Signs of the Swarm

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Godsmack

Godsmack is an American alternative metal/hard rock American band originally from Lawrence, Massachusetts. The current lineup consists of Sully Ema, Robbie Merrill, Tony Rombola and Shannon Larkin.

Judas Priest

THE NEW ALBUM. INVINCIBLE SHIELD. OUT NOW.

Of Mice and Men

Named after the John Steinbeck novel, Of Mice And Men are an American metalcore rock band from Costa Mesa, California.

In Flames

Sænska þungarokkshljómsveitin In Flames, þekkt fyrir frábæra sviðsframkomu og melódíska dauðarokk.

Black Label Society

The Official Black Label Society Page www.blacklabelsociety.com

Arch Enemy

Arch Enemy is a Swedish melodic death metal band, often referred to as a super group which currently consists of Michael Amott, Daniel Erlandsson, Sharlee D'Angelo, Alissa White-Gluz and Jeff Loomis.

The Ghost Inside

The Ghost Inside (formed in 2004) is an American hardcore punk band from Los Angeles, California, U.S., formerly of the name A Dying Dream.

Nothing More

Rock

Northlane

'Mirror's Edge' EP Out Now

https://linktr.ee/northlaneband

Soulfly

Formed by Max Cavalera looking for a new endeavor in 1997, Soulfly were formed in Phoenix, Arizona. The band has since become a chart-topping band, with a Gold certification to their name.

Stick To Your Guns

Deathcore was once dismissed as a trend, so it’s ironic that it now has trends within itself. Downtempo, slamming and now blackened variants of the style have dominated its scene at various points, with many bands jumping ship.

Pittsburgh’s Signs of the Swarm aren’t just any band, though. They’re a once-a-generation beacon that radiates the sounds that surrounded them, preserving history by reframing it. On fourth LP Absolvere, they’re bleak without being blackened, smashing without being slam, and downtempo as a choice rather than a stylistic confine. And as many of their deathcore peers experiment with adding singing, often gruff in tone, they add a more ethereal style that soothes on “Dreaming Desecration” and “Death Whistle.”

The band contrasts that with some of the most brutal moments in their eight-year career, with riffs more punishing than pensive and a rhythm section that frames them in creatively cacophonic ways. Above it all, they’re utilizing vocalist David Simonich monstrous range in a much fuller capacity than on his debut, 2019’s Vital Deprivation.

That transitional album found the band experimenting to re-find their footing, which here lands on solid ground through the addition of guitarist Jeff Russo, a former bandmate of Simonich’s fin Improvidence. The proof is in the placing, with Absolvere landing at #15 on “Current Hard Music Albums,” #21 on “Top New Artist Albums” and #139 on “Heatseekers.”

Behind the cohesive crusher is drummer-turned-bassist-turned-drummer Bobby Crow, who acted as de facto producer, arranging the riffs written across Skype to make the songs more than the sum of their parts.

This gave Simonich a lofty platform from which to roar about the real (loved ones struggling with addiction, submitting one’s self wholly to art despite negativity swirling about) and the surreal; he or his characters beg for the release of death only to be denied. “Nameless” centers around a character collecting souls marked by death to receive its blessing, while “Blood Seal” follows a ritual to summon it. “Dreaming Desecration” and “Hollow Prison” are two sides of the same coin. When one finds themselves trapped in a meaningless existence, they can either attempt to escape through murderous hallucinations or succumb to the grave, respectively.

“Death Whistle” is the penultimate song, closing the album and the writing sessions for Absolvere with a tale concluding in sweet release. The piercing screech of the titular whistle contrasts with a subtle serenade.

Indeed, sometimes contrast can be a perfect complement, but more often that effect is achieved when paired with something more in-line. So it is when Ben Duerr (Shadow of Intent) and Alex Erian (Despised Icon) join the band for growls and shouts, where Signs of the Swarm filter their guests’ bands through their own sound. Instead of taking away from their identity, it expands it.

They’re steadily expanding their global reach, too. In the few short months since Absolvere’s release, Signs of the Swarm have toured with the likes of Fit for an Autopsy, Born of Osiris and Shadow of Intent. Forthcoming domination campaigns of Europe and Australia will be added to their tenure with Aborted, Lorna Shore, Brand of Sacrifice and more. Forget the signs, the swarm is already here, and it’s growing larger and louder every day.

Alien Ant Farm

Alien Ant Farm is a Southern California alt-rock band known for fusing heavy riffs, catchy hooks, and an unmistakable sense of personality. Since forming in Riverside in 1996, the band has carved out a unique place in rock history; first exploding onto the global stage with their breakout 2001 album ANThology, which featured the hit single “Movies” and their era-defining cover of Michael Jackson’s “Smooth Criminal.” That record would go on to be certified multi-platinum, and its 25th anniversary is just around the corner in 2026; a milestone that underscores the band’s enduring impact on the genre.

Comprised of Dryden Mitchell (vocals), Terry Corso (guitar), Mike Cosgrove (drums), and Tim Peugh (bass), Alien Ant Farm continues to push forward creatively while embracing their legacy. Known for their genre-defying approach to alternative rock and blending elements of metal, punk, prog, and pop… they’ve built a reputation for experimentation, evolution, and explosive live shows that have taken them around the world.

Across six studio albums, including TruANT (2003), Up in the Attic (2006), Always and Forever (2015), and most recently mAntras (2024), the band has explored everything from introspective struggles to full-blown anthemic rock with both emotional depth and sonic variety. Their latest work reflects a band that has grown up without losing the spark that made them stand out in the first place.

Currently, Alien Ant Farm is writing new music and continuing to tour, reconnecting with longtime fans while winning over new ones with every performance. Nearly three decades into their career, the band remains as passionate and driven as ever proving that reinvention and staying power can go hand in hand.

Airbourne

www.airbournerock.com

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Alestorm

‘Alestorm’ are in a league of their own, weaving together a genre that is widely recognized as “pirate metal”. They hail from Perth, Scotland, and are signed to Napalm Records, with whom they have released a handful of studio albums.

Deafheaven

DEAFHEAVEN.COM

Deafheaven’s music feels like a project of accrual—on each album they fill new songs with elements of what they’ve learned in their earlier experiments. You hear echoes of past recordings in the howls of the present: the sun-dappled screamo histrionics of Roads to Judah are more fully realized in Sunbather’s pastel star-scapes; New Bermuda doubles down on the heaviest elements of both of those records; Ordinary Corrupt Human Love threads together elements of the soft and the heavy into an especially epic statement. Infinite Granite, often described simply as Deafheaven’s record with mostly clean vocals, compressed it all into something strikingly solid. That was true, but there was much more to it than that; listening to Lonely People With Power, you can hear its echoes everywhere—and if you listen closely, you can find deeper ways back into it when you listen to it again... Ultimately, Lonely People is a record that is anti-loneliness. It’s about finding less harmful ways to escape: your chosen family, your community, and even magic.

Avatar

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Terror

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Agnostic Front

Agnostic Front (formed in 1980) is an American hardcore punk and crossover thrash band, hailing from New York City, New York, U.S.

Kittie

Born in June 2019, CRYPTA is a Brazilian Metal four-piece, influenced by the old school sub-genres of the style.

Fit for an Autopsy

The crushing music of Fit For An Autopsy is for any fan of extreme metal, its sound and fury is absolutely unflinching in purpose. The band expertly blends excessive, force-fueled death metal with atmospheric groove and impassioned personal diatribes, reflecting back the dark state of current events. Their fifth studio album, The Sea Of Tragic Beasts, doesn’t waste time with fantasy bullshit or cliché gore horror. Fit For An Autopsy are metal guys, to be certain, but they grew up in the hardcore scene. They embrace the responsibility to put as much devoted purpose into their lyrics and message as they do into their dense, heady, songs, forging a magnificently powerful new "post-deathcore."

“When I write a song, I’m trying to feel emotionally connected to it. I really don’t like saying things that don’t matter over music that I want to matter,” says Will Putney, producer/guitarist, principal songwriter and co-founder. “We’ve always addressed serious topics going back to our first album. Anyone who really looks around at the current state of the world should be able to relate to the aggression, anger, frustration, and sadness often communicated in our music."

Putney’s fellow guitarist/co-founder, Patrick Sheridan, strongly agrees. He emphasizes that while the music of Fit For An Autopsy may evolve it will always be aggressive and will always have purpose. “We think it's important to carry that torch. Somebody's got to say something about what's going on. If you're not using your music, which is a great platform, for something meaningful that you care about on some level, then you're wasting it.”

The six men of the New Jersey based group – which includes vocalist Joe Badolato, bassist Peter Spinazola, third guitarist Tim Howley, and drummer Josean Orta – put maximum intentionality into everything they do. They are constantly challenging themselves as musicians, adding to the band’s overall creative arsenal, connecting with audiences around the world, and supporting one another in the band as individual people.

Fit For An Autopsy first summoned one of the most crushing takes on the then-burgeoning deathcore genre with their 2008 demo and the following year’s self-released Hell On Earth EP, which led to a deal with The Red Chord vocalist Guy Kozowyk’s Black Market Activities label.

Their debut album The Process Of Human Extermination earned them a place among the genre’s giants, cementing them as energizing leaders rather than stale followers. As MetalSucks observed: “The band’s brutal, glowering take on [deathcore] reminded [us] of the squandered potential of the genre. Hardcore grooves and swagger, when incorporated correctly, blend quite well with death metal.” Fit For An Autopsy’s determined drive, work ethic, and devilishly unmistakable talent next elicited the attention of Good Fight/eOne, the group’s home starting with their sophomore album.

On Hellbound, Fit For An Autopsy expanded their commanding approach to death metal with hints of various sub-genres by absorbing increasingly diverse elements, from the rhythmic experimentalism of Gojira to the aggressive post-Noisecore of Converge, with a dose of the New Wave Of Swedish Death Metal, and a touch of groove unique to the New Jersey six-piece. The group began to cut their teeth on the road, racking up several full US tours with the likes of The Acacia Strain, Thy Art Is Murder, Whitechapel, Suicide Silence, and Crowbar. Towards the end of this album cycle, the touring took its toll on original frontman Nate Johnson, who amicably split from the band.

Rather than take a step back, the third studio album Absolute Hope Absolute Hell served as the recorded introduction of the defining powerhouse vocalist Joe Badolato, whose impressive range helped destroy all remaining self-imposed doubts and boundaries. It’s something the group’s instrumental members had yearned to do as even as they prepared the material prior to enlisting their new singer.

Absolute Hope Absolute Hell cracked the Top 20 on the Hard Rock Albums chart and hit #3 on Billboard’s Heatseekers chart. As Putney often noted in interviews, the record stood defiantly apart from those that offered little more than thirty minutes of blast beats and breakdowns.

Sure, that kind of nonstop pummeling has its place, but Fit For An Autopsy concentrated their focus less on crazy tempo changes and more on atmosphere and vibe, keeping one foot in the crushingly heavy arena while drawing more deeply from traditional metal influences, post-rock, and esoteric nuance. In 2015, the same year as Metal Injection and other tastemakers hailed the group’s progression, Fit For An Autopsy joined the Stronger Than Faith Tour with Suicide Silence, Emmure, and Within The Ruins, followed by a co-headlining tour with Aborted, a trek with Old Wounds, and the Tune Low Die Slow Tour with Acacia Strain and Counterparts.

“Being out there touring, I can say that our fans have been very accepting of each change and progression,” Sheridan notes proudly. “I’m very grateful, as oftentimes bands are scrutinized heavily as they evolve. We definitely took a step in a direction that people were excited about, and will continue to do so.”

Putney points to Absolute Hope Absolute Hell as a definitive moment in the band’s career when they truly came into their own. “I like the earlier records a lot but we were definitely lumped in with a lot of similar-sounding bands at the time. I was happy that we were able carve our own path a little bit more on the last album, which we carry with confidence into the future.”

Between Absolute Hope Absolute Hell and its follow-up The Great Collapse, the group’s members were able to broaden their creative horizons even further with what became known as “The Depression Sessions,” a uniquely collaborative project that combined Fit For An Autopsy with their friends in Thy Art Is Murder and The Acacia Strain. Jettisoning the cutthroat competitiveness that often gets between bands, the trio of extreme metal acts joined forces for experimental sessions more akin in spirit to the jazz greats and hip-hop artists, but within the context of heavy music.

All of that collaboration and experimentation – to say nothing of Putney’s accomplishments as an in-demand genre producer whose credits include work with both of the bands who joined them in “The Depression Sessions,” among other genre standouts – led to an all new focus on the band’s fourth album, The Great Collapse.

“Iron Moon” is an aggressive shot across the bow of the status quo, railing against the mundane servitude of the 9-to-5 grind, yearning for a life of meaning and purpose. It’s as anti-establishment in tone as the album is in sound. Fit For An Autopsy break with genre convention even as they reshape and redefine their chosen sonic landscape. “Heads Will Hang” confronts the worldwide refugee problem, demanding empathy, placing the listener in the shoes of someone displaced from their home, hungry to escape into a safer life. “When the Bulbs Burn Out” expresses the group’s deep concerns or conservationism sustainability. “Black Mammoth” was inspired by the conscientious activism of the Dakota Access Pipeline protestors. Other tracks are more abstract lyrically, but no song on The Great Collapse is without intensity.

The album’s underlying death metal foundation serves as strong support for its more adventurous forays into chaotic hardcore, bits of deathcore, and a meditative, almost droning rumination not unlike the best of shoegaze and desert rock, like a hazy collision between Queens Of The Stone Age and Russian Circles. The omnipresence of rock titans Tool weaves in and out in powerful doses, with The Great Collapse inviting ever more favorable comparisons to Gojira, a band whose evolutionary trajectory is not dissimilar from Fit For An Autopsy’s path.

Two extensive years of touring followed this release, which debuted at an impressive position of #47 on the billboard top 200. The band circled the globe multiple times, covering an ever expansive fan base opening for the likes of Trivium, Arch Enemy, Hatebreed, Sepultura, and Architects. European festivals, a successful headliner, and another coheadliner with Unearth followed suite.

The band buckled down in the fall of 2018 to prepare what may just be their defining moment, the Nuclear Blast Records debut The Sea Of Tragic Beasts. The intention of Fit For An Autopsy to truly carve their own path appears to have been triumphantly realized.

The title track wastes no time demonstrating the unbridled primitive aggression and intensity the group has come to perfect. "Mirrors" weaves in and out of saddened passages, chaotic metal, and atmospheric epicness, all while maintaining thoughtful expressions on the human condition. "Shepherd" could very well go down as a melodic death metal classic, and it's cascade into the deeply impassioned "Your Pain Is Mine" is a shining testament to this band's versatility and musical prowess. Socially conscience themes are once again abundant and blunt. There's an underlying urgency to the personal exploration on this album, and an almost desperation to the tone and delivery of Badolato that truly breaks down the boundaries of extreme music, and crosses into a much more connected conduit with the listener. One thing is clear at the end of this 45 minute journey, there is no stopping Fit For An Autopsy from their realizing their vision as musicians. And in all honesty, who would want to.

Amorphis

Amorphis is a Finnish metal band founded in 1990. Initially, the band was a death metal act, but on later albums they evolved into playing other genres, including progressive metal with folk music influences. They frequently use the Kalevala, the epic poem of Finland, as a source for their lyrics. Band members are: Esa Holopainen, Tomi Joutsen, Santeri Kallio, Tomi Koivusaari, Olli-Pekka Laine and Jan Rechberger.

Fourteenth Amorphis album, "Halo", is out on February 11th, 2022 via Atomic Fire Records.

Vengaboys

At times the Vengaboys come across like a cartoonish theatrical collective rather than an enterprising music group; however, pure entertainment has always been their core objective and you would be kidding yourself by downplaying this. Their zany/colorfully lit antics play just a crucial role as their pulsating dance tunes.

Imminence

Fronted by vocalist and violinist Eddie Berg, guitarists Harald Barrett & Alex Arnoldsson and bass player Christian Höijer; Swedish alternative metalcore outfit, Imminence, has during the latest years established their own highly unique brand and pushed the genre beyond extents of anyone’s expectations. With the distinct use of classical string arrangements blended with the influence of ferocious Scandinavian metal, the sound and visual universe of the quintet stands out as one of the most innovative and exciting acts on the market today.

Perturbator

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"The legend says he's half human, half synthesizer..." I make Dark and Retrofuturistic music inspired by the 80's.

Kim Dracula

The world of VOWWS has always been shrouded in mystery and darkness. That’s just the default setting of Australian-born, LA-based duo Matt James (vocals/guitars) and Rizz (vocals/keyboards). It’s how things have always been, it’s how things are, and it’s incredibly likely that that’s how they’ll always be. It should be no surprise, then, that their new album I’ll Fill Your House With An Army is suitably bleak. But don’t confuse that desolate sonic aesthetic for only being inspired by the darker things in life. There have always been glimmers and glimpses of light in their songs, whether on their 2015 full-length debut, The Great Sun or 2018’s Under The World, but the shadows have always been pretty opaque, making it hard for that light to break through. It struggles on this record, too. At the same time, however, it seems to flicker a bit brighter, and for a little longer.

“We definitely look at all the dark things in life and the world,” admits Matt. “I consider it my job to take a pretty unfiltered view of what's happening in the world, and then that goes through us and our filter, and comes back out as what whatever the music is. Lyrically, we tend not to say anything literally – there’s more of a surrealist and subversive element to it – so the world definitely looks like there's something wrong with it throughout our music and our worldview, but there's also definitely a beauty and an optimism in there as well. We try and find beauty in a lot of things, and try to present that in the framework of a broken world – whether that's an internal one or an external one.”

That conflation of internal and external worlds is what has always given VOWWS their unique and distinctive edge. Because rather than staring into the abyss, they’re already in it, staring outwards, waiting for the doom to catch up to them rather than trying to avoid it. That combination of harrowing, heartfelt and hopeful – all three dancing seductively with each other – has garnered the duo plenty of attention since their inception. Early single “Losing Myself In You” featured, and was co-written with, nu-wave legend Gary Numan, a remix of Under The World’s “Structure Of Love” featured guest vocals from Deftones’ Chino Moreno, and 2022 single “WAIT” saw Chelsea Wolfe add her voice to the mix. Korn, A Perfect Circle and Billy Corgan also count themselves as fans, and the pair headed our with Alice In Chains founder and guitarist Jerry Cantrell on a UK and European tour.

It’s an exciting flurry of activity that comes after what James admits was a “painful” period of time following the release of that second album. Because not too long after its release, of course, the world came to a standstill. As it did for most people – as well as most bands – it had a profound effect on VOWWS. Not only did the band not play any shows for two years – “Our first show back was with Deftones on the tour with them,” remembers Matt, “and I was terrified, because I just thought ‘I can't be sure that I can actually do this anymore.’” – but the extended period of time off caused them to reshape and rethink the new music they’d been working on. By 2022 they had made a full 20-track record, but they weren’t happy with it, so went back to the drawing board.
“Rizz is like the canary in the coalmine for us,” explains Matt. “She can't kid herself into feeling good about something she doesn't feel good about, whereas I can. So, frustratingly for me, she was like 'This isn't good enough.' I wanted to just mix it a bit more and paper over the cracks, but she was like 'No, it's already been this long, it doesn't matter if it takes a bit longer.'”

And so the band enlisted the help of A Perfect Circle’s Billy Howerdel, and they started crafting what would eventually become I’ll Fill Your House With An Army. Rizz was right. From the moment the album begins with the dour insistent march of “Blood’s On Fire”, it’s clear that it was well worth the extra time. The song – which features Josh Freese behind the drum kit – is a tug of war between lightness and darkness, Rizz and Matt’s vocals pulling each other both further into that void while also trying to not get swallowed whole by it. That conflict rages across the record’s 11 tracks, whether that’s on the gloomy, creepy snarl of “SHUDDER” (which, along with “Silhouette” and “Re-Animator”, also has Freese on drums, and features Korn guitarist James ‘Munky’ Shaffer), the stark, ice-cold emotion of “Pulls Me Apart” or the tender, dreamy tumble of “Hurt You”. Despite the push and pull nature of these songs, though, those extremes exist within each other, forever entwined, never quite separate. Listen, for instance, to how “Re-Animator” soars in its second half as it attempts to escape itself, to how “Casualty” flits between intense, Vantablack grooves and sun-filled ethereal soundscapes, to how the haunted love of “I Never Left” – possibly the most vulnerable, tender song the band have ever committed to tape – swerves between eerie and soothing, beautiful and barren, demonic and sweet.

That VOWWS did decide, in the end, to take their time with this album, only ended up serving them – and the record – incredibly well. Though racked with self-doubt and uncertainty about everything, the pair pushed through the darkness and emerged if not entirely in the light, then at least with it glowing in the distance. Of course, it wouldn’t be VOWWS if it remained within reach, and as “Waterline” – an unsettling, demonic slow dance of a finale – comes to an end, it fades gently but powerfully, trapping the listener in the void, proving that the hard work and the long slog and battle against themselves were all worth it, and ultimately resulted in a better record.
“We're proud of ourselves for getting there – and having the faith to get there in the end,” says Matt, “because there was a lot of doubt. But pushing through that doubt was fully part of the process. We both just care about this more than anything else, because we think it's important. We think it's something special and we want to share it with the world. But we also want to create a world that people can't get anywhere else, and bring them into it – and lose ourselves in it, too. It's kind of holistic if you do it right, I think.”

One listen to I’ll Fill Your House With An Army and it’s clear that VOWWS have, indeed, done it right. One listen and you’re immediately drawn into their world, left gasping for air, left overwhelmed by its force. And though you probably know you should escape, you’re also very happy being lost there, letting your eyes adjust to those brief, bright moments of light, because you finally realise that it’s your world, too, and there’s so much comfort in that.

Paleface Swiss

Switzerland's Finest Cheese Factory.

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PALEFACE is:

Marc (Zelli) - Vocals

Yannick - Guitar

Tommy - Bass

Cassi - Drums

Misery Index

In their 16-year existence, MISERY INDEX have released five studio albums, several EPs and performed well over 1000 concerts in 44 Countries. MISERY INDEX began as a studio project in 2001, when vocalist and bassist Jason Netherton (ex-DYING FETUS) joined together with guitarist / vocalist Mike Harrison and drummer Kevin Talley (ex-DYING FETUS) to record their debut EP “Overthrow”. This five-song death/grind attack received considerable praise in underground circles, shifting Misery Index into a full time project with the addition of Sparky Voyles (ex-DYING FETUS) on guitar.

In 2002, Mike Harrison and Kevin Talley left the band to focus on other projects and the latter was replaced by Matt Byers, who took up drum duties for their first US tour that summer in support of KATAKLYSM. In 2003, MISERY INDEX released their first full-length “Retaliate”, to exceptional reviews and numerous tours in Europe and North America supporting bands such as DYING FETUS, AMON AMARTH, DEICIDE, and NILE. In 2004 a video for “The Great Depression” was released, complimenting their first live DVD, which featured a full set recorded in Athens, Greece. Later in 2004, Adam Jarvis (also currently of PIG DESTROYER and SCOUR) took over on drums, just in time for MISERY INDEX to hit such European festivals as Wacken Open Air, Brutal Assault, and Party.San Open Air, followed with more touring alongside bands such as BEHEMOTH, NAPALM DEATH, SUFFOCATION, ROTTEN SOUND, and MAGRUDERGRIND. In 2005, guitarist and vocalist Mark Kloeppel (ex-CAST THE STONE) joined Jason, Adam and Sparky, solidifying the line-up for the next five years.

In 2006, second full-length “Discordia” was unleashed, followed by even more persistent touring with bands such as FEAR FACTORY, DESPISED ICON, JOB FOR A COWBOY, BENEATH THE MASSACRE, NECROPHAGIST and ORIGIN. In 2007, MISERY INDEX appeared on festivals like Hellfest in France and Tuska in Finland, as well as hitting places like Turkey, Bulgaria, Ukraine, Romania and Croatia for the first time. However, despite being on the road for months, MISERY INDEX were ready to finalise their third album, so recordings commenced with Kurt Ballou (CONVERGE) at God City Studios in May of 2008. Later that year “Traitors” was released and the band embarked on their next tour with ORIGIN and ABYSMAL DAWN right as the album was hitting stores. Reactions from both critics and fans were raving and the album showcased an exceptional return to form.

In 2008 and 2009, the band toured extensively, playing with and supporting bands such as THE BLACK DAHLIA MURDER, SOILENT GREEN, HATE ETERNAL, THE FACELESS, CANNIBAL CORPSE, PSYCROPTIC and many more, as well as seeing their first trips to places like Mexico, Russia and Iceland, an appearance on the prestigious Extreme the Dojo festivals in Japan, the Maryland Deathfest in Baltimore and European festivals such as Summer Breeze, Party.San, Hellfest, and Death Feast. Entering 2010, the band booked time at Wrightway Studios with producer Steve Wright in their home state of Maryland to commence recording of the fourth album.

MISERY INDEX released “Heirs to Thievery” in May 2010, dropping like a bomb on the Death Metal masses and shattering all expectations. The album was both a commercial and critical success, elevating the band into headlining slots in both Europe and the United States. “Heirs to Thievery” showcased the growing maturity and depth of the band, as the varied songwriting shifted naturally from nuanced, blasting technicality (“Fed to the Wolves”), through pit-inducing groove (“The Carrion Call”), to crushing heaviness (“The 7th Cavalry”). The growth and penetrating hooks of the songs took the band to new levels and was followed by several tours with bands such as GRAVE and AEON in Europe, PSYCROPTIC, ORIGIN, and DECAPITATED in Australia and DESPISED ICON, REVOCATION, JOB FOR A COWBOY, GOATWHORE, and EYEHATEGOD in North America. 2010 also saw the departure of long time guitarist Sparky Voyles, who was replaced by Darin Morris.

Festivals followed in 2011, with MISERY INDEX making appearances at Obscene Extreme, Tuska, With Full Force, Metalfest Open Air and Neurotic Death Fest, as well as seeing their first visit to countries such as Colombia, Thailand, Indonesia, and Malaysia. In 2012, the band made an appearance supporting CANNIBAL CORPSE on their US “Torture” tour, while also joining the Full of Hate festival tour in Europe alongside CANNIBAL CORPSE, BEHEMOTH and LEGION OF THE DAMNED. On the Munich date of the “Full of Hate” tour, the band recorded their first live album. The album will be released on numbered, die-cut vinyl and digital download in February 2013

Again recording at Wrightway studios in Baltimore, MISERY INDEX recorded and released “The Killing Gods” in May of 2014 via the French label Season of Mist. The album was their most critically acclaimed and top-selling album to date, and was followed by two videos for the songs “The Calling” and “The Harrowing,” as well as two European headlining tours, in the summer of 2014 and the summer of 2016. The band also performed two North American tours, one in 2015 with Hate Eternal, Rivers of Nihil and Beyond Creation, and one in 2016 with Napalm Death and the Black Dahlia Murder. In 2018 the band reentered the studio and recorded their sixth album, "Rituals of Power" which was released on March 8, 2019 on Season of Mist records.

Orbit Culture

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Vended

Iowa band looking to destroy and dominate this world.

ZSK

Viele Bands finden sich zusammen, weil sie besonders gute Musiker sind. ZSK haben sich gegründet, weil sie beste Freunde sind. Drei Akkorde mussten für den Anfang reichen.

25 Jahre später gehören ZSK zu den bekanntesten Punk Rock Bands Deutschlands. Sie spielten Tourneen mit Anti-Flag, Die Toten Hosen, Rise Against, Bad Religion, Donots und The (International) Noise Conspiracy und waren auf auf großen Festivals wie dem Open Flair, Taubertal oder dem Highfield.

Die 2006 von ZSK gegründete Kampagne „Kein Bock Auf Nazis“ ist inzwischen bundesweit bekannt. Unterstützt von Die Ärzte, Beatsteaks, Fettes Brot, Die Toten Hosen und vielen weiteren Künstlern wurden bereits mehr als eine Million Schülerzeitungen und 250.000 kostenlose DVDs gegen rechts verteilt.

Thundermother

Thundermother don’t just play rock’n’roll. Thundermother are rock’n’roll!

GAEREA

C O M A

Self Deception

Future Palace

Cytotoxin

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Allt

Allt is everything.

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Est. 2020

GUTALAX ( cz gore grind )

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Excrementory Grindfuckers

Dies hier ist übrigens die offizielle Facebook-Seite der Excrementory Grindfuckers. So richtig original! / Official Grindfuckers facebook page. Official as fuck!