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Krall, een dochter van muzikale ouders, begon piano te spelen toen ze vier jaar oud was. Toen ze vijftien was, speelde ze jazz in een lokaal restaurant. Ze studeerde aan Berklee School of Music in Boston, speelde jazz in Los Angeles en keerde daarna terug naar Canada, waar ze in 1993 haar eerste album uitbracht, "Stepping Out". Op het album speelde John Clayton contrabas en Jeff Hamilton drums. Het album trok de aandacht van muziekproducent Tommy LiPuma, die in 1995 haar tweede album produceerde. Haar derde album, "All for You: A Dedication to the Nat King Cole Trio", stond 70 weken in de Amerikaanse jazz-lijsten en werd genomineerd voor een Grammy. Ook haar album "Love Scenes" (1997) werd een commercieel succes. In 2000 leverde haar album "When I Look in Your Eyes" twee Grammy's op, onder meer een in de categorie 'Best Jazz Vocal Performance'. In 2003 won Krall opnieuw een Grammy, nu voor haar album "Live in Paris" ('Best Jazz Vocal Album').
In 2000 ging ze met zanger Tony Bennett op tournee. Met de zanger trad ze bovendien op in de muzikale talkshow "Spectacle: Elvis Costello with...". Met Costello begon ze een romantische relatie die in 2003 uitmondde in een huwelijk. Met de Brit kreeg ze op 6 december 2006 een tweeling, haar zonen Dexter Henry Lorcan en Frank Harlan James. Na haar huwelijk ging ze ook zelf liedjes schrijven, wat resulteerde in het album "The Girl in the Other Room".
Krall produceerde in 2009 een album van Barbara Streisand. In 2012 begeleidde ze Paul McCartney in een live-uitvoering van diens album "Kisses on the Bottom", wat rechtstreeks op het internet werd uitgezonden. In datzelfde jaar zong ze "Fly Me to the Moon" tijdens de herdenkingsdienst voor de overleden austronaut Neil Armstrong.
Verder verscheen Krall verschillende keren in een film of televisiefilm.
In het jaar 2000 werd haar de Order of British Columbia verleend. In 2003 kreeg ze een eredoctoraat in de kunsten aan de University of Victoria. Een jaar later werd ze opgenomen in de Canadese Walk of Fame. In 2005 werd ze ook Officier in de Order of Canada.
Arno’s rich and varied discography covers the last thirty-five years, but the singer has decided to “shake things up” on his new album, Future Vintage. Without denying his past, here he is striking out in a new direction and drawing on his thoughts about society.
“There’s been a change in me this year,” he explains. “People do change.” As the European crisis continues, the man to whom we owe the immortal chorus “Fuck, fuck, after all we’re all Europeans” has noticed a radical political shift. “Europe is bankrupt and America is not as powerful as it used to be.”
With its mix of French and English, Arno’s music always pleads for open-mindedness and tolerance. Arno was actually only supposed to record this album in 2013, but he felt an urgent need to write these songs almost as soon as he completed his recent tour. “After the final gigs in Montréal I told myself, ‘I’ve got to do something’. It’s difficult having nothing to do after a couple of years on the road. And it only gets worse with age,” he confesses.
The ton is set from the opening song The Show of Life. “Let the money die” says Arno; a manifesto that sounds like a call to rise up from adversity on a bed of acoustic and electric guitars. Quand les bonbons parlent and its saturated electro textures are in the vein of Arno’s poetry, an observation of the absurdity of life. I don’t believe is an affirmation of skepticism much in the way of the nastiest English rock that precedes the more melancholic Chanson d’amour, a raw and heartbreaking ballad to add to the artist’s repertoire along with Dis pas ça à ma femme. Ça plane pour nous is tinted with almost industrial sounds on a background inventory à la Prévert. « Y’a trop de tout, mais rien pour nous » (too much of everything but nothing for us). Rare fact: Arno is accompanied by a choir on the surprising electro loop Oh la la. We want more and its strong bass line summarizes the general purpose of the album. Wanting more, not in a material but spiritual way and sung in three languages – the European is never too far.
It took him just four months to finish Future Vintage – writing the songs, recording, mixing, the lot. Arno insists on doing things the traditional way. “There’s no way I’m spending six months in a studio.” The musician deplores the way rock is becoming a middle-class pursuit. He and his band TC Matic wrote a song called “Middle Class and Blue Eyes” back in 1982. Thirty years on, his prediction has come true. “It disgusts and frustrates me,” he says.
Present-day society’s obsession with the past gave him the idea for the album’s clever title: Future Vintage. “Everything’s vintage nowadays. Rockers dress like their grandfathers, with beards and long hair. That’s what I looked like in 1972,” he says with a laugh.
Is Arno pessimistic? “I fear for the future,” he says. But he tempers this observation with a touch of surrealist humour. “Magritte’s my neighbour,” he reminds us. “I want to stay positive.” “My arse is rolling in butter,” he sings on this album, the Belgian idiom emphasising that he belongs to a privileged generation.
Arno recorded Future Vintage under John Parish’s guidance. The first time the two met was when they played with Stef Camil Karlens from the band Zita Swoon. Both big fans of Captain Beefheart, the Englishman and the Belgian got on like a house on fire. “And John had heard of TC Matic,” Arno adds. “He’s someone I can communicate with without words. We’re on the same wavelength.”
Having done most of the groundwork in his hometown of Ostende with Serge Frey, his musical accomplice since 1979, Arno jetted off to work with long-term PJ Harvey collaborator Parish in his Bristol lair. He recorded with the Massive Attack, Portishead and Robert Plant bassist using John Parish’s 1970s mixing console, which captures the artist’s beloved bass frequencies. “I wanted someone who could add something special, and my brother suggested I take a look over in England.” They finished the album in just two weeks, mixing songs at the rate of two a day. “We drank a lot of tea,” Arno sighs.
As its title suggests, Future Vintage is a blend of past and present. “This record’s a melting pot with some elements of TC Matic,” is Arno’s warning. The cover illustration showing an old pickup and a fish instead of a record was designed by Arno and Danny Willems, a photographer who’s been following the singer since his early days. So has he come full circle?
Trompettist Dave Douglas is een van de meest toonaangevende en productieve musici. Met zijn kwintet maakte hij al twee bejubelde albums waarin zijn band ten volle schittert. Saxofonist Jon Irabagon is een onwaarschijnlijke virtuoos die voor vuurwerk zorgt. Linda Oh ontbolstert zich tot een intense bassiste met prachtige solo’s en Rudy Royston speelt met veel veerkracht en dynamiek. De bijzondere pianist Matt Mitchell weeft intrigerende pianolijnen door het geheel. Douglas wisselt zijn vurige trompetpartijen af met statige schoonheid en meer abstracte stukken. Deze avond spelen ze veel werk uit hun laatste album ‘Time Travel’.
Dave Douglas is een fenomeen. We zijn bijzonder fier dat hij in MUZE één van zijn weinige Belgische concerten komt spelen en dit dankzij een samenwerking met Motives for Jazz, het cultuurplatform van de Provincie Limburg. Het Limburgse duo Kim Versteynen & Tim Finoulst krijgen de eer om een korte support act te doen.
D-Tale (B) is de vierkoppige roots-blues band rond zanger/gitarist Mario Pesic. Samen met Patrick Cuyvers (Hammond & piano), Steve Wouters (drums) en Eric Wels (bass) brengen zij vooral stevig eigen werk. Deze geroutineerde rotten in het vak speelden reeds in verschillende bands zoals Camden, Bass Papa, Jim Cofey, Last Call, Magic Frankie en Double Brown. D-Tale vindt haar inspiratie bij alle rock- en blueshelden van de jaren ‘50 tot vandaag. Songsgewijs knipogend naar John Hiatt, maar wat betreft intensiteit en groove slaan de heren hun eigen pad in.
Dirty beats, hypnotiserende slide, huilende mondharmonica en lekker veel fuzz. Dat kan je verwachten van Boogie Beasts, een vierkoppige band uit Luik en Limburg. De oprichtende leden van de psychedelische groep Voodoo Boogie en het geflipte garageduo The Goon Mat & Lord Benardo hebben elkaar duidelijk gevonden in deze groezelige geluidsexplosie. Boogie Beasts vertolken hun liefde voor elektrische delta-blues op geheel eigenzinnige wijze.
Slechts weinig bands hebben zo sterk hun stempel gedrukt op de popcultuur als TOTO.
Wie de optelsom maakt van alle albums waar de leden van de band aan hebben meegewerkt, komt uit op maar liefst 5.000 platen, die samen niet minder dan 500 miljoen keer over de toonbank gingen. De National Academy of Recording Arts & Sciences sprak zich meermaals vol lof uit over de opnames en het talent van de bandleden, en nomineerde TOTO meer dan 200 keer voor een Grammy Award.
TOTO sleepte in de voorbije 38 jaar duizenden awards in de wacht en is een van de bestverkopende bands. Hun wereldtournees staan in het collectieve geheugen gegrift en menig artiest wil maar al te graag in hun voetsporen treden.
De band werd opgericht in de jaren 70 en groeide uit tot een vaste waarde in de wereld van de popmuziek. Ze kwamen immers telkens opnieuw met een eigentijdse stijl voor de dag, met fans uit verschillende generaties tot gevolg.
In april 2014 verscheen het live-album 'TOTO 35th Anniversary Tour – Live in Poland', opgenomen op 25 juni 2013 in Lódz, één van de 29 haltes van de verjaardagstournee van TOTO.
'XIV', het nieuwste studio-album van TOTO, verscheen op 24 maart 2015 en is het eerste album van de band sinds 'Falling In Between' uit 2006.
“Dit album kwam heel natuurlijk tot stand, alsof er nooit een pauze was geweest. Onze fans hebben er lang op moeten wachten, maar bleven ons altijd trouw,” wist toetsenist en oprichter David Paich onlangs te vertellen.
Op woensdag 27 januari 2016 laat TOTO ons opnieuw proeven van hun grootste hits, waaronder 'Africa', 'Rosanna', 'I’ll Be Over You', 'Stop Loving You', 'Pamela', 'Hold the Line'...!
De ticketverkoop voor dit concert gaat van start op Vrijdag 2 Oktober vanaf 10 uur!
TICKETS & INFO:
-Online op Sherpa.be
-In alle Fnac verkooppunten
-Telefonisch op de 0900 84 007
De Malinese zangeres Fatoumata Diawara, die net als haar voorbeeld Oumou Sangaré zingt in de Wassoulou traditie, werd in 2011 met haar album Fatou op World Circuit meteen een wereldster. Sindsdien werkte ze samen met artiesten als Damon Albarn van Blur, AfroCubanism en Herbie Hancock en tourde ze met Oumou Sangaré en Dee Dee Brigdewater. Recent zong en acteerde ze nog in de met een César bekroonde en voor een Oscar genomineerde film Timbuktu.
De Cubaanse multi-instrumentalist Roberto Fonseca begon zijn carrière toen hij als jonge twintiger pianist Rubén González in de Buena Vista Social Club verving. Hij put uit de rijke traditie van de Afro-Cubaanse muziek, maar mengt de traditionele son met een ferme scheut jazz, funk en soul. Op Yo uit 2014 nodigde hij o.a. Fatoumata Diawara uit als gastzangeres.
Na die eerste ontmoeting bundelen ze nu hun muzikale talent voor een trans- Atlantische ontmoeting tussen hun Afrikaanse en Zuid-Amerikaanse roots met At home - live in Marciac. Een absolute aanrader voor al wie zijn oren graag laat reizen tussen Cuba en West-Afrika.
zang & akoestische gitaar Fatoumata Diawara / piano, toetsen & zang Roberto Fonseca / drums Ramsés Rodríguez / gitaar Bah Sekou / basgitaar Yandy Martinez / kamalen ngoni Sidibé Drissa / © Carlos Pericás
Strokes gitarist en zoon van Albert Hammond
Het begin van dit decennium was niet altijd rooskleurig voor Albert Hammond Jr, zoon van de grote musicus Albert Hammond (die, voor de goede orde, het nummer «Sensualité» van Axelle Red compneerde).
De New Yorkse gitarist heeft er meer dan anderhalf jaar over gedaan om zich terug aan het componeren te zetten na een afkickperiode gerelateerd aan het enorme succes van zijn legendarische band, The Strokes. De opvolger van "Yours to keep" (2006) en "¿Cómo Te Llama? '(2008) hebben dus op zich laten wachten. Zijn derde solo-album heet "Momentary Masters". Hij is er het meest trots op.
10 beknopte en efficiënte rocksongs die zeker hun effect zullen hebben tijdens deze eerste datum voor Koning Albert sinds de unieke Belgische datum van The Strokes (in de AB op 26 februari 2002), sinds zijn soloprestaties op Pukkelpop in 2007 en sinds zijn voorprogramma voor Coldplay in het Sportpaleis in 2008.
Albert Hammonfd Jr. Twitter
One night in march 1997 two men were sleeping in a rehearsal room in Helsinki. The other woke up and started playing the keyboards and came up with a folkish melody. Soon the other one woke up too. Liking the melody he asked the other guy to play the riff in traditional finnish "humppa" style (humppa is a variety of polka...). This sounded very mean and guitars and brutal vocals were added immediatly. Thus Finntroll was born..
These two very drunk founding fathers were Somnium (ex-Thy Serpent, Impaled Nazarene) and Katla. Almost a year later in January, Finntroll recorded their debut demo "Rivfader". They were still using drummachine but were already discussing a future adding of other members at least for session musicanship. Soon several musicians stepped into the picture. Drummer B. Dominator (Barathrum, Rapture), Skrymer on live guitars, Trollhorn (Moonsorrow) on keyboards and Tundra on bass. Spikefarm had shown interest in the band and now that Finntroll was a band with several strong musicians the deal was sealed. So there you had it, the record that probably affected the black and folk metal scene for good. The debut album "Midnattens Widunder" contains nine tracks of advanced trollish metal. At last the Finntroll woke up from its long sleep to strike down the followers of the christian plague...
About a year after that, it was the time to take the next step in this trollish crusade and Walltone Studios were once again inhabited by Finntroll. This time the guys knew better what they wanted to do and the session went smoothly and without any problems they encountered on the first trip. The result was an album called "Jaktens Tid". With this album Finntroll took a huge step forward both musically and in overall atmosphere. At last they could say that this was how they wanted to sound like. The album got great reviews all over the world and was praised by countless of people. Finntroll was stronger that ever before. The album managed to climb to 20th place in the Finnish album charts, surprising both band and the label. Soon after that Century Media was attracted by this success and licensed the album for the rest of the world. On that summer Finntroll played in several open-airs both in Finland and abroad.
Beginning from the year 2002 the band hit a string of bad luck, beginning from cancellations of some tours, continuing with the vocalist Katla's worsening throat problems which finally lead to his early retirement from the band. Several shows were made with replacing singers, Tommy Åberg of Bloodshed, Pete Eskelinen of Rapture and Mika Luttinen of Impaled Nazarene. In January 2003 the band realized a long planned project, an acoustic/experimental cd "Visor Om Slutet" with Katla and the new vocalist Wilska (Sethian, ex-Wizzard, ex-Nattvindens Gråt to name a few...) sharing the vocal duties. The album was recorded at a cabin in the woods on the outskirts of Helsinki, with the aid of a mobile studio, sauna and large quantities of alcohol. It was released as a mid-price album, and surprisingly inhabited the no. 1 place of the Finnish Midprice chart for several weeks...
Just before the release of this record, the band met with a heart-breaking blow; The death of Teemu "Somnium" Raimoranta in an alcohol related accident in Helsinki. While recovering from the loss of a dear friend and bandmate the rest decided that ending the band would be an insult to his memory, and decided to honour and grieve him the best way they could, by going on tour and keeping his music alive. The band did a two week European tour in support of Katatonia, and brought in an old member of the family, guitarist Routa who had earlier played some gigs as a stand-in guitarist in Finntroll. During the summer the members spent a lot of time on the road, playing festivals like Graspop in Belgium, The Vienna Metal Fest and Sweden Rock.
In the fall of 2003 the band barricaded themselves once again at Walltone Studios, recording 14 new songs. An EP and a full-length CD are to be released in the spring of 2004, along with the band's first video. The new material captures the essence of Finntroll, raw, epic, melodic in all it's glory, combining elements of metal, folk, punk, humppa mixed to a trollish beat.
Wagner had earlier claimed that Nargaroth was formed in 1989, the seven-track instrumental demo Orke was released in 1991, and the demo Herbstleyd in 1993. Years later, after many accusations from the international BM scene he stated in his website (www.nargaroth.de) that the genesis of Nargaroth was in 1996 after the band Exhuminenz, formed by himself, R.S., Charoon and Darken (not to be confused with Rob Darken of Graveland fame) split up. The aforementioned Nargaroth demo tapes were completed and recorded no earlier than 1998 with the aid of Charoon on guitar and a drum machine. Nargaroth's first album, Herbstleyd (Autumnal Suffering), was released by No Colours Records in December 1998, followed in 2000 by the Amarok compilation of older and unreleased material including the promo version of the song "Herbstleyd" and a Burzum cover, among others. The demo Fuck Off Nowadays Black Metal got released on the same year. This demo is said to be limited to 333 tapes and 100 LPs by the label Sombre Records; it was re-released by No Colours Records on picture LP limited to another 333 copies in 2005.
In 2001, No Colours Records released Black Metal ist Krieg, considered Kanwulf's dedication to black metal. This album spawned countless misconceptions for both the band and artist, most notably being labeled as a Nazi for including photographs of relatives of his that served in the Wehrmacht during WW2, this being meant as a dedication to his deceased family members, regardless of their political affiliations; and being labeled as an avid Burzum supporter for the song "The Day that Burzum Killed Mayhem" which only retells the story of the murder of the Mayhem leader Euronymous by the hands of the Burzum sole member, Count Grishnackh. It was followed in 2002 by Rasluka Part II, which along with Rasluka Part I, is dedicated to the memory of R.S. whose suicide in 1995 greatly affected Wagner. The third album, Geliebte des Regens (Beloved of the Rain), was recorded in the same sessions as the Rasluka series and got released in 2003. 2004 saw the release of the live album Crushing Some Belgian Scum, Rasluka Part I, and Prosatanica Shooting Angels. This last release was originally intended to be a side project of Wagner's called Prosatanica with the recording being called Shooting Angels. This record has plenty of jokes within it (many of which would go unnoticed by most people for the jokes not being of obvious nature) in both the music, layout and sometimes lyrical content too. The next album Semper Fidelis marked Wagner's parting of his former artistic persona of "Kanwulf" and the genesis and embrace of his new persona, simply "Ash", which has been his nickname since his childhood. This decision was taken as a means to estrange himself from the BM scene, which for the most part never understood his work; thus his new "Ash" persona would work as an artist with very little or rather no regard for any scene. It got released by No Colours Records in 2007 in regular jewel case CD and a box-set limited to 99 hand-numbered copies that included the CD, the double LP version of the album which included several bonus tracks, a DVD titled "Burning Leaf", a T-shirt and other things and personal effect of Wagner himself of which he felt the urge of getting rid of (e.g., the wedding ring of his first marriage).
Wagner played one show in Mexico and Guatemala in 2008.
In 2009, the album Jahreszeiten (Seasons) got released on A5 digibook version and double LP. The vinyl version contains spoken intros to each song, these intros are not included in the CD version. In 2009, he engaged in a full tour of South America and in 2010 he toured most Central America (Guatemala, El Salvador and Honduras) and gave a few extra shows in Colombia and Venezuela.
The most recent Nargaroth album, Spectral Visions of Mental Warfare, was released in 2011.
Nader Sadek is an Egyptian-American Artist. His work contributes to the metal community with his death metal project, which gathers many known artists as well as emerging artist from the entire metal scene. Sadek and his chosen musicians then collaborate on creating an album. Focusing mostly on the more extreme styles of Black and Death Metal. Sadek currently resides in New York City, New York, and has worked as stage artist for Mayhem and Sunn O))), before decided to create a supergroup of death metal musicians using contacts he gained through his career.
Tyr is a Faroese heavy metal band. Their subject matter revolves almost entirely around Viking lore, mythology, and history, taking their name from the Norse god of law and justice. They signed a worldwide deal with Austria's Napalm Records in early 2006, while signed to the Faroese record label Tutl. In September of 2012, they signed a three album deal with Metal Blade Records.
Under that very banner this Black Metal-Machine – the Negator – was once forged in the year of 2003. Like-minded musical extremists got together in order to create their vision of blackened metal. One of them was vocalist Nachtgarm who is still swinging the hammer of inner and outer strength. As the music of the debut OLD BLACK (2004) did speak volumes, it did not take long until the album was properly released one year after Negator‘s founding. Press and fans alike pretty much showed similar praise of the debut’s spirit, which made OLD BLACK turn into a success story pretty much.
Enlivened by the debut’s success, the four-piece was hardly interested in a creative break. At that very point in time, the ensemble had found its musical focus and direction. The slogan „Angetreten, um Werte zu schaffen – Gemacht, um unentbehrlich zu sein“ (Engl.: „Lined up to create values – made to be indispensable!“ from ?Eisen Wider Siechtum?) was not only going to be the Negator-credo, but also the headline for their successful second album DIE EISERNEN VERSE (2005), which was again received very much enthusiastically by critics and fans alike. In order to promote the album additionally „on the road“, Negator went on a co-headlining tour for some weeks with Koldbrann.
However, in life different people sometimes have a different approach towards certain things. There are those who want to stop at an alleged peak, whereas others strive for total domination. Eventually, it was frontman Nachtgarm that was left behind and who got handed over the Negator-Sceptre. So from that point in time onwards, he was not only in charge concerning all things Negator, but also the force behind this Black Metal-Panzer from Hamburg, Germany.
But: No companions, no band. And it must have been a mix of prevision and luck, that at the end of 2006, Nachtgarm and Finnskald (formerly Drautran) crossed each other’s path. Immediately, they found themselves on the same wavelength. This blind mutual understanding was going to be headstone for Negator’s future: Finnskald and Nachtgarm are the congenial songwriting-duo for Negator?s vision of extreme Black Metal.
With different infantrymen at their sides, the two managed to capture the dark metallic essence of extreme, blackened metal. However, with PANZER METAL (2010) a new chapter was writte: Finnskald and Nachtgarm untimely crowned the Negator with regards to song-writing at that point in time. „PANZER METAL is the ultimate answer for those, who long for extreme and hard Black Metal, which offers a 90s spirit but is delivered in a 21st century sound and features state-of-the-art firepower.“ And it was this blaze the scene was waiting for. And although Negator were literally away for almost five years, the manifest PANZER METAL provided nothing but awe. The most successful year in the Negator-history so far was 2011. With a lot of tailwind provided by PANZER METAL the Negator bulldozed popular festivals such as the Eisenwahn Festival, the With Full Force as well as the famous Wacken Open Air among others.
After a short hiatus – due to Nachtgarm’s engagement at Swedish Black Metal-veterans Dark Funeral – the band shortly put hands on their then fourth album. With GATES TO THE PANTHEON, Negator, again, treaded new paths invigorating a more death metal approach to their musical vita. With nine totally different songs GATES TO THE PANTHEON was hailed as an almost game-changer, very much challenging grandees like Behemoth. Critics worldwide alike were stunned due to this aural onslaught near perfection. After having played numerous gigs and festivals in 2014, Negator plan to release new material in 2015. Beware of the beast from Hamburg.
The Black Forest – marked by mystical landscapes, its spirit rules the southwestern German souls. Its wealth of brute power and mightiness led a dark horde to the decision to embody the beauty of the Black Forest in a musical way, back in 2004.
Hitting the stages in 2007, a decent public attention was attracted and after the publication of the debut EP "Wiege der Finsternis" and the debut album "Weltenkraft", the horde found a new home at the German record label Einheit Produktionen.
The second studio album "...zum Tode hin" was introduced to the public in early 2009 and could deeply satisfy a wide range of different
It's the year 2012 – to date, a frightening large amount of knuckles of pork along with a greatly exaggerated quantity of Schnaps was consumed and countless breathtaking concerts were performed. With a new singer at the front and a third fully produced studio album, the band signed a contract with the Austrian label Napalm Records. "Rastlos" represents the new status of Finsterforst and exceeds everything that has been done before.
The era of Black Forest Metal has begun!
Mor Dagor is formed by Torturer (drums), Tyr (guitars) and Grond (vocals).
Tyr (guitars) leaves the band because he doesn't agree with the musical thoughts of the others anymore. After this is seems like the band is put on iceMor Dagor, it doesn't go well anymore and the band doesn't make any progress. A new guitarplayer has been found and joined Mor Dagor Pestilence. Mor DagorMor Dagor also wants to take a second guitarplayer but when they find one he was thrown out very quickly because of his musical disability, also his successor had to leave for this reason.
Mor Dagor will get a second guitarplayer after all, ìBeastî, an old friend of Torturer From this moment on the music will become harder and more brutal. Unfortunately Grond leaves the band because he doesn't have enough time anymore, so Beast will take over the vocals and will share this part after a while with Pestilence.
New songs are written and in the beginning of October Mor Dagor goes into the CBK studios in Essen and records its first mcd ìBloodstreamî with 6 tracks on it and one hell of an intro.
Mor Dagor is really going in a good direction and plays a lot of gigs. Despite of the busy lives and the many gigs they take time to write some new stuff and by december of this year the band goes into the CBK studios in Essen again to record their second album ìHuman Executionî, containing 11 songs that will kick ass.
In the middle of February Lord Astaroth from Belgium joins the band, he will take the bass in hands. Lord Astaroth also plays in his own Belgian black metal band ìInfernal Decayî. How much he likes to play with Infernal Decay he leaves the band to put all his time and energy in Mor Dagor. In this year Torturer will also join the crazy maniacs of the Austrian band ìBelphegorî (www.belphegor.at) and so he torture the drums in both bands.
Torturer devides his time between going on tour with Belphegor and help writing new material for the forthcoming third album of Mor Dagor. #r Dagor is formed by Torturer (drums), Tyr (guitars) and Grond (vocals).
Formed in 2005 by TrollAklass (Guitar) and Trollour (Keyboard/Singer), the band naturally stands out thanks to its unique, strong and funny gigs across Belgium.
They play an efficient, folk "troll” metal, with hints of Black Metal.
After months of preparation and composition, the band finally gets a stable line-up in 2006, with Trollayd (Bass) and Trollent (Drums).
Following the release of their first demo (2007) and the EP "We are the Trolls" (2008), they get back to work on new material.
In 2010, their first album "Gang of Trolls" (14 titles) is unleashed. It has been recorded at the BlackOut Studio in Brussels and mixed and masterized by Jeremy Bézier (Enthroned).
In the fall of 2011, Trollent left the band and after have tried a whole lot of drummer, here he is, the one and only : the Trollhammer!
After a successful tour in Czech Republic at the sides of Nothgard, the band lives one of the highlights of its carreer by playing at the Paganfest in Giessen (Germany). The band is now back to work on a brand new EP.
In 2014, finaly EP "Game Of Trolls" is released with new line-up! Trollladal (bass) & Trollbard (guitar) enter the hord for eat and drink with the band.
Sail or Saille is the Irish name of the fourth letter of the Ogham alphabet, meaning "willow".
Saille was founded by keyboardplayer Dries Gaerdelen in May 2008. Wanting to create the music he was fond of (melodic black metal with a threatening feeling, in the style of Tartaros, Limbonic Art and Keep of Kalessin), Dries started writing several songs, some containing echoes of Dries' former band Mortifer.
It was thus a logical choice to cooperate with former Mortifer vocalist/guitarplayer Jonathan Vanderwal. After contacting drummer Gert Monden of In-Quest and text-writer Filip Dupont of Gorath, the development of songs could proceed.
With the help from ReinieR of Fleshmould/Shumcot studio and several other musicians the recordings for the first album "Irreversible Decay" started at the end of 2009. Due to the complexity of the music and layered structure of the guitars and keyboards, the recording and mixing of the album took several months. "Irreversible Decay" was finalized in September 2010.
After being contacted by several labels, Saille chose to work with Code666 records and the first album "Irreversible Decay" was released March 4th 2011.
At first, Saille was only intended as a studio project. However, it soon became clear the music should be brought to life. With the addition of bass player Didier Vancampo, a live-band was formed and several shows followed. Thanks to the good reviews and a solid live-reputation, Saille played amongst acts as Melechesh, Ancient Rites, Izegrim, Gorath and more. The live-shows of the first album were concluded with a spot on Belgium's biggest metalfest: Graspop Metal Meeting 2012.
In July 2012 the band hit the Shumcot Studio again to record their second album entitled "Ritu". With lyrics inspired by death rites in ancient cultures, combined with vocalist Dennie Grondelaer's interest for H.P. Lovecraft and Cthulhu, the next album has a much darker setting. Again several guest musicians were invited to create the irreplaceable real sounds: flugelhörn, cello, violin, théremin, tuba, trombone and many more.
After recording all summer, the final mix was sent mid-September to the Norwegian mastering specialist Tom Kvålsvoll (Strype Audio), known for mastering black metal classics like Mayhem, Emperor, Arcturus, Limbonic Art, Ulver, Vreid and many others.
On January 18th 2013 "Ritu" will see the light of day.
Drakum was born at the end of 2009, after more than a year looking for the right members. During the year 2010 we were immersed in the composition of songs and recording our first demo “Around The Oak”. In 2011 we have been promoting “Around The Oak”, receiving very good reviews, and started playing live shows. We opened for the russian band Arkona in their way through Barcelona and won a band contest, Goblin Fest 2011. In 2012 we continued doing gigs and festivals, and participating in more band contests, arriving to semi-finals in W:O:A Metal Battle Spain and winning Devilfest ’12. Also started to record our first LP. In 2013 we continued with the recordings of our full length and, after some member changes, continued with more gigs, for the first time outside our frontiers, participating in MetalDays ’13 (Slovenia) and Carpathian Alliance Metal Festival ’13 (Ukraine). In 2014 we have released our first album “Torches Will Rise Again” and the official music video for “Around the Oak” and played in Underwall Fest (Croatia) and again in MetalDays ’14 (Slovenia). Plans for 2015: presentation tour of the album and recording a new work.
All began at the end of the year 2004 when Heimdall creates an ambient/melodic one-man-band project named « DunkelNacht », tinkering with guitars, synths, computers and drum machines. He already composes extreme music and yearns for blackened metal… In 2005, a melodic/gothic trend album is produced with a decent sound : « Das Leiden für die Ewigkeit », a work performed by piano. At this time, Nygh Gaunt joins the project as vocalist and Heimdall decides to turn the « band » into extreme metal. The duo records an unsignificant first attempt called « Eradiction process ».
In summer, Heimdall meets Beowülf who joins the band as second guitarist. Real rehearsals begin and the trio works on a new musical direction. Heimdall composes some tracks and already thinks about the first album. Through the year 2006, Heimdall achieves in parallel « Gjennom Tidene Til Døde Guder », his second non-metal full-length that is more orchestral.
Early 2007, the trio becomes a quartet with the arrival of Alkhemohr as bass player in order to record the first official metal recording « Mass Grave / DunkelNacht » split release at LB Lab studios. Therefore, DunkelNacht becomes a real blackened metal band…
The recording session of « Atheist dezekration » full-length starts in summer 2007 with Heimdall and Alkhemohr. Beowülf leaves the band due to musical differences. At the beginning of the year 2008, Nygh Gaunt changes his name into Exp:/13. DunkelNacht enters at Back to hell studios to mix instruments and record vocals. This year was focused on the hard labour of the album, achieved by trio line up Heimdall (guitars, drums programmings), Alkhemohr (bass) and Exp:/13 (vocals).
In 2009, Svarte joins the band fbio-02-dunkelnachtor the second guitar and rehearsals go on. DunkelNacht plays local music scene for some gigs. Later this year, Exp:/13 and Svarte left the band due to a lack of motivation. However, Déhà (Deviant Messiah, Yhdarl…) joins immediately the project as vocalist. Now, DunkelNacht has its first album ready. The band starts to promote seriously « Atheist Dezekration » with this line up (Heimdall, Alkhemohr & Déhà), still looking for an extreme drummer to close the circle. Despite that, the band gets on stage for several blasphemic live shows in France and Belgium.
DunkelNacht bargains with M&O Office for management and distribution of « Atheist Dezekration » in 2010. In the wake of this deal Max Goemaere completes the line-up as drummer and the band continues touring and promoting the album till 2011. Frost replaces Déhà who give up the adventure in january 2011.
A hard core is built around Heimdall, Alkhemohr, Max Goemaere and Frost during 2011. Each member works hard this year to put musical skills on higher level and produce a more reflexive second effort. Heimdall composes the music and Alkhemohr writes the lyrics. The recording begins in january 2012 and ends in summer at One shot studio after more than a year of hard labour. After a pre-production realized by Heimdall, the band works with Carlo Belotti (Worm Hole Death Records – Italy) and Wao from Realsound Studio (Parma – Italy) to perform final mixing and mastering for a killer sound production. DunkelNacht inks deal with Worm Hole Death Records in May 2013. « Revelatio » release is scheduled for January 2014. In november 2014, Frost is replaced by dutch vocalist M.C. Abagor and the band continues to burn the stage to defend this hymn of leading melodies, dissonant harmony and powerful rhythms. Stay in tune !
Conceived in 1999, the evolving Lemuria recorded their first demo in April 2002 entitled ‘The Vault of the Witness’. Its raw energy laid the foundation for what was to come.
After winning competitions and supporting major metal acts ‘Tales, Ale & Fire’ was forged during the summer months of 2004. The independent production enhanced the unique sound of this concept album and Lemuria delivered something unprecedented and unheard of within the Belgian metal scene. Held in the same vein as Finntroll, Ensiferum, Thyrfing, Bal Sagoth and even Rhapsody, the album demonstrated the huge progress made by the band and was embraced by metal heads and fans of other genres alike.
This release brought fame and fans to the band whilst gigs across Flanders helped generate a substantial following, with Lemuria headlining many concerts and supporting more big names such as Korpiklaani. The album sold out very quickly, even outselling death metal legends Aborted through Belgium’s leading underground distributor, and today is still highly sought-after.
The group was put on hold in August 2006 but exactly two years later Lemuria was reborn with two new guitarists and a fresh approach. New recordings were composed and orchestrated by the band and they then took on the production from recording, through mixing to mastering, such was their desire to deliver a positive new sound that still embraced their folk metal roots.
With this new incarnation, the sextet continued to write new music and started performing again in late 2008, to the delight of fans and reviewers. Lemuria was back, and stronger than ever before. The new line-up brought the live experience and musicianship of the band to a whole new level, which culminated in the recording of their second full length album in the spring of 2010, entitled ‘Chanson de la Croisade’. No expense was spared, spending 28 days behind closed doors recording, two months of mixing, a mastering session with world renowned producer Peter in de Betou and presented in a glorious digipak with a 28 page full color booklet telling the story of the holy war between the Catholics and the Cathars in the South of France in the 13th century A.D.
The album was released in November 2010 and received reviews averaging 90 per cent. Copies were purchased and sent out the far corners of the globe, a testament to the band’s broad and international fan base. Numerous headlining and support slots ensued and Lemuria slowly but surely began crossing borders into Germany and The Netherlands. The group continued to deliver quality performances and this resulted in winning the 2012 Graspop Metal Meeting Talent Quest, after having been selected from a long list of Belgian underground metal bands.
Mixing heavy music with orchestral elements, bombastic scores and daring instrumental and symphonic passages, Lemuria has carved a niche previously untouched by any Belgian band. With a new live experience, every band member’s skills will be pushed to the limit. Through rigid dedication to their art they will leave a lasting impression on the metal scene.
A band that has enjoyed as much worldwide success and acclaim as EPICA should have every right to rest on their laurels and stick to the proverbial “winning formula.” And yet, as their fans across the globe are well aware, EPICA has never been a band to play it safe, and they’ve never made the same album twice. EPICA has earned its reputation as one of the foremost symphonic metal bands by repeatedly shattering expectations and pushing the very limits in the genre.
This spring, EPICA proudly unveiled the next stage of their ongoing musical evolution: The Quantum Enigma, their sixth full-length studio album. This is EPICA like you’ve never #heard them before: The Quantum Enigma sounds larger than life, expertly mixing devilishly sharp guitars, angelic choruses, evocative synthesizers, mind-boggling drum work, and of course, another soaring vocal performance from Simone Simons. The Quantum Enigma is simultaneously the band’s most intense and emotional release to date.
Mark Jansen credits increased collaboration between members of the band – which also includes lead guitarist Isaac Delahaye, keyboardist Coen Janssen, drummer Ariën van Weesenbeek, bassist Rob van der Loo, as a key factor in the creation of what is surely EPICA’s edgiest, most forward-thinking album yet:
“More than any of our previous albums, ‘The Quantum Enigma’# is the result of a group effort.” – Mark Jansen
“More than any of our previous albums, The Quantum Enigma is the result of a group effort. Even though the basic components of each song were still written by individual band members, we sat together to start working on the material as a solid team early in the process, playing the songs in a live setting and dive into the microscopic (quantum) world of the little details, comparing dozens of amps, snares, and mics in order to find the sound that would be able to beat all of our previous albums. A time consuming experience, but the only way to reach our ultimate goal: creating the album that could lift EPICA up to the next level.”
The band’s quest to annihilate artistic stagnation continued with their choice of behind-the-scenes collaborators: after five albums of successfully working with producer Sascha Paeth (who still played an important role during the pre-production sessions), EPICA opted to record The Quantum Enigma with the up-and-coming Joost van den Broek at Sandlane Recording Facilities in the Netherlands.
“After many years, there comes a point at which you want to try out some new methods in order to keep yourself fully motivated, and to refresh your music and mind. This was such a turning point for us. It was time to leave our comfort zone in order to explore new horizons. In producer Joost van den Broek, we found the guy who was able to get the best out of us with his patience, guru-like skills and loads of energy.”
The Quantum Enigma also marks the first collaboration between EPICA and mixer Jacob Hansen (Volbeat, Hatesphere, Amaranthe).
Jacob really impressed us by giving the band a massive sound without compromising on all the symphonic and orchestral elements which color our music. Every detail finds its way into a perfectly balanced mix, and makes EPICA sound raw and overwhelming.
“The album’s lyrics were inspired by the most mind-bending #scientific proof in all of quantum physics: one that posits that our# physical environment is directly influenced by our consciousness.# We don’t see things as they are, we see things as we are.”
Given the boundary-defying nature of the music on The Quantum Enigma, it’s appropriate that the album’s lyrics were inspired by the most mind-bending scientific proof in all of quantum physics: one that posits that our physical environment is directly influenced by our consciousness. We don’t see things as they are, we see things as we are.
Ultimately, everything in the universe is energy and energy is influenced by the mind. Therefore the mind creates and controls reality.
These heady themes reflect in the lyrics of both Mark Jansen and Simone Simons, the latter of whom calls The Quantum Enigma “an exploration of the subconscious mind.” Those lyrical concepts, combined with the undeniable power of the music, ensure that The Quantum Enigma is not just an album – it’s an experience.
The Quantum Enigma released the 2nd of May 2014 in Europe and on the 6th of May in North America via Nuclear Blast Records.
EPICA plans to support its release with plenty of touring, once again bringing their grandiose, unforgettable live show to fans across the globe.
Eluveitie’s saga of success began just when mainman and mastermind Chrigel Glanzmann decided to form ELUVEITIE with the goal to fuse gothenburg styled melodic death metal with ancient folk melodies and themes to a powerful mixture that would soon become the „New Wave Of Folk Metal“. That was back in 2002 and Chrigel only meant to form a studio project.
Of course all that is history by now and the so called „studio project“ grew into a respected, well-known and active band. A relentless amount of touring and recording was all the band did in the past two years after having signed to Nuclear Blast Records. Their label debut „Slania“ marked the first chart entry (Switzerland: #35, Germany: #72) and was followed by massive touring activities all around the globe throughout 2008.
In 2009 the band fulfilled their dream of producing an all acoustic folk album without shredding guitars or growling vocals – for the first time in the bands history Hurdy Gurdy player Anna Murphy took over vocal duties. A masterpiece of folk music that fascinated fans and press alike. „Evocation I: The Arcane Dominion“ of course also hit the charts hard – Switzerland: #20, Greece: #23, Germany: #60.
2010 & 2011 saw the band touring even more, but also dropping their most heavy and harsh album to date in February 2010: “Everything Remains… As It Never Was” – a contradictory title that, also in contradiction to its increased heaviness, hit the charts as high as never before: Switzerland: #8, Germany: #19, Austria: #22, Greece: #23, USA: #23 (Billdboard Heatseekers), Finland: #30.
Enter 2012, ELUVEITIE are set to lift the bar once again. With “Helvetios” the band created what is called the essence of their music by combining elements of all their efforts so far – taking them even further. From the raw and dark power of their early works to the anthemic tracks on “Slania” to the acoustic mysticism and beauty of “Evocation” to the heaviness and death metal brutality of “Everything Remains…”. No doubt – “Helvetios” took ELUVEITIE not only one step but a whole lot of steps further!
Over the course of the band’s 10th anniversary, it’s now about time to scrutinize their early days closely, in which the foundation for today’s success of the pioneers of their scene was laid.
It happened in winter of 2002/2003 that Chrigel started ELUVEITIE as a studio project to breathe life into his exceptional musical vision. The first self-financed EP “Vên” was recorded in spring of 2003, was released in the same year – and completely sold out about six months later. The logical conclusion of the rhapsodical public reaction was quickly found: ELUVEITIE had to become a “real” combo with a consistent line-up for the purpose of being able to play live henceforth (the first concert in the band’s history as support act of TRIMONIUM, MENHIR and SKYFORGER took place on the 5th of February 2004 in Winterthur, Switzerland). Quickly, ELUVEITIE were identified as an exceptionally gifted live band which enabled them to indulge in tour life extensively within the next months together with prestigious acts such as AMON AMARTH, FINNTROLL and KORPIKLAANI, before they returned to the studio in winter of 2005 to lay down their eagerly anticipated debut album. This very record named “Spirit” finally came out in 2006 and let the Swiss around maestro Glanzmann go down in the annals of metal as the founders and figureheads of the “New Wave Of Folk Metal”. The rest is history…
Now ELUVEITIE have intensively recapitulated this exciting booster phase of their career. They’ve re-recorded the entire rare “Vên” EP in the line-up of 2012, by which a modern dimension was added to the legendary material, without the slightest loss of its historical splendour. Together with a re-mastered version of the full-length debut “Spirit”, this results in a profound retrospect that will send both long-time followers and nostalgia addicts as well as ELUVEITIE-newbies and those who have been chasing for these releases for years into rapture. So look forward to a very special journey through time!
Fear Factory were one of the first bands to fuse the loud, crushing intensity of death metal with the cold harshness of industrial electronics and samples, producing a more varied sonic palette with which to express their bleak, pessimistic view of modern, technology-driven society. The group was formed in Los Angeles in 1990 by vocalist Burton C. Bell (formerly of Hate Face), percussionist Raymond Herrera, and guitarist and ex-Douche Lord Dino Cazares. Following their contribution of two tracks to the L.A. Death Metal compilation, Fear Factory signed to Roadrunner Records and released their debut album, Soul of a New Machine, in 1992, which featured new bass player Andrew Shives, added to allow Cazares to play guitar on tour. The following year's Fear Is the Mind Killer EP showed Fear Factory's willingness to experiment with their music and broaden its scope by placing tracks from their debut in the hands of remixers Rhys Fulber and Bill Leeb of Front Line Assembly; the EP also marked the debut of keyboardist Reynor Diego, who along with Fulber joined the band as a touring keyboardist. Shives was fired in 1994 and replaced by Christian Olde Wolbers.
In 1995, Fear Factory released their second full-length album of new material, Demanufacture; it was followed two years later by another remix project, Remanufacture (Cloning Technology), which this time featured contributions from a number of different remixers, including many techno-oriented artists, as well as more input from Fear Factory themselves. Steve Tushar replaced Diego in 1996. The members of the band have performed in a number of side projects, the most notable of which is Cazares' and Herrera's Brujeria; others include G/Z/R (Bell) and Nailbomb (Cazares). Fear Factory reconvened in 1998 for Obsolete, a record that found the band's well-established style fitting seamlessly into the growing alternative metal boom. As such, it became the band's biggest hit yet, hitting the Top 100 on the album charts. Fear Factory's profile was further boosted by appearances on several film soundtracks and on the 1999 Ozzfest tour. Their next album, 2001's Digimortal, entered the charts in the Top 40, but by the next year vocalist Bell decided to leave the band. Cazares was the one who eventually left the band, however, while Wolbers moved to guitar and Byron Stroud (Strapping Young Lad) was hired for the bass spot.
Amidst the lineup changes, Roadrunner dropped the band and, in 2002, issued their original 1991 recordings on the compilation Concrete. Fear Factory moved to Liquid 8 for 2004's Archetype. The equally merciless Transgression followed in August 2005. Disappointed with Transgression and feeling that they had been pressured into rushing the album out, Fear Factory went on hiatus while the bandmembers pursued other projects. Eventually, Bell and Cazares reconciled their friendship, and in 2009 the pair re-formed Fear Factory with Byron Stroud on bass and Gene Hoglan (who also played with Devin Townsend, Death, and Dethklok, among others) on drums, much to the surprise of Herrera and Wolbers. Again fully operational, Fear Factory began once again manufacturing records, releasing Mechanize in 2010, followed by the 2012 concept album The Industrialist. In late 2014, the band announced that they had signed with Nuclear Blast and would be releasing their ninth studio album, Genexus, later that year. Tony Campos (formerly of Static-X) replaced Stroud on bass, and Malignancy's Mike Heller took over the drum stool. The album, produced by longtime collaborator Rhys Fulber, dropped in August 2015.
From their humble beginnings in Belo Horizonte, Brazil, Sepultura went on to become the most successful Brazilian heavy metal band in history. Over a ten-year period, the band grew from strength to strength, transforming itself from a primitive death metal ensemble into one of the leading creative trendsetters of the international aggressive music scene. Unfortunately, a bitter internal crisis almost destroyed the band, and Sepultura struggled to recover their previous momentum.
Hailing from Brazil's third largest city, Belo Horizonte, Sepultura (which means "grave" in Portuguese) were formed in the mid-'80s -- a time when that country was beginning to emerge from a 20-year military dictatorship. Max Cavalera (vocals/guitar), Igor Cavalera (drums), Paulo Jr. (bass), and Jairo T. (lead guitar) had a hard time even finding rock & roll albums, and especially "socially unacceptable" genres such as heavy metal and punk. Their early influences were Iron Maiden, Metallica, and Slayer (literally the first three records purchased by Max on a visit to the "big city" São Paulo), but the band soon progressed toward a death metal sound, inspired by emerging bands such as Possessed and Death. Their drive and determination (they sang in English from day one) more than made up for their geographic isolation and inexperience, and though they were only in their teens and still learning how to play their instruments, the band quickly evolved into underground contenders. After landing a deal with independent Cogumelo Records, Sepultura recorded four songs for a split LP with fellow Brazilians Overdose. Reissued on CD and named for its first track, 1985's Bestial Devastation was self-produced and recorded in just two days -- and it shows. Recorded with minimal time and money in August 1986, their first full-length album, Morbid Visions, showed little improvement, but contained their first hit, "Troops of Doom," which attracted some media attention and convinced the band to relocate to São Paulo (Brazil's largest city and financial capital) in order to further their career. They also replaced guitarist Jairo T. with São Paulo native Andreas Kisser, whose greater musical ability would help take the entire band to the next level.
In 1987, Sepultura's technical proficiency finally caught up with their creative vision, and their second full-length album for Cogumelo, Schizophrenia, displayed an incredible evolution in terms of production and performance. It also became a minor critical sensation across Europe and America, drawing the attention of Roadrunner Records, which promptly released the album worldwide and signed the band to a long-term contract. No longer restrained within Brazilian borders, the band set about composing 1989's Beneath the Remains, the first of four albums which would solidify Sepultura's position as perhaps the most important heavy metal band of the '90s. Recorded in Rio de Janeiro under the guidance of leading death metal producer Scott Burns, Beneath the Remains was an immediate critical and commercial success, and the band's ferocious performances on the subsequent European tour (which saw them systematically blowing headlining German thrashers Sodom off stage) further cemented Sepultura's reputation. The band also filmed its first video, for the single "Inner Self," and finished the year tour with a triumphant set of shows in its homeland.
After obtaining new management and relocating to Phoenix, Arizona, Sepultura entered Tampa's Morrisound Studios with producer Burns to record 1991's highly acclaimed Arise album. First single "Dead Embryonic Cells" proved to be another resounding hit, and the title track would gain even more attention when its video was banned by MTV America due to its apocalyptic religious imagery. The world tour that followed elevated the album to platinum sales worldwide (a figure rarely achieved by bands of such extreme nature) and, in a strange twist, found singer Max Cavalera marrying band manager Gloria Bujnowski, who was almost twice his age. Such was the band's success that its label, Roadrunner, obtained a co-distribution deal with Epic Records for its next recording, 1993's Chaos A.D.. By incorporating social issues (especially relating to Brazil) into their lyrics, as well as displaying some of their punk and hardcore influences for the first time, the album was another worldwide smash thanks to singles like "Territory" and "Refuse/Resist." After touring for over a year, the members of Sepultura took a well-deserved break before starting work on their most ambitious album yet, 1996's Roots. The introduction of native Brazilian percussion and musical styles into their trademark down-tuned guitars and increasingly sociopolitical themes resulted in a highly unique record which could be loosely described as heavy metal world music. Roots marked Sepultura's creative peak, and the band's continual rise to ever-greater fame seemed guaranteed until a family tragedy set off a series of events which would break up the band.
Just hours before taking the stage at England's Monsters of Rock festival, the band discovered that the teenage son of manager (and singer Max's wife) Gloria had been killed in a car accident. A shocked Sepultura took the stage as a trio while Max and Gloria boarded the first plane back to America. Only a few months later, the band confronted Max about severing ties with Gloria and finding new management. Still recovering from the recent trauma of a death in his extended family, Max viewed this as a huge betrayal and left the band amid much bad blood and acrimony. As the band's creative leader, many expected his departure to spell the end of Sepultura, but the band announced that it would carry on and soon began looking for a replacement.
After a long search, Sepultura recruited Cleveland native Derrick Green as their new singer and began laying down tracks for 1998's Against. Though it retained much of the intensity and diversity of its predecessor (including a collaboration with Japan's Kodo percussion ensemble on the track "Kamaitachi"), the album lacked the unique spark which had characterized the band's prior work. It also sold only half as many copies as Cavalera's first album with his new band, Soulfly, clearly showing with whom fan loyalty remained. Undaunted, Sepultura returned in early 2001 with Nation. The album followed in the footsteps of its predecessor, despite better reviews and a more seasoned Green on vocals. In order to reach out to its slowly shrinking fan base, the group released one of its last live shows with Max, Under a Pale Grey Sky, in the fall of 2002. An EP of covers, Revolusongs, was released in 2003, followed by the full-length Roorback, 2005's Live in São Paulo, and 2006's Dante XXI, and 2009's Clockwork Orange-inspired A-Lex. The following year the band announced they had signed to Nuclear Blast, where they would go on to release 2011's Kairos, as well as their 13th studio album, The Mediator Between the Head and Hands Must Be the Heart, in 2013.
Moonspell is a Portuguese gothic metal band. Formed in 1992, the group released their first EP Under the Moonspell in 1994, a year before the release of their first album Wolfheart. The band quickly gained status and became one of the most recognizable metal bands from Portugal.
Moonspell reached the Portuguese top first with their album Sin/Pecado, and were, along with Metallica and Iron Maiden, the only metal band to reach the first place of the Portuguese charts after the release of their album, Memorial, in 2006. With Memorial, Moonspell also became the first Portuguese heavy metal band to have a record certified gold status. They are also popular in Germany, where their albums consistently enter the Top 100 Chart.
Delain is a Dutch symphonic metal band formed in 2002 by former Within Temptation keyboardist Martijn Westerholt, and Charlotte Wessels. The name of the band comes from the Kingdom of Delain in Stephen King's novel, The Eyes of the Dragon.
Delain started in 2002 as a new project for former Within Temptation keyboardist Martijn Westerholt. That same year they also released the demo "Amenity". Afterwords things got a little quiet. But in 2005 Westerholt joined forces with Charlotte Wessels and the band got signed to Roadrunner Records. The group quickly released a single, "Frozen" and their debut album "Lucidity" followed in 2007.
Successor "April Rain" was launched in 2009. In support of the album the band toured extensively, with gigs at festivals like Graspop Metal Meeting and Lowlands. In February 2010 the band announced they were working on their third album, which was released in June 2012.
The band dropped their latest record, The Human Contradiction, last year in April. In promotion of the album the band have announced an extensive EU headline tour. Be sure to check them out at Biebob Concerts on October 30.
Periphery was formed by guitarist Misha Mansoor in 2005, who slowly gained a reputation on the Internet via a regularly-updated Soundclick account, the Meshuggah and John Petrucci forums, and the sevenstring.org message boards. Before and during Periphery's tenure in the metal scene, Mansoor developed a reputation for doing his own audio production, the majority of which was performed with a home computer and a Pod XT. Mansoor has continued to update his personal project, Bulb, often transferring songs between the two projects. Mansoor also continues to be involved in a number of other musical projects, including Haunted Shores, Four Seconds Ago, and Of Man Not Of Machine.
Periphery went through a number of lineup changes during its early history. Originally, Misha played drums in the band for live performances, but switched to guitar after recruiting Travis Orbin. The band also originally only had two guitar players (Misha and Alex Bois) until they hired Jake Bowen in 2007, feeling that they needed another guitarists to accurately replicate their songs live. Between 2005 and 2009, Periphery worked with vocalists Jake Veredika, Casey Sabol and Chris Barretto, gradually moving from a Meshuggah-influenced sound to a more ambient, melodic sound, with a focus on innovative production.
Periphery has toured extensively since 2008, supporting artists including Devildriver, The Tony Danza Tapdance Extravaganza, Veil Of Maya, Animals As Leaders, God Forbid, Darkest Hour, The Dillinger Escape Plan, Fear Factory, Between The Buried And Me, and Fair To Midland.
In 2009, the band replaced Travis Orbin with drummer Matt Halpern, who like Mansoor grew up in Baltimore and who is known as the co-founder of the online music lesson website BandHappy. In January 2010, Sumerian and Periphery announced April 20 as the release date of the band's self-titled debut album, to be distributed by Sumerian Records in the United States, Distort Records in Canada and Roadrunner Records in Australia and the rest of the world. On January 20, 2010, amid speculation that they had changed vocalists again, Periphery uploaded an album sampler featuring vocals by Spencer Sotelo, a San Diego native who was later announced to be Periphery's new vocalist. On April 8, 2010, Periphery posted a new track, "Insomnia", on their MySpace page and announced a tour of Australia in support of The Dillinger Escape Plan.
Periphery released their self-titled debut album, Periphery, through Sumerian Records on April 20, 2010. It debuted at #128 on the Billboard Top 200, as well as #2 on the Billboard Heatseekers chart.
After the release of the album, Periphery played multiple tours around the US and Canada; a short tour of Australia along with The Dillinger Escape Plan, and a headlining tour of the UK and mainland Europe in February 2011. The band's first headlining tour, "League Of Extraordinary Djentlemen Tour", featured support from TesseracT and Monuments in the UK, while their mainland European shows included Monuments and The Safety Fire. The band ran into multiple health issues during the tour, of which Spencer Sotelo had a case of Bronchitis and was regularly unable to perform the entire set. Jake Bowen also fell, breaking one of his fingers, in the first week of the UK tour and was unable to play for the rest of their headlining tour. He recovered and joined the band during the last couple of shows on their tour with Fair to Midland and Scale the Summit right before they dropped out of the tour.
On March 22, Periphery released a cover of Metallica's song "One", which was recorded for the Homefront video game soundtrack. The song was released as a free download on the Homefront main website, as were other covers by The Dillinger Escape Plan, As I Lay Dying, Veil Of Maya, and many others.
on January 19, 2011 the music video for "Jetpacks Was Yes!" was posted exclusively on NME. The video features a re-recorded and re-structured version of the song, which was released on the Icarus EP. Periphery's first single, from their Icarus EP titled "Frak The Gods", was released on March 24. The song, production quality, and Spencer's improved vocal abilities received acclaim from both fans and music critics alike.
on July 6, 2011, Periphery announced via a MySpace blog post that the band had parted ways with guitarist Alex Bois. However, they did not change touring schedules, hiring Mark Holcomb and Adam "Nolly" Getgood to play Alex's parts during live shows until they found a permanent replacement.
On 7 September 2011, they were announced as the opening act for Dream Theater on their European leg of "A Dramatic Turn Of Events Tour" starting in January 2012. On October 18, 2011, the band announced that Mark Holcomb (of Haunted Shores) was now the band's full-time guitarist.
On November 16, 2011, bassist Tom Murphy decided to leave the band.
At the time, Getgood had no plans to leave his group Red Seas Fire, which suggested his role in Periphery was only temporary. The band also hired Mark Holcomb's brother Jeff to play bass on their 2012 US tour with Protest The Hero, Jeff Loomis, The Safety Fire and Today I Caught The Plague.
On February 21, 2012 the band re-released their debut album with a new single on iTunes entitled "Passenger". This was a partially re-recorded version of an old Haunted Shores song. The release date of the new album, currently untitled then, was revealed in an advertisement in the May/June 2012 edition of Revolver Magazine. It is to be released on July 3rd. In addition, the new album features guest solos by John Petrucci, Guthrie Govan, and Wes Hauch, guitarist for [band]The Faceless[band].
Periphery then entered the studio to work on their next two full-length releases. The band stated via their Facebook page that they would be releasing two full length albums. They would contain a mixture of reworked "Bulb" demos as well as completely new material written by the full band (in contrast to their debut album, where Misha had most of the creative input). The upcoming releases would also be the first to feature the use of string arrangements and orchestral elements. The album would be produced by Misha and Adam "Nolly" Getgood (of British progressive metal band Red Seas Fire) and would be engineered and mixed by Taylor Larson (Sky Eats Airplane, Of Legends, Life On Repeat). The title of the first album was revealed to be Periphery II: This Time It's Personal. Like its predecessor, Periphery II will not follow a conceptual theme. The second of the two which will be entitled Juggernaut will be a concept album.
During their set at the Sonisphere festival in Knebworth, UK, the band played a brand new song entitled "Face Palm Mute", When Tom Murphy and Matt Halpern were interviewed before Periphery's set they stated that the band "have enough material to write 3 new albums".
In July 2011, Mansoor elaborated on the forthcoming albums in Australian magazine Mixdown. He confirmed that there would be two albums recorded, and that one would be a concept album. Mansoor has had interest in a concept album for quite some time, stating that "[he] wanted to to get this concept album out there. It's been an idea for years and years." Mansoor also revealed that the band would release the albums separately, saying "[they]'ll probably do a staggered release, three to six months apart" and that "[he] really want[s] them to be these separate bodies of work, because they will sound different, and be completely different approaches, too."
Even though it was announced before, the official name of the album was confirmed through a Facebook post by the band stating: "just to be clear to all our Peripherals, the album is officially called Periphery II: This Time It's Personal. We decided to keep the cover title free, but in the booklet that is the official name. The forces that be felt that it would be iffy marketing it as that, so press releases and such won't reflect that..."
Periphery II was officially available for streaming on YouTube on June 28, 2012. Hours later, the band announced that Adam "Nolly" Getgood was officially joining the band as its full-time bassist. According to Mansoor, "We love him dearly as a friend and found that we have excellent chemistry both on stage and in the studio... hiring him as our full-time bassist was the logical solution." While the band's other touring bassist Jeff Holcomb will be performing with them until October, Getgood will be taking his permanent spot in the live line-up for their European tour with Between The Buried And Me and The Safety Fire.
Young, talented and hungry: what other words could better describe the four members of DAGOBA ? Furious maybe. It wasn't by accident that their first EP was titled Release The Fury. DAGOBA members grew up listening to Pantera, Machine Head, Fear Factory and some black-metal. They decided to keep the best elements of each, melting them into something different, pushing the envelope of metal. With machine-like drums, crushing guitars, pounding bass, powerful vocals, and a touch of electronics, DAGOBA crafted their self-titled first album in 2003 and is about to come back with a second album early 2006.
The history of DAGOBA started in September 2000 when then-20-year-old Shawter (vocals) decided to revamp the line-up of his old band due to the lack of motivation from the others (despite two demos and an opening slot for Rammstein). He teamed up with Franky (drums), Werther (bass), and Izakar (guitar) and together, the four dedicated and creative musicians began writing songs and building the backbone for DAGOBA. In November 2001, they released their first 6-track EP which was acclaimed by the European press. After a short tour, the band set to writing new songs for their first full album. Recorded early 2003 at Praxis Studio in South of France, then mixed at Philia Studio in Oxford (England) by Dave Chang (Stampin' Ground, Linea 77, Orange Goblin) the outcome was fierce and ready to explode into the metal scene. As Shawter said, " With DAGOBA, we try to turn violence into energy and emotion."
The album was released in June 2003 through EMI France, and once again, the press loved it : Hard N'Heavy gushed, "Impressive! Huge! This album is killer." Rock Hard once again shrieked, "DAGOBA just wrote the soundtrack to murder!" Rock Sound said, "DAGOBA crushes everything and leaves no one alive!" It was then time to hit the road again, something they do with complete devotion. DAGOBA toured nonstop from August 2003 'til December 2004. Highlights of the tour included opening for Machine Head in Brussels, for Fear Factory in Amsterdam, and playing the 2004 Dour festival (Belgium) in front of thousands of people.
Early 2005, DAGOBA entered writing mode again. In July, the band inked a deal with the international label Season Of Mist, and in August, they were chosen to open for the only Korn date in South of France. Then, they spent an entire month in Denmark at the Antfarm studio to record 12 new songs, with producer Tue Madsen (Mnemic, HateSphere, The Haunted). A very successful collaboration as Madsen explains : "When I first got the preproduction of the new Dagoba record, I knew this was something special. Even with low-fi demo sound, it still caught my attention from the first moment. Very dramatic stuff and very well played. We put a lot of good work into this, and now I can't wait for people to hear it. This is one record the world will notice! ". As the icing on the cake, special guest vocals on two of the songs were provided by Simen "Vortex" Hestnaes (Dimmu Borgir, Arcturus).
What Hell Is About will be released worldwide through Season Of Mist on February 20th, 2006, and DAGOBA is ready to go back on tour. This time, it's gonna be "The Road to Hell" !
In het totaal zesendertig bands maken hun opwachting tijdens deze editie van Eindhoven Metal Meeting 2015.
Hier een aantal biografieën van de belangrijkste bands.
Behemoth have always pushed the limits of their abilities and defied the boundaries of death and black metal. Now, the Polish metal kings have returned with a new offering, The Apostasy, which is destined to become both the defining release of the band's career and one of the most revered and dynamic offerings the genre has seen in years. The Apostasy's basic meaning is "to go against religion" and with Poland being one of the top religious countries in the world, Behemoth strives to convey that being religious is not the key to happiness. This album takes everything to the next level, as Nergal (guitars, vocals) promises "more speed, aggression and blasphemy than ever before". The Apostasy is easily the group's most ambitious and epic offering yet and was recorded in the band's hometown of Gdansk with Nergal and longtime sound engineer Malta in the producers' chairs. The effort was once again mixed with the acclaimed Daniel Bergstrand (In Flames, Meshuggah, Strapping Young Lad) at Dugout Studios in Sweden and will be mastered by Bjorn Engelmann (Rammstein).
Behemoth built their career upon their unrelenting touring schedule, performing over 325 shows worldwide in support of their 2005 release, Demigod. The group kicks off The Apostasy's worldwide touring cycle on Ozzfest 2007 as direct support to second-stage headliners Hatebreed. This event marks Behemoth's biggest U.S. tour yet, further setting the stage for the band to become the new leaders of the genre.
Originally formed by a teenage Nergal in 1991, Behemoth quickly made a name for themselves in black metal circles with four early cult albums: From The Pagan Wastelands, ...And The Forests Dream Eternally, Sventevith (Storming Near The Baltic) and Grom. But it wasn't until the release of Pandemonic Incantations and the addition of Inferno (drums) that the band started to realize their true potential. Songs became catchier, where the musicianship and production vastly improved. With Satanica, Behemoth started to incorporate more of a death metal approach to their songwriting. The high, raspy, black metal screeches of the first four albums were replaced with a forceful yet audible death metal growl. Two successful European tours followed with Deicide and Satyricon as the band started to amass a rabid following. In 2001, Thelema.6 was released in the U.S. Truly a landmark in the extreme metal community, Thelema.6 saw the band combining their early black metal influences with the utter viciousness and technicality of Satanica.
Now an unstoppable live force, touring opportunities with bands such as Nile and Morbid Angel began to pour in. For those who thought the band had reached their peak, nothing could prepare them for what came next. Zos Kia Cultus (Here And Beyond) was unleashed upon unsuspecting audiences in 2003. The album saw Behemoth set a new standard in massive production and song craft for all others to meet, as they take a slight turn away from the more straight-ahead brutality of Thelema.6 and put more of an emphasis on groove. As rave reviews started to flow in, the group made its American live debut at the New Jersey March Metal Meltdown festival. The several extensive nationwide tours that followed (which included treks with the likes of Deicide, Amon Amarth, Halford, Testament, Superjoint Ritual, Opeth, Lacuna Coil and Six Feet Under) helped to make 2003 a breakthrough year for the band.
Demigod was the next logical progression of the band's already colossal sound. The songs took on an even more aggressive feel this time around, with more traditional metal song structures and slightly more melodic lead work. In an effort to match the grandness of the composition, a professional male choir was brought in to record real vocal harmonies for "Sculpting The Throne Ov Seth". A slew of major worldwide touring insanity followed with the likes of such acts as King Diamond, Suffocation, Danzig, Morbid Angel, Chimaira and The Black Dahlia Murder, helping the group to more than solidify themselves as one of the genre's most exciting new artists. The touring campaign for Demigod was ultimately capped off with an appearance on 2006's Sounds Of The Underground tour alongside As I Lay Dying, In Flames and Trivium where Behemoth quickly became the most talked about act due to their vicious and unrelenting live show, which immediately garnered them a whole new legion of devoted fans.
While most bands struggle to evolve and stay vital within the extreme music genre, Behemoth manages to do so effortlessly. The Apostasy is destined to continue the legacy.
Sweden's Candlemass helped reintroduce the lumbering power chords of Black Sabbath to an entire generation of post-New Wave of British Heavy Metal and post-thrash metalheads, almost single-handedly writing the handbook for the modern doom metal movement in the process. After the breakup of his first band, Nemesis, in 1985, bassist Leif Edling founded Candlemass with vocalist Johan Lanquist, guitarist Mats Bjorkman, and drummer Matz Ekstroem. Their watershed debut, Epicus Doomicus Metallicus, was released the following year, and though it immediately secured their standing within metal circles, it was only with the arrival of new vocalist Messiah Marcolin for 1987's Nightfall that the band found its true voice -- quite literally -- as the singer's vibrato-laden operatic tone remains completely original to this day. The album, which also saw the arrival of lead guitarist Lars Johansson and new drummer Jan Lindh, combined massive riffs and dark melodies into songs of epic proportions, which were made even more dramatic by Marcolin's religious lyrics and monk's habit stage costume. Candlemass repeated this formula with less inspired results on the ensuing albums Ancient Dreams (1988) and Tales of Creation (1989), each of which also saw a noticeable improvement in the production department. The appropriately titled Live closed the golden era of their career with Marcolin departing to form his own band, Memento Mori.
Singer Tomas Vikstrom was drafted as his replacement for 1992's Chapter VI (featuring a more conventional metal sound), but the band's popularity was in swift decline and Edling decided to disband soon thereafter. He formed a new group with decidedly Euro-metal leanings called Abstrakt Algebra in 1994, but after only two albums, he decided to resurrect Candlemass once again. The avant-garde metal of 1998's Dactylis Glomerata bore little resemblance to Candlemass' doom metal past, featuring Edling along with vocalist Björn Fklodkvist, guitarist Mike Amott, keyboard player Carl Westholm, and drummer Jejo Perkovic. Further lineup changes would occur, with guitarist Mats Stahl replacing Amott prior to the release of 1999's From the 13th Sun. Several years later, the classic lineup reconvened and released a self-titled 2005 album, followed by Lucifer Rising in 2008.
European farewell Show !!!
Nuclear Assault were among thrash metal's most socially aware groups, making room for serious subject matter (and occasional goofs) in their careening speed metal riffing. They also remained closer to the world of hardcore than most of their peers, and at their late-'80s peak released some of the most uncompromising thrash metal offerings of the time. After performing on Anthrax' 1984 debut Fistful of Metal, bass player Danny Lilker decided to jump ship and search for a more aggressive outlet for his music. Lilker formed Nuclear Assault with vocalist and guitarist John Connelly (also briefly a member of Anthrax in its formative years) in 1985. Guitarist Mike Bogush and drummer Scott Duboys only lasted a few months before being replaced by guitarist Anthony Bramante and ex-T.T. Quick powerhouse drummer Glenn Evans. One of the Big Apple's few challengers (along with Anthrax and Overkill) to the Bay Area dominance of all things thrash metal, Nuclear Assault became immediate contenders due to the cumulative sum of its parts — not to mention, their extreme nature and their ability to back it up with solid musicianship. Produced by metal stalwart Alex Perialas, their first album, 1986's Game Over, was regarded as a breath of fresh air with its potent speed metal tinged with hardcore overtones. In the process, fans and critics alike instantly accepted it and the band was quickly off to the races.
The following year The Plague E.P. was an even more intense aural experience, but also managed to introduce Nuclear Assault's dark sense of humor with an ode to Mötley Crüe singer Vince Neil (fresh off his vehicular manslaughter rap) on "Butt Fuck" (later retitled "You Figure It Out"). With constant touring making up for their obvious commercial limitations, the band continued to hone their craft in the studio, beginning with 1988's greatly improved Survive and culminating in 1989 the outstanding Handle With Care. The latter proved that the group could refine their political speed metal and songwriting without compromising their anti-establishment stance, and was supported by successful Euro tours with thrash titans Exodus, and later U.S. jaunts with Testament and Savatage. 1990s Live
at Hammersmith Odeon video celebrated this great phase, and the band came off the road having won a healthy dose of new believers. Shortly afterwards the band released "Out Of Order" and in 1992 Dan Lilker left to pursue Brutal Truth. The band released one more album (Something Wicked) and broke up.
In early 2002 the band was approached by a mutual friend to reform for a couple of shows. Their first reunion show was a the Metal Meltdown in April and there they found out that their was a demand for the band to continue. They played the classic NYC venue CBGB in May along with a show in Massachusetts that was recorded for a live album to be released on Screaming Ferret Wreckords in early 2003. After a triumphant performance at the infamous Wacken Open Air festival in Germany in August, original guitarist Anthony Bramante left the band due to commitments at home and was replaced by Erik Burke. In September 2002 the band returned to Sao Paolo, Brazil, where they had played back in 1989 with the then fledging Sepultura opening.
Nuclear Assault is currently in the process of writing music for the first new studio album in 10 years, and will be appearing at festivals thru Europe in 2003 and in the US on a mini tour thru the Southwest and West Coast in late January and early February.
An unswerving commitment to blasphemy and extremity combined with a relentless touring schedule and a steady stream of recordings has helped establish Sweden's Marduk as one of the better-known bands on the Scandinavian black metal scene. They began as more of a standard death metal band with a black metal influence, but have come to be known for their style of extreme black metal, which tends to focus on themes of warfare and anti-Christian sentiment and is characterized by relentlessly fast drumming and blurred walls of guitar. The group formed under the leadership of guitarist Morgan Steinmeyer Håkansson in 1990, with vocalist Andreas Axelsson, bassist Richard Kalm, and drummer Joakim Grave rounding out the lineup.
Fuck Me Jesus They released their controversially titled demo tape Fuck Me Jesus in 1991. Soon after, a second guitarist was added in Devo Andersson, while Bogge Svensson replaced Kalm on bass. Using this lineup, Marduk recorded their first official album, Dark Endless, which came out the following year on No Fashion Records. Unhappy with No Fashion, the band made the jump to the French Osmose Productions imprint, releasing Those of the Unlight in 1993, this time with Grave on drums as well as vocals and a new bassist in B. War. For their following release, 1994's Opus Nocturne, Fredrik Andersson was brought in on drums, Devo Andersson was dropped, and Grave was resigned to vocals. (Meanwhile, Osmose set about releasing the Fuck Me Jesus demo in 1995, at which time it was banned in seven countries.)
Heaven Shall Burn...When We Are Gathered The lineup shuffling continued with Grave's subsequent departure, at which time he was replaced by Legion (formerly of the band Opthalamia). With this new lineup, they issued their most well-received album, Heaven Shall Burn...When We Are Gathered, in 1996. This CD was followed by a concert recording from that album's tour entitled Live in Germania, which showed that they could indeed sustain the nonstop blasting intensity of their records without any studio assistance. (They did use a second guitarist, however, in Peter Tagtren of the death metal band Hypocrisy.)
Nightwing Subsequent releases included Nightwing (1998), an album partly inspired by the life Vlad Tepes, aka Dracula, and Panzer Division (1999), a war-themed concept album and their last CD for the Osmose label. Following their split with Osmose, Marduk set up their own label, Blooddawn (distributed in the U.S. by Century Media), releasing the double live CD Infernal Eternal as well as a new studio album, La Grande Danse Macabre, in 2001.
World Funeral In 2002, Emil Dragutinovic replaced Andersson on drums, and the following year the band released the more midtempo World Funeral, which was seen by some fans as an attempt to break into the mainstream. Devo returned to the band in 2004, this time on bass, and later that year Marduk released the more religiously themed Plague Angel, a theme the band would continue on its 2007 follow-up, Rom 5:12. Their 11th album, Wormwood, appeared in 2009, followed shortly by Serpent Sermon, which arrived in 2012.
Nifelheim was forged upon the anvil of wrath in the the year 1990
by Tyrant, Helbutcher and Demon.
Already at this point the band played pure Black Metal in the way of the old cult with black leather, spikes and chains, And made songs like Unholy death, Satanic sacrifice, Sodomizer etc. This were years before the black metal explotion, and when it came Nifelheim soon became famous for being the Chainsaw in the Norwegian forest...
In 1994 the first album was recorded and puzzeled people as it did not sound at all like all the other bands that were popping up everywhere, and by this divided the real headbangers from the trend children.
In 1997 the second album "Devil's Force" was recorded and spread darkness over the world with it's cruel and morbid sound.
2000 the third studio album "Servants of Darkness" was released. Of course in the same style as always before but this time with an even more dark atmosphere!
After "Servants of Darkness" the band decided to create a new line up consisting of five members to be able to play live. And so they did, the band soon got famous for being one of the most intense live acts with a show filled over the the top with spikes studs leather blood fire and death!
2003 was the 13th year of the band and a compilation of old and rare recordings were released called "13 years". Released only on vinyl and cassette.
2006 the band released a Split Ep with the first brazilian black metal band Vulcano.
Limited edition of 1200 sold out in one week.
During the years the bands cult status have heen growing more and more thanks to the bands totally uncompromising and unique sound and attitude.
And now finally the fourth studio album is finished!
The new album "Envoy of Lucifer" is not polluted by any modern influences from the awful 1990s or shitty present decade, and once again even darker and more aggressive then ever before!! Total Death!!!
In the year 1989 a monster was born. Drummer Joakim Sterner and the sadly late David "Blackmoon" Parland, who also co-founded DARK FUNERAL, had the vision for a new band: NECROPHOBIC. Stockholm was experiencing a violent outbreak of creativity at that time. GRAVE started this deadly trend in 1986, DISMEMBER had started out in 1988 and UNLEASHED also began in 1989. The Stockholm school of Death Metal took the world by storm. Yet, NECROPHOBIC were a step ahead in searching for a more sinister sound and occult topic, taking inspiration from those Swedish giants BATHORY. The second wave of Black Metal cast its mighty shadow ahead as embodied by the inception of MARDUK in 1991, for example. At first the band went through a number of line-up changes, which stabilised with bass player and future vocalist Tobias Sidegård joining in. After producing the "Realm of Terror" (1989), "Slow Asphyxiation" (1990) and "Unholy Prophecies" (1991) demos, NECROPHOBIC had their first official release with the EP "The Call" (1993), which immediately left a strong impression in the underground Metal scene. In the same year their debut full-length "The Nocturnal Silence" (1993) hit the world. Together with DISSECTION (which were also founded in 1989) and their first album "The Somberlain" (1993), NECROPHOBIC shaped another genuine Swedish Metal sound, which audibly combined elements of Death and Black Metal and is currently seeing in parts a strong revival by bands like WATAIN. NECROPHOBIC continued to evolve along this path with further line-up changes and a string of excellent releases, winning high accolades from critics and fans alike. The "Spawned By Evil" EP (1996) came as a prelude to second album "Darkside" (1997), which featured a guest appearance of the late Jon Nödtveidt from DISSECTION. From "The Third Antichrist" (1999) via “Bloodhymns” (2002), “Hrimthursum” (2006) to "Death to All" (2009), NECROPHOBIC continued to steadily grow their support and reputation as one of Sweden's supreme bands in their dark genre. Lead by founding member Joakim Sterner, the group is getting ready for their next big step. NECROPHOBIC's "Womb of Lilithu" easily stands out as their strongest so far. Combining their crushing trademark guitar riffing with the masterful vitriolic vocals of Tobias Sidegård and a surprisingly modern production that gives this album heavy volume and a cutting edge, "Womb of Lilithu" is a strong reminder that NECROPHOBIC are still far from ready to abdicate from the Swedish Black Death throne for any young pretender. All hail to the kings of Swedish darkness!
Gehenna was formed in January, 1993 by original members Sanrabb, Dolgar, and Sir Vereda. Their first demo, entitled Black Seared Heart, was recorded between the 3rd and 7 June 1993 in Soundsuite Studios, and was released as a cassette. Around this same time, a 7" titled Ancestors of The Darkly Sky was released by Necromantic Gallery Productions.
Shortly after the release of these two recordings, Sir Verada left the band due to legal problems, and was replaced by Dirge Rep. The band also enlisted Svartalv as bass player during this time. Up until this time, the band had yet to play any live shows. It was not until February, 1994 that the band made their live debut.
In 1994 Sarcana joined the band and added keyboards to the mix. In March, 1994, the band entered Soundsuite Studios to record their debut album, First Spell. It was released as an MCD on Head Not Found Records. First Spell generated a larger fan-base for the band, and led to them signing 2-album record deal with Cacophonous Records.
In 1995, Gehenna released their second full-length, Seen Through The Veils of Darkness. This record featured a guest appearance by Garm of Arcturus and Ulver doing vocals on the track Vinterriket. This release cemented Gehenna as a strong band in the black metal scene.
Shortly before the release of Gehenna's next record, Svartalv left the band. Noctifer, who had joined the band as Svartalv's replacement, was unable to meet the demands of being a member of Gehenna. After 6 months, during the recording sessions of Gehenna's third release, Noctifier left the band. E.N. Death, a friend of the band, was asked to sit in as a session bassist to finish the recording. After also joining the band on tour, he was asked to join the band full-time.
In 1996, Gehenna's third release, Malice, was released on Cacophonous Records. Sarcana and Dirge Rep both left the band shortly after a touring in support of Malice. Damien was added as Sarcana's replacement on keyboards and Blod took up drumming duties. With the new members, Gehenna's sound changed a bit. Blod brought a death metal background with him, and it influenced Gehenna in a much heavier way.
In 1998, Gehenna signed to Moonfog Productions and immediately released an EP Deadlights, which was a sample to their fans of what to expect from the newer Gehenna material. This EP was later followed by their Moonfog debut LP, Adimiron Black. During their tenure with Moonfog Productions, Gehenna would also release Murder in 2000 and WW in 2005.
In late 2005 Gehenna signed with ANP Records. In December, 2007, Gehenna announced that the previous contract signed with ANP Records was cancelled and that Gehenna signed with Norwegian based "Indie Recordings". Dirge Rep was also announced as a full-time member.
Onslaught was formed in 1983 in Bristol influenced heavily by the second generation of punk bands such as Discharge, The Exploited and GBH. Hardcore in nature, the music was simple and nihilistic, picking up on the disaffected zeitgeist. The band's earliest live performances hail from around this time and are the subject of some conjecture, although perceived wisdom records the band's first official gig at the Summit club in Kingswood, Bristol in late 1983. The original line up recorded only a single demo at Sam studios in Bristol and featured tracks such as Rape, Overthrow the System, and the very first rendition of Thermonuclear Devastation.
Personal issues saw the band employ a new vocalist and bassist with Roge Davies and Paul "Dickie" Davies taking on the respective roles. A series of support slots thereafter saw them opening for acts such as The Exploited, The Varukers and One Way System in Bristol. In addition the band performed a series of gigs around the rest of the UK. The second line up recorded a cassette-only release, What Lies Ahead, which included tracks such as Black Horse of Famine and Stone Divider.
The band's new material began to take on a more metal edge, with the first wave of thrash releases proving influential to their songwriting style. The lineup shifted in 1984, with Paul "Mo" Mahoney joining the band on vocals and Jase Stallard taking over from Dick on bass. A deal was secured with underground label Children of the Revolution, and the band released its first album, Power From Hell, in 1985.
The album was well-received by the nascent thrash underground. Its muddy, buzzsaw guitars and Mo's proto-death metal vocals fitted the bill perfectly and the band began to attract attention from a wider audience. Power From Hell's material gave a more metallic edge to the band's early sound; the album contained a number of tracks that were to grow to become considered as thrash anthems, including the eponymous Onslaught (Power From Hell), Angels of Death and Death Metal (itself the subject of some conjecture - was this tune the first usage of this term anywhere? The jury is still out on that one…).
More gigs throughout the UK followed. In late 1985 the band was introduced to charismatic vocalist Sy Keeler, who quickly became the singer. Keeler's vocal style was much more metal than that of Mo, his trademark screams adding a new dimension to the group's old and new material. Mo assumed Jase's position on the bass; Jase moved to rhythm guitar.
The new songs were captured on vinyl on The Force. Recorded at Matrix studios in London by the band and Dave "Death" Pine, the album was released on Music For Nations' subsidiary label Under One Flag to an expectant public in the spring of 1986. It quickly gathered rave reviews throughout the underground and, increasingly, the mainstream metal press. From the first expectant chords of Let There Be Death, which give way to an all-out aural assault, through the unexpectedly catchy Metal Forces and to the initially brooding, later white-hot Flame of the Antichrist, the album elevated Onslaught to a new level. On the album's success the band were invited to play a number of prestigious support slots with Girlschool, Exciter and Anthrax; the Exciter gig warrants a mention as the band's late soundcheck provided an ideal opportunity for the ravenous crowd to warm up their stagediving skills!
All Hail The All-Dwarf Rhythm Section
Continental gigs followed, the band generating strong interest throughout the low countries in particular. Invited to play at 1986's Dynamo festival in Eindhoven, the band stole the show with a frantic performance in front of over 8000 thrashers.
Mo decided to leave the band in 1986 for personal reasons; bassist Jim Hinder was drafted in and joined in November. The band continued preparations for the third album and, in the intervening period, continued to play a number of shows, including The Granary in Bristol and a short tour of the Netherlands in early 1987.
In March of that year they were invited to join Motorhead as special guests on the European leg of their Orgasmatron world tour. Kicking off at the Volkshaus in Zurich, the band played with Motorhead throughout Europe; the tour included some standout performances in places such as Naples and Copenhagen before ending up at the Rockefeller in Oslo. Both bands gelled well on a personal level, the Onslaught boys learning about life on the road from the masters of the craft themselves.
Returning to the UK, the band was asked to perform at the prestigious Colston Hall in Bristol, raising money for the local Bristol Community Festival. Despite prior warning from the band, the council refused to remove the front seats from the auditorium and considerable damage was done to the hall by the frenzied crowd, with a number of minor injuries resultant.
Shortly thereafter the band joined headliners Agent Steel, Nuclear Assault and Atomkraft at the Hammersmith Odeon in London for the midsummer Longest Day festival. Again, Onslaught put in a sterling performance, captured for posterity on the late Tommy Vance's Radio One Friday Rock Show. The gig featured the first outing of the AC/DC cover Let There Be Rock; Sy's teasing the crowd with a series of "Let There Be…"s, followed by a frenetic run-through of the AC/DC classic brought the Odeon to fever pitch.
Concerns had arisen around this time regarding Jase's guitar parts, and a decision was made in mid-1987 that he should no longer be in the band. A precedent of band members' dismissal for the sake of musical quality was established - one that would have an impact in the band's fortunes later.
Jase's replacement was Rob Trotman, whose fluid and eclectic guitar abilities had an immediate and extensive impact upon the band's direction. Rob's first outing on vinyl was a recording of the AC/DC cover unveiled at Hammersmith, released as a 12" single on Under One Flag.
Throughout the rest of 1987 the band continued to move forward with writing album three, titled provisionally Blood Upon The Ice. Bathory's usage of the same title saw the album's name change to In Search Of Sanity.
Sporadic gigs took place through 1987 and early 1988 - a late, steamy, packed show at the Venue in Glasgow, another outing at the Granary in Bristol whilst the October 1987 hurricane raged outside; perhaps the band's finest performances of this era came when they played three Irish shows - two in Dublin and one in Belfast - which redefined the nature of the crazy crowd!
It was also around this time that the band had been gathering the attention of a number of major labels - thrash was firmly in the ascendant at this time and Onslaught were the genre's leading exponents in the UK. It was not surprising when the band signed to London records in 1988.
The band began pre-production for In Search of Sanity in the summer of 1988 with producer Stephan Galfas (Stryper, Meatloaf), who set about facilitating the deconstruction and rebuilding of the band's material; whilst the members' individual performances improved dramatically as a result, there was no doubting that the spontaneity and energy of the earlier releases was being eroded by the process.
Recording took place in 1988 at West Side, Smokehouse and Eden studios in London - major label monies facilitating top-drawer studios at top-drawer rates…the album's budget overran. Mixed at Atlantic studios in New York, the result was a first-class power metal album that diverged considerably from the band's core roots.
It was now that the record label elected to intervene; on hearing the album, they declared that Keeler's vocals were not what they had been expecting. Sy's strengths were wholly under-utilised on the album - the material's early demos had been ferocious affairs, but Galfas' vision had diluted Keeler's innate aggression. London were insistent - in order to break into the league required to recoup the label's investment, a new singer would have to be found. For the second time, the band's lineup changed in less than pleasurable circumstances.
Step into the fold one Steve Grimmett, erstwhile vocalist with UK metallers Grim Reaper, who had been particularly successful in the USA. Sanity's vocals were reworked with Steve and the album remixed.
The new lineup released a single, Shellshock, in late 1988 to ubiquitously positive feedback from the press. Shortly thereafter a well-received brief UK tour saw the band joined by New York hardcore stars the Crumbsuckers and rising UK thrashers Slammer.
In Search of Sanity finally saw the light of day in the spring of 1989. The album's feel was much more polished, far more musically proficient, and it was received to universal acclaim from the metal press. It entered the UK national charts at 36 and peaked at number 1 in the specialist metal equivalent. The second single, a perhaps ill-conceived reworking of Let There Be Rock, charted in a similar manner at the same time and gained significant airplay.
However, there was an undercurrent of dissatisfaction in some quarters. The improvement in sound quality has been achieved at the loss of the very rawness that gave the band its early success; despite Steve's undoubted talents (one of the very finest vocalists in any genre the UK ever having produced), was Onslaught without Sy really Onslaught?
That being said, the album boasted some killer tunes with the title track, the first single Shellshock and the epic Welcome to Dying standout moments.
The band's subsequent headline tour through Europe, with Annihilator on all and Horse (London) on the UK leg, was a patchy affair. There were some major highlights though, in particular the band's first sell-out headline London show at the Astoria and a headline at Bristol's Hippodrome theatre (the subject of an MTV Headbanger's Ball special). To this day, Onslaught remains the only act from Bristol to headline both the city's major auditoria (a feat which the likes of Massive Attack and Portishead have not yet emulated).
There was a certain sense of anticlimax at the tour's completion; despite all the hard work and expectation the band had failed to make the leap into the big time. Not even the belated release of Welcome…as the album's third single could prevent what happened shortly thereafter.
In the early part of 1990, Grimmett made the decision to leave the band, primarily for reasons personal. The band's search for a replacement led them to Tony O'Hora, whose energy and powerful voice injected the band with a new sense of purpose.
Writing for album four, provisionally entitled When Reason Sleeps, quickened; new tracks were demoed for London. However, the response by the label was underwhelming; shortly thereafter, they exercised their right not to renew the band's contract - the expenditure that it took to make the third album had made their financial position precarious and the winds of change throughout the world of metal (thrash was by now past its peak) made a future breakthrough album less likely.
The search for a new label took the band back out onto the road toward the end of 1990 with Dead On from the USA and Sy Keeler's band Mirror Mirror. The tour was well-received in some towns, less so in others; reviews were universally excellent. However, after the culminatory Bristol Bierkeller and London Marquee gigs, Hinder and Trotman both decided to leave Onslaught.
And so the band ceased to be in January 1991. Grice and Rockett went on to form Frankenstein, touring the UK with Saxon. Following that band's demise, Rockett played in a number of projects, including the Power Junkies. Grimmett enjoyed considerable success with Lionsheart, especially in Japan. Sy Keeler's Mirror Mirror continued for a while before folding. Tony O'Hora went on to front NWOBHM veterans Praying Mantis and, more recently, glam uber-veterans The Sweet!
Onslaught, who had enjoyed a meteoric rise from local punks to the edge of something big, faded gently into the collective unconsciousness…
Until Grice and Rockett, who had remained friends, were enjoying a pint in their local in October 2004. Steve complained to Nige that Power From Hell had been re-released without the band's knowledge or permission; this information gave the pair an inkling that there might still be some interest in the band's fortunes…
…and so Grice, who had also remained good pals with Hinder, called his diminutive mate and asked him if, by any wild possibility, he might consider picking up the bass again. A surprise visit to Sy Keeler's place of work by Steve and a fervent "yes" from the singer saw the four original members sitting around a pub table together for the first time in over fifteen years.
First rehearsal came. The kit was borrowed and not good. Striking the first chord, it was apparent just how much effort this was going to take! Limping through Metal Forces and Shellshock, Onslaught played together again. And everyone was smiling…
It was apparent as the weeks rolled on that a guitar wiz was required to fill Rob's considerable shoes…step forward former Mirror Mirror man Alan Jordan, Welsh wizard and thoroughly likeable guy. The formula was complete - all that was needed was time and effort.
Lots and lots and lots of work later we're here at the end of 2005. A new album's almost there. The songs are, in everyone's opinions, the equivalent in quality, if not better than, the first two albums. No hint of compromise in these tunes - dark, brutal, ferocious, uncompromising metal. The web forum has seen a gratifyingly brisk exchange of messages, for which the band are sincerely grateful. And gigs are in the pipeline - the first Onslaught headline show since 1990 will be at the Fleece in Bristol on Friday 25th November 2005; Saturday 17th December sees the band support Exodus at the X-Mass festival in Tilburg at the 013 club; the following night the band appear on the same bill at Antwerp Hof Ter Loo.
And where do we go from here? The new album should be with us in 2nd quarter 2006. No doubt it will be accompanied by gigs…Onslaught are back in business and there's no guessing as to where things might end up. Stick around…you might just enjoy it.
onan are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth. A three piece, in the grand tradition of many amazing fabulous three pieces that hold a tight line and an iron-grip command over the uber-synchronised chord changes and tempo-shifts of the holy trio of bass, drums and guitar. Two men have the task of vocalising wretched thoughts over the turgid weight of Conan. They bear it well, for the task is immense.
Way back, in 2006, Conan formed as a two piece. The years dragged by, fellow warriors came and went, and now they are three – Jon Davis on guitar and vocals, Chris Fielding on bass and vocals and Rich Lewis on drums. Collectively their plans are clear: they seek nothing less than the crushing of a million skulls.
They have committed their filthy, ocean-sized sound to wax (and the slightly less cvlt compact disc) twice thus far- with more fetid output always on the horizon. First came the hulking mass of debut album Horseback Battle Hammer (Throne, Aurora Borealis), followed by a split with like-minded sludge-lords, Slomatics (Head of Crom, Burning World). In December 2011 Conan returned to the remote wilderness of Foel Studio, Wales and into the capable hands of producer Chris Fielding for their next album which is to be released on Burning World Records in Spring 2012.
Hear the roar of battle. Smell the stench of split blood. A thousand heads piled high like a grim mound of suffering- a blasphemy to nature. Hail Conan!
Formed in 2007 with the intention of honouring England’s rich culture and heritage, Winterfylleth set a solidified mission statement to bring awareness to England’s historical stories, folklore, landscapes and ancestral past through their impassioned black metal.
Winterfylleth (which translates into Winter Full Moon from the Old English language) represents the first full moon in October as well as the Anglo-Saxon festival of the arrival of winter. With their “Rising of the Winter Full Moon” demo, they generated a massive response in the underground, causing them to be signed up by Profound Lore Records. Rising of the Winter Full Moon displayed a fierce focused vision of what Winterfylleth wanted to achieve through their music, and with their “The Ghost of Heritage” debut (that was released on the Winterfylleth of 2008), this vision was realised.
With their music Winterfylleth conjure moods and emotions that range from vicious and violent to melodic and elegant. “The Ghost Of Heritage” signalled a new shift for the underground UK black metal scene, with Winterfylleth being considered by much of the music press to be one of the most distinct acts of this movement, gaining critical acclaim from the worlds music media, most notably of which was being voted in Unrestrained Magazines’ “25 Best Albums of 2008”.
Lyrically, the band delve into tales of England’s archaic history, re-counting major events, battles, the spiritual outlook of the people and the way they lived and even draw inspiration from certain sites and scenery that grace the countryside of England and have played an integral part in England’s history.
In 2009 Winterfylleth had some personnel changes and regrouped adding to their strong original line up of Naughton & Lucas. At the same time they signed to Candlelight Records to handle the release of their 2010 album “The Mercian Sphere”.
The release of ‘The Mercian Sphere’ signified a shift in the fortunes of English/British Black Metal, with the band being propelled to international status, and helping to push the envelope of British extreme metal to the rest of the world. ‘The Mercian Sphere’ received album of the month/issue in Terrorizer Magazine & in Zero Tolerance magazine (in which Winterfylleth featured on the cover), as well as rave reviews in Metal Hammer (9/10) and Kerrang Magazine (4/5Ks) and the rest of the global press. All of this culminated in the album being voted #20 in the “Top 40 Albums of 2010” in Terrorizer magazine.
Winterfylleth have since featured at a number of major festivals on the back of the successes of this album. Headlining a stage at Bloodstock 2010, as well as being invited to play Roadburn 2011 & Metal Camp 2011.
In April 2012 Winterfylleth went back into Foel Studio to record their third album ‘The Threnody of Triumph’, again with producer Chris Fielding.
2012 saw a short UK jaunt with Primordial and further ventures into Europe with invites to play Hellfest in France, Graspop Metal Meeting Festival in Belgium and Wacken-Open-Air Festival in Germany. Winterfylleth were also invited back for another appearance at Bloodstock-Open-Air Festival in the UK.
On 17th/25th September ‘The Threnody of Triumph’ was released worldwide on Candlelight Records to critical acclaim. The 2xLP vinyl version was released soon afterwards on Back on Black Records. It received a 5/5 review in Kerrang! magazine and excellent reviews in Metal Hammer and Terrorizer magazines. The Threnody of Triumph was also voted number 15 in Terrorizer magazines top 50 albums of 2012 and the album was also voted number 12 in Kerrang! magazines top 101 albums of 2012.
Winterfylleth appeared at Damnation Festival in Leeds to a packed room in the UK on Saturday November 3rd 2012. Winterfylleth were also hand picked by their friends in Primordial to appear at the Irish bands own personal festival in Dublin Ireland, early in February 2013 entitled Redemption Festival alongside Primordial themselves and Solstafir.
In March/April 2013 Winterfylleth were honoured with an invite to tour Europe as main support to one of their major influences, Enslaved from Norway. Whilst on tour a fond friendship was forged between the two bands. The tour started in the UK and Ireland, then ventured to Belgium, Holland, Germany, Austria, Hungary and Poland.
Winterfylleth were invited back to perform at Graspop Metal Meeting festival in Belgium in June of 2013, and in August of 2013 Winterfylleth also performed at Summer Breeze festival in Germany and also ArcTanGent festival in the UK.
In early 2014 Winterfylleth were invited to be a part of 2 releases with another major influence on the band. Season of Mist released a limited edition split LP between Drudkh and Winterfylleth as well as a traditional folk compilation curated by Drudkh mastermind Roman Sayenko entitled “One and All, Together, for Home”. This featured Winterfylleth alongside peers such as Drudkh and Primordial performing traditional songs from each of their respective cultures.
After performing at the inaugural edition of Temples Festival in May 2014, Winterfylleth ventured into the studio again to record the new album “The Divination of Antiquity”. Having moved from Foel Studios, Winterfylleth‘s producer Chris Fielding had since opened a new studio called Skyhammer. This is where Winterfylleth recorded “The Divination of Antiquity”. “The Divination of Antiquity” is due out on CD and 2xLP on Candlelight Records on 06/10/14 in the UK and the 07/10/14 rest of the World.
In the August of 2014 Winterfylleth performed at Bloodstock Festival in the UK. Winterfylleth will be headlining the first day of Candlefest at The Underworld in London on October 4th. Winterfylleth will also be performing at the 10th anniversary edition of Damnation Festival at Leeds University Union on November 1st.
In December of 2014 Winterfylleth are heading out on tour in the UK and Ireland with Behemoth, Decapitated and Grand Magus.
“The Divination of Antiquity” is due out on CD and 2xLP on Candlelight Records on 06/10/14 in the UK and the 07/10/14 rest of the World.