Yes…to an extent. I mean I miss the neo-classical licks of Carl Johan Grimmark that characterised early albums such as “Awakening” or “Long Live The King”. And some songs in this new album I found a bit dreary despite them being well executed and very well produced.
But, to use the titular metaphor, there is also light in darkness if you just look for it. For example ‘The Armour Of God’ is one of the more interesting songs – great keyboard melodies, top-notch melodic vocals and lively guitar licks. However it’s the title-track that probably contains the album’s most convincing moments. Indeed ‘From Darkness To Light’ is a dramatic and emotional song that embodies the best of Narnia. The second part of the song is instrumental so Narnia featured it as a separate track.
Other notable characteristics of this album: well, it has a lot of groove in it and vocalist Christian Rivel sometimes ventures quite low on the vocal scale.
So while I’m not 100% convinced “From Darkness To Light” has enough merits to justify a 7/10 rating.
]]>The album is chock-full of catchy songs, even if sometimes I felt they were overdoing it with the ‘catchiness’ of the songs’ choruses (as in ‘The Fourth Reich’ for example). However the album also boasts some excellent song-writing that in fact makes up the release’s primary appeal.
Some notable moments: the intro to ‘Witches’ Dance’ has a techno-goth, Rammstein-style riff which, oddly enough, I quite liked. ‘Promised Land’ reminded me of Rob Zombie…perhaps not a co-incidence as Alex Horley, the cover artist of “Rock ‘N Roll Armageddon”, had previously worked with Mr Zombie. ‘Creature of the Night’ is a hypnotic number that I found myself singing along to after just a couple of spins.
One salient characteristic of this album is the pervasive use of electronic sounds, although not to the extent that Death SS had done with their “Panic” album of 2000. In fact I’d say “Rock ‘N Roll Armageddon” combines elements of all the band’s previous releases.
Another factor I cannot fail to mention is the excellent guitar work which definitely raises the album’s level a couple of notches.
‘Your Life Is Now’ and ‘The Glory Of The Hawk’ follow each other as both feature acoustic guitars. Both are stunning songs, especially the former which makes excellent use of the harmonica. These two are followed by the album’s closer, ‘Forever’, which has a faster tempo and where Death SS seem to give it all they’ve got.
A few background notes and comments about the album….”Rock ‘N Roll Armageddon” was self-released by the band in 2018 but High Roller Records felt it deserved a wider exposure. (I think so too!) And ‘Zombie Massacre’, ‘Witches’ Dance’ and ‘The Glory Of The Hawk’ had previously appeared on what are now hard-to-find singles or EPs…..but actually all 3 tracks are easily assimilated by the rest of the album.
If armageddon had songs like these playing as the world burned, the end might even be something to look forward to!
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Track listing:
1. Syteria – Reflection (exclusive & unreleased)
2. Airforce – Sniper [feat. Paul Dianno], (exclusive & unreleased)
3. Desolation Angels – Fury [Live], (exclusive & unreleased)
4. Blackmayne – Legions (unreleased)
5. Daxx & Roxane – State Outta Myself (exclusive & unreleased)
6. Ryan Roxie – Nevermind (unreleased)
7. DSP David ‘Scary’ Perry – Combinations (exclusive & unreleased)
8. Phonomik – Vicious Circle (exclusive & unreleased)
9. Playhouse – On Fire (exclusive & unreleased)
10. Vardis – Move Along [Raw & Live in London], (exclusive & unreleased)
11. Blue Ruin – Scream Queen (exclusive & unreleased)
12. Love and a .38 – Live is a Cage, Honey (exclusive & unreleased)
13. KrashKarma – Walking On The Sun (exclusive & unreleased)
14. Rat Bastard Syndicate – Black Looking Glass (exclusive & unreleased)
15. Matt Keen – Everything Else (exclusive & unreleased)
SYTERIA featuring Jax Chambers from the legendary Girlschool is a four piece UK rock band formed in 2015. www.facebook.com/syteriaband
AIRFORCE is an original, classic rock band from London who formed in 1987 and were a major force within the early NWOBHM scene. www.facebook.com/chop.airforce
DESOLATION ANGELS was fromed in 1981 and is a NWOBHM Band with colossal ‘HEAVY ROCK RIFFING’ from London England UK! Desolation Angels are ‘Classic Rock’ but with a modern and contemporary twist! www.facebook.com/DesolationAngels
BLACKMAYNE, is a NWOBHM band from UK an was fromed in the mid 80s. “Not as heavy as Tank nor as poppy as Terraplane, this solid five-piece were surely one of the over-looked gems of the movement, sparkling with sadly unfulfilled promise.” Garry Bushell www.facebook.com/Blackmayne-1724789894393199
DAXX & ROXANE is a ticking time bomb of raw Rock n’ Roll power and crushing heavy riffs ! With Led Zeppelin, Deep Purple and AC/DC as their key influences. www.facebook.com/DaxxRoxane
RYAN ROXIE (Alice Cooper guitarsit, Planet Axe) is a US vocalist/guitarist & songwriter, and best known as ALICE COOPER’S long-time lead guitarist and collaborator. www.facebook.com/ryanroxieofficial
DSP – David ‘Scary’ Perry is an accomplished musician and author. His journey with rock music started in the early 1980’s. His 1970’s fascination with theatrical bands such as KISS, Alice Cooper, plus the eighties Motley Crue, Poison era, set up this creative brilliant rock musician. www.facebook.com/dpwrite
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PHONOMIK, is an upcoming rock/metal band from Denmark, which can be described as a mix between Metallica and Disturbed. The song for Rawkaholic Volume 1 was mixed and mastered by Jacob Hansen. www.facebook.com/phonomik
PLAYHOUSE formed in the mid 1980’s. Influenced by the big hair Rock Gods of that era; just five high school friends that wanted to play loud! Playhouse opened for many great rock bands including Extreme, Lee Aaron, Killer Dwarfs, Brighton Rock, Screaming Jets and Harem Scarem and Peter Criss just to name a few. www.facebook.com/playhouserocks
VARDIS, NWoBHM legend Vardis sound has retained a unique heavy groove, and endured over decades. Vardis were forged out of Glam, Punk, Heavy Metal, Blues and Rock ‘n’ Roll in the crucible of 1970’s northern England. www.facebook.com/vardis.official
BLUE RUIN is a group of punk rock princesses out to make you scream – inspired and influenced by various genres including punk, hardcore, pop-punk, hard rock, riot grrrl and metal. www.facebook.com/weareblueruin
LOVE AND A .38 is a blue collar rock band in an unlikely place and have taken an “It’s all rock and roll to me” approach to their career. “Sounds like a hard rocking Foo Fighters cruising through the desert.” (Revolver Magazine). www.facebook.com/Loveanda.38
KRASHKARMA, the duo that has been labeled as ‘The White Stripes Of Metal‘ are conquering the scene of heavy music worldwide. With over 600 international shows – KrashKarma is one of the hottest touring acts. Ralf Dietel (WIZO) & Niki Skistimas are drawing their intensive energy from generations of Hard Rock, Heavy Metal, Alternative and Punk music. www.facebook.com/krashkarma
RAT BASTARD SYNDICATE, (feat. ex American Dog members) is a powerhouse quartet and international skull crushers. This band is LOUD, DIRTY and REAL. What you see/hear is what you get. Uncompromising, generally ill-behaved and too stubborn to give up. www.facebook.com/ratbastardsyndicate
MATT KEEN, front man and guitarist Rebel Soul Revival is a multi-genre musician from Chicago, IL (USA) who has been honing his eclectic style for years. When playing with his rock and roll band Rebel Soul Revival, The Matt Keen Trio or working around the country as a solo acoustic artist, Keen brings an unparalleled honesty and grit to his every performance. www.facebook.com/MattKeenMusic
Rock’N’Growl Records is a record label founded in 2009 by Axel Wiesenauer based in Germany. They focus on the rock and metal genre. The label working also with their division Rock’N’Growl Promotion heavily in the fields of publicity, press, promotion and consulting. Stay Rock’N’Growl !
www.rockngrowl.com
www.facebook.com/RockNGrowlPromotion
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Edinburgh, Scotland quintet DVNE (pronounced dune) have signed to L.A. purveyors of heavy, RidingEasy Records for worldwide release of future recordings. The band also returns to the US this summer to perform at the hugely popular Psycho Las Vegas festival on August 17th.
DVNE is a 5 piece progressive rock/metal band from Edinburgh Scotland. Founded in 2013, the band was then called Dune in reference to Frank Herbert sci-fi masterpiece of the same name. To date, the band has released one studio album and two EPs and has toured Europe and North America with bands such as Eyehategod, Crowbar, Dragged Into Sunlight.
Not content to repeat their previous releases and always looking to push their sound forward DVNE are about to enter Chamber Studio in Edinburgh this summer to record their 2nd full-length concept album, planned for release on RidingEasy in late 2019.
Dvne line-up:
Dvne online:
www.songs-of-arrakis.bandcamp.com
www.facebook.com/DvneUK
www.instagram.com/dvne_uk/
www.ridingeasyrecs.com
AN EVOLUTIONARY SPIRIT
Love it or hate it, the sound of Sadist is instantly recognisable. And yet the band has never shied away from musical experimentation. Formed sometime around 1990, Sadist play Death Metal with strong influences from Progressive Rock.
“Spellbound” is the most recent album from these Italians. The album is inspired entirely by the films of Alfred Hitchcock and is another gem from the band. Of course once the album was out, the band went on the road to promote it.
While touring Europe with I Am Morbid, Vital Remains and Atrocity, I pinned down Tommy Talamanca (guitarist, keyboardist and co-founder of the band) for an interview. It was the 3rd England date of the tour and before we discussed the new album, I asked Tommy what he remembers of the previous time he played here….
T.T.: Yes, we were here something like 6 or 8 years ago, supporting Suffocation, and we played this same venue, ‘The Underworld’. It was a very nice experience. It’s always a pleasure to come back here because England is the kind of country we don’t go so often to play. So we were glad to grab the opportunity to spread the music of Sadist around. For the previous two [England] gigs, it seems the people enjoyed the band, even if we are a little different to I Am Morbid or Atrocity or Vital Remains. Those bands play more straightforward Death Metal, whereas we are a little more experimental. Until now we’ve had a good response, let’s hope tonight we’ll see a similar reaction.
When Sadist started out, back in the early 1990s, Morbid Angel had already released their first couple of albums. So I wonder how much that band was influential in shaping the musical path of Sadist….
T.T.: I think we were influenced by several different bands from the late 1980s and early 1990s but since we were probably the first European Death Metal bands to use keyboards, you can say that an even bigger influence was Nocturnus, from the United States – they were the first Death Metal band ever to use keyboards. And Sadist were the second…or third…to do so.
Death Metal is a kind of music you can recognise from the drumming and from the riffing of the guitars, amongst other things, and these are all elements you can find in Sadist’s music. In that respect you can also recognise influences from classic bands such as Slayer and yes, Morbid Angel.
Let’s speak about “Spellbound”, the most recent album from Sadist. This is a sort of concept album where each song is about a different film from Alfred Hitchcock. Italy is famous for horror film makers, such as Argento, Bava and Fulci. So how come you chose to base an album on the works of a USA/English film-maker instead?
T.T.: We chose the master of horror film-making. Even Dario Argento once said that Hitchcock was the ‘master’ for him. For us it would have been quite obvious to talk about Dario Argento or Bava because they’re Italian. But we wanted to go to the roots of this film genre. In the same way, this album is for Sadist a return to the roots of the band’s sound. Even with the album’s horror themes, we are returning to the basics. Horror films have always had an influence on Sadist, starting from the films of the 1960s and 1970s.
In that context, I suppose a major musical influence has been Goblin, right? [Goblin were a Prog Rock band, founded by keyboardist Claudio Simonetti, who composed the music for Argento’s horror films.]
T.T.: Goblin have had quite a huge influence on us and it was a great pleasure to have had Claudio Simonetti play on one song on our album “Sadist” of 2007. So of course horror film soundtracks have been a huge part of our sound because we were influenced by Prog music of the 1970s but also from horror films.
Songs such as ‘Birds’ have melodies that I felt were directly inspired by Goblin….
T.T.: Hitchcock’s films don’t really have a connection to Rock music because Rock music hadn’t yet been born then. So we thought it would be interesting to re-interpret his films with Metal soundtracks. It would have been too easy to just cover the soundtracks of films – such as those of Argento – which already used Progressive Rock music.
How did you go about choosing which films to tackle? Were there any disagreements within the band on this?
T.T.: The original idea for the album came from Trevor, our singer, who is a huge Hitchcock fan. When he came up with the idea of doing a whole concept about Hitchcock’s films, he came with some lyrics that he had written about the topics of the films…films such as ‘Birds’, ‘Psycho’ and ‘Mountain Eagle’. And then we tried to re-interpret those lyrics. So the lyrics came before the music.
After that we sat down together in the studio and tried to compose the right music for those kind of lyrics, while of course also thinking about the film itself.
You mentioned ‘Mountain Eagle’….the film was one of Hitchcock’s earliest films and has, to my knowledge, been lost. So on what material did you base the song? Did you actually have an opportunity to see that film?
T.T.: Trevor had an opportunity to actually see the film and the rest of the band read its script. And then we tried to figure out what kind of lyrics and later what kind of music could fit with that film. Of course it’s our own interpretation. Who knows what Hitchcock would have thought about it? Maybe he wouldn’t like it or maybe he would like it,,,we will never know.
[Tommy then elaborated on the sounds specific to “Spellbound”…]
T.T.: For “Spellbound” we went back to our early influences, the same we had in “Above The Light”, the first album of Sadist. So we put a lot more orchestral arrangements. We also used an acoustic piano…we found quite an old one that had a scratchy sound but that was really fitting for the album. As much as possible we always try to work with acoustic instruments even if when playing live, it’s easier to use keyboards because you cannot tour with, for example, a real acoustic piano or with all the percussion instruments we use on Sadist’s songs.
You know, I recently saw an interview with Rob Halford, of Judas Priest, who confessed how difficult it is to sing and play an instrument at the same time…and for this reason he heaped praise upon musicians such as James Hetfield and Sammy Hagar. Of course you have developed similar skills in that you play both keyboard and guitar, even when performing live. What advice would you give to someone wishing to develop this level of co-ordination?
T.T.: Well, it’s actually like playing a piano. With a piano you use two hands and usually the right hand takes care of the melody and the left hand takes care of the chords. Of course sometimes that changes, sometimes they split or they twist but normally that is the way it goes.
With regards my way of playing, when I was little more than a kid…maybe I was 15 years old…I was already studying guitar when I started studying piano because I wanted to improve in harmony. About that time I saw Stanley Jordan, the incredible Jazz guitar player, who was playing guitar like it was a piano, using tapping techniques. Of course I had also seen Eddie Van Halen sometimes on stage playing guitar and keyboards but he never played the instruments simultaneously.
There’s also Tony Macalpine who plays both guitar and piano…..
T.T.: Yes, there’s also Tony Macalpine of course who does something like that. Anyway, that’s how it all started. Little by little I improved my technique and I managed to play both instruments together most of the time. And it’s funny because when I write music nowadays for Sadist, I’m already figuring out how it’s going to be on stage because of course it’s not very simple [to play both instruments together]. But if you arrange the synchronisation of your hands in a smart way, you can manage it.
When you see musicians who have some physical handicap, they improve their way of playing in interesting and creative ways, because they cannot play in the ‘normal’ way. For me, playing both instruments is quite a difficult thing to do so I have to find compromises and that changed and improved my way of thinking.
And in turn that changed the whole sound of Sadist….
T.T.: I guess so because I write most of the music and most of the melodies of Sadist so what I said probably influences the sound of the band.
By the way, I heard that Andy Marchini is not with Sadist any more.
T.T.: Yes, he left the band.
What happened?
T.T.: Well, that’s life. Being in a band is like being in a family….sometimes you might decide you want to leave your wife or you want to leave your parents…sometimes you might decide you want to change something in your life.
Andy was with Sadist for many years…
T.T.: Yes, he was with the band since the beginning. He had left the band for a couple of years and then rejoined the band once again in 1997.
So who has taken his place?
T.T.: Now we have a new guy, he’s a very talented guy. He’s younger than the rest of the band…and that’s a good thing because it means we have new energy…new blood…in the band. His name is Andrea Nasso. He is not as such from the Metal scene….
That could be a good thing…it could represent a different way of thinking about music…
T.T.: Yes, it’s a very good thing. We had done some auditions in our neighbourhood and found this guy who had studied Jazz bass in the States [U.S.A.]. He had some good techniques but he also played Metal in the past. He can offer something different to the sound of Sadist and that’s what we wanted. We didn’t want to replace Andy because we cannot. I mean trying to find somebody who has a similar style would be useless…it wouldn’t be interesting for us. Since it’s a big change in Sadist’s history, we took the opportunity to take a different step forward. Let’s see what the future will bring. Now we are touring with this guy…it’s the first tour with Sadist for him but everything seems to be going very well. We are very happy with him.
He probably had to learn the songs very quickly…
T.T.: Yes, but he’s a smart guy.
[The attitude to try to keep music evolving is not new, as Tommy explains while looking back at the repertoire of Sadist…]
T.T.: You know, the first thing that crosses your mind when you think of Sadist is a chameleon…a creature that always changes its skin. So if you compare each album together, they all sound a little different. For instance if you compare “Above The Light” with “Tribe”, you have two completely different albums. The same with “Tribe” and “Crust”. We all love “Crust”, we are very attached to that album because we think it was the best mix between aggression and the Progressive influences and still it remains very heavy.
Of course we know that in some countries “Tribe” is very popular. For instance as in Italy or in France. But it’s funny, when you go to Germany or when you go to Russia, all people go crazy for “Crust”. So it means that every country has different tastes, every audience has different tastes. And that’s quite nice for us because we can change our set-lists according to what country we’re playing in.
So have you done the same thing with the current tour…fine-tuning the set-lists depending on which country you’d be playing?
T.T.: Well, since we’re sharing the stage with some extreme bands, we tried to include the most extreme stuff we have in the repertoire of Sadist…the fastest and the heaviest songs. I reckon most of the audiences on this tour want to listen to extreme Metal music and that’s what we are giving them. We have so many songs written over a long career that we can easily adapt to different audiences.
Tommy, it has been a real pleasure speaking with you.
T.T.: It was the same for me. Thank you.
The Morbidfest poster should be a salivating proposition to any Metal fan, with the tour comprising pretty much the cream of Death Metal. Old-school Death Metal, yes, but with each band having its own distinct take on the genre. So it was with a palpable sense of anticipation that I descended into the appropriately-named ‘Underworld’.
The first band on, however, wasn’t one I was expecting…..
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Nahemia (https://www.facebook.com/pg/NahemiAband)
Before tonight I was blissfully unaware of Nahemia’s existence…so obviously I didn’t know what they sounded like before they hit the stage. Of course that wasn’t necessarily a problem, it only meant I was approaching the band’s show unfettered by preconceptions.
It turns out the Nahemia are a local band inspired by Scandinavian-style Black Metal. Besides the standard corpse-paint, the stage props included 2 pig heads mounted on spikes at the front of the stage and dripping with blood throughout their show. Nice. Nahemia certainly know how to get your attention.
To be honest, they weren’t bad…in fact I felt the band showed potential. Even the vocalist of Vital Remains, later in the evening, expressed his appreciation for the band’s show. Amongst a handful of original numbers, Nahemia also covered Mayhem’s ‘Freezing Moon’ during which the band’s vocalist proceeded to rip a Bible (or was it a Koran?) to shreds. The recently-released single ‘World Annihilation’ also found its way into their set.
I’m not sure I liked Nahemia’s set well enough to go out and buy their releases but, as hinted earlier, I can’t say I disliked their show either.
Sadist (http://www.sadist.it)
Having high expectations often increases the likelihood of disappointment – so did my overdue eagerness to see these Italians end up badly? Thankfully it didn’t!
Sadist took a couple of songs to get into their stride and from then onwards had the audience in their grips. Predictably the recent “Spellbound” album was showcased but I was happy to hear them play ‘Sometimes They Come Back’, one of their earliest numbers. On the other hand, I was slightly disappointed with the absence of the “Tribe” album from the setlist but as band mentor Tommy Talamanca told me before the gig, choosing setlists is tricky now that the band has 8 albums under their belt.
Bassist Andrea Nasso joined Sadist just before this tour and considering the complex nature of Sadist’s music, I was sceptical he would fit in at such short notice. However not only did he fit in but I was impressed with his skills as a bass player. In fact I was impressed with the abilities of all the band members. Trevor Sadist, the band’s imposing frontman, dressed akin Leatherface from ‘The Texas Chainsaw Massacre’ films, gave the horror-themed songs a more visual quality.
That Sadist had great material in their repertoire I had always known but tonight the band also proved to be a very good live band.
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Click/Tap the above link to listen to a brief interview with Tommy Talamanca, guitarist/keyboardist/composer with Sadist.
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Atrocity (https://www.atrocity.de/)
It’s hard to pin down the sound of Atrocity – the German band has straddled between Thrash and Death Metal and even flirted with Gothic sonorities. Tonight, however, they should be focusing on the recent “Okkult II” album as well as early material. So it should be Death Metal aggression all the way. As it turns out, I felt they sounded a bit too flat in context of this bill.
But I don’t want to sound too negative because there was lots to enjoy. ‘Necropolis’, from the band’s “Todessenshuht” album of 1992 sounded amazing. ‘Death By Metal’ proved to be a crushing Metal anthem. Atrocity even gave a rare delivery of ‘Blue Blood’, one of the band’s very first releases.
Oddly enough Atrocity played without a bass player (well, at least without a physically present bass player) and this might partly explain why they sounded a bit flat. If I may add one final gripe, the Atrocity symbol atop Alex Krull’s mic stand kept covering his face and in a venue like the Underworld (with a smallish area In front of the stage), this was sometimes annoying.
An enjoyable, if inconsistent, performance.
Vital Remains (https://www.facebook.com/vital.remains.official/)
Vital Remains were the aural equivalent of an atomic bomb ripping the venue apart. The band gave one helluva killer show. For a start there was the first wall of death I’ve ever seen at the ‘Underworld’, besides stagediving and crowdsurfing galore, including by Brian Werner, the band’s singer. In fact Werner was very much responsible for inciting the high levels of crowd violence – he is for me the quintessential Death Metal frontman.
As a single unit Vital Remains were powerful but always immensely tight. I was also impressed by guitarist/shredder Caio Kehyayan. After the gig I saw online clips of him covering Guthrie Govan and Vinnie Moore and, well, you really have to check those out for yourselves, dear readers.
Vital Remains always had a Black Metal edge to them and the stage antics reflected this, particularly in the last song……while the soundtrack from Bram Stoker’s Dracula blared from the speakers, Werner poured fake blood from a goat’s skull over himself.
In a way Vital Remains bridged the gap between Nahemia and I Am Morbid. Speaking of which…..(scroll down)
I Am Morbid
I Am Morbid were formed by David Vincent to perform material from the Morbid Angel albums that he had played on before his most recent split from that band. If Vincent wanted to prove he can still play that material then there’s no doubt to my mind that tonight he succeeded.
The numbers were performed in an almost chronological order of their release. The more aggressive the number, the better the band sounded. Just before the tour kicked off, Kelly McLauchlin (ex-Possessed) was drafted in as a replacement for Ira Black on guitar. Tim Yeung (ex-Morbid Angel) remains the band’s drummer as does Bill Hudson, playing guitar.
Not too long ago, I had seen (also in London) Vincent play several of these numbers with Morbid Angel. Of course I’d prefer him in context of Morbid Angel but, performance-wise, tonight’s show was as great as the MA show I had been to. I Am Morbid delivered what was expected of them and how it was expected.
I Am Morbid
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Click/Tap the above link to listen to a brief interview with David Vincent, bassist/vocalist with I Am Morbid.
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Repair To Ruin have released another teaser to the band’s forthcoming (and yet untitled) album…a lyric-video of the song ‘Tonight’. This follows the release of ‘Broken’, another single taken from Repair To Ruin’s album, set for a June 2019 release.
Based in London (England), Repair To Ruin is a 3-piece band specialising in groovy and catchy songs with down-tuned Nu Metal rhythms (think of a heavier version of Foo Fighters). The band’s omonimous debut album was released in 2015 and was produced by Matt Hyde (Slipknot, Trivium, Kreator). In recent years R2R has cultivated a reputation for fist-tight, in-your-face performances.
Don Whiberley – bass, backing vocals
Jason Sayers – drums
Here are the lyric-videos of both ‘Tonight’ and ‘Broken’:
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The Flaming Arts Agency has revealed a dream billing for fans of technical extreme Metal. This month MORBIDFEST is kicks off on an EU tour with a blasting line-up consisting of I AM MORBID (USA), ATROCITY (DE), VITAL REMAINS (USA), and SADIST (IT). All four bands have prepared unique sets for this tour to make it even more special.
MORBIDFEST dates:
Apr. 26 – Cottbus (GER) Gladhouse
Apr. 27 – Hamburg (GER) Kultur Palast
Apr. 28 – Aalborg (DEN) Stundenterhuset
Apr. 30 – Manchester (UK) Rebellion
May 01 – Coventry (UK) Empire
May 02 – London (UK) Underworld
May 03 – Apeldoorn (NLD) Gigant
May 04 – Eindhoven (NLD) Effenaar
May 07 – Saint Maurice (SUI) Le Manoir
May 08 – Marseille (FRA) Jas Rod
May 09 – Barcelona (SPA) Salamandra
May 10 – Madrid (SPA) Caracol
May 11 – Murcia (SPA) Gamma
May 12 – Lisboa (POR) LAV
May 15 – Milan (ITA) Legend Club
May 16 – Ingolstadt (GER) Eventhalle Westpark
May 17 – Mannheim (GER) MS Connexion
May 18 – Zwickau (GER) Seilerstrasse *
May 19 – Prague (CZE) Storm *
* (No VITAL REMAINS)
I AM MORBID led by the legendary David Vincent is about to perform material from Morbid Angel’s “Altars of Madness” (1989), “Blessed Are The Sick” (1991), “Covenant” (1993) and “Domination” (1995) albums. This is a great chance for death metal fans to hear the favourite songs live.
The German metallers ATROCITY have prepared a special program comprising the “OKKULT” album released via Napalm Records and all the popular tracks throughout the band’s history.
An exclusive 30th-anniversary set will be performed by the US blasphemers from VITAL REMAINS within the tour. Finally, progressive death metal veterans SADIST are going to present their recent album “Spellbound” along with old songs included in the set.
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It seems “God Of Storms” – the latest studio album (released in November 2018) by German Power Metal band TORIAN – has been received amazingly well by critics and fans alike. Therefore the band and their label decided to highlight another of the 10 songs that make up the “God Of Storms” album. The song is ‘Unbowed, Unbent, Unbroken’ – with its lyrics about the Vikings‘ unrelenting way of life. According to Ram It Down Records, the track was perfect to be transferred into a lyric video.
Catch TORIAN live in these forthcoming shows:
May 3 Bremen (GER) – Meisenfrei / supporting Mob Rules
May 18 Bergisch Gladbach (GER) – UFO (Bergisch Metal Fest)
May 25 Kamen (GER) – Postpark (Metal Force Attack Festival)
Swedish Power Metal band AXENSTAR today proudly present their new music video, which was filmed for the track ‘The Unholy’. The song appears on the upcoming album “End Of All Hope”, which will be released on April 26 (digital) and May 3 (CD, Ltd. red Vinyl) by Ram It Down Records.
Following the two previous singles ‘King Of Fools’ and ‘Honor And Victory’, ‘The Unholy’ provides another hint of what to expect from the Swedes’ new album.
01. Legions
02. King Of Fools
03. The Unholy
04. Honor And Victory
05. A Moment In Time
06. My Kingdom Come
07. The Dark Age
08. Mistress Of Agony
09. Time Is No Healer
10. Of Pain And Misery