Following their shows at both Desertfest editions in Berlin and London, SAINT VITUS are now ready to kick off their European tour at the Helvete Metal Club in Oberhausen Germany tomorrow, 2nd of May. The godfathers of American doom metal will be supported by Norwegian brothers in spirit, TOMBSTONES. The final curtain will fall at the Pokalen in Oslo, Norway on May 13th, but SAINT VITUS will return for a performance at the French Fall of Summer Festival in Torcy (close to Disneyland Paris) on the 8th of September.
SAINT VITUS tour
02 May 17 Oberhausen (DE) Helvete Metal Club
03 May 17 Wiesbaden (DE) Schlachthof
04 May 17 München (DE) Backstage
05 May 17 Schaffhausen (CH) Kammgarn
06 May 17 Tilburg (NL) Little Devil
07 May 17 Haarlem (NL) Patronaat
09 May 17 Osnabrück (DE) Bastard Club
10 May 17 Hamburg (DE) Hafenklang
11 May 17 Aarhus (DK) VoxHall
12 May 17 Karlstad (SW) Club Pebbles
13 May 17 Oslo (NO) Pokalen
SAINT VITUS Fall of Summer
08 Sep 17 Torcy (FR) Fall of Summer
Formed in 1979, SAINT VITUS were largely influenced by BLACK SABBATH, whose song “Saint Vitus Dance” obviously inspired the moniker. Since their debut album ‘Saint Vitus’ came out in 1984, the Americans have released seven more full-lengths and two EPs that are summarily considered to be classics of their genre.
‘Live Vol. 2’ will also be released as a special digipak edition containing a digisleeve as well as a triple gatefold vinyl, which are both strictly limited and will contain ‘Marbles in the Moshpit’. This live recording from Ontario, Canada in December 1984 was previously available as a bootleg and on limited vinyl, and features the line-up Dave Chandler, Mark Adams, original singer Scott Reagers, and late drummer Armando Acosta, who sadly passed away in 2010.
If you feel like you were born too late, are thirsty and miserable, and dying inside, then just look behind you, lean back and ride those white stallions on ‘Live Vol. 2’! SAINT VITUS will never be a waste of time!
Pretty stoked on this interview – John Cobbett from Hammers of Misfortune is underground metal legend, having played with Gwar, Ludicra, Vhol, Slough Feg, Amber Asylum and now leading Metal Blade’s progressive metallers Hammers of Misfortune – read this and learn something
* So you guys have been going for about what 15-16 years now? Can you give those who are new to the band a brief history of how the band came together and what everybody does?
The band started out as a solo project with just me. Eventually a real line up formed around it and we went under the name Unholy Cadaver for a while. We changed our name to Hammers of Misfortune and released our first album in 1999 or 2000, somewhere in there. Since then we’ve had many line up changes, too many to go into here. We have six full length albums to our name. Our current line up is:
Joe Hutton: vocals
Leila Abdul Rauf: guitar, vocals
Sigrid Sheie: organ, piano, vocals
John Cobbett (me) guitar
Paul Walker: bass
Will Carroll: drums
* What musical influences does Hammers of Misfortune have?
To name a few… Early Van Halen, Uli Roth era Scorpions, Yes’ first 3 albums, Metallica’s first 3 albums. Classical music and certain songs (“Windmills of Your Mind” is a good example. Certain songs have been very influential.) The Beatles, Simon and Garfunkel, Leonard Cohen, the Beach Boys and the Beatles. I mean, I could go on and on… My favorite band is probably The Sweet.
* Growing up – what live show did you catch when you thought “this is what I want to do with the rest of my life”?
Yes. I saw the Obsessed open for the Bad Brains when I was 14 years old. You know when you’re that age, new neural pathways are being formed that will determine a lot for the rest of your life. Obviously this mind blowing experience permanently warped my young brain.
* Name a classic rock song you wish that you had written
“Kill the King” by Rainbow. Such a kick ass song. “Flying Alone” on the latest album is a bit of a tribute to that song.
“Sigrid and I moved to Montana, so we don’t even live in the Bay Area anymore.”
* Off the top of my head most of you guys are in other notable Bay Area bands (We have interviewed Leila Abdul-Rauf about Cardinal Wyrm and the ladies from Ludicra (Laurie and Christy) re: their new band Ails. I have also seen one of your other bands Slough Feg before , by chance in some bar in SF (down an alley way and thru some restaurant)how do you guys manage to find time to do Hammers of Misfortune and all your other bands?
Ha, I think i know which gig you are talking about. Can’t remember the name of that place…
It’s quite challenging, to be honest. Everybody is always busy. It’s especially hard now that a few of us have young children. Also, Sigrid and I moved to Montana, so we don’t even live in the Bay Area anymore. We manage to find a way. I end up doing a lot of the work by myself. I don’t ask people for their time until it’s absolutely necessary.
* You have worked with some really notable record labels (Profound Lore and Metal Blade) over the years with Hammers of Misfortune..do you have any preference with working with labels compared to going it the DIY route? What can they bring to the party that bands can’t do themselves these days?
Distribution, know-how and PR. A label knows how to put out records, deal with cover art, pressing plants etc. better than a band is going to. Distribution is still a big deal, especially with people buying vinyl again. And PR is huge. You could put out the best album ever recorded but no one will know a thing about it without PR. A label like Metal Blade has the PR game down way better than any band member could hope to. All this stuff is probably too much for band members to deal with. Unless they quit their job and just do band business full time.
* How does the songwriting process work with H.O.M? Does it all start with you or is it a group effort?
I do most of the songwriting by myself. We just don’t rehearse enough to collaborate heavily. Once we get together everybody has their chance to offer their 2¢ about the arrangements etc. I’ll work on a song for months sometimes before I feel it’s ready to bring to practice.
“I don’t think folks have the budget to hire producers these days, but I’d love to try it.”
* If I am not mistaken you also produce the bands albums too – how did that come about? Self taught or do you also produce other acts?
At some point I started getting really interested in recording. By the time Hammers and Ludicra started recording I just naturally fell into the role of producer. I would be there every minute of every session, making a lot of decisions. I guess it was an accident, done out of necessity. I’ve never produced other people’s bands, but I’ve thought about it. I don’t think folks have the budget to hire producers these days, but I’d love to try it.
* What’s the recording process like for you guys? Many bands I deal with these days prefer the digital / pro tools set up as opposed to the old school tube amps and 2″ tape days. You?
We’re more into the tube amps and 2” tape, for sure. However, we normally do a combination of analog and digital recording. The sound will hit tape before it enters pro tools. Most of the mixing is done in Pro Tools, but I’m less and less into plug ins and digital effects as time goes on. On our last album (Dead Revolution) we didn’t use any digital effects at all. All the reverb was off big 4×8 reverb plates, and the rest of the effects were stomp boxes and tape delay.
The way we record is standard enough. We play the songs through with the whole band, and then we overdub keys, guitars and vocals. We don’t use metronomes or tempo maps. Lately I’ve been doing some interesting things with re-amping.
* I know you guys have a big tour this summer – do you have favorite cities and towns to play?
I’m sorry to say we aren’t doing a tour this summer! We’d like to, but Joe is going to be a first time dad coming up here, and Sigrid and I have a 2 year old. We’d have to take a mobile day care unit with us! We’re a pretty obscure band at the end of the day, we don’t exactly pack large venues. We have pretty good shows in Portland, Seattle, Chicago, Austin and New York. And San Francisco, of course. In other places we don’t seem to draw very many people. I don’t know if it’s just the terrible performance of our former booking agency or what. We haven’t had great luck with touring.
“There was the time we forgot to lock our trailer and all our stuff was falling out on the highway all the way from Des Moines to the Twin Cities.”
* Any classic tour stories from previous tours?
Well there was the time we forgot to lock our trailer and all our stuff was falling out on the highway all the way from Des Moines to the Twin Cities. We spent the next day retracing our steps and trying to find our shit. It was awful!
* You were in GWAR for awhile right? How did that come about? You must have some hilarious stories about Dave Brockie?
I knew Dave from the punk scene in Washington DC. We got along great because we both loved music and comics. I was only in Gwar for a few months. I never put on a costume or played live with them. Dave was a hilarious guy, definitely the kind of guy that just takes over the room when he walks in. One of the most charismatic people I’ve ever met.
“The stereotype of SF being full of weirdos was definitely true.”
* The Bay Area has been a prolific breeding ground for rock musicians since the 1960s? Why do you think that is?
It’s interesting because you could hardly have 2 more opposite scenes; the 60s Grateful Dead scene and the 80s Thrash scene with Metallica etc. There was also some amazing stuff from the Dead Kennedys to Neurosis and Sleep. There was just a lot of creative energy in music (not so much anymore, unfortunately). The Bay Area never became a big time center of the music business, like Seattle, LA or Brooklyn. I guess there was a lot of friendly competition, which just makes everyone work harder. And yes, the stereotype of SF being full of weirdos was definitely true.
“SF is the poster child for devastating gentrification”
* I spoke about this with other Bay Area musicians in recent interviews – are you very concerned about the rapid gentrification of the Bay Area? I know many musicians are thinking of making the move to LA simply because its cheaper
Yes, in fact, as I mentioned above, we have already left San Francisco. The City has changed so much, it’s not the place that I fell in love with all those years ago. It’s a great place to be rich, or homeless. It seems like this is happening in a lot of cities now, but SF is the poster child for devastating gentrification. All the real culture has been priced out.
* What can we expect from H.O.M. for the rest of 2017?
I hope to get started on album number 7 pretty soon. We’d love to play some festivals!
* Any final words?
Hails and thanks to you and everyone who reads this!
Angelplague is the third album from New Jersey’s death metal derelicts KALOPSIA. Weaving together the blasting intensity of American death metal, Scandinavian melodies and Jersey’s home grown breakdowns, Angelplague is KALOPSIA’s most ferociously heavy effort to date. The relentless opener “Destined to Return” is a high-velocity foreshadowing of things to come, while “Christened Upon the Slab” and “Not Peace But Pestilence” focus on knuckle-dragging, head nodding groove. “Scorched Earth and Blackened Skies,” the longest and most dynamic track on the album showcases frenzied fretwork and brutal groove before unleashing a dual-guitar hook that gets stuck in the listener’s head with all the subtlety of a pick axe.
“We wanted to come out swinging” says guitarist Matt Medeiros. “Our last album was focused on speed and dexterity. This time we wanted bigger hooks, and bigger breakdowns.”
Angelplague continues KALOPSIA’s horrific mutation, blending blasting brutality, pit-inducing ignorance, melodic guitar interplay and an old-school vibe to create a pestilential soundtrack to scorch the earth and blacken the skies. The album was produced by Bobby Torres at Frightbox Studios.
Matt Medeiros (Ruinous, ex-Funebrarum) – Vocals / Guitars
Justin Spaeth (Abacinate, Hammer Fight, Dysentery) – Drums
Drew Murphy (Hammer Fight) – Bass
Steve Horvath (Deteriorot) – Lead Guitars
MADROST returns with a new full-length album titled The Essence of Time Matches No Flesh on June 27! Featuring seven tracks of Orange County’s finest Progressive Thrash Metal from one of the scene’s most sci-fi bands! This is 37 minutes of total devastation and chaos, makes this the only album to truly bake your brain! A lyric video for the album’s opening track, “Eyes of the Deceit,” is live, check it here
On The Essence of Time Matches No Flesh, MADROST has found its definitive sound, one that is much more dynamic and darker than previous album Into the Aquatic Sector. The forthcoming album picks up where Into the Aquatic Sector left off and takes the sound to a whole new, previously unexplored level. Vocalist/guitarist Tanner Poppitt comments: “I wanted a broader scope to work with and have the listener think about what they are listening to.” Last but certainly not least, Tony Koehl’s (The Black Dahlia Murder, Putrid Pile, Malignancy, etc) cover art also represents a huge step forward for the band, as his artistic interpretations tie everything together into a cohesive whole.
The Essence of Time Matches No Flesh was mastered by Alan Douches of West West Side Studios, and mixed and recorded by Mark Rivas of Rivas Studios. The album was produced by Mark Rivas and Tanner Poppitt.
1. Eyes of the Deceit
2. The Silence in Ruins
3. From Sand to Dust
5. No Future
After a five-year wait, veteran Dark Descent alumni Father Befouled return with Desolate Gods, their 4th full length offering of twisted and cacophonous death metal chaos.
Picking up where 2012’s Revulsion Of Seraphic Grace left off, Desolate Gods picks up the torch, infusing their influences into a suffocating and mysterious album of serpentine riffing and lurching, cavernous doom. Compounding that is a maturity – a sound evolved from the heavy-handed Incantation worship of before – to a distinct sound all their own.
In their 10 year existence Father Befouled has developed into a tried-and-true death metal machine, and Desolate Gods is the direct result of that practice: a visceral and violent expulsion of rotting death metal blasphemy.
As much as the music of Desolate Gods is rooted in the influence of bands like Morbid Angel, Incantation, and Monstrosity, the lyrical direction pays homage to the ancient gods of death and chaos. The darkness that governs the universe and the pain that death creates.
Dark Descent Records will release Desolate Gods June 23 on CD and digital formats.
Desolate Gods was recorded in various sessions in Atlanta, GA, between August and December 2016. The album was mixed and mastered by Cruciamentum’s Dan Lowndes at Resonance Sound Studio. Cover art by Alex Shadrin of Sickrites/Nether Temple Design.
Father Befouled will make a May 27 appearance at the Maryland Deathfest.
Formed in 2014, Australia’s Earth Rot has wasted no time in spreading their venomous blend of black and death metal and released a four-track EP titled “Dirt” that same year, followed by their debut full-length “The Black Smoke” merely six months later. Both releases stunned the underground scene, showcasing the same energy and hunger of a pack of dingoes hunting in Australian desert. Such great reactions opened a few doors for the Perth-based four-piece group and offered them the chance to tour across Australia, Asia and even Europe, where they opened for Aversions Crown and Thy Art Is Murder.
In 2016, the group issued a new EP titled “Chthonian Virtues” to great critical acclaim, No Clean Singing for instance said “Chthonian Virtues houses five songs, and while it’s true that they’re all indeed trying to kill you, listening to them is an exhilarating experience for other reasons besides that one.”
Now just one year later, Earth Rot returns with their second full-length album “Renascentia”, which sees the Australian four-piece further honing and sharpening their crushing and vicious blackened death-metal attack. Recorded by Sam Allen and Jared Bridgeman at Electric City Studios, Western Australia, mixed by Erik Rutan (Cannibal Corpse, Goatwhore, Hate Eternal, Morbid Angel) at Mana Recording Studios, Florida, “Renascentia” features the same pummelling aggression that Earth Rot have been inflicting their listeners since their first EP, 2014’s “Dirt”, but also offers some new and refreshing ideas, like for instance, the saxophone played by Shining’s Jørgen Munkeby on the track “The Bones That Lay Beneath The Earth”.
Ultimately, “Renascentia” is clearly destined to be hailed as one of the best death metal releases of 2017.
California’s death-thrash machine Sacrificial Slaughter return to Horror Pain Gore Death Productions for the release of Generation of Terror.
Since forming more than 15 years ago, Sacrificial Slaughter has grown into one of the most dominant forces in the underground. The band’s evolution is fueled by series of full-lengths, EPs and splits, along with relentless tours with the likes of Vader, Master, Vital Remains and more.
Generation of Terror showcases the band’s razor-edged aggression and calculated violence with five brutal new tracks and a cover of the classic Carnivore track “Race War.”
RIYL: Asphyx, Autopsy, Behemoth, Cephalic Carnage, Cryptopsy, Death, Exhumed, Goatwhore, Malignancy, Massacre, Misery Index, Monstrosity, Nile, Razor, Suffocation and Vader.
Horror Pain Gore Death Productions will release “Generation of Terror” May 12 on CD and digital formats.
Catch the band live on the Strike of the Empire 2017 Tour featuring Vader & Internal Bleeding. Sacrificial Slaughter will also appear at the Las Vegas Deathfest.
Sacrificial Slaughter w/ Vader, Internal Bleeding, Voices of Ruin & Micawber:
5/22 – Santa Fe, NM @ Underground
5/23 – Oklahoma City, OK @ Thunder Alley
5/24 – Memphis, TN @ Growlers
5/27 – Spartanburg, SC @ Ground Zero
5/28 – Tampa, FL @ Brass Mug
5/29 – Atlanta, GA @ The Earl
5/30 – New Orleans, LA @ Siberia
5/31 – Houston, TX @ Arcadia
6/01 – Dallas, TX @ Curtain Club
6/02 – El Paso, TX @ Rockhouse Bar
6/03 – Albuquerque, NM @ Blu Phoenix
6/04 – Mesa, AZ @ Club Red
6/05 – Santa Ana, CA @ Malones
6/06 – Oakland, CA @ Oakland Metro
6/07 – San Diego, CA @ Brick By Brick
6/08 – LAS VEGAS DEATH FEST – details at lasvegasdeathfest.com
6/09 – Salt Lake City, UT @ Metro Music Hall
6/10 – Denver, CO @ Bluebird Theatre
6/11 – Kansas City, MO @ The Riot Room
6/12 – Newport, MN @ Opinion Brewery
6/13 – Madison, WI @ High Noon Saloon
6/14 – Chicago, IL @ Reggies Rock Club
6/15 – Lakewood OH, @ The Foundry
6/16 – New York City, NY @ Webster Hall
6/17 – Philadelphia, PA @ Kung-fu Necktie
6/18 – Richmond, VA @ Banditos
6/19 – Louisville, KY @ Highlands Taproom
6/20 – Murfreesboro, TN @ Autograph Rehearsal Studio
6/22 – Shreveport, LA @ Bushnookies
6/23 – Austin, TX @ The Lost Well
6/24 – Odessa, TX @ Krazy 8
6/25 – Tucson, AZ @ The Loudhouse
The last in our series of Interviews with Dungeon Synth artists I bring you Old Tower from the Netherlands – enjoy!
* Sooo How did you get into dark dungeon synth? Were you influenced by Burzum or other ambient black metal?
I can’t really remember how I got to know the genre, but I was (and still am) fascinated by
the ambient works of Burzum which were essentially my first introductions to the ambient
and synth genre. I’m not directly influenced by Mortiis, Burzum or any other artists, but I
rather try to combine all the things I listen to into one thing of my own.
* Have you played in “traditional” metal bands before becoming Old Tower?
I’m active in other bands at the moment, all active in the Black Metal genre.
* How do you write your songs? Do you have a mood or feeling in mind before you compose or do you just start jamming and see where the mood takes you?
I never compose. I just write on the spot. Most things I do are all improvised. It definitely
helps to be in a certain mood and mindset before recording. I’d say it’s a necessity, rather.
“I can’t say it was a textbook ‘astral projection’, but it certainly felt
like I was not part of this world anymore.”
* On your bandcamp you talk of “channeling” your music. Keith Richards from the Rolling Stones believes that too he says you never write songs you act more like an antenna and draw them down from the Universe – have you ever done any really channeling or astral projection? If so what were those experiences like?
I’ve had my fair share of strange experiences, yes. The experiences were mostly negative. I felt an immense disconnection to the physical world, to the point I was struggling to find what was real and what was not. I can’t say it was a textbook ‘astral projection’, but it certainly felt like I was not part of this world anymore.
* Have you ever used any mind expanding drugs to write music? Acid, mushrooms, psychedelic THC etc
I used to be interested in things like this, but due to negative experiences I don’t and will not use them anymore.
* How do you record your music? A pro tools set up? Garage band? Are you self taught or do you have a friend that helps out with the mixes etc?
Let’s just say I record in primitive conditions, nothing more to add.
“The LP sold out within a matter of days between both
* Congratulations on selling out the vinyl pressing of your first full length album “The Rise of the Specter’. Were you surprised by the fans response to this record?
At first the plan was to only press 100 copies, but I’m glad we did 200 in the end. The
response was very unexpected. The LP sold out within a matter of days between both
* How do you prefer to listen to music yourself? What’s your favorite format? As many Dark Dungeon Synth artists do love the cassette format!
I have no real preference for a format. Each format has its charm. At the moment I actually
prefer the CD format, since this is how I discovered underground music and not through
tapes or vinyl. I’m having a nostalgia trip, so to speak!
“When it’ll finally come to the point I’ll
play live it won’t be your regular music show, but something more. I like to think big.”
* Have you ever played live? Is this something that has any interest for you?
I’ve been toying around with the idea of playing live. When it’ll finally come to the point I’ll
play live it won’t be your regular music show, but something more. I like to think big. That’s
all I can say at the moment.
* How is the metal music scene in Hilversum Holland? Is there much appreciation for what you do locally? or do you prefer to think globally?
I think mostly for myself.
“Personal experiences, worship of the occult, ancient times.”
* Many of the Dungeon Synth artist I have spoken to recently have been inspired by Video games and films as much as music – where do you draw your influences from?
Anything. Personal experiences, worship of the occult, ancient times.
* Speaking of films as inspiration – did you ever see the Lord of the Rings films? If so what are your thoughts on them?
I’ve seen them and I liked them. Not sure if I like them still, since it’s been a while since I saw
all of them. The Hobbit movies were great, though.
* You’ve been pretty prolific with your song writing – what can we expect from Old Tower next?
There is a new full-length in the works. Only time will tell when it’ll be ready.
CARACH ANGREN are streaming the next wicked track of their forthcoming new album, ‘Dance and Laugh amongst the Rotten’. The Dutch masters of horror metal have slated this haunting for June 16th.
CARACH ANGREN comment: “We proudly present the next track from our upcoming album ‘Dance and Laugh amongst the Rotten’ called ‘Charlie’. It will draw you right into the first chapter of an unsettling journey, setting an ominous dark paranormal tone. ‘Charlie’ has everything and more of what you may expect from us: a darkness brought forth by unsettling haunting melodies, piercing riffs, and bloodcurdling storytelling.”
CARACH ANGREN have previously revealed the cover art by renowned Romanian artist Costin Chioreanu and track-list of ‘Dance and Laugh amongst the Rotten’, which can both be viewed below.
1. Opening (2:17)
2. Charlie (4:10)
3. Bloodqueen (4:55)
4. Charles Francis Coghlan (6:07)
5. Song for the Dead (4:16)
6. In De Naam Van De Duivel (6:29)
7. Pitch Black Box (3:17)
8. The Possession Process (4:27)
9. Three Times Thunder Strikes (5:19)
Total playing time: 41:16
The Dutch masters of horror are back with their most flamboyant album so far. On ‘Dance and Laugh amongst the Rotten’, CARACH ANGREN are painting musical pictures that easily combine the grandiose depth of a Rembrandt with Van Gogh’s maelstrom of whirling colours and the utter madness of Bosch. This lusciously seductive danse macabre will drag you in and never let go.
CARACH ANGREN have employed all the sonic colours on their palette to dazzling effect. Their trademark whipping guitars are weaving harsh melodies and sinister soundscapes, which are beautifully contrasted by opulent keyboards and majestic orchestrations. That Till Lindemann (RAMMSTEIN) and Peter Tägtgren (PAIN) have called upon the composition talent of Clemens “Ardek” Wijers is a telling sign of his outstanding mastery of the craft. Another signatory counterpoint is provided by Seregor’s fierce rasping and shrieking vocals. Adding to the impact, Namtar has become a relentless driving force with his hard hitting yet intricate drumming. Each track on this album is a highlight on its own, while combined ‘Dance and Laugh amongst the Rotten’ simply shines.
CARACH ANGREN set out to tell ghost-stories with a set of paranormal cases recorded on the demo ‘The Chase Vault Tragedy’ (2004). This was soon followed by the official release of the ‘Ethereal Veiled Existence’ EP (2005) as a prelude to the haunting ‘Lammendam’ (2008). The Dutch had a clear vision of combining a dark baroque style of metal with horror based lyrical concepts. Their sophomore full-length ‘Death Came through a Phantom Ship’ (2010) witnessed the band setting sail to bring their eccentric and capturing live performances to audiences and festivals all over Europe. In the wake of third album ‘Where the Corpses Sink Forever’ (2012), the haunting had reached the Americas and started to spread rapidly. This recorded added a serious side to the lyrics of CARACH ANGREN. While firmly remaining in the horror genre, their tales revolve around the evils of war. This mature streak was taken a step further with the fourth full-length ‘This Is No Fairytale’, which is on the surface a darker variation of the “Hansel and Gretel” story from the Brothers Grimm collection, but also deals with the too real topic of child abuse in a dysfunctional family.
With ‘Dance and Laugh amongst the Rotten’, CARACH ANGREN are returning to “pure” storytelling with episodes that are centered on a girl playing a little too long with her Ouija board. The Dutch have pushed their unashamedly theatric style to a new intense height. You do not believe us yet? Press play and unleash these radiant ghosts into your home…
Seregor: vocals, guitars
Ardek: keyboards, orchestra
Guitars on tracks 2, 3, 4 written by Seregor
Guitars on tracks 5, 6, 7, 8, 9 written by Ardek & Seregor
Bass written by Ardek
Nikos Mavridis: solo violin on tracks 3, 4, 9
Patrick Damiani: all guitars and bass guitar
Vocals & keys recording: Clemens Wijers Music Productions, The Netherlands
Drums recording: Abyss Studio, Sweden
Guitars & bass recording: Patrick Damiani, Tidal Wave Studio, Germany
Mixing: Peter Tägtgren, Abyss Studio, Sweden
Mastering: Jonas Kjellgren, Black Lounge Studio, Sweden
NECROPHAGIA have announced a European tour in support of legendary MORBID ANGEL fronter David Vincent’s I AM MORBID. The American cult death metal pioneers will embark on their hellish road-trip at the Rudeboy in Bielsko-Biala, Poland on May 17th and continue to celebrate their horror shows throughout seven more countries before a final curtain at the Hellraiser in Oberhausen, Germany on the 12th of June.
Killjoy comments: “Europe are you ready for some horror and gore? We are very excited to come back and spread the sickness with l AM MORBID!”
NECROPHAGIA will be touring in support of their latest masterpiece ‘WhiteWorm Cathedral’, which is fully streaming at the link below.
Muahaha! NECROPHAGIA are back to haunt you! The masters of death metal horror invite you to bang to the Sabbath on a coffin night, when the evil priest and the rat witch raise the dead among us! Once again Killjoy DeSade has taken his time to compose and record ‘WhiteWorm Cathedral’, but the result was well worth the wait. NECROPHAGIA have generally taken another step back to a more straightforward approach. Although their latest full-length ‘Deathtrip 69’ (2011) was generally met with roaring applause, there has been some criticism levelled at the album. Killjoy DeSade seems to have drawn the same conclusions and reduced the atmospheric samples to the necessary, while focusing on songwriting and catchiness. Now NECROPHAGIA deliver more old school death metal with a blasphemous groove and killing hooks. The band was formed in late 1983 by the Godfather of Gore Metal, Killjoy and their debut recording ‘Season of the Dead’ was unleashed in February 1987. In the same year the Americans split despite their tremendous impact in the underground death metal scene, which they helped founding. In the middle of the 1990’s horror fan Philip Anselmo (DOWN, ex-PANTERA) convinced Killjoy to resurrect NECROPHAGIA and joined for the next three releases including their second album ‘Holocausto de la Morte’ (1998). The band released two more albums including ‘The Divine Art of Torture’ (2003) and several EPs despite undergoing continued line-up changes. NECROPHAGIA’s fourth full length ‘Harvest Ritual Vol. 1’ (2005) saw some experimentation, while their next eerie incarnation ‘Deathtrip 69’ featured more evil movie samples adding to the beloved vintage horror feeling. Yet the time has come to light those black candles, chant the incantations and watch the ‘WhiteWorm Cathedral’ rise! Amen, Brother Killjoy!