Motocultor Festival 2026 @ Site De Kerampuilh

Flytjendur

• 

  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.

• 

  Within Temptation

  With their symphonic sound, Dutch metal band Within Temptation successfully moved from the gothic underground to become mainstream chart mainstays.

• 

  Airbourne

  www.airbournerock.com

  Airbourne.probitymerch.com

  instagram.com/airbourne

  youtube.com/airbournerock

• 

  Kittie

  Thrust into heavy metal stardom as teenagers since their debut release, Kittie has thrashed and conquered the heavy metal world for more than twenty years. With six albums, over two million in sales and OzzFest co-headliners on their resume, Kittie has defied industry norms, fought back against women in rock stereotypes, and inspired generations around the globe since they appeared.

  Now for the first time, they are sharing their untold story about the importance of family, perseverance, and the upside-down hurricane of rock n roll that includes a rotating line up of bandmates, on-going lawsuits and the pressure to live up to the expectations that put them on the map. Kittie Origins/Evolutions is generously peppered with archival footage shot by the band, which gives you an honest and brutal look at what it takes to survive in the music industry and the price of following your dreams.

• 

  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.

• 

  Slaughter To Prevail

  Slaughter To Prevail is pushing heavy music to new extremes, delivering unapologetically hard modern metal while smashing expectations, and becoming one of the most talked about bands in heavy music in the process. With over one million monthly Spotify listeners, STP are arguably the highest streaming band in extreme music, a fact further reflected in their live shows. Packing out sizeable venues on their headline shows, the band also draw huge crowds at their festival appearances, and led a record-breaking wall-of-death at last summer’s HELLFEST OPEN AIR.

  Slaughter To Prevail’s journey began in the most unlikely of ways—two musicians from completely different worlds. Alex Terrible, forging his monstrous vocals from a small bedroom in the cold, rural Russian city of Yekaterinburg, crossed paths online with guitarist Jack Simmons, who sharpened his craft in a quiet town on the outskirts of Essex, UK. What started as a distant collaboration quickly turned into a brotherhood, as their exchanges of ideas took shape, songs were formed and it became apparent to Jack and Alex that they were on to something special.

  When they’re not commanding festival crowds, frontman Alex Terrible is proving his fighting spirit beyond his musical career. Fresh off a brutal 37-second knockout in Russia’s RCC Bare Knuckle—a promotion known for its savage, no-nonsense fights, Alex is in training to sharpen his skills for a bout with Top Dog Bare Knuckle in May, while discussions continue regarding his American debut with Bare Knuckle FC. Whether wrestling bears in Siberia, preparing for fights in the deep South, or bleeding on stage across the rest of the world, Alex thrives in the most unforgiving environments.

  With the summer packed with main stage festival performances across the U.S., Canada, and Europe, 2025 is already shaping up to be a career-defining year for Slaughter To Prevail. Their logo now sits high on the world’s biggest festival posters, a reflection of their rapid ascent. This summer, the band will unveil a brand-new live show, reimagining their already punishing performances with a harder-hitting, more visceral production—an experience designed to pull fans deeper into the chaos, making every moment feel explosive and unpredictable.

  All of this momentum leads to “Grizzly”, their most anticipated release yet. Featuring the already released singles 'Conflict,' 'Viking,' '1984,' 'Behelit,' and 'Kid of Darkness,' the album is a relentless assault, balancing raw aggression with massive, unforgettable catchiness, with the next single, 'Russian Grizzly In America,' set to be a heavy metal anthem, packed with hooks strong enough to hang a bear from.

  This is Slaughter To Prevail’s moment. “Grizzly” is the culmination of everything they have built, a defining record that cements their place at the top of modern heavy music.

• 

  Municipal Waste

  Tango & Thrash out via Nuclear Blast
  https://municipalwaste.bfan.link/tango-thrash.fbi
• 

  Alcest

  This is the official Alcest Facebook profile.

• 

  Ill Nino
• 

  Emperor

  Belgium based Drum and Bass Producer/DJ.

• 

  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.
• 

  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.

• 

  Soen

  SOEN emerged from the shadows of Sweden’s progressive metal scene, not with a whisper but with an uncompromising clarity and resolve. Born from the vision of drummer Martin Lopez, previously known for his tenure with the iconic Opeth, and the introspective voice of vocalist Joel Ekelöf, SOEN swiftly carved out a unique identity, their debut album Cognitive (2012) immediately establishing them as a formidable presence.

  Their sound is complex yet deeply human, woven together by intricate rhythms, nuanced melodies, and a lyrical depth that demands introspection. The band’s lineup soon solidified, anchored by the versatile multi-instrumentalist Lars Enok Åhlund, guitarist Cody Lee Ford, and the steadfast rhythms of bassist Stefan Stenberg. Over the years, former members such as guitarist Kim Platbarzdis, guitarist Marcus Jidell, and bassist Zlatoyar have also left indelible marks, contributing significantly to the band’s sound and evolution.

• 

  Miracle of Sound

  I make songs about epic stories. Over a billion streams! Original creator of Valhalla Calling. https://ffm.bio/miracleofsound
• 

  Death Angel

  Death Angel is a thrash metal band from Concord, California formed in 1982 and currently consists of Rob Cavestany, Mark Osegueda, Ted Aguilar, Will Carroll and Damien Sisson.

• 

  The Casualties

  Punk revivalists, The Casualties, hail from New York City, US, harking back to punk’s heyday in the late 70s and 80s, complete with their mohawks, leather and piercings.

• 

  Vader

  DE PROFUNDIS, now available for the first time on vinyl and for streaming via Nuclear Blast Records!

• 

  Bloodbath

  'Survival Of The Sickest' out now via Napalm Records.

  https://lnk.to/SurvivalOfTheSickest

• 

  Oomph!

  Official facebook page

• 

  Cryptopsy

  Cryptopsy is an influential extreme metal band from Montreal, Quebec, Canada. For over 30 years, they have sculpted and pushed the boundaries of their metal genre.

  Management: Extreme Management Group: Joann Gullo – EMG.Joann@gmail.com

• 

  Lord of the Lost

  Merch & Tickets: https://lordofthelost.de

• Nevermore
• 

  Signs of the Swarm

  NA/SA: DanielDeFonce@tkoco.com

  EU/UK: Maarten@avocado-booking.com

  MGMT: Bradzorg@gmail.com

• 

  Voivod

  New album SYMPHONIQUE out on June 5th

  https://voivodband.lnk.to/Symphonique-Live

• 

  Sanguisugabogg

  DOWN TUNED DRUG DEATH

• 

  The Textures

  A modern metal sextet whose avant garde musical output is as brutal as it is diverse or experimental. Since their inception in 2001, Textures – Jochem Jacobs, guitarist Bart Hennephof, drummer Stef Broks, bassist Dennis Aarts and synth maestro Richard Rietdijk – decided the only way to capture the full momentum of their collective creativity was to be involved in every aspect of crafting their 2003 debut album ‘Polars’. From production right through to artwork, the bands meticulous endeavors explosively emerged as a melting pot of polyrhythmic attacks combined with soaring melody. A beast was born. Heralded in the press in their native country Holland as well as overseas, ‘Polars’ was also bestowed an Essent Award for ‘Most Promising Act’ in 2004. Hot on the heels of these accolades TEXTURES took their incendiary live spectacle on the road, racking up a huge array of shows next to inspiring performances at Fury Fest and Lowlands. The next chapter, the next layer, if you will for TEXTURES was their sophomore album, 2006’s ‘Drawing Circles’. With new vocalist Eric Kalsbeek aboard once again band creativity dictated that the album was entirely self-produced, the result a jaw dropping body of work that saw the sextet still frothing with rabid ambition. Determined to push metal and hardcore to breaking point they experimented with bending and moulding the two genres into unexpected new shapes. Taking many a risk but never any prisoners TEXTURES hunger for diversity resulted in ‘Drawing Circles’, ten tracks which were unrestrained by boundaries, trends or conventions. Overwhelming praise engulfed the record with multiple cover stories and equally amazing reviews worldwide. Of course TEXTURES, not the types to be complacent hit the road. Tours with The Ocean, Gojira and Arch Enemy ensued keeping audiences across Europe transfixed for 2006 and much of 2007. This road trek culminated in a Europe wide tour with All That Remains and Misery Signals plus nominations in no less than three categories of Holland’s Live XS Awards. Chapter three in the TEXTURES legacy is about to unfold Late 2007 saw bassist Remko Tielemans join as the band prepared to enter the studio to record album number three. Once more the self autonomy of TEXTURES came into it’s own at the hands of uber producer and guitarist Jochem Jacobs to create the bands most ambitious project to date, the result is ‘Silhouettes’. Having already burned metal’s blueprint with ‘Polars’ and ‘Drawing Circles’, TEXTURES have taken their already rich and vibrant sound and pushed it to an entirely new level. Defying genre’s ‘Silhouettes’ is the bands most varied, intense, daring and most ambient record to date. This long anticipated masterpiece of diversity and ingenuity will easily elevate TEXTURES to the pillars of modern metal legend, setting a benchmark all others shall toil to surpass. Their time is now…. Textures is: Stef Broks - Drums Eric Kalsbeek - Vocals Jochem Jacobs - Guitars / backing vocs Bart Hennephof - Guitars / backing vocs Richard Rietdijk - Synths Remko Tielemans - Bass www.texturesband.com

• 

  Sacred Reich
• 

  Steve 'n' Seagulls
• 200 Stab Wounds
• 

  Visions of Atlantis
• 

  Mass Hysteria

  22 ans.

  L’âge de l’émancipation, où l’on entrevoit la liberté, où l'on se rêve.

  Ici c'est l'âge où l'on assume et l'on impose.

  Mass Hysteria a su au fil des albums et des années se diversifier, rester cette entité solide et dévastatrice à l’image de son nom, rester Mass Hysteria.

  Bravant les modes, les périodes noires, avec un amour sans failles pour la musique et pour cette alchimie indescriptible entre le groupe et son public, ne cessant jamais d'agrandir son cercle de conquis.

  Fort de son expérience et de ses années passées, Mass Hysteria ne s'arrête plus aux détails et distille aujourd’hui la recette unique qu’ils ont imposé dans l’hexagone et bien au-delà pour ne garder que l'essentiel.

  Une musique pleine de contradictions où se mêlent des sentiments aussi nombreux que différents, à l'image d'une vie.

  Pas la vie rêvée, fantasmée ; Juste la vie.

  La vie brutale, la vie qui ne fait pas cadeaux, la vie parfois si lourde à porter mais également la vie légère, aérienne, la belle vie.

  Le bien-être est donc bien présent ; la paix ne le sera jamais.

  A jamais en guerre pour la vie, cette vie et contre l'abandon, la désertion, alors que même les indiens et les chefs se sont tus et sont en paix, assis, à regarder cette nouvelle bataille.

  Aujourd’hui, soyez avertis, s’avance l’armée des ombres.

• 

  MASTER BOOT RECORD

  I am a 486DX-33MHz-64MB processing avant-garde chiptune, synthesized heavy metal & classical symphonic music. 100% Synthesized, 100% Dehumanized.

• 

  Heavy//Hitter

  📍Orlando, FL “MOMENTS OF MISERY EP ” Out Now. Booking: jake@dynamictalentint.com
• 

  Ashen

  💀Australian Death Metal 🇦🇺

  💀Endorsed by Ormsby Guitars

  💀On Redefining Darkness Records

  💀Bookings/Management: ab@yourmatebookings.com

• 

  Witch Club Satan

  Norskt feminískt, okkúltískt black metal sviðsverk

• 

  battlesnake

  The rising titans of Australian hard rock and pure heavy metal, Battlesnake have quickly ascended from the underground, captivating audiences worldwide with their unique blend of powerful riffs and dynamic songwriting. Channeling the likes of Queen, Judas Priest and Black Sabbath into something familiar yet ground breaking. Renowned for their high-octane live performances, epic theatrical compositions and relentless energy, they have firmly established themselves as one of the most exciting acts in contemporary metal. Mortals tremble, all hail Battlesnake!

• 

  Urne
• 

  Rectal Smegma

  Bookings: rectalsmegma@hotmail.com www.rectalsmegma.com
• Jools
• 

  Frog Leap
• 

  Bruit ≤

  https://instagram.com/bruit_official

• 

  Cage Fight

  UK, based in London

• 

  JOHN CXNNOR

  Industrial Doom Rave. Born out of HxC.
• Shady Fat Kats
• Frogleap
• Monde De Merde
• 

  Basaalt

  Basaalt, groupe de Metal Modern. Une musique puissante agrémentée de touches électroniques
• 

  Chelsea Grin

  The deathcore band Chelsea Grin formed in Salt Lake City, Utah, US in 2007 and has been cranking out some of the heaviest, grittiest albums in their genre.

• 

  Amenra

  Amenra is a progressive/sludge/post-metal band formed 2003 in Belgium (Kortrijk, West-Flanders).
  
  Amenra delivers dark, heavy and sludgy post-hardcore in the vein of Cult of Luna, Isis and Neurosis. Intense, noisy and gloomy almost spheric at times. Rich and Textured riffs. Thunderous low tones. High impact percussion and cutthroat vocals splattered with a healthy dose of religious iconography. Coalesce into a beautiful pitch black collection of staggering proportion.
  
  Discography:
  
  Mass I: Prayer I - VI Full-length, 2003
  Prayer 8 : Offerande (split with VUUR) Split album, 2004
  Prayers 9 + 10 EP, 2004
  Gameness/Amen Ra/Gantz/Vuur 4-way split Split album, 2004
  Mass II: Sermons EP, 2005
  Mass III Full-length, 2005
  Amenra & Hitch Split Split album, 2007
  Mass IIII Full-length, 2008
• Nanowar Of Steel
• 

  Pilori
• Motocultor Festival
• 

  Judas Priest

  THE NEW ALBUM. INVINCIBLE SHIELD. OUT NOW.

• 

  Primus.

  Primus (originally formed in 1984), is an American rock band - currently made up of Les Claypool, guitarist Larry LaLonde and drummer Tim Alexander.

• 

  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.

• 

  Grave

  http://www.primordialweb.com/index2.htm
  
  primordial
  since 91
  
  no compromise over 3 decades
  - year zero was 1987!
  
  long and hard is the road to redemption
  
  We call to the shadowed kind,
  To men of myth, etched in stone,
  Whose songs are heard no more
• 

  Coroner
• 

  Coltaine

  COLTAINE - Post Metal

  Karlsruhe, Germany.

  Active since 2022.

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  Unearth

  UNEARTH are nothing short of standard-bearers and keepers of the faith for True American Metalcore. They were the band born in the breakdown who never wavered from their love for European death metal melodicism, supercharged by American thrash and hardcore. Now, nearly 25 years into a career that’s seen the Massachusetts mob play innumerable gigs and massive festivals on six continents, sell hundreds of thousands of records, and inspire some of the most important bands in extreme metal today, they remain a force to contend with.
  
  Their new song 'The Wretched; The Ruinous' topped the SiriusXM Liquid Metal 'Devils Dozen' countdown and is catching fire on all streaming platforms.
  
  See Unearth on the road this spring, summer and beyond as they tour on music new and songs from all of their past albums.