VULVATHRONE
The abominable idea of creating such a horrid creature was the gruesome emanation of somber broodings spawned in the profound obscurities of Hermanno’s and Temnovid’s blackened hearts, deriving its diabolical strength and vividness from sadomasochistic and scatological imagery of torture, incest and rape rooted deeply in their souls by the feverishly pursued studies of pornography and gore. The diabolical scheme was put into existence when yet another imp, Matko, joined their perverse ranks and thus it came to pass that with a tumultuous roar of dissonant atonality the heinous bastard child aforementioned was born. Time and time went by, whores came and went, there was ecen some necroticism involved, but finaly the line-up of the perverted squad is now complete and firm. The new are of the Vulvathrone cum commando elite force entered studio and after many illegal pornhub downloads, they finnally recorded their newest release »Whoreification« in which they continue their »Way of sexuel Lust«.Vulvathrone @ Bandcamp Vulvathrone @ Facebook Vulvathrone @ Instagram Vulvathrone @ ReverbNation Vulvathrone @ Spotify Vulvathrone @ Twitter Vulvathrone @ YouTube |
PROTYPE5
The band formed by Iztok (guitar, vocals) and Gregor (drums) was formed in 2017.Musically, the emerging band was mainly influenced by acts such as High on Fire, Crowbar, Black Sabbath, Pantera. Soon, Matjaž (bass) joined us, which made it possible to finish the music, which desperately needed solid bass lines. The result two years later is the first shorter album - EP. A change soon followed in the replacement of the bassist, he was replaced by Blaž. See you on stage and under it. Protype5 @ Bandcamp Protype5 @ Facebook Protype5 @ Instagram Protype5 @ Spotify Protype5 @ YouTube |
GHASTLY ASHES
Groove metal band from the surroundings of Ilirska Bistrica.Ghastly Ashes @ Facebook Ghastly Ashes @ Instagram Ghastly Ashes @ 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 |
SIBERIAN MEAT GRINDER
Siberian Meat Grinder is a crossover gang from Russian frozen hell, mixing raging hardcore thrash with many different genres from black metal and rap to stoner rock. Destroy the heretics and traitors in the name of the Bear-Tsar!Siberian Meat Grinder @ Bandcamp Siberian Meat Grinder @ Deezer Siberian Meat Grinder @ Facebook Siberian Meat Grinder @ Instagram Siberian Meat Grinder @ ReverbNation Siberian Meat Grinder @ Spotify Siberian Meat Grinder @ 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 |
