Alcest

Flytjendur

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  Alcest

  Guilt Trip is a UK Metal/Hardcore Crossover band.

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  Cradle of Filth

  This is the official Alcest Bandsintown profile.

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  Katatonia

  ‘Stagnation’ is not a word in the Katatonia dictionary. Since breaking through as masters of death/doom, Stockholm’s freethinkers have transcended genre, consolidating goth, shoegaze and prog into bleak, melodic songs. Now, after three decades of invention and reinvention, Nightmares as Extensions of the Waking State marks another bold leap – not to mention singer, founder and lead songwriter Jonas Renkse’s most personal effort to date.

  Following the immediate anthem-making of City Burials (2020) and Sky Void of Stars (2023), Katatonia’s 13th album gets more experimental and more metal without holding back on catchiness. The dark hooks and tender vocals remain, yet the band also drive in unpredictable directions while delivering their hardest riffs in years. It’s an indelible introduction to new guitarists Nico Elgstrand and Sebastian Svalland, who replace longtime member Roger Öjersson and co-founder Anders Nyström.

  “Nightmares… is a very riff-based and very guitar-heavy album,” says Jonas. “When I was writing it, I knew that we would have a couple of new guitar players coming in. And, if you have two guitarists joining, you don’t want to present them with songs that are 60 percent keyboards. Maybe I subconsciously felt that I had to come up with some cool riffs so that they’d still want to join the band!”

  The force and fearlessness throughout Nightmares… is clear from the start of the very first track, ‘Thrice’. Thunderous chords give way to an ambient verse, before the music builds back up to a wall of open-string chugs. On ‘The Light Which I Bleed’, Nico and Sebastian lead a loose, proggy jam that ratchets into a hard-hitting doom riff. ‘Wind of No Change’ even bridges the present and Katatonia’s earliest past, bassist Niklas Sandin and drummer Daniel Moilanen laying down a goth pulse while Jonas croons “Hail Satan” in a throwback to the band’s extreme metal roots.

  “I just had this riff going, and I thought it had a bit of a heavy metal feel to it, or even a Slayer vibe,” the frontman explains. “And then I thought, maybe I should write something Satanic, because I haven’t really touched that with Katatonia since we did our first demo.”

  In the lengthy Katatonia tradition of keeping listeners on their toes, Nightmares… also packs songs which rebel against the rest of the album. The verses of ‘Departure Trails’ de-emphasise the six-string, with the ballad stacking layers of keyboards and synths to near-symphonic levels. Meanwhile, ‘Warden’ boasts one of the most pop-friendly choruses in their catalogue.

  Jonas calls his band’s ongoing rejection of musical rules “subconscious”. He adds, “Touring is great, but it gets tedious if you play the same old style of songs all the time. You want to change it up in some way, and I think it’s the same with the records.”

  In October 2024, Katatonia holed up in a converted church in rural Sweden owned by Tore Stjerna (Mayhem, Watain, Tribulation) to track drums, then recorded the rest of the instruments in their own studio in Stockholm. All the while, Jonas was getting closer and closer to his 50th birthday and found himself in a reflective mood. “I’ve been like that for the last couple of years, especially last year,” he admits. “50, it’s a big number, and I’ve been doing this for so long now.”

  That introspection manifests across this new set of songs. After coming up with the album’s title, Jonas penned ‘In the Event Of’: the climactic finale narrates a nightmare he had more than 10 years ago, with a soundtrack of ominous synths and sorrowful chords. The artwork of Nightmares… is a direct illustration of those lyrics.

  “It was supposed to be day, but it was super dark,” Jonas remembers of his haunting dream. “Looking at the sky, you could see flashes of fire behind dark clouds. And there were chains coming from the sky. The last line of the song is, ‘Mothers waiting in rows for the shadows of their children.’ I could see fences, a place where you would keep people captured, and mothers standing there, waiting for their children to come back.”

  Just as soul-bearing, if not more so, is lead single ‘Lilac’, which voices a desire to forget painful memories. Jonas also sings in his own language for just the second time ever during ambient piece ‘Efter Solen’, which he co-wrote with Joakim Karlsson, a close friend and collaborator in synth-rock project Korda.

  He reveals, “It’s the first song we ever worked on together, and it wasn’t done. While I was writing this album, Joakim was on to me, saying, ‘We should finish that song! I want it finished because it’s so good.’ I said, ‘Yeah, but maybe we should use it on the new Katatonia album.’ When I was finishing the song, I was so used to hearing it in Swedish that I had to write the rest of the lyrics like that.”

  Now more than a dozen albums deep into a 30-year-plus career, Katatonia’s well of inspiration still hasn’t run dry. If anything, Nightmares… is one of the bravest and most vulnerable releases to bear their name. And, going forward, the band’s confidence will only continue to grow, thanks to the new blood in their ranks.

  “This is a great place to be in,” Jonas says of the Katatonia of 2025. “Inspiration-wise, it’s so good to be surrounded with people that come in with energy and ideas and a strong will to take part, to take the band further. I want people to feel at home in this band and feel like we’re making a difference together.”

  – Matt Mills, March 2025

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  Deicide

  Deicide are a death metal band from Florida, U.S. who have been wreaking havoc and stirring controversy since inception in 1987.

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  Sisters Of Mercy

  The Sisters of Mercy (formed in 1977) is an English gothic rock and post-punk rock band who rose to prominence in the 1980s following their debut, hailing from Leeds, West Yorkshire, England.

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  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.

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  Municipal Waste

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

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

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  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.

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  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.

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  Wardruna

  Norwegian folk-rock phenomenon Gåte has etched its name in the annals of modern Norwegian music history, captivating audiences with their unparalleled fusion of traditional Norwegian melodies and electrifying rock energy.
  Gåte is led by the dynamic vocals of Gunnhild Sundli, the masterful guitar work of Magnus Børmark, and the rhythmic prowess of Jon Even Schärer on drums, along with the talents of bassist Mats Paulsen and key harpist John Stenersen. The band continues to redefine the boundaries of folk-rock with each performance.
  In a climactic finale that captured the essence of their enchanting artistry, Gåte triumphed as the Norwegian people crowned "Ulveham" as their Eurovision representative. With boundless anticipation, Gåte prepares to showcase their talent on the international stage at the Eurovision Song Contest in Malmö this May, carrying the spirit of Norway with them as they continue to captivate audiences worldwide.
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  Body Count

  Body Count is an American speed and heavy metal band, formed in 1990 by rapper Ice-T and guitarist Ernie. C, hailing from Los Angeles, California, U.S.

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  Septicflesh
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  Rise of the Northstar
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  Saor

  Caledonian Metal from Scotland inspired by nature, landscapes, history and poetry.
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  MASTER BOOT RECORD

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

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  Misþyrming

  misthyrming@gmail.com

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  Slope

  Move n´Groove since 2014!

  Booking: hc@contrapromotion.com

  Management: slope@450-agency.com

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  Wyatt E.

  Wyatt E. writes the soundtrack of the exile of the people of Jerusalem to Babylon in 587 BC. A travel in the past leading to ancient Gods, forgotten cities and lost civilizations.

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  Signs of the Swarm

  NA/SA: DanielDeFonce@tkoco.com

  EU/UK: Maarten@avocado-booking.com

  MGMT: Bradzorg@gmail.com

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  Primus

  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.
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  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.

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  Animals As Leaders

  Animals as Leaders formed in 2007 by guitarist Tosin Abasi is an American instrumental progressive metal band from Washington D.C., U.S.

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  Periphery

  Periphery is a band from Maryland, they like eating food and touring. They are Misha Mansoor, Jake Bowen, Alex Bois Travis Orbin, Thomas Murphy and their newest addition vocalist Christopher Barretto. HOW'S THAT FOR A BIO! Love, Jake/Periphery

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  Protest the Hero

  Protest the Hero is a Canadian progressive-metal band originally from Whitby, Ontario consisting of Rody Walker, Tim Millar, Luke Hoskin and Mike Leradi.

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  Corrosion of Conformity

  Big badda boom.
  
  Founded in 2010 in Atlanta, Georgia, the trio has established themselves as one of the most successful and motivated bands in the genre today. Elements of Helmet, Melvins, and the Amphetamine Reptile roster can be heard throughout their catalog, but Whores are no regurgitated throwback act. Through intense, cathartic live performances and the perfected aggressive tenacity present on their recordings, the band has gained a fervent following sure to do nothing but grow in the years to come.
  
  October 28, 2016 saw the band's first full-length album and their debut on eOne records, "GOLD."
  
  The album was widely praised, garnering spots in the top ten on album of the year lists through publications such as Rolling Stone, MetalSucks, Heavy Planet, Invisible Oranges, Shiny Grey Monotone, and more. The band is currently recording the follow-up to "GOLD."
  
  Prior to their signing with eOne, Whores' output included two now-classic EPs. "RUINER." released December 20, 2011, put the band on the noise rock map and is now on its fourth pressing. They followed this up with the even-more popular "CLEAN." released October 29, 2013 and now on its sixth pressing.
  
  Between these and "GOLD." the band released a split of covers by The Cure with Rabbits and contributed the song "Bloody Like the Day You Were Born" to Amphetamine Reptile's "Dope-Guns-'N-Fucking in The Streets, Volume 13". Whores also just contributed the track "Flag Day" to Amphetamine Reptile's "Bash '17" alongside acts such as The Melvins, Mudhoney, Lydia Lunch, and Cherubs.
  
  In their short career, Whores have received much critical praise. Some highlights include:
  
  • "Ten Artists You Need To Know" - Rolling Stone
  • "11 Metal Choruses That Will Get Stuck In Your Head All Day" - Alternative Press
  • "Best of 2016: Metal" - Apple Music
  • "Top 20 Best Noise/Post-Punk & Goth Albums of 2016" - Music & Riots Magazine
  
  Whores have shared the stage with acts such as Red Fang, Torche, Big Business, Melvins, Mudhoney, Retox, Deafheaven, Iron Reagan, Metallica, Slayer, Kylesa, Black Tusk, Royal Thunder, Floor, Lamb of God, Tombs, The Sword, Baroness, Dillinger Escape Plan, Chelsea Wolf, Youth Code, Cult of Luna and many more.
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  Terror

  www.sticktight.la

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  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.

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  Ill Nino

  "ILL NIÑO" Official Facebook Page

• 

  KMFDM

  KMFDM are a band hailing from Hamburg, Germany who formed in 1984. Originally conceived as a performance art project by frontman Sascha Konietzko, they have gone to become one of the most succesful and respected industrial rock acts of all time, releasing 19 albums since debuting three decades ago.

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  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.

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  Marduk + Valkyrja

  With Hel, the Faroe Islands' Týr provide even more irrefutable evidence that they stand at the vanguard of Scandinavian metal. Their eighth full-length is a collection of ruthlessly melodic and irresistibly compelling progressive folk metal that will immediately resonate with any who have followed the band at any point over the two decades of their storied career. "Being so close to the album, it's almost impossible for us in the band to have an objective opinion about it, but my impression is that it's a more diverse collection that's also more extreme in some ways. There are more instrumental passages than on 'Valkyrja' (2013), and there are a lot of guitar and bass details," states guitarist/vocalist Heri Joensen. "I really feel we've realized the vision we set out to create all those years ago, and as I listen through the album, I am satisfied with every aspect: the epicness, the intricacy, the melodies and harmonies, and the sheer heaviness of it. I love the whole atmosphere of it."
  
  Known for their prolific nature - dropping their first five full-lengths in the space of just seven years - the six-year gap between Valkyrja and Hel is by far the longest between any two of their records. During that period the band toured hard, taking the album around the world, including a support run with Children Of Bodom in North America and an appearance on the 70,000 Tons Of Metal cruise. However, other factors played into this extended break between releases. "We approached this one differently because I learned that if I continue doing albums in the way we had up to now, I would die from a heart attack before I'm 50!" says Joensen. "That's one of the reasons we changed our method and took such a long time on this one." That this tactic - which also includes more songwriting contributions from bassist/vocalist Gunnar Thomsen and guitarist Terji Skibenæs than on previous releases - has been beneficial is borne out in the finished product, which is perhaps more immersive than those that came before. "Musically it leans a bit towards our album, 'Ragnarok' (2005)," states Thomsen. "It's a bit more epic and also much better worked through than any of our previous albums." It also marks the recording debut of drummer Tadeusz Rieckmann, who has manned the drum throne for Týr's live shows since 2016. "We had some problems finding the right guy some years back, but Tadeusz is the man for the job," says Joensen. "He's a very technically able drummer, but at the same time, he has a very natural old-school heaviness to his style, and he plays with deep emotion, which is just what we need."
  
  Conceptually, the album is informed by a combination of mythology, personal experience and observations of current international events, making for a multifaceted experience that can be processed and understood on many levels. Starting not with a specific story to tell but with an atmosphere in mind, Joensen prefers not to disclose too much detail when it comes to lyrics, keen for listeners to have a chance to take what they want from the songs, though he provides a basic description of that which inspired him. "Hel is the realm of death in Norse mythology, the underworld where those who die a natural death, not in battle, go. A bit confusingly, it is also the name of the goddess who rules over the same realm. She's the daughter of Loki and a terrifying creature to look upon." Two of the songs - "Ragnars Kvæõi" and "Álvur Kongur" - are traditional Faroese ballads and are as such sung in Joensen's native tongue. Followers of Týr will be aware that they have on numerous occasions strayed from English, which Joensen acknowledges as the "language of metal", though this time out it is only the ballads that feature non-English lyrics. "If I have a good folky melody, I always have the thought that I should write the lyrics in Faroese, but I seldom have the time. The traditional songs come with lyrics, so it's just about picking out the verses I want to use." These tracks were in actuality selected even before the release of Valkyrja and have had a long gestation period, Joensen feeling that in adapting them they very much fit with the band's signature sound. "I am always trying out melodies and chose 'Ragnars Kvæði' first for the fascinating melody in the chorus, and secondly for the storyline. The other ballad I picked first because of the lyrics, which refer to Odin extensively, and secondly for the melody and chorus. I was very satisfied with the harmonies and epic feel of the arrangements I'd come up with, and to tell you the truth, I wish there were more songs of this kind on the album."
  
  Hel was tracked entirely by Thomsen and Joensen, with sessions split between the latter's studio in Søldarfjørður, drums lain down at Jacob Hansen's studio in Denmark, Skibenæs working in his home studio, and some solos and bass details recorded while they were on the road in North America. "The sessions took us a long time because we did it all on our own. But we gathered a lot of knowhow while doing it, so it will be a good reference for the future," states Thomsen. Joensen concurs, adding, "It was a bit more relaxing than usual, which was good for me. It took some discipline, and creative people are not typically the most disciplined types. I am definitely not, so I guess it could have gone faster with someone else at the whip!" That the delay in getting the record out means it's emerging in the twentieth year of Týr's existence is quite poignant. It has definitely not been an easy road to this point, with several members having come and gone, and those that remain having had to endure some very difficult periods, but despite all of it, they have managed to make it through, and achieved a great deal in the process. "I did dream about becoming an internationally successful professional when I started. It's what I aimed at, but still it's a bit surreal that we've made it this far," Joensen admits. "I didn't in my wildest dreams think I could put survive such misery and abject poverty that this career has lead me through. Still, here I am." Thomsen "could not be prouder" when he looks back at the string of records they have released, also acknowledging the ups and downs experienced along the way, but making an important point: "We've done something nobody from where we're from has done before," he states plainly. "But there's a lot more to come!"
  
  Keep up to date with TÝR at the following locations:
  http://www.tyr.fo/
  https://www.facebook.com/tyrband
  https://twitter.com/tyrband
  https://www.instagram.com/tyr_official
  https://www.youtube.com/tyrband
  
  
  Band History:
  Profession of the Christian Faith or Decapitation: This was the choice given by Sigmundur to his Faroese Viking compatriot Tróndur í Gøtu. And so it was that in 999 A.D., the Christianization of the small “Faeroe Islands” began, casting a veil of oblivion over the ancient Scandinavian gods and only leaving the relics of forgotten heathenry buried deep within the Christian ritual. Or so it was believed...
  
  Exactly 999 years later, a small group fondly remembering the archaic gods and rites came together to form the Faroese Viking metal band, TÝR. The one-armed God of War —the bravest of all— became the eponym of the Nordic quartet. Yet TÝR mastermind Heri Joensen is no war monger in disguise and points out that TÝR (also known as the God of Justice) is also revered for first seeking the avenues of diplomacy—an attribute that does not take away from this god of war’s drive.
  
  A distinctive trademark that sets TÝR apart from most other bands of the Viking metal genre is the authenticity of their music: “Traditional music dating back to the Vikings, that is not preserved anywhere else in the world, not even in Iceland, is passed on in an oral tradition here and it is still alive and well. That is what we build our music on and draw great inspiration from,” explains Joensen.
  
  Almost every song is based on Faroese or Norwegian lore, and is riveted in the garb of the folk metal genre. Its approach unmistakably creates very true Viking metal.
  
  Following the release of a demo, the Ólavur Riddararos single, full-length How Far to Asgard, six years of innumerable gigs, and several domestic television appearances, TÝR’s second full-length Eric the Red became the Islands’ best-selling album, coming to the attention of Napalm Records, the label that finally made the album available worldwide in 2006.
  
  Immediately, the unique approach of TÝR´s music, melting traditional Nordic songs and dances with Celtic influences, doom, heavy, and progressive metal found fans around the globe. “Hail to The Hammer” became the hymn to the new generation of folk, pagan, and Viking metal fans.
  
  In late 2006, TÝR refined their trademark sound with Ragnarok. Technically brilliant and 100 percent authentic, Ragnarok was nothing less than a masterpiece within the true Viking metal genre. The Faroese band embarked on a European tour with Die Apokalyptischen Reiter and a few months later with AMON AMARTH. Though musically different, TÝR gained legions of new fans, impressed by the four men on stage, who were able to turn every show into a demonstration of musical prowess.
  
  Festival appearances throughout Europe and continued touring followed until TÝR enjoyed their biggest live triumph ever at the very over-crowded Wet Stage in Wacken.
  
  Land was released in 2008 and proved to be yet another milestone in the band’s career. Traditional Faroese lyrics marked tracks such as “Gátu Ríma,” “Fípan Fagra” and “Lokka Táttur,” and “Gandkvæði Tróndar,” which is a poem by J.H.O. Djurhuus about the Faroese chieftain Tróndur, who fought against the dying of the old beliefs and for the independence of the Faeroes. A video clip was produced to the fan favorite “Sinklars Vísa.” Land received overwhelming positive feedback and a new audience was able to experience the power of TÝR for the first time.
  
  Following the release of Land, TÝR embarked on numerous tours through Europe. One of the highlights was without a doubt the Aaskereia Festival tour with then label-mates Alestorm and Hollenthon. Thanks to their efforts, the band reached many new fans with their memorable concerts. 2008 ended with TÝR being nominated as “Band of the Year” by the Faroese National TV and radio. However, the band had no time to rest on its laurels and embarked on yet another tour through North America in the spring of 2009.
  
  Despite their busy touring schedule, TÝR worked on new songs recorded in early 2009. The band chose to produce the album on native soil. Jacob Hansen mixed the new material with finishing touches provided by the mastering experts at Finnvox. By the Light of the Northern Star met with great feedback from fans and critics alike. The new anthem “Hold the Heathen Hammer High“ was regarded as the legitimate successor to “Hail to the Hammer.” After the release of the album By the Light of the Northern Star, the band played numerous concerts and festivals, as well as taking part in the 70.000 Tons of Metal cruise, while still finding the time to work on new material for their upcoming release.
  
  The story of King Thrym, who dared steal Thor´s hammer "Mjollnir," may set the lyrical stage on TÝR's latest album, but it does not prevent them from covering more current topics like in the track "Shadow of the Swastika." The Lay of Thrym follows the path of the band's previous releases by uniting classic heavy metal riffs with impressive drumming, traditional melodies, and powerful choruses. The result is a number of epic anthems, such as "Take Your TÝRant" and "Hall of Freedom," both of which will most certainly earn a permanent spot on TÝR's future set lists. Frontman Heri Joensen continues to give TÝR a unique and unmistakable edge with magnificent vocals and superb guitar work. Jacob Hansen was again responsible for recording, mixing, and mastering the album, complementing this fascinating Faeroese sound universe with finishing touches that allow every last detail to shine. The Lay of Thrym is a genuine Viking metal album that will undoubtedly secure TÝR's hold on this genre with its heroic melodies and glorious riffs.
  
  Valkyrja, the 7 full-length album from the Faroe Islands natives TÝR, is a concept album with a story line based loosely around an nameless Viking age warrior who leaves his woman and goes off to impress the Valkyrie on the battlefield so that she may bring him to Valhalla, or to Fólkvangr, the home of Freyja—the goddess associated with love, sexuality, beauty, fertility, gold, sorcery, war, and death. One can say the album is also indirectly about women and how they affect men and what men will do to impress and obtain women. Frontman and founder Heri Joensen goes on to explain; “the woman that the warrior leaves may represent the earthly women. Freyja, The Lady Of The Slain, may represent the perfection of Women, and the Valkyrie is the link between the two, taking men from earthly to godly women.”
  
  Recorded at Hansen Studios in Ribe, Denmark with Jacob Hansen who handled production, mixing and mastering, the band began writing guitars and drums for Valkyrja over a year ago with melody lines and arrangements being handled in the studio. “I had the story outline and approximate titles very early in the writing process, but only very late, maybe almost too late, did I write the actual lyrics,” comments Heri Joensen. The band’s drummer, Kári Streymoy, parted ways with TÝR after the band completed their US run on Pagan Fest and before they entered the studio so TÝR enlisted George Kollias who stepped in to handle recording duties on Valkyrja. In terms of what the band hopes fans take away from the album, bassist Gunnar H. Thomsen states “I hope they will enjoy it and they like the new direction as well as (guitarist) Terji's bigger involvement in writing and George's drumming. We had a more upbeat direction without changing TÝR's style.”
  
  Discography:
  How Far to Asgard (2002)
  Eric the Red (2003)
  Ragnarok (2006)
  Land (2008)
  By the Light of the Northern Star (2009)
  The Lay of Thrym (2011)
  Valkyrja (2013)
  Hel (2019)
  Battle Ballads (2024)
• 

  Vader

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

• 

  Insomnium

  Wind Rose is a power metal band founded in Tuscany, Italy in 2009 by singer Francesco Cavalieri, guitarist Claudio Falconcini and keyboardist Federico Meranda. Music and lyrics draw inspiration from the fantasy world of Tolkien, and in particular from the Dwarves, the fictional race that also influences the costumes and the look of the band

• 

  H2o

  Hailing from New York, US, H2O are a popular punk rock act, who cut their teeth alongside the likes of Sick of It All, Misfits and The Mighty Mighty Bosstones.

• 

  Revocation

  Pushing both the death metal and progressive elements of their signature sound harder than ever, The Outer Ones represents Revocation at their boldest, most aggressive and most complex. "I knew that I wanted to go in a darker direction, and this is our most death metal album to date," states vocalist/guitarist Dave Davidson. "Sometimes when death metal bands go down the prog route they lose some of that edge, but we wanted to keep the aggression at the forefront of what we do while still pushing our boundaries." Moving away from the societal and historical themes that informed 2016's Great is Our Sin, this time Davidson has immersed himself in the fantastic, evoking one of the great writers of the sci-fi/horror genre. "The title is my ode to H.P. Lovecraft and the entities of pure cosmic horror that rule that universe he created. Since the new music we were writing was so evil and spacey in sections it seemed to be the right title to fit the overall vibe. But while the lyrical content is largely influenced by such writings, in every allegory there is of course some reflection of the real world, so I enjoy writing in a way that could have one overlaying meaning and then another deeper, symbolic meaning as well."
  
  While the four members of Revocation - Davidson, guitarist Dan Gargiulio, bassist Brett Bamberger, and drummer Ash Pearson - are spread around North America without the convenience of being able to jam, this does not impinge on the creative process. If anything, this ensures that they make the most of the time spent together, and they maintained an even greater level of quality control than on The Outer Ones predecessors. "The songs came together pretty naturally, however, this album has the most revisions to riffs and song structures that we've ever had. I had a lot of material written, and had a good amount of time to work on it between tours, so I used that time to really dissect every part of each song. I might be feeling one riff one day and then the next day have some sort of revelation and would go in a totally different direction. All of those revisions definitely benefitted the final product." True to Davidson's promise that it is their most death metal release, its abrasiveness is evident on first exposure to both devout followers and those new to Revocation. Destroying all comers with opener "Of Unworldly Origin", the fury that seethes through this and the tracks that follow is palpable, and much of it makes for deeply uncomfortable yet always compelling listening. A potent uneasiness bleeds through the swirling, slashing violence of the title track, while the unrelenting edginess and creeping threat of "That Which Consumes All Things" marks it as one of the most demanding yet essential additions to Revocation's arsenal. "I think that that element is a natural product of where I'm at as a musician," Davidson says. "I love the sound of dissonance, and as a songwriter for a metal band I can really play with different textures of tension and figure out how to achieve unexpected releases of that tension. Dissonance doesn't mean that it can't also be melodic, so I always try to think about that when composing. Given the dark direction I wanted to take the album in, it made sense to explore more abrasive harmonies and textures." In many ways, these harmonies and textures draw from jazz as much as they do metal. When not focusing on Revocation, Davidson in fact devotes much of his time to studying the language of jazz, and the influence of this is more prominent than on their previous records. While this contributes to many of the record's more coarse elements it also results in moments of sublime melody, and no more so than on the towering instrumental "Ex Nihilo". Furthermore, those drawn to the more epic tendencies of Revocation are certain to not be disappointed by The Outer Ones, and ambitious closer "A Starless Darkness" takes influence from a variety of sources but ultimately stands in a league of its own. "When it was coming together I knew I wanted to make it the album closer. The intro/outro is influenced by Gorguts and Morbid Angel, other parts were inspired by Ihsahn's writing on his solo records, especially the verse riff with the shifting contrapuntal guitar octaves. When the bridge section hits it sounds like something that could be on 'Chaos Of Forms' (2011), and then it kind of reminds me of Megadeth, but if 'Rust In Peace' was more of a death metal album."
  
  While other heavy bands who demonstrate their devotion to the works of H.P. Lovecraft in their lyrics struggle to truly evoke the spirit and atmosphere of his works, this was not an issue for Davidson. For example, drawing influence from the short story "The Dreams In The Witch House", as well as other folklore surrounding witches and black magic, "Of Unworldly Origin" is "essentially about an individual who is tracking down a sorceress to finally put an end to her witchery, but ends up getting hexed and driven insane by her magic." The short story "The Colour Out Of Space" provides the inspiration for "That Which Consumes All Things", a unique inclusion in the author's canon in that rather than an actual monster, the creature of the story is an amorphous living cloud that devours life. "I thought a dark ethereal force that drains the life of all beings would be perfect fodder for a metal song, plus the verse riff sounds like a black cloud descending upon a village. If music can conjure a specific image it's best to try to represent that in the lyrics as well, to make an even stronger statement." Not every track draws such direct influence, and "Fathomless Catacombs" is a tale of Davidson's own creation. "It's about three grave robbers that break into an old cathedral in search of riches in the crypts below. However, the tombs are cursed and damn anyone that disturbs them to an eternity of wandering the cryptic labyrinth." Suited to the epic feel and scope of the music, "A Starless Darkness" goes beyond the sci-fi/horror themes that inform most of the record, and looks instead to theoretical physics, while retaining an ultimately somber subject matter. "'The heat death of the universe' is the theory that due to dark energy and the expansion of the universe the forces of gravity will eventually become undone. Over the aeons, all stars will burn out and then even black holes will eventually evaporate, leaving the universe frozen and lightless forever."
  
  With producer Shane Frisby (The Ghost Inside, Bury Your Dead) tracking the drums at Brick HitHouse and longtime collaborator Zeuss (Hatebreed, Bleeding Through) handling all other aspects of recording at Planet Z, the record came together easily. "There wasn't too much input necessary, since we already had the songs mostly fleshed out, but it was good to have them as tie breakers if we had a couple different ideas in mind for one part. They were more there to give us feedback or to encourage us to try different things, like with vocal delivery or things of that nature, and it was great working with them." While legendary guitarist Marty Friedman contributed a solo to "The Exaltation" on Great Is Our Sin, this time around the work is entirely the province of the four members, not requiring anyone else's input, and they are determined that The Outer Ones is the record that once and for all establishes them as a headlining band. "We had so many great support offers from the likes of The Black Dahlia Murder and Cattle Decapitation, we didn't get the chance to headline on the last cycle. With this album, we're coming right out of the gate with back-to-back headline tours with full production. We want to really give our fans a show, and we're looking forward to fulfilling that goal."
• 

  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

• 

  Sólstafir

  SÓLSTAFIR are different. Their unique blend of metal with beautiful melodies, psychedelic moments and a strong undercurrent of classic / hard rock comes as varied and at times appealingly bizarre as the landscapes of their native Iceland. Their fifth full-length "Ótta" is the logical continuation of the musical course this four-piece adopted on the highly acclaimed forerunner "Svartir Sandar" (2011). Expect the unexpected, such as seduction by subtle strings or a hypnotic banjo. None of this was apparent when SÓLSTAFIR released their album debut "Í Blóði og Anda", which translates as 'In Blood and Spirit' in 2002. Instead of today's Icelandic gravel throated siren chants, frontman Aðalbjörn Tryggvason spit forth vitriolic crust-like vocals and the ripping guitars were clearly black metal inspired. Yet the band was as clearly identifiable back then as now and along their way with the next albums "Masterpiece of Bitterness" (2005) and "Köld" (2009) introducing new elements in a continuous evolution. SÓLSTAFIR's music is as much the product of Arctic blizzards as of red hot volcanic magma, erupting geysers, lush green pastures, and salty waves. With "Ótta" the Icelanders touch something ancient and timeless, while defying easy categorisation. This album needs to be heard again and again to peel back layers of details, each different and yet always revealing the same: great songs – all of them. The song titles of "Ótta" form a concept based on an old Icelandic system of time keeping similar to the monastic hours called "Eykt" ("eight"). The 24 hour day was divided into 8 parts of 3 hours each. The album starts at midnight, the beginning of "Lágnætti" ("low night"), continues through each Eyktir of the day and ends with "Náttmál" ("nighttime") from 21:00 to 0:00. This form of time keeping is more open than the relentless ticking of modern times, where each second is made to count, which turns humanity into cocks of the corporate clockwork. Now SÓLSTAFIR give you the antidote. Just lean back, close your eyes, take your time and lose yourself in this masterpiece called "Ótta"!

• 

  Bleed From Within

  Pure Scottish Metal.

  Twitter @bleedfromwithin

  Instagram @bleedfromwithin

• 

  Carpenter Brut

  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.
• 

  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.

• 

  Fallujah
• 

  Metal Church

  Born out of the West Coast Metal scene of the 80's, Metal Church quickly became one of the standout talents of the genre. After signing a deal with Elektra records, they released two critically acclaimed albums. Their self-titled release "Metal Church" postured the band as one of the pioneers of the thrash/metal scene. The All Music Guide had this to say about the debut: "The band's incredibly tight musicianship is a highlight all on it's own. This album remains an overlooked classic of straight-ahead American-bred heavy metal." With the heavy metal scene starting to rise in the U.S., Metal Church set out on a very successful tour with label mates Metallica.

  Next came "The Dark," the fury of its opening track, "Ton of Bricks" was championed as one of the premier metal releases of the 80's. The Dark also led to one of a few lineup changes with the departure of vocalist David Wayne. However, more success was yet to come. With the addition of former Heretic vocalist Mike Howe, and Metallica guitar tech extraordinaire John Marshall, the riffing became heavier and the subject matter deeper. They tackled political and social issues of the day with the releases of "Blessing In Disguise" and "The Human Factor." At a time when heavy metal bands moved from the underground and became part of the hair band/pop fad, Metal Church stayed true to their roots.

  During the mid 90's, the members of Metal Church headed in their own directions. Kurdt Vanderhoof worked on his namesake project, Vanderhoof, while Kirk Arrington was playing on various sessions including a recording with Sir Mix-A-Lot. 1999 led to a well-received reunion of the original Metal Church lineup with the release of "Masterpeace". The band went back to their classic sound and played several festivals overseas.

  2004 saw them back with a new vocalist, whose style has been described as "Rob Halford meets Dio", as well as Jay Reynolds (Malice) on guitar and Steve Unger on bass. With a new record "The Weight of the World" and some new blood, heavy metal legends Metal Church picked up where their aptly titled last release "Masterpeace" left off.

  In 2006, twenty years after their cult album "The Dark", Metal Church presented their brand new release, "A Light In The Dark", forging a creative arch that skillfully links the band's past with the present. Ten new tracks, (plus a new version of the classic "Watch The Children Pray", a tribute to original frontman David Wayne), document the development of a band that, despite all innovation, has never denied it's typical trademarks. That lineup consisted of Kurdt Vanderhoof, Ronnie Mnroe, Jay Reynolds, Steve Unger and new addition Jeff Plate on drums. "Jeff is an incredibly dynamic and professional drummer," Vanderhoof points out. "He has propelled us to a musical level that surprised even ourselves." Plate has replaced Kirk Arrington, who left the group for health reasons, and proves a real stroke of luck on "A Light In The Dark".

  In 2008, guitarist Jay Reynolds was replaced by Rottweiler guitar player Rick Van Zandt. This Present Wasteland, Metal Church's ninth release, is a return to their roots and contains some of their strongest material to date.

  In 2013 the band released the highly successful "Generation Nothing”

  In 2014 founding guitarist Kurdt Vanderhoof convinced Mike to rejoin Metal Church. “Sometimes I still can’t believe it myself, no one would have ever thought Mike would return after his departure almost 2 decades ago” says guitarist and founding member Kurdt Vanderhoof. “At first I struggled with the decision to come back, but after hearing the riffs that Kurdt was writing, I just couldn’t resist, the music called to me and I wanted to be part of it!” says Mike.

  In March of 2016 Metal Church released their eleventh studio album “XI” that featured the return of legendary front-man Mike Howe. “XI” reached #57 on the Billboard top 200 and also landed on several other charts around the globe.

  The coinciding “XI” tour took them to audiences around the world, where they performed at several European festivals including: Wacken, Dynamo, Rock Hard, Alcatraz, Beast Coast Festival, Porispere and many more hot spots around Europe. The U.S. leg of the tour paired them with Armored Saint for a co-headlining run, and also saw them supporting Megadeth’s “Dystopia” tour, alongside Amon Amarth, Suicidal Tendencies and the Butcher Babies. The band performed over 50 headline shows and also appeared on both the Monsters of Rock Cruise and the Ozzfest meets Knotfest kickoff show.

  Metal Church released their 12th full length studio album "Damned If You Do" via Rat Pak Records on December 7, 2018. The latest release is the follow up to their highly successful 2016 album “XI”, which saw the return of legendary front-man Mike Howe. Damned If You Do is a cross between the band’s iconic Blessing In Disguise and The Human Factor. This new offering features ten fully-charged, classic-metal influenced songs that showcase the sound that has garnered the band a solid fan-base for over 3 decades.

• 

  Perturbator

  LISTEN : https://perturbator.bfan.link/TAOW.yde
  MERCH : http://perturbator.com
  "The legend says he's half human, half synthesizer..." I make Dark and Retrofuturistic music inspired by the 80's.
• 

  Immolation

  New album ACTS OF GOD out now via Nuclear Blast Records. www.immolation.info
• 

  Kylesa

  Since this Savannah, Georgia quintet first formed in early 2001, worrying about genre limitations has never been a priority. Taking musical chances, however, always has been. While KYLESA are as heavy as any band out there, they are beholden to no one scene and no preconceived notions of what heavy music should be. "Lots of people like to stick to one kind of music," guitarist/vocalist Philip Cope elaborates, "and even with the underground, lots of people segregate themselves into small little categories and place lots of imaginary rules on these scenes." “We just like playing heavy music and we've always liked playing it regardless of what is popular or trendy,” guitarist/vocalist Laura Pleasants adds. “It’s most rewarding for us to try and push our own boundaries of what we can to do with our music and hopefully, in the end, offer something that is at least original.” Kylesa's third full-length, Time Will Fuse Its Worth, is the eagerly-awaited follow-up to 2005’s To Walk A Middle Course, which topped many year end lists and landed the band in metal and mainstream press alike. After grabbing ink in Spin, the New York Times, and metal mainstays Revolver alike, Time Will Fuse Its Worth again showcases the band as the ultimate definition of do-it-yourself dedication. With Cope lending his ears and hands for production duties at The Jam Room, and featuring comprehensive artistic layout and packaging from Pleasants, the KYLESA of current day continues to put the band’s future in their own hands by relentlessly touring Europe and North America alike. Time Will Fuse Its Worth sees the band continuing to evolve upon KYLESA’s signature sound, seamlessly flowing from track to track encompassing listeners with sounds far and wide and an utter disregard for musical boundaries. Bringing together avant-garde experimentalism with the pure fury of dirty, sludgy riffs and raw, coexisting male and female vocals, KYLESA’s ambient noise interludes, grimy rock riffs and impassioned, gruff vocals portray the doom-inspired punishment they are capable of dishing out through the power of the band’s music. Now adding to KYLESA’s signature sound and trademark triple vocal attack is the recent addition of drumming duo Jeff Porter and Carl McGinley. “When we first started the band, we had planned on having two drummers but it didn't work out, so now it feels like everything is coming together,” Pleasants says. “There is definitely a new level of intensity to Kylesa now. Since the new lineup has gotten together we have felt the strongest creative spark yet.” The band's reluctance to attach itself to one sound or scene and to not play by conventional rules, along with that strong creative spark, has ultimately made KYLESA that much more versatile. With a constantly heavy touring schedule has found the band crossing boundaries, sharing bills with bands as diverse as High On Fire, Circle Takes the Square, Coliseum, Torche, and Darkest Hour, as well as playing to enthusiastic crowds throughout Europe. "While we are no kings of one scene," says Cope, "we have, in a sense, just developed our own thing.”

• 

  Elder

  Elder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts, the band has reinvented their sound over the course of five albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the rock underground. Their long-scale compositions unfold as journeys, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).

• Nevermore
• 

  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.

  Buy Merch and CDs at www.palefaceswiss.com

  PALEFACE is:

  Marc (Zelli) - Vocals

  Yannick - Guitar

  Tommy - Bass

  Cassi - Drums

• 

  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
• 

  Eivör

  Konan sem syngur eins og fjöllin sjálf tali!

• 

  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
• 

  Sacred Reich
• 

  Samael
• 

  Devourment
• 

  Coroner
• 

  Armored Saint
• 

  Triptykon (Official)

  This is the sole official and authorized Facebook profile by the group Triptykon, successor to Hellhammer and Celtic Frost.

• 

  Sanguisugabogg

  DOWN TUNED DRUG DEATH

• 

  Borknagar

  Borknagar are a Norwegian progressive metal group whose sound combines black and folk metal, with lyrics centered around themes such as philosophy, nature, mythology, paganism, and the cosmos. Since emerging in the mid-'90s, the avant-garde black metallers have released nearly a dozen full-lengths, with highlights arriving via their explosive eponymous 1996 debut, 2004's aptly named Epic, and 2016's chart-topping Winter Thrice. Three years later, the widely acclaimed True North appeared from Century Media. Following the pandemic, the band gathered to write in 2021, and played shows in 2022 and early 2023. They emerged with the album Fall in February 2024. The band was established in 1995 by Øystein G. Brun, guitarist for death metal group Molested, who was growing tired of that group's brutal sound and wanted to pursue a more melodic direction. Joining him was an all-star lineup including Garm (vocals, also of Ulver and Arcturus), Ivar Bjornson (keyboards/vocals, ex-Enslaved), Infernus (bass), and Grim (drums; Immortal and Gorgoroth). Not wasting any time, their self-titled debut came out early the following year on Malicious Records, which signed Borknagar based on their lineup in lieu of a demo recording. Borknagar featured lyrics entirely in Norwegian, and was the group's most straightforward black metal release, with blasting drums and screamed vocals, and it landed Borknagar a deal with Century Media Records soon thereafter. Bassist Kai Lie replaced Infernus for their second album, The Olden Domain, in 1997; the album featured English lyrics and shifted to a more pagan/folk metal sound. The following year, Borknagar undertook a full-scale European tour in support of In Flames. With new vocalist I.C.S. Vortex (aka Simen Hestnaes) and guitarist Jens F. Ryland, Borknagar immediately jumped back into the studio to record and release 1998's progressive The Archaic Course without any breaks in between. Unfortunately, Grim died of a sleeping-pill overdose in October 1999; he was briefly replaced by Justin Greaves, followed by Asgeir Mickelson. For 2000's even more progressive Quintessence album, Vortex took over bass duties, and new keyboardist Lasare signed on. After the album's release, Vortex left the band to join Dimmu Borgir. Vintersorg (Andreas Hedlund) became the group's new vocalist, and Tyr (Jan Erik Tiwaz) joined on bass. This lineup recorded Empiricism, which was released in October 2001. The album became one of the group's most popular releases and was nominated for major music awards in Norway. Halfway through the recording of the band's next album, Tyr left the group, and Mickelson assumed bass duties. Ryland also left the group. Despite the stripped-down lineup, the aptly titled Epic was the group's most ambitious work to date, and the 2004 album was another success. Tyr rejoined Borknagar for 2007's Origin, which was a primarily acoustic effort. The group signed to Indie Recordings at the end of the year, and Century Media released the compilation For the Elements (1996–2006) in 2008. At this point, Ryland had rejoined Borknagar, and the group was hoping for an early 2009 release for its next album. However, Asgeir left the band (on good terms) in May 2008, and American drummer David Kinkade joined the group; they announced their eighth full-length, Universal, in April 2009, with a projected September release date, but the album was delayed until February 2010. Vortex provided guest vocals on the song "My Domain," and soon after replaced Tyr (who left again) on Borknagar's live dates before rejoining them full-time. Their deal with Indie Recordings fell through in early 2011, and they re-signed with Century Media. Their Norse mythology-themed ninth album, Urd, appeared on the label in March 2012. The full-length was the last Borknagar album to include Kinkade, who left to concentrate on his role as drummer for the band Soulfly; he subsequently retired from music to devote more time to his family. Baard Kolstad became Borknagar's new drummer in February 2012. The group spent much of 2014 and 2015 recording its next album, which was set back due to injuries suffered by Vintersorg. Winter Thrice finally appeared in early 2016, and the album included a guest appearance by the group's original vocalist, Garm. Vintersorg left the group amicably in early 2019, as did drummer Baard Kolstad, the latter of whom was replaced by Bjørn Dugstad Rønnow. Vortex rejoined the group on vocals for their 11th studio long-player, True North, which was released later that fall. The album won accolades from critics and fans, many of whom regarded it as the band's best recording to date. Sidelined by the pandemic with the rest of the world, Borknagar resumed writing together in late 2021, and played shows throughout 2022, working out new material. In 2023, they re-entered the studio with Brun producing and Jens Bogren mixing. January saw the release of the darkly anthemic first single "Nordic Anthem," followed by the full-length Fall in February. ~ Mike DaRonco, Rovi

• 

  Draconian
• 

  Vulvodynia
• 

  Vended

  Iowa band looking to destroy and dominate this world.

• 

  Onslaught
• 

  PeelingFlesh
• 

  200 Stab Wounds

  Riffs From the Septic Tank

• 

  Vio - Lence

  Fan Page for the greatest thrash band of all time....VIO-LENCE

• 

  Clawfinger
• 

  Novembers Doom
• RATOS DE PORAO oficial
• 

  Angelus Apatrida

  Formed in 2000, Angelus Apatrida (“/'an-je-lus - a-'pa-tri-da/"), have more than earned their reputation as modern thrash metal greats. One of the few Spanish bands to enjoy sustained international recognition. With the always consistent line-up of frontman/guitarist Guillermo Izquierdo, bassist Jose Izquierdo, drummer Victor Valera and guitarist David Alvarez, Angelus Apatrida have steadily evolved, releasing a series of stunning, genre-redefining records that belonged squarely in the thrash metal realm while never sounding quite like any other band.

  To fully reflect the intensity and ferocity of their new songs, Angelus Apatrida have recruited revered studio guru Zeuss (Rob Zombie, Overkill, Hatebreed, Shadows Fall) to mix and master the new self titled record. The result of that collaboration is an album that blows the vast majority of modern metal out of the water, with uniquely crushing guitar tones underpinning some of the most inventive but memorable songs the band have ever written.

  Not many bands last for two decades with their credibility and passion intact. But Angelus Apatrida are not like other bands: this is state-of-the-art, multi-dimensional and monstrous thrash metal, with a big heart and a skull full of rage. Forged in turmoil but full of the hope that only music can inspire, Angelus Apatrida is the pulverising metal record that the world needs right now. The future may be uncertain, but class is eternal.

• 

  Old Man's Child
• 

  Monstrosity
• 

  Die Krupps

  Die Krupps is a German industrial band formed in 1980 by Juergen Engler and Ralf Dörper . Over the years they have produced krautrock-tinged metalbashing industrial, old-school ebm, industrial electro and, most recently, industrial metal/neue deutsche härte. The band's name comes from the Krupp dynasty - one of pre-war Germany´s main industrial families. This name was apparently chosen for its industrial connotations, as the band is strongly anti-Nazi. In some interviews the band stated that Visconti´s movie "The Damned" - a depiction of the fictitious German industrial dynasty of the Essenbecks - was the main inspiration. Die Krupps's debut EP, 1981's Stahlwerkssymphony, was in the vein of metal-on-metal industrial acts like Einstürzende Neubauten. Their following album, 1982's Volle Kraft Voraus, combined the industrial sound of their debut with electronic rhythms similar to Deutsch Amerikanische Freundschaft. In 1984, the group released their first English-language album, Entering the Arena, which combined grand, orchestral arrangements with their trademark metallic percussion and a more conventional synthpop sound. Doerper left to join Propaganda, and Die Krupps went on hiatus for a few years. In 1989, they collaborated with Nitzer Ebb -- a band their sound had clearly influenced -- to remake Volle Kraft Voraus's "Wahre Arbeit, Wahrer Lohn" as "The Machineries of Joy." The single was a major club hit,and it resparked interest in the band, who followed in 1990 with the now-classic "Germaniac" single. However, Engler had become interested in American and European heavy metal, and subsequent Die Krupps releases would gradually de-emphasize the band's industrial/electronic origins. A Tribute to Metallica--an album of Metallica cover versions done with only keyboards and samplers--was something of a novelty hit that got the band signed (briefly)to a US major label. In 1992, Engler reunited with Doerper and added some American heavy metal musicians to the lineup, and Die Krupps began to utilize guitars and more sounds derived from heavy metal music, with the release of their albums I and II--The Final Option. During this period, the band had many of their tracks remixed by other artists; singles such as "Fatherland", "Metal Machine Music", "To the Hilt", and "Crossfire" were reworked by artists as diverse as The Sisters of Mercy, Einstürzende Neubauten and Biohazard. These remixes proved more successful than the albums from which they were drawn, as they became staples of mid-90s alternative clubs. Many of these remixes are included on the compilations The Final Remixes and Rings of Steel, as well as their mid-90s singles issued by Cleopatra Records. Particularly notable is a 1996 remix EP they shared with Front Line Assembly, on which each group remixed three songs from the other: while Krupps's remixes of FLA were typical of the band's metallic direction, FLA's Krupps remixes surprisingly highlighted how Die Krupps's sound still recalled the band's early electronic work. By 1996's III--Odyssey of the Mind, the band had almost entirely ditched electronics for a straight metal sound. Following Doerper's second departure and the release of the even more heavily metal-influenced album "Paradise Now" in 1997, the band disbanded. The band has been well-served by two compilations that highlight their strongest material and the development of the band's sound: Past Forward 1991-1981, released on Mute's Grey Area imprint, is a worthy precis of the band's work up to and including "Germaniac". Cleopatra's Metalmorphosis of Die Krupps covers some of the same ground, but includes highlights from their post-Metallica output. While both compilations share several tracks, they usually choose different mixes. Die Krupps played a reunion show at Wave Gothic Treffen festival at 2005 for their 25th anniversary.

• Wormed
• 

  Coven
• 

  Demolition Hammer
• 

  SLIFT

  The Haunted Youth, the band of 29-year-old Joachim Liebens, has become a Belgian indie sensation in no time. The songs, often about the struggle of life but coated in gloriously dreamy guitars and synths, are therapy to Liebens, and strike a chord with fans and critics all over Europe. Singles like Teen Rebel, Coming Home and Broken are met with rave reviews, even in the US. With their red-hot live reputation and the debut album coming out in November, The Haunted Youth is here to stay.

• 

  Der Weg Einer Freiheit + Au Dessus + The Devil’s Trade

  With Innern, their sixth studio album, DER WEG EINER FREIHEIT return with their most introspective and compositionally expansive work to date. A meditation on suffering, transformation, and the fragile thresholds of the human psyche, Innern refines the band’s signature blend of black metal intensity and post-metal atmosphere. The title, German for “inward”, anchors the album’s conceptual weight: a turning away from the external, into a realm of personal reckoning, silence, and renewal. Across six meticulously crafted tracks, the band explores cycles of disintegration and emergence, inviting listeners to confront the deep and often contradictory nature of existence itself.

  DER WEG EINER FREIHEIT stand now at the peak of a fifteen-year evolution. Their music is as concerned with silence as it is with sound, as shaped by introspection as by fury. As they prepare to bring Innern to European stages in autumn 2025, they do so not as provocateurs of extremity, but as artists navigating the fragile space between collapse and clarity. In a genre often defined by spectacle, DER WEG EINER FREIHEIT remain committed to vulnerability, transformation, and truth.

• 

  Blackbraid
• 

  Castle Rat

  On a mission to expand and defend The Realm from those who seek to destroy it!

• 

  Conjurer
• 

  Bolzer

  https://bolzer.bandcamp.com/

• 

  Illdisposed

  Official Merchandise: https://illdisposed.bigcartel.com

• 

  Arthur Brown
• The Ruins Of Beverast

  The Ruins of Beverast is a German black metal project created by ex-Nagelfar drummer Alexander von Meilenwald.
  
  The musical style showcases a unique approach to creating complex, atmospheric black metal by combining traditional sounds with more unconventional elements. Lengthy compositions featuring an array of atmospheric and hypnotic components and the use of a variety of extreme vocals and choral singing define the style of this project.
• 

  Mortal Sin

  Mortal Sin is an Australian thrash metal band that formed in 1985.

  As arguably the first band in Australia to play purely thrash metal, Mortal Sin quickly developed a solid following and only seven months after their first live show the band recorded an album-length demo in a mere three days in July 1986. The eight track recording was eventually released in late 1986 as Mayhemic Destruction and released as an album on the band's own label Mega Metal Productions. Reaction to the album was immediate and the band was snapped up for an international album deal by Phonogram Records UK, who then re-released Mayhemic Destruction worldwide in 1987.

  Mortal Sin spent much of 1988 recording a second album with producer Randy Burns, who had previously worked with Kreator and Megadeth. The release of Face of Despair was held over until early 1989; shortly afterward the band gained further prominence with an Australian tour with Metallica in May. In January 1990, Mortal Sin toured Europe and the UK then played some shows in the US but after their final show there Maurer quit the band.

  On their return to Australia, the band split, only to reform a short time later with Steve Sly replacing Maurer, however by the end of the year Hughes, Burke and Carwana had also been replaced. The line-up of Eftichiou and Sly plus Alex Hardy (guitar), Dave DeFrancesco (guitar, ex-Enticer) and drummer Nash Hall toured briefly and recorded a third album entitled Every Dog Has Its Day (released as Rebellious Youth in some markets) that showcased a more traditional metal style than previously but the new combination and sound ultimately failed and by late 1991 Mortal Sin split up.

  The band had a brief resurgence in 1996, when original members Campbell, Eftichiou and Maurer reformed Mortal Sin. They released an EP - Revolution of the Mind independently and launched the first full-scale Australian tour that Mortal Sin had ever undertaken. Eventually the band split up in 1998.

  In February 2004, Mortal Sin reunited once more, this time as Campbell, Maurer, Eftichou and former Addictive guitarists Joe Buttigieg and Mick Sultana. A year later, Mortal Sin was inducted into the Hall of Fame at the inaugural Australian Heavy Metal Music Awards but within a month the line-up changed again when Campbell and Buttigieg were replaced by Luke Cook and Nathan Shea. In April 2005, Mortal Sin toured Australia with Anthrax and on February 4, 2006, the band played a show in Sydney that featured them performing the Mayhemic Destruction album live in its entirety for the first time.

  In August 2006, the band returned to European stages to play some shows in Germany, firstly with Rock over Hamburg alongside Michael Schenker Group, Rose Tattoo, Metal Church, Victory, Gorilla Monsoon and Tourettes Syndrome. The band also performed at the Wacken Open Air Festival. Mortal Sin's fourth full-length album An Absence of Faith was recorded in February 2007 at The Basement Studios in Sydney with producer Phil McKellar.

  In 2011, Psychology of Death was released through NoiseArt Records/Riot Entertainment followed by extensive touring throughout Australia and Europe. Due to various reasons, the band split once more.

  In late 2025, Mortal Sin announced their return to the stage in 2026 to celebrate 40 years of Mayhemic Destruction. While the band has had many challenges and triumphs throughout the years their passion and dedication to performing live has never wavered - earning them a title of thrash metal legends in Australia.

  Mortal Sin will see the return of original members Mat Maurer (vocals) and Andy Eftichiou (bass), with Nathan Shea (guitar) and Ryan Huthnance (guitar) returning to the line-up. Mortal Sin are excited to welcome Sydney drummer George Delinicolis of LIVEWIRE and Bastardizer to join them on tour.

  Mortal Sin’s first show back was at Adelaide’s Froth & Fury Festival in January 2026 - playing classics from their full catalogue. The band has an upcoming Australian tour with additional dates in Europe in April at Germany’s Keep it True Festival and at club shows and festivals throughout August 2026.

• 

  Thy Catafalque
• 

  Allt

  Allt is everything.

  https://ffm.bio/allt

  Est. 2020

• 

  AURA NOIR [official]
• 

  Heavy//Hitter
• 

  Baest

  Death Metal from Denmark

• 

  Psychonaut

  Australian Power Speed Thrash Death Rock Metal

• 

  Internal Bleeding
• 

  DESERTED FEAR

  DESERTED FEAR DEATH METAL
• 

  Sadistic Intent
• 

  A.A. Williams

  MANAGEMENT: takeheedhb@gmail.com

  BOOKING: haydn@northernmusic.co.uk

• 

  Batushka
• Deceased
• 

  Tormentor

  The official site of a Hungarian band Tormentor @goetiaproductions / Booking & Management
• Nergal
• 

  Iotunn

  Catch us on The Kinship European Tour March 26 - April 26 2026! Tickets: https://bnds.us/rtdzcl

  Worldwide booking: benny@triplebookings.com

  Webshop: https://beatdown.dk/collections/iotunn

  IOTUNN website: https://linktr.ee/IOTUNN

• 

  Witch Club Satan

  Norskt feminískt, okkúltískt black metal sviðsverk

• 

  The 3rd and the Mortal

  The 3rd and the Mortal (alternative spelling The Third and the Mortal) is a Norwegian experimental metal-band. The band started out as a doom metal band mixing distorted guitars and heavy drumming with clean guitars and female vocals from Kari Rueslåtten. The band has since then experimented with genres such as ambient, progressive rock, jazz, electronica and trip-hop.
  
  The 3rd and the Mortal were one of the forerunners of the atmospheric metal scene having been one of the first to have a leading female singer, they inspired bands such as The Gathering, Flowing Tears and Nightwish. Their first EP Sorrow was released in 1993 followed by the album Tears Laid in Earth in 1994. After Rueslåtten's departure in 1995 the band had Ann-Mari Edvardsen join as vocalist. With her the band released full length albums Painting on Glass in 1996 and explored an even more experimental sound in 1997 with In This Room.
  
  After an absence of 5 years and the departure of Edvardsen, the band returned in 2002 with Memoirs, an album with recordings made during previous years. A new female vocalist was found in Kirsti Huke, who is present on the majority of songs, with second vocalist Andreas Elvenes backing her up on a couple of tracks. Memoirs differs from previous albums by being more electronics based and trip-hop inflenced. After Memoirs the band did a small tour in september and october 2002, playing eight shows in Germany and one in the Netherlands.
  
  In 2004 the band released EP's and Rarities. This is a compilation consisting of the Sorrow and Nightswan EPs + the b-side of the Stream single and the bonus-track from the japanese In This Room album. In 2005 the band released Project Bluebook: Decade of Endeavour, which is a compilation album with two new studio tracks, another unreleased song performed live in 1998 and four different live versions of 'Mortal classics recorded on the European tour in 2002.
  
  Line-up:
  
  Current members:
  * Finn-Olav Holthe - guitars, keyboards
  * Trond Engum - guitars - (The Soundbyte)
  * Geir Nilsen - guitars, keyboards
  * Rune Hoemsnes - drums - (Manes)
  
  
  Past members:
  * Kari Rueslåtten - vocals - (Storm)
  * Ann-Mari Edvardsen - vocals, keyboards - (Tactile Gemma, Antestor (session))
  * Jarle Dretvik - bass
  * Bernt Rundberget - bass
  * Frank Stavem - bass
  * Kirsti Huke - vocals - session musician
  * Andreas Elvenes - vocals - session musician
  
  
  Discography:
  1993 - The 3rd And The Mortal (Demo)
  1994 - Sorrow (EP)
  1994 - Tears Laid in Earth
  1995 - Nightswan (EP)
  1996 - Stream (Single)
  1996 - Painting on Glass
  1997 - In This Room
  2002 - Memoirs
  2004 - EP's and Rarities (Compilation)
  2005 - Project Bluebook: Decade of Endeavour (Compilation)
• Crippling Alcoholism
• 

  Left To Die

  Left to Die features Death alumni Terry Butler and Rick Rozz, teamed with Gruesome founders Matt Harvey and Gus Rios. The band will perform classic Death Material from Leprosy and Scream Bloody Gore and are currently planning an EP and US tour.

• 

  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.