did for people." Inspired to blaze his own trail, Coleman left town after high school and traveled across America, developing musical tastes that were as diverse as the country itself. Over the decade that followed, he became a history buff, a poet, a metalworker, and an educator. Back home in Nashville, he continued his lifelong practice of writing songs, developing the unique sound — a blend of the amplified and the acoustic, laced with fiddle one minute and heavy guitars the next — that would later fill Southern Circus. Coleman took his time. He wanted the sound to be right. Patience is a virtue, after all. Local producer Jason Dietz became a fan of Coleman's songs, prompting the two to begin collaborating. Guitarist David Talley joined them, as did banjo player, Daniel Mason and drummer Carson Kehrer. All five musicians (along with fiddler Laura Beth Jewell and steel player, John Judkins who both appear on the record) came from different musical backgrounds, but they worked together to build something new, using Coleman's acoustic tunes as the blueprint for a southern sound that was soothing one minute and strident the next. An album began taking shape. Just shy of his thirtieth birthday, Coleman Williams made his long-awaited debut with "Son of Sin," a single that was released in 2021 by IV and the Strange Band. "I like to say, 'What doesn't kill you makes you stranger,'" he explains. "I love strangeness and I love my Strange Band. The most genuine people in this world are those who allow themselves to be the weirdos they truly are, because once you repress yourself, that's when you become someone you're not." Coleman channeled this love of the weird and self-certainty into Southern Circus which bounces between autobiographical songs and story-driven tracks inspired by Coleman's historical interests. On "Inbred," he turns the true-life tale of the Fugates — a Kentucky family whose inbred history attracted the attention and anger of religious zealots during the 1800s — into a song about Christian hypocrisy. "Malice" is a swaggering country song based upon a newspaper article about a married couple who each decided to poison the other on the same morning, while "Drinking Sad" pays tribute to the outlaw country bar songs that soundtracked Coleman's childhood. Appropriately, modern-day outlaw Jaime Wyatt appears on the hauntingly elegant "Broken Pieces," contributing vocals to a song about, as Coleman puts it, "the idea someone can’t truly love you unless they know how fucked up you really are." Perhaps nothing encapsulates Coleman Williams' story better than "Stand Your Ground," a seize-the-day anthem that advises its listener to roll with the world's punches and refuse to remain knocked down. The song opens with a leisurely lope, only to segue into a faster section propelled by train beats, banjo arpeggios, and Coleman's anthemic melodies. There are flashes of country twang and rock & roll grit throughout, fused together by a man who's not afraid to blur the dividing line between those camps. Southern Circus offers a peak into Coleman's personal world, and under this Big Top, all southern sounds — and all people — are welcome. "PT Barnum always said, 'The clowns are the heart of the circus,'" Coleman notes. "The circus is all about expression — about being yourself and finding a unique family, just like the house-show scene — and clowns embody that spirit. They're comfortable with being themselves, and they're trying to give you a pure, emotional catharsis. I love that. I feel like I'm the clown of this southern circus." Southern Circus finds a balance between spectacle and spirit, determination and deliverance, melodies and muscle. It's the sound of a man honoring his family tree while planting his own garden. To make it, Coleman had to leave home, explore sounds that stretched beyond his bloodline's catalog, and challenge the world's expectations that he'd join family business. Southern Circus is his homecoming: an album that finds him not falling into a legacy, but earning it. IV and The Strange Band Website IV and The Strange Band @ Facebook IV and The Strange Band @ Spotify IV and The Strange Band @ YouTube |
DARK TRANQUILLITY
Melodic death metal phenoms DARK TRANQUILLITY herald uncertain times on their new album, Endtime Signals. The Swedish outfit made their mark indelible with The Gallery (1995), Damage Done (2002), Fiction (2007) and the Grammy-winning Moment (2020) but are now venturing into the skyline beyond. By harnessing the chaos/despair of our day and embracing family—former members Fredrik Johansson (R.I.P. 2022) and Niklas Sundin contributed to two songs—DARK TRANQUILLITY break through apathy, fragility and wickedness on Endtime Signals. Mikael Stanne (vocals), Martin Brändström (keyboards), Johan Reinholdz (guitars), Joakim Strandberg Nilsson (drums) and Christian Jansson (bass) empower our passions, light our darkness and blaze us away from annihilation throughout the album's 12-song sweep, but it's singles "The Last Imagination", "Unforgivable" and "Not Nothing" where they focus wholeheartedly on the journey."It's an inspiration to have new musicians [Joakim and Christian] in DARK TRANQUILLITY," says Brändström, spotlighting recent lineup changes. "There's new flavors with new musicians. Joakim is a very technical drummer. He opened up new avenues of composing music. With that energy, we thought it would be cool to revisit faster songs. Christian, who is from Pagandom, understood who the band are and already knew what we've done—I think he's been in our orbit since day one. They're both highly motivated. So, figuring out the album we wanted to make wasn't a stretch for them. Musically, it's melancholy neighboring rage. The world is futile, and our music gives us (the band and our fans) the power to do something about it. We're standing strong, confronting things head-on". Endtime Signals is tried and true DARK TRANQUILLITY. It has white-hot aggression ("Unforgiveable"), ballads ("One of Us Is Gone"), balance ("The Last Imagination"), moody movie-like scores ("Our Disconnect") and ominous proclamations ("A Bleaker Sun"). Yet, this time, it all feels different. The Gothenburgers are, in a way, starting anew. The lineup has changed—both Strandberg Nilsson and Jansson are new to the fold—and so too has life and everything it's thrown at the band. The storm clouds have profoundly affected the Swedes. With Reinholdz helming the songwriting with Brändström, the story that began with We Are the Void (2010) has ended. Endtime Signals is a darker, grittier, more resolute DARK TRANQUILLITY. Whereas Moment spun positivity into the zeitgeist, Endtime Signals is less optimistic. The lyrics by longtime wordsmith Stanne reflect that. "The last time I wrote was before the pandemic", Stanne says, who described Endtime Signals as absolutely cathartic. "It was time to deal with some of that. Many things happened when we started writing for this album a year and a half ago. We lost a lot of friends like Fredrik [Johansson]. The world seemed like a more hostile place overall. We have new guys in the band, too. We felt like we had to make an album that needed to be taken very seriously. So, it's everything I've been thinking about for the last two years. We're destroying our lives, world, atmosphere and reality systems. It's so hard to get along and agree on things now. There's a lot of doomsday feeling in this album. I asked myself, how do we get ourselves out of this? I felt helpless and insignificant. All this spiraled into what I'd call a 'light depression'. Writing was my only way out of it". DARK TRANQUILLITY recorded Endtime Signals at Rogue Music, Nacksving Studios and Fascination Street Studios. The band spent endless hours at producer Brändström's Rogue Music in Gothenburg, recording guitars, bass, keyboards/electronics and vocals. Strandberg Nilsson's drums were ferried to Jens Bogren's Fascination Street Studios in Örebro, where engineer Alexander Backlund (Soen, Dödsrit) knocked it out of the park. The strings, prominently woven into the touching Johansson tribute "One of Us Is Gone", as performed by members of the Gothenburg Symphony Orchestra, were, along with additional guitars, finalized at Nacksving Studios, also in Gothenburg. Jens Bogren (Ihsahn, At The Gates) expertly handled the mix and master. All told, DARK TRANQUILLITY was nestled in Brändström's Endtime Signals production from October 2023 to March 2024. The arduous months-long toil resulted in a magnificently-sounding endeavor of artful perfection and human intelligence. Whether it's the aggro-melodic sharpness of opener "Shivers and Voids," the crushing weight of "Drowned Out Voices," the dystopian vibes of "Our Disconnect," or the Niklas Sundin-inflected "False Reflection," Endtime Signals has an unmistakable halo. "We already knew Jens was going to mix—that was obvious from the beginning", Reinholdz says, revealing DARK TRANQUILLITY's propensity to plan in advance. "We felt it made sense for the drums to be recorded with Alex at Fascination Street Studios, but there was a long pre-production period. I'd say Martin's in everything the deepest, but our process is very democratic. Me, Martin, Mikael and, to some extent, Joakim were constantly revising the songs. We'd play off one another. There's a lot of nuance in our work, especially with the riffs, where the solos fit in and how the keyboards sound against it all. That took a lot of time. I couldn't be happier with how it all turned out". Former guitarist Sundin has had a direct hand in—whether via his name or design studio, Cabin Fever Media—DARK TRANQUILLITY's art direction going back to the early '90s. The industrious Swede has also played a significant design role in bands like Arch Enemy, In Flames and At The Gates, to name a few. Reprising his long-standing position as their go-to visual innovator, Sundin crafted a cover that's as striking as the music and portentous as the lyrics: the shadowy hues and simple lines telegraph DARK TRANQUILLITY's new posture. The sun is blurred black, the heavens have violently opened and the duo on the cover embrace an unfortunate ascension. The Endtime Signals have indeed begun. "The basic sketches and some of the more refined drawings were done with old-fashioned pen on paper", Sundin says, who was involved from the very beginning. "I still feel that this is the most direct and intuitive method. After scanning the illustrations, the rest of the work was done in the digital realm (though still mostly hand-drawn in the sense that I use a Wacom tablet). I think this analog-to-digital method mirrors the music well; there's a human component where one values tradition and craftsmanship, but at the same time, there's a lot of forward-thinking as well". Many albums define the times. Just as Slayer's Seasons in the Abyss symbolizes the '90s, Opeth's Ghost Reveries the aughts and Watain's Lawless Darkness the tenties, DARK TRANQUILLITY's Endtime Signals the album of our day. The 12 impactful, powerful songs on offer speak to our inward-moving souls, question our increasingly selfish motives and act defiantly as wedge in the darkness. They do so with remarkable finesse. Will we see the signs and understand the humble yet gifted language of DARK TRANQUILLITY's Endtime Signals? Yes, we will. Dark Tranquillity Website Dark Tranquillity @ Bandcamp Dark Tranquillity @ Deezer Dark Tranquillity @ Facebook Dark Tranquillity @ Instagram Dark Tranquillity @ SoundCloud Dark Tranquillity @ Spotify Dark Tranquillity @ X Dark Tranquillity @ YouTube |
MOONSPELL
Established in 1992, MOONSPELL became one of the most recognizable voices of European Metal, adding their own Portuguese chapter to history of worldwide Heavy Metal music.The band is celebrating their 30th anniversary. The Portuguese Gothic Metal visionaries introduced themselves to the world with the much-celebrated underground EP Under the Moonspell and their legendary Century Media debut Wolfheart in 1995. The follow up, Irreligious, in 1996, took the band to another level of recognition, around the globe, and since then the band has never stopped touring and delivering new and different music, keeping their huge fan-base in the five continents always on the lookout for up-to-date atmospheric Metal and passionate live shows. In 2021, they have released Hermitage, their most recent effort, that was acclaimed by the fans and the press, as one of the best albums of the year. In late September 2022 they will release their new live album/DVD/BluRay, recorded 80 meters below surface, in a natural cave in Portugal, while resuming their always very significant live activity to celebrate their three decades on stage, in front of their pack. Moonspell Website Moonspell @ Bandcamp Moonspell @ Deezer Moonspell @ Facebook Moonspell @ Instagram Moonspell @ ReverbNation Moonspell @ SoundCloud Moonspell @ Spotify Moonspell @ X Moonspell @ YouTube |
HIRAES
Emerging from the disbanded Dawn of Disease, Melodic Death Metal powerhouse HIRAES embarked on their musical endeavour in 2020. The dynamic quintet melds the collective talents of former Dawn of Disease instrumentalists Lukas Kerk, Oliver Kirchner, Christian Wösten, and Mathias Blässe with the commanding vocals of Britta Görtz (ex-Critical Mess, ex-Cripper) to craft a thrilling new Melodic Death experience.HIRAES' music weaves between anthemic melodies and captivating guitar riffs, where catchy hooks meet relentless drumming, all enveloped in a melancholic aura. Lead singer Britta's distinctive, versatile growls and screams add a distinctive layer of depth to their sound. The band's musical identity finds inspiration in the Welsh term "hiraeth," encapsulating a sense of nostalgia and yearning for lost places or a home that might never have existed, casting a profound gloom over HIRAES' concept. This compelling atmosphere is mirrored in their poignant, emotional lyrics. In 2021, HIRAES made waves with their critically acclaimed debut album, "Solitary," released under Napalm Records, despite the challenges posed by the pandemic. Their live performances left an indelible mark, touring with bands like Crypta, Evil Invaders, Konvent, Left To Die (featuring members of Death), and Be’Lakor, establishing HIRAES as a captivating live act throughout Europe. Anticipation peaked as fans eagerly awaited their sophomore release, "Dormant," that hit the shelves via Napalm Records on January 26, 2024. HIRAES' journey continues, promising more electrifying performances and captivating music. Hiraes Website Hiraes @ Bandcamp Hiraes @ Deezer Hiraes @ Facebook Hiraes @ Instagram Hiraes @ Spotify |
SPECTRAL WOUND
Spectral Wound play black metal, unadulterated and unadorned. Against the grain of both atmospheric and militaristic strands of the genre, Spectral Wound carves a space beyond the fetish of nature or the puerile romance of power. Without God, without Satan, without Odin, without nation, without transcendence, without essence. Spectral Wound channels the horrors of the flesh and the violence of the spirit, deformed under the weight of history, poised on the brink of a whirling void.Spectral Wound formed in 2014 in Montreal, Québec, as a vessel of self-negation and existential dread, melding the raw fury of traditional black metal with the melodic sensibilities of Finnish and Québécois BM. After the departure of lead guitarist Mike Kirkenbranssar following 2015’s Terra Nullius, Spectral Wound expanded their lineup with the addition of guitarists Patrick McDowall and Sean Zumbusch, developing and refining the band’s sound on the monumental Infernal Decadence (2018). With the recruitment of Samuel Arseneau-Roy on bass in 2019, the band went on to release A Diabolic Thirst in 2021, a further distillation of the ferocity and towering, exultant melancholy that is Spectral Wound. Spectral Wound @ Bandcamp Spectral Wound @ Deezer Spectral Wound @ Facebook Spectral Wound @ Instagram Spectral Wound @ Spotify |
LAMP OF MURMUUR
Few artists in recent memory have swept through the dark underground with the excited fervour that Lamp of Murmuur has achieved since first appearing with a string of demos in 2019.Despite the project’s quick rise to renown, little is known about the band except that the project hails from Los Angeles, CA, and is led by an enigmatic man known as M. Lamp of Murmuur @ Bandcamp Lamp of Murmuur @ Deezer Lamp of Murmuur @ Instagram Lamp of Murmuur @ Spotify |
GRIMA
Started in 2014 as a studio-only endeavor by two twins (Vilhelm and Morbius) from Siberia, Grima has gradually become a four-piece band, active both live and in studio.Grima @ Bandcamp Grima @ Deezer Grima @ Facebook Grima @ Instagram Grima @ Spotify Grima @ YouTube |
STONED JESUS
Doomy proggy poppy banging music from Ukraine.Stoned Jesus @ Bandcamp Stoned Jesus @ Deezer Stoned Jesus @ Facebook Stoned Jesus @ Instagram Stoned Jesus @ SoundCloud Stoned Jesus @ Spotify Stoned Jesus @ X Stoned Jesus @ YouTube |
POLYMOON
Polymoon is a rock band from Tampere, Finland where it was formed in the autumn of 2018. Polymoon's unique sound draws from various influences, including psychedelic rock, progressive rock and shoegaze. Polymoon released its critically acclaimed debut album, Caterpillars of Creation, via Svart Records in the autumn of 2020. After playing various venues supporting the album release, Polymoon signed with Berlin-based Robotor Records in 2021.Since its formation, Polymoon has aimed to lift the listener to a higher level of existence through the aural combination of euphoria and melancholia. On their debut album, Polymoon strived to lure their listeners towards them, to join them behind their secretive veil. But Polymoon is this formless entity no more. On their second album the clandestine curtains have been opened: embrace the second phase of Polymoon's metamorphosis where everything is exposed and nothing is hidden anymore. The chrysalis is opening and the newly-formed wings are slowly unfolding. Old conventions have been blown to pieces and the shell is cracking. The rays of light are shining through more brightly than ever before. Be prepared to dance. Polymoon's second musical manifestation, Chrysalis, was released through Robotor Records on the 17th of February, 2023. Polymoon Website Polymoon @ Bandcamp Polymoon @ Deezer Polymoon @ Facebook Polymoon @ Instagram Polymoon @ Spotify Polymoon @ TikTok Polymoon @ YouTube |
IN FLAMES
In a music scene full of seemingly endless subgenres and transient trends, In Flames are an example of what it means to steadfastly stay true to your vision. Since forming in Gothenburg, Sweden, in 1990 the legendary melodic metal act have toured the planet countless times and influenced many of today's biggest metal acts without ever ceasing to push their own signature sound forward. In that spirit the band's twelfth full-length Battles sees In Flames eschewing proven formulas in favor of trying new things, most notably finding a new collaborator in Grammy-nominated producer Howard Benson (My Chemical Romance, The Used ) who was brought into the band's coveted inner circle in order make Battles an album that will appeal to every type of In Flames fan.“This album came together much sooner than we thought it would,” guitarist Björn Gelotte explains when asked about the writing process. “I was very reluctant in the beginning but I had a bunch of riffs so I just sat down with [vocalist] Anders [Fridén] and started working on stuff and it began to come together really quickly.” Before bringing things to bassist Peter Iwers and guitarist Niclas Engelin, the duo decided to leave the comforts of Sweden for Los Angeles where they would write all day and then BBQ and drink beer until the early hours of the morning. “I think being in California really affected this album in the sense that we had a studio in the house that we were staying at and the vibe was really relaxed which lent itself to productivity,” Fridén adds. In fact although the band were only planning on recording 11 songs they actually came away with 15 of them and this inspiration was partially due to Benson's influence on the overall process. “I think it really helped having a producer who could make us focus on what we needed to accomplish and keep us on track,” Fridén continues. “This was a very new approach for us because we've never let anyone else in the way we did with Howard,” Gelotte adds. “We met with a lot of producers prior to starting this album and he seemed like the only guy who didn't want to change anything; he just wanted to make sure we were making the best In Flames record that we could and it just felt right,” he continues. “It's not that we aren't happy doing things ourselves. we just thought we would try something different because that's what this band has always been about.” That confidence and palpable excitement is dripping all over Battles from the instantly infectious “take the power back” anthem “The Truth” to the jaw-dropping technical brutality of “Through My Eyes” and distinctive groove and climactic chorus of the album's title track. In other words, the album sees the band making the hooks sharper, the riffs tighter and honing the overall attack in a way that parallels their legendary live shows in an unparalleled fashion. “When people hear this album I think they're going to instantly know that it's the new In Flames without us repeating the same song over and over and that's something I'm incredibly proud of,” Fridén says. “There's something in the fingers of the guys and my voice that's undeniable but I really hope that our songwriting is something can continue to evolve the way that it did here in the future.” That relentless drive to innovate in light of their success is something that's been inherent in In Flames' approach from day one and it's something they've never lost sight of despite their countless accolades and constant reinventions. ”We decided early on we are going to do this band our way and aren't going to think about what the flavor of the month is,” explains Gelotte. “In the end we are the ones who are going to have to play these songs and stand behind them and as long as we love what we you do and make the listener feel it then that's what makes it an In Flames song,” he continues. “That may sound like a cliché but it's true. We need the music to be as interesting to us as it is to our fans because this has never just been a job for us, it's a way of life.” This mission statement to be working as evidenced by the fact that In Flames' audience is a wide range of ages, genders and music fans, which is ultimately due to the fact that the band have never tried to be something they're not. “The beautiful thing about this band is that you can do whatever the fuck you want and that's the whole point of the music because all of the restrictions and labeling kills it in a way,” Gelotte summarizes. “This time around we had the Howard filter to come in and give us a new perspective on how we could approach this songs but ultimately what it comes down to is very simple: Is it good or is it bad? If it's something that all of us can stand behind and be proud of then we know that it's an In Flames song.” In Flames Website In Flames @ Bandcamp In Flames @ Deezer In Flames @ Facebook In Flames @ Instagram In Flames @ ReverbNation In Flames @ SoundCloud In Flames @ Spotify In Flames @ X In Flames @ YouTube |
HEAVEN SHALL BURN
Since 1996, Germany's Heaven Shall Burn have specialized in politicized death metal fused with metalcore, melodic death, and deathcore. Their lyrics typically express support for anti-racism and anti-fascism. They also write about resistance, oppression and animal rights. The band's members are all either vegan or vegetarian. The group's brutalizing sonic onslaught has drawn comparisons to traditional death metal bands like England's Bolt Thrower and Sweden's the Haunted, but is much more frenetic. Their second full-length, 2002's Whatever It May Take (packaged with a reissue of their EP In Battle There Is No Law), took them outside Germany to play festival and club stages in Iceland, Greece, the U.K., and at German festivals including Wacken Open Air. 2006's Antigone, their debut for Century Media, showcased a more chug-worthy riffing style that basically left the melodic death metal aspect of their attack behind. The album's commercial success netted the band a headlining tour of the U.K. Their Iconoclast trilogy (2008's Iconoclast I: The Final Resistance, the live-in-Vienna Iconoclast II: Bildersturm - The Visual Resistance, and 2010's Iconoclast III: Invictus), all landed inside Germany's Top 25 and established them as one of the most consistent seat-filling acts in heavy metal. 2013's Veto charted in the U.S. (number 14, Top Heatseekers Albums) where Heaven Shall Burn at last became a top concert draw. 2016's Wandererproved to be their most successful album in terms of sales. It placed inside the Top 20 on five European charts, including at number three in Germany.Founded by guitarist Maik Weichert and drummer Matthias Voigt in the fall of 1996, Heaven Shall Burn (initially named Consense) soon included singer Marcus Bischoff and bassist Eric Bischoff. Following a set of demos, the band recorded a 1998 mini-CD entitled In Battle There Is No Law (reissued on CD with bonus tracks in 2002) and a split LP with Fall of Serenity before welcoming second guitarist Patrick Schleitzer into their lineup. Signing with Lifeforce Records in early 2000, they subsequently unleashed the very competent Asunder album, as well as another split CD (this one with Caliban) and proceeded to tour both Europe and South America. 2002 saw the release of another acclaimed effort, and their first to gain worldwide distribution, Whatever It May Take, after which the group signed with Century Media and cut their third full-length album, Antigone, in 2004. Their Century follow-up, Deaf to Our Prayers, followed in 2006 and in 2008, the band released the first of three conceptual albums Iconoclast 1: The Final Resistance. The second piece in the set, Iconoclast II: Bildersturm - The Visual Resistance, was a live DVD/CD that appeared in 2009. Rounding out the Iconoclast series was 2010's Iconoclast III: Invictus. During this time, drummer Matthias Voigt was temporarily replaced on-stage due to back surgery. Though he returned for the release of 2013's Veto, he was forced to leave the band for good later that year due to recurring health problems and was replaced by Christian Bass on drums. After extensive touring across Europe, South America, and the United States, and a short break, Heaven Shall Burn entered the recording studio with producer Alexander Dietz. They cut 12 songs and a pair of covers, Sodom's "Agent Orange," and My Dying Bride's "The Cry of Mankind." A deluxe edition included a bonus disc of covers that Heaven Shall Burn recorded throughout their career. A long international tour followed, winning them main-stage performances at virtually every metal festival on the globe over the next two years. When the band re-entered the recording studio in 2019, they elected guitarist Alexander Dietz as producer. They cut Of Truth & Sacrifice as a loosely conceptual double album. The first, "Of Truth," and the second "And Sacrifice," consisted of 19 original songs and a cover (on volume two) of Nuclear Assault's "Critical Mass." Released in the spring of 2020, with a deluxe edition that contained the movie Mein grünes Herz in dunklen Zeit (My Green Heart in Dark Times) on a separate DVD. All told, the album comprised was some 97 minutes of music. The double set sold well internationally and marked the first time Heaven Shall Burn placed an album at number one the German charts. Heaven Shall Burn Website Heaven Shall Burns @ Deezer Heaven Shall Burn @ Facebook Heaven Shall Burn @ Instagram Heaven Shall Burn @ SoundCloud Heaven Shall Burn @ Spotify Heaven Shall Burn @ X Heaven Shall Burn @ YouTube |
JINJER
Leading modern metal juggernauts JINJER return with their eagerly awaited fifth studio album, Duél, set to be released on February 7, 2025 via Napalm Records! Known for their unique progressive groove metal sound that is impossible to replicate and goes against everything written in the heavy metal rulebook, Ukraine’s JINJER have cemented their standing in the global metal scene through tireless touring and the extreme success of their previous albums, including the chart-storming 2021 studio album Wallflowers. Praised by both fans and critics, JINJER have gathered tens of millions cross-platform streams on their biggest hits, such as fan-favorite “Pisces”, and have managed to create an entirely unique sound that followers and metal elite alike could describe as musical perfection.Many sold-out headline shows and performances for massive audiences at leading festivals such as Wacken Open Air and Download UK serve as further proof of JINJER’s dedicated, ever-growing fanbase. Having previously shared stage with the likes of Arch Enemy and Cradle Of Filth, recent additions to JINJER’s intense live schedule feature supporting the legendary Sepultura on their farewell world tour. The new album showcases the very best of JINJER’s multifaceted, extreme soundscapes, providing a gripping listening experience. Nothing less than the highest level of musicianship is expected from the modern metal frontrunners, and track after track JINJER skillfully delivers fierce attitude and emotion. Charismatic vocalist Tatiana Shmayluk’s extraordinary vocal performance combines brutal growls and epic clean vocals, soaring atop chugging riffs, intricate drum patterns, aggressive guitars and Eugene Abdukhanov’s trademark bass wizardry. On Duél, JINJER continue their long-lasting collaboration with accomplished producer Max Morton, who co-produced, mixed and mastered the album. This new masterwork lives up to JINJER’s reputation as metal visionaries, once more showing that the band refuses to follow any set rules in their genre, but choose their own path of creativity. Jinjer @ Facebook Jinjer @ Instagram Jinjer @ X Jinjer @ YouTube |
PALEFACE SWISS
Paleface Swiss (formerly just Paleface) is a slamming deathcore band from Zurich, Switzerland.The band formed in 2017, releasing their debut EP 'Chapter 1: From the Gallows', the following year and the follow-up, 'Chapter 2: Witch King', in 2019. In 2020, they released their debut studio album, 'Chapter 3: The Last Selection'. In 2022, they released their second album 'Fear & Dagger', which was met with positive reception. Paleface Swiss gained international recognition throughout the Deathcore and Beatdown Community. Known for their simply aggressive riffs, unusual blasting drums and a heavily bass output and a pinch of humor. This is Switzerland’s finest heavy music. Paleface Swiss Website Paleface Swiss @ Facebook Paleface Swiss @ Instagram Paleface Swiss @ TikTok Paleface Swiss @ YouTube |
SYLOSIS
Sylosis are one of the UK’s most renowned names in thrash, death metal, and progressive metal. Founded by guitarist Josh Middleton, the band quickly established a niche in the metal scene, known for intricate guitar work, intense riffs, and complex song arrangements. Middleton’s versatile guitar skills and commanding vocal presence have shaped the band's sound, combining technical precision with a dark and brutal atmosphere.Their debut full-length album, Conclusion of an Age, introduced listeners to a style that was both aggressive and melodic, drawing from classic thrash and modern metalcore. Subsequent releases like Edge of the Earth and Monolith helped Sylosis build a die-hard international fanbase, cementing their reputation as a driving force in modern metal. Following a brief hiatus, during which Middleton served as guitarist for Architects, Sylosis resumed recording and touring in 2019. With each album, they have continued to refine their sound, earning respect as one of the most popular names in contemporary British metal. Sylosis Website Sylosis @ Bandcamp Sylosis @ Deezer Sylosis @ Facebook Sylosis @ Instagram Sylosis @ Spotify Sylosis @ TikTok Sylosis @ X Sylosis @ YouTube |
