MODIFIED GHOST FESTIVAL

An annual music festival in Vancouver, BC that showcases some of the most exciting metal, rock, punk, hardcore & progressive music this world has to offer.

May 24th - 27th, 2018.
www.modifiedghostfestival.com
www.modifiedghost.com

More details and announcements coming soon!

Candlemass

CANDLEMASS ARE BACK to celebrate 30 years of Doom with a brand new EP!
Four studiotracks featuring Mats Levén on vocals are being recorded during Sep/Oct for a special anniversary release early next year on Napalm Records.

CANDLEMASS are also happy to announce that Mats Levén, who’s a longtime friend of the band, is now the permanent singer for the Swedish Doom Metal Squad. Per Wiberg is today also an essential part of the Candlemass live shows with his keyboards + filling in for Leif on bass until he’s back in shape again.

“THE LIVE SHOWS we’ve done after PSALMS FOR THE DEAD (2012) have been fantastic”, says guitarist Mats ‘Mappe’ Björkman. “Mats has done a great job fronting Candlemass and I don’t think we’ve ever been this good on stage before! Wacken, B.Y.H. Sweden Rock, Hellfest, Metal Days, Metallsvenskan, Maryland Death Fest… We have conquered them all”

3 decades of doom later, CANDLEMASS would also like to celebrate their classic albums on the official website: www.candlemass.se and on the Facebook fanpage: www.facebook.com/candlemass

Municipal Waste

So what happens when a band's riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it's into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.

The Fatal Feast, the fifth studio album by Richmond, Virginia's speed metal punks MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity ("Covered In Sick/The Barfer," "Repossession," "Standards And Practices," "12 Step Program," "Crushing Chest Wound"). These 37 minutes of new music consolidate the best of everything the band's got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.

Rising from the squalor of a cursed punk house for their live debut at a New Year's Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste 'Em All debut album in 2003, bassist Phil "LandPhil" Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005's Hazardous Mutation, 2007's The Art Of Partying, and 2009's Massive Aggressive), earning such accolades throughout their career as "MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape" from Spin Magazine, "No band sound more authentic," from Alternative Press, "A gold standard" from Decibel magazine, and "Undeniably the best at what they do," from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE's reputation as the ultimate feel-good party band.

Dedicated to keeping the spirit of the 1980's cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors who could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base – which includes fans of metal, punk, and hardcore - continues to expand.

With artwork by Justin Osbourn of Slasher Design, 2012's The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey "Waste In Space," John Connelly of Nuclear Assault's vocals grace the album's title track, and former singer Tim Barry of Richmond punk legends Avail jumps in on "Standards And Practices."

Aptly hailed as "an interstellar thrashterpiece" by Decibel magazine, MUNICIPAL WASTE's The Fatal Feast debuted at #3 on the Billboard Heatseekers chart. Not bad for a band from Virginia, eh? Space may be a noiseless vacuum for amateurs who don't travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!

For Fans Of:
Havok, Anthrax, D.R.I., Nuclear Assault, Iron Reagan, Toxic Holocaust, S.O.D., Suicidal Tendencies, Exodus, Sodom

Bio:
So what happens when a band's riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it's into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.

The Fatal Feast, the fifth studio album by Richmond, Virginia's speed metal punks MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity ("Covered In Sick/The Barfer," "Repossession," "Standards And Practices," "12 Step Program," "Crushing Chest Wound"). These 37 minutes of new music consolidate the best of everything the band's got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.

Rising from the squalor of a cursed punk house for their live debut at a New Year's Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste 'Em All debut album in 2003, bassist Phil "LandPhil" Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005's Hazardous Mutation, 2007's The Art Of Partying, and 2009's Massive Aggressive), earning such accolades throughout their career as "MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape" from Spin Magazine, "No band sound more authentic," from Alternative Press, "A gold standard" from Decibel magazine, and "Undeniably the best at what they do," from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE's reputation as the ultimate feel-good party band.

Dedicated to keeping the spirit of the 1980's cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors who could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base – which includes fans of metal, punk, and hardcore - continues to expand.

With artwork by Justin Osbourn of Slasher Design, 2012's The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey "Waste In Space," John Connelly of Nuclear Assault's vocals grace the album's title track, and former singer Tim Barry of Richmond punk legends Avail jumps in on "Standards And Practices."

Aptly hailed as "an interstellar thrashterpiece" by Decibel magazine, MUNICIPAL WASTE's The Fatal Feast debuted at #3 on the Billboard Heatseekers chart. Not bad for a band from Virginia, eh? Space may be a noiseless vacuum for amateurs who don't travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!

1984 saw the birth of Canada's finest extreme metal outfits, a band whose ideals would not permit compromise, whose conviction would lead to eight releases, and an equal number of years fighting an uphill battle. No mere bandwagoneers, this quartet were out to permanently fuse metal with insane aggression and violence, pummelling listeners with aural and mental fists. This they have undoubtedly achieved, and continue to foster to this day.

RED FANG = long time bros and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). The four have boiled down their disparate sounds to create the ONLY sound: RED FANG.

Cro-Mags

In the Year 2000, Cro-Mags have become an urban legend. Their story told and retold, twisted and warped until it is unrecognizable. But now to set the record straight, this is how it all be began. Before the Quarrel.

Picture this, the year 1980, it's sunrise on NYC's lower east side, Ave. A is a barren urban wasteland of empty storefronts in abandoned buildings. the streets are littered with junkies and freaks. Heroin and cocaine are the only flourishing businesses and the only sign of life in this ghost town are the local gangs and 40 or so kids in front of A 7 (hardcore club) where Urban Waste is still on stage. Little Chris, age 11, and Eric Casanova, age 12, sit on the curb still tripping from the night before, with no money, no hope and no future, just drive and dried blood on their clothes from a night they've already forgotten. This was hardcore and the streets were ours.

Across from Tompkins Square Park Parris Mayhew and Harley Flanagan are sitting in the back booth of the Park Inn Tavern (after-hours) pounding pitchers of beer and shots of Jack, planning their new band. Nothing unusual, except that Parris was16 and Harley was 14 and their band was to change the hardcore scene forever.

In the bar, Harley is recounting to Parris the details of a robbery he and Paul Dordal had perpetrated earlier that day. As Parris sits listening and looking into Harley's drunk, drugged and crazed eyes that seem to pierce the darkness, Parris thinks "What am I getting myself into?"

That was really the beginning. There was no blueprint for hardcore, no one to teach them how, they were all just kids living their lives, making it up as they went along, inventing hardcore with every step they took. Harley was a 6th grade dropout, though at age 14 was already a veteran Parrismusician, child star of the punk scene, America's first skinhead and the notorious former drummer of NYC's premier punk band, "The Stimulators." In "The Stims" Harley brought a powerful youthful presence to an aging punk scene. He kicked the doors wide open for other kids his age to come on the scene and follow his example to be a youthful creative force like the "Beastie Boys" and Jill and Gabby of "Luscious Jackson." Adam Yauch was at one point considered to play bass with the Cro-Mags, but was about to attend Bard College.

Harley left "The Stims" to create a harder, more aggressive style of music, capturing the true hardcore lifestyle. Depicting the violence, poverty and urban decay of the streets of the lower east side in the early 8o's. Harley's personal influence and mere presence on the scene defined the transition between the old punk scene and the new hardcore scene.

Parris, a 16 year old unknown musician and an art student attending the High School of Art & Design was forever changed by the sounds of the Sex Pistols and Motorhead. Then drawn into the local NYC punk scene by the Stimulators and Bad Brains, Parris joined punk icons "The Mad," playing bass. But soon left the band setting his sights on starting his own band, playing his music.

Paul Dordal recommended Harley and Parris team-up. They had their first jam at Harley's aunt Denise's apartment on Avenue A. Denise was the guitarist of the Stimulators. Parris played the riffs that were to become (with Harley's lyrics), the Harley and Parrisfirst Cro-Mags song "World Peace" and the templates for the Cro-Mags' sound. After a few minutes of playing, Denise turned to Harley and said "Where did you find this kid?" But Harley was way ahead of her. he immediately recognized similarities in Parris' approach to his own that were uncanny. A musical mirror image. These two kids couldn't have been more different, but their songs seemed to belong together as if they came from the same source. How could two kids from such different worlds create such a similarly Cro-Mag-Nonimous sound?

That was the beginning of a life long musical collaboration that is as formidable today with their new CD "REVENGE" as it was when they first met.

So, Parris and Harley began hanging out, planning, writing songs and doing a lot of drinking. They became friends fast, but finding other musicians was difficult., so in the interim Harley played drums with Murphy's Law, helped them write their first album and even came up with their name. Harley was eventually replaced by future Cro-Mags drummer Pete Hines who left Murphy's Law and joined the Cro-Mags to support the" Age of Quarrel" LP and to later record the "Best Wishes" LP.

Harley grew impatient and hitchhiked across the country to California. With no money and nowhere to stay Harley just lived day to day, hand to mouth, sampling the California punk scene and definitely gave them a taste of what NYC was about to unleash. Harley the teenage tattooed terror created notoriety everywhere he went, fighting, fucking and consuming mass quantities of drugs and alcohol along the way and he was still only 15 years old. In San Francisco, Harley lived in an abandoned brewery called the "Vats," home of many San Francisco punks. Then he hitchhiked back East and North to Canada. He ran with skinheads there, basically reeking havoc everywhere he went, building on his already formidable reputation.

These times and Harley's life in NYC, living in burnt out buildings, squats and on the streets, was the life that would be the true inspiration behind the Cro-Mags lyrics. Raw, honest truth, a lifestyle that pulled no punches in the urban decay that was the early 80's untamed streets, where violence, gangs and drugs were a way of life and music would be the only escape for this teenage rebel. He not only lived the truly hardcore way of life, he set the standard an created a legend that still lives.

Harley then returned to NYC with a renewed fire to pick up where he an Parris had left off, and a tattoo covering the chest of the devil grabbing the earth.

During this long foundation period Parris continued to pound out riffs and songs Cro-Mags, circa: 1985like "Malfunction." He also completed high school and two years of college at the School of Visual Arts Film School. Parris would eventually put these skills to work directing the Cro-Mags video "We Gotta Know" and many others such as Onyx's "Slam" and Type O Negative's "Black #1. But Parris never lost sight of his plan for him and Harley to create the band that would become synonymous with hardcore.
Soon after Harley's return to NYC he was given the opportunity to record 4 songs of his own in which he played all the instruments. These recordings were never released but are soon to be on Cro-Mags Recordings.

Harley also played drums in a band called "Mode of Ignorance" (MOI) with future Cro-Mags' john Bloodclot and Doug Holland which faded as Cro-Mags began to take shape. Harley turned down offers to drum for the Misfits, and during the first of HR's solo ventures, Bad Brains management approached Harley to front the Bad Brains but Harley passed because finally after 3 years of writing, drinking and generally causing chaos, the search for musicians for the lineup of "NYC's Hardest Band" was complete.

It is a little known fact that John Joseph was not a founding member of the Cro-Mags or even the original singer. He was not!

In 1984, 15 year old Eric Casanova became the first singer of the Cro-Mags and Harley at CBGBco-wrote, with Harley, classic Cro-Mag lyrics such as "Hard Times," "Street Justice," "Survival of the Streets," and Eric's own "Life of My Own," based on the lives they led. With the hired services of Mackie on Drums, the Cro-Mags played their first gig at CBGB's with Government Issue. A highly anticipated gig being Harley Flanagan's new band.

Then after their second show, for personal reasons, Eric left the band and began a revolving door of musicians that Parris an Harley watched some and go for the entire life of their musical partnership.
But Eric's contribution to the Cro-Mags in that short time is undeniable, those first songs were the foundation that defined the Cro-Mags' sound and lyrical content and those first shows made a tremendous impact. The punk scene was shaken by the force of the Cro-Mags and the momentum was unstoppable.

Next the band recruited john Bloodclot (age 21) on vocals to replace Eric, and after only tow shows began headlining gigs. Overnight Cro-Mags had dominated the hardcore scene in NYC. As Kabula of Agnostic Front said, "We've toured everywhere and nobody's doing what the Cro-Mags are doin', it's totally new."

The transition between Eric and John was seamless. John's lyrics fit perfectly with Harley and Eric's and John brought a dynamic presence to the front man position that helped to define the image of the band. Though John's presence in the band ultimately was the undoing of the Cro-Mags.

So with 3 years of writing, a solid foundation of songs already in the band's repertoire, along with music from Harley's never released solo recording including "Don't Tread on Me," the Cro-Mags needed only a few more songs to complete the now classic set list. Those songs were completed with John Joseph and on November 2, 1984, and on February 16, 1985 the Cro-Mags went into High Five Studios and recorded 12 songs.

That moment in time when four very different freaks got together to make music was historic. The recordings made in that session were simply the blue print for all hardcore that followed and set the stage for the definitive hardcore album of all time, "The Age of Quarrel." John and Harley with Billy Milano This CD, now poignantly titled "Before the Quarrel" captured the raw fire that circumstances had created by bringing this unlikely group together. These recordings are revered as the pinnacle moment of the Cro-Mags and the favorite recordings of Cro-Mags fans.

Harley, Parris, John and Mackie not only made their mark deep in the history of hard music but made a sound that changed it forever. Obviously God didn't bring these guys together to be friends, it was to make hardcore music.

The now infamously volatile relationship between these four people turned ugly in the end but not one of them could look back at these recordings with anything but pride. No words could ever fully describe that time especially not now, so many years later, so many clone bands come and gone. But this music and these words were N.Y.C.H. at it's best, honest, aggressive and true. This CD captured it, the lifestyle that many talk about, but few ever really lived.

The Cro-Mags "Before the Quarrell" was the beginning, the genuine article and this recording is the proof.

They were trulyCro-Mag-nonimus!

To be continued . . .

Southern Californias' Nails was formed in December 2007 by Todd Jones (ex-Terror) along with the help of Taylor Young (Cremetorium), and John Gianelli. Nails is beyond brutality. Filthy, vicious and raw. Imagine a cross between the good Amrep bands of the nineties (Helmet, Hammerhead, Today is The Day, Unsane) and Cro-Mags Age of Quarrel riffage played at breakneck speeds.

San Francisco's Exhumed plays gore-obsessed death metal with a tongue-in-cheek flair and an overall musical approach that are often reminiscent of Carcass, a band whom they have frequently acknowledged as a primary influence. They have endured constant lineup changes to become, if not a highly original act, at least one of the better representatives of their doomed-to-obscurity subgenre. The band formed in 1991 with a lineup consisting of Matt Harvey (guitar, vocals), Col Jones (drums), Derrel Houdashelt (guitar), Jake Giardina (vocals), and Ben Marrs (bass). They made their first recordings under this formation, including the Excreting Innards 7" for Afterworld Records. Giardina and Marrs left the band within the next few years, with Matt Widener (bass) and Ross Sewage (vocals) brought in as replacements. After recording the Horrific Expulsion of Gore demo (1994), Widener left and Sewage took over bass duties. This lineup eventually recorded a split CD with the Ohio band Hemdale, In the Name of Gore, which came out on Visceral Productions in 1995 and featured an absolutely revolting album cover. Soon after, Houldashelt left and was eventually replaced by Mike Beams. With this lineup intact, they signed to Relapse Records and finally released their first official full-length, Gore Metal, in 1998, with guitarist James Murphy (Death, Obituary) at the production helm. Sewage left the band shortly after this record, leaving the trio of Harvey, Beams, and Jones to record the follow-up, Slaughtercult. The album was released on Relapse in 2000 and was enthusiastically received among the death metal scene

Candlemass

CANDLEMASS ARE BACK to celebrate 30 years of Doom with a brand new EP!
Four studiotracks featuring Mats Levén on vocals are being recorded during Sep/Oct for a special anniversary release early next year on Napalm Records.

CANDLEMASS are also happy to announce that Mats Levén, who’s a longtime friend of the band, is now the permanent singer for the Swedish Doom Metal Squad. Per Wiberg is today also an essential part of the Candlemass live shows with his keyboards + filling in for Leif on bass until he’s back in shape again.

“THE LIVE SHOWS we’ve done after PSALMS FOR THE DEAD (2012) have been fantastic”, says guitarist Mats ‘Mappe’ Björkman. “Mats has done a great job fronting Candlemass and I don’t think we’ve ever been this good on stage before! Wacken, B.Y.H. Sweden Rock, Hellfest, Metal Days, Metallsvenskan, Maryland Death Fest… We have conquered them all”

3 decades of doom later, CANDLEMASS would also like to celebrate their classic albums on the official website: www.candlemass.se and on the Facebook fanpage: www.facebook.com/candlemass

Municipal Waste

So what happens when a band's riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it's into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.

The Fatal Feast, the fifth studio album by Richmond, Virginia's speed metal punks MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity ("Covered In Sick/The Barfer," "Repossession," "Standards And Practices," "12 Step Program," "Crushing Chest Wound"). These 37 minutes of new music consolidate the best of everything the band's got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.

Rising from the squalor of a cursed punk house for their live debut at a New Year's Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste 'Em All debut album in 2003, bassist Phil "LandPhil" Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005's Hazardous Mutation, 2007's The Art Of Partying, and 2009's Massive Aggressive), earning such accolades throughout their career as "MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape" from Spin Magazine, "No band sound more authentic," from Alternative Press, "A gold standard" from Decibel magazine, and "Undeniably the best at what they do," from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE's reputation as the ultimate feel-good party band.

Dedicated to keeping the spirit of the 1980's cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors who could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base – which includes fans of metal, punk, and hardcore - continues to expand.

With artwork by Justin Osbourn of Slasher Design, 2012's The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey "Waste In Space," John Connelly of Nuclear Assault's vocals grace the album's title track, and former singer Tim Barry of Richmond punk legends Avail jumps in on "Standards And Practices."

Aptly hailed as "an interstellar thrashterpiece" by Decibel magazine, MUNICIPAL WASTE's The Fatal Feast debuted at #3 on the Billboard Heatseekers chart. Not bad for a band from Virginia, eh? Space may be a noiseless vacuum for amateurs who don't travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!

For Fans Of:
Havok, Anthrax, D.R.I., Nuclear Assault, Iron Reagan, Toxic Holocaust, S.O.D., Suicidal Tendencies, Exodus, Sodom

Bio:
So what happens when a band's riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it's into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.

The Fatal Feast, the fifth studio album by Richmond, Virginia's speed metal punks MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity ("Covered In Sick/The Barfer," "Repossession," "Standards And Practices," "12 Step Program," "Crushing Chest Wound"). These 37 minutes of new music consolidate the best of everything the band's got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.

Rising from the squalor of a cursed punk house for their live debut at a New Year's Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste 'Em All debut album in 2003, bassist Phil "LandPhil" Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005's Hazardous Mutation, 2007's The Art Of Partying, and 2009's Massive Aggressive), earning such accolades throughout their career as "MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape" from Spin Magazine, "No band sound more authentic," from Alternative Press, "A gold standard" from Decibel magazine, and "Undeniably the best at what they do," from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE's reputation as the ultimate feel-good party band.

Dedicated to keeping the spirit of the 1980's cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors who could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base – which includes fans of metal, punk, and hardcore - continues to expand.

With artwork by Justin Osbourn of Slasher Design, 2012's The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey "Waste In Space," John Connelly of Nuclear Assault's vocals grace the album's title track, and former singer Tim Barry of Richmond punk legends Avail jumps in on "Standards And Practices."

Aptly hailed as "an interstellar thrashterpiece" by Decibel magazine, MUNICIPAL WASTE's The Fatal Feast debuted at #3 on the Billboard Heatseekers chart. Not bad for a band from Virginia, eh? Space may be a noiseless vacuum for amateurs who don't travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!

1984 saw the birth of Canada's finest extreme metal outfits, a band whose ideals would not permit compromise, whose conviction would lead to eight releases, and an equal number of years fighting an uphill battle. No mere bandwagoneers, this quartet were out to permanently fuse metal with insane aggression and violence, pummelling listeners with aural and mental fists. This they have undoubtedly achieved, and continue to foster to this day.

RED FANG = long time bros and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). The four have boiled down their disparate sounds to create the ONLY sound: RED FANG.

Cro-Mags

In the Year 2000, Cro-Mags have become an urban legend. Their story told and retold, twisted and warped until it is unrecognizable. But now to set the record straight, this is how it all be began. Before the Quarrel.

Picture this, the year 1980, it's sunrise on NYC's lower east side, Ave. A is a barren urban wasteland of empty storefronts in abandoned buildings. the streets are littered with junkies and freaks. Heroin and cocaine are the only flourishing businesses and the only sign of life in this ghost town are the local gangs and 40 or so kids in front of A 7 (hardcore club) where Urban Waste is still on stage. Little Chris, age 11, and Eric Casanova, age 12, sit on the curb still tripping from the night before, with no money, no hope and no future, just drive and dried blood on their clothes from a night they've already forgotten. This was hardcore and the streets were ours.

Across from Tompkins Square Park Parris Mayhew and Harley Flanagan are sitting in the back booth of the Park Inn Tavern (after-hours) pounding pitchers of beer and shots of Jack, planning their new band. Nothing unusual, except that Parris was16 and Harley was 14 and their band was to change the hardcore scene forever.

In the bar, Harley is recounting to Parris the details of a robbery he and Paul Dordal had perpetrated earlier that day. As Parris sits listening and looking into Harley's drunk, drugged and crazed eyes that seem to pierce the darkness, Parris thinks "What am I getting myself into?"

That was really the beginning. There was no blueprint for hardcore, no one to teach them how, they were all just kids living their lives, making it up as they went along, inventing hardcore with every step they took. Harley was a 6th grade dropout, though at age 14 was already a veteran Parrismusician, child star of the punk scene, America's first skinhead and the notorious former drummer of NYC's premier punk band, "The Stimulators." In "The Stims" Harley brought a powerful youthful presence to an aging punk scene. He kicked the doors wide open for other kids his age to come on the scene and follow his example to be a youthful creative force like the "Beastie Boys" and Jill and Gabby of "Luscious Jackson." Adam Yauch was at one point considered to play bass with the Cro-Mags, but was about to attend Bard College.

Harley left "The Stims" to create a harder, more aggressive style of music, capturing the true hardcore lifestyle. Depicting the violence, poverty and urban decay of the streets of the lower east side in the early 8o's. Harley's personal influence and mere presence on the scene defined the transition between the old punk scene and the new hardcore scene.

Parris, a 16 year old unknown musician and an art student attending the High School of Art & Design was forever changed by the sounds of the Sex Pistols and Motorhead. Then drawn into the local NYC punk scene by the Stimulators and Bad Brains, Parris joined punk icons "The Mad," playing bass. But soon left the band setting his sights on starting his own band, playing his music.

Paul Dordal recommended Harley and Parris team-up. They had their first jam at Harley's aunt Denise's apartment on Avenue A. Denise was the guitarist of the Stimulators. Parris played the riffs that were to become (with Harley's lyrics), the Harley and Parrisfirst Cro-Mags song "World Peace" and the templates for the Cro-Mags' sound. After a few minutes of playing, Denise turned to Harley and said "Where did you find this kid?" But Harley was way ahead of her. he immediately recognized similarities in Parris' approach to his own that were uncanny. A musical mirror image. These two kids couldn't have been more different, but their songs seemed to belong together as if they came from the same source. How could two kids from such different worlds create such a similarly Cro-Mag-Nonimous sound?

That was the beginning of a life long musical collaboration that is as formidable today with their new CD "REVENGE" as it was when they first met.

So, Parris and Harley began hanging out, planning, writing songs and doing a lot of drinking. They became friends fast, but finding other musicians was difficult., so in the interim Harley played drums with Murphy's Law, helped them write their first album and even came up with their name. Harley was eventually replaced by future Cro-Mags drummer Pete Hines who left Murphy's Law and joined the Cro-Mags to support the" Age of Quarrel" LP and to later record the "Best Wishes" LP.

Harley grew impatient and hitchhiked across the country to California. With no money and nowhere to stay Harley just lived day to day, hand to mouth, sampling the California punk scene and definitely gave them a taste of what NYC was about to unleash. Harley the teenage tattooed terror created notoriety everywhere he went, fighting, fucking and consuming mass quantities of drugs and alcohol along the way and he was still only 15 years old. In San Francisco, Harley lived in an abandoned brewery called the "Vats," home of many San Francisco punks. Then he hitchhiked back East and North to Canada. He ran with skinheads there, basically reeking havoc everywhere he went, building on his already formidable reputation.

These times and Harley's life in NYC, living in burnt out buildings, squats and on the streets, was the life that would be the true inspiration behind the Cro-Mags lyrics. Raw, honest truth, a lifestyle that pulled no punches in the urban decay that was the early 80's untamed streets, where violence, gangs and drugs were a way of life and music would be the only escape for this teenage rebel. He not only lived the truly hardcore way of life, he set the standard an created a legend that still lives.

Harley then returned to NYC with a renewed fire to pick up where he an Parris had left off, and a tattoo covering the chest of the devil grabbing the earth.

During this long foundation period Parris continued to pound out riffs and songs Cro-Mags, circa: 1985like "Malfunction." He also completed high school and two years of college at the School of Visual Arts Film School. Parris would eventually put these skills to work directing the Cro-Mags video "We Gotta Know" and many others such as Onyx's "Slam" and Type O Negative's "Black #1. But Parris never lost sight of his plan for him and Harley to create the band that would become synonymous with hardcore.
Soon after Harley's return to NYC he was given the opportunity to record 4 songs of his own in which he played all the instruments. These recordings were never released but are soon to be on Cro-Mags Recordings.

Harley also played drums in a band called "Mode of Ignorance" (MOI) with future Cro-Mags' john Bloodclot and Doug Holland which faded as Cro-Mags began to take shape. Harley turned down offers to drum for the Misfits, and during the first of HR's solo ventures, Bad Brains management approached Harley to front the Bad Brains but Harley passed because finally after 3 years of writing, drinking and generally causing chaos, the search for musicians for the lineup of "NYC's Hardest Band" was complete.

It is a little known fact that John Joseph was not a founding member of the Cro-Mags or even the original singer. He was not!

In 1984, 15 year old Eric Casanova became the first singer of the Cro-Mags and Harley at CBGBco-wrote, with Harley, classic Cro-Mag lyrics such as "Hard Times," "Street Justice," "Survival of the Streets," and Eric's own "Life of My Own," based on the lives they led. With the hired services of Mackie on Drums, the Cro-Mags played their first gig at CBGB's with Government Issue. A highly anticipated gig being Harley Flanagan's new band.

Then after their second show, for personal reasons, Eric left the band and began a revolving door of musicians that Parris an Harley watched some and go for the entire life of their musical partnership.
But Eric's contribution to the Cro-Mags in that short time is undeniable, those first songs were the foundation that defined the Cro-Mags' sound and lyrical content and those first shows made a tremendous impact. The punk scene was shaken by the force of the Cro-Mags and the momentum was unstoppable.

Next the band recruited john Bloodclot (age 21) on vocals to replace Eric, and after only tow shows began headlining gigs. Overnight Cro-Mags had dominated the hardcore scene in NYC. As Kabula of Agnostic Front said, "We've toured everywhere and nobody's doing what the Cro-Mags are doin', it's totally new."

The transition between Eric and John was seamless. John's lyrics fit perfectly with Harley and Eric's and John brought a dynamic presence to the front man position that helped to define the image of the band. Though John's presence in the band ultimately was the undoing of the Cro-Mags.

So with 3 years of writing, a solid foundation of songs already in the band's repertoire, along with music from Harley's never released solo recording including "Don't Tread on Me," the Cro-Mags needed only a few more songs to complete the now classic set list. Those songs were completed with John Joseph and on November 2, 1984, and on February 16, 1985 the Cro-Mags went into High Five Studios and recorded 12 songs.

That moment in time when four very different freaks got together to make music was historic. The recordings made in that session were simply the blue print for all hardcore that followed and set the stage for the definitive hardcore album of all time, "The Age of Quarrel." John and Harley with Billy Milano This CD, now poignantly titled "Before the Quarrel" captured the raw fire that circumstances had created by bringing this unlikely group together. These recordings are revered as the pinnacle moment of the Cro-Mags and the favorite recordings of Cro-Mags fans.

Harley, Parris, John and Mackie not only made their mark deep in the history of hard music but made a sound that changed it forever. Obviously God didn't bring these guys together to be friends, it was to make hardcore music.

The now infamously volatile relationship between these four people turned ugly in the end but not one of them could look back at these recordings with anything but pride. No words could ever fully describe that time especially not now, so many years later, so many clone bands come and gone. But this music and these words were N.Y.C.H. at it's best, honest, aggressive and true. This CD captured it, the lifestyle that many talk about, but few ever really lived.

The Cro-Mags "Before the Quarrell" was the beginning, the genuine article and this recording is the proof.

They were trulyCro-Mag-nonimus!

To be continued . . .

Southern Californias' Nails was formed in December 2007 by Todd Jones (ex-Terror) along with the help of Taylor Young (Cremetorium), and John Gianelli. Nails is beyond brutality. Filthy, vicious and raw. Imagine a cross between the good Amrep bands of the nineties (Helmet, Hammerhead, Today is The Day, Unsane) and Cro-Mags Age of Quarrel riffage played at breakneck speeds.

San Francisco's Exhumed plays gore-obsessed death metal with a tongue-in-cheek flair and an overall musical approach that are often reminiscent of Carcass, a band whom they have frequently acknowledged as a primary influence. They have endured constant lineup changes to become, if not a highly original act, at least one of the better representatives of their doomed-to-obscurity subgenre. The band formed in 1991 with a lineup consisting of Matt Harvey (guitar, vocals), Col Jones (drums), Derrel Houdashelt (guitar), Jake Giardina (vocals), and Ben Marrs (bass). They made their first recordings under this formation, including the Excreting Innards 7" for Afterworld Records. Giardina and Marrs left the band within the next few years, with Matt Widener (bass) and Ross Sewage (vocals) brought in as replacements. After recording the Horrific Expulsion of Gore demo (1994), Widener left and Sewage took over bass duties. This lineup eventually recorded a split CD with the Ohio band Hemdale, In the Name of Gore, which came out on Visceral Productions in 1995 and featured an absolutely revolting album cover. Soon after, Houldashelt left and was eventually replaced by Mike Beams. With this lineup intact, they signed to Relapse Records and finally released their first official full-length, Gore Metal, in 1998, with guitarist James Murphy (Death, Obituary) at the production helm. Sewage left the band shortly after this record, leaving the trio of Harvey, Beams, and Jones to record the follow-up, Slaughtercult. The album was released on Relapse in 2000 and was enthusiastically received among the death metal scene

Dying Fetus

Self-reliance and musical integrity are the two principles to which DYING FETUS have always lived by. Formed in 1991, during the height of the death metal explosion, DYING FETUS have matured into one of the premiere extreme death metal/grindcore acts to emerge from the massive global metal underground. The band is recognized worldwide as a prime example of songwriting perfection, combining an innovative mix of technical virtuosity and catchy song structures to create the ultimate blend of death metal, hardcore and grind.


In 1995, DYING FETUS self-released, promoted and distributed their first album, 'Infatuation With Malevolence.' In support of the album, the band toured the Eastern U.S., including a high-profile performance at the CMJ Music Convention at New York's Lincoln Center. DYING FETUS also represented death metal as a genre on a panel at the convention.

In 1996, DYING FETUS' second album, 'Purification Through Violence' was released simultaneously in America on Pulverized Records and in Europe on Diehard Music Worldwide. The band immediately embarked on their first full North American tour, hitting 25 cities with Canada's KATAKLYSM and Florida's MONSTROSITY. The response to the band's unreal live show was astounding and the DYING FETUS name began to take residence in the minds of metal heads everywhere.

1998 saw the release of DYING FETUS' third album, 'Killing on Adrenaline' on both Germany's Morbid Records and in the U.S. through the band's own label, Blunt Force Records. DYING FETUS embarked on unprecedented 52-date North American/European tour, hitting 12 countries in the process- from Denmark to Spain and Belgium to Poland. The band performed at dozens of festivals, including co-headlining shows on the Morbid Metalfest, as well as the Superbowl of Hardcore. During this time, DYING FETUS continued to make a name for themselves, appearing in national and international magazines, placing tracks on dozens of compilation CDs, and consistently doing radio and internet promotional activities. All on their own accord.

In 1999, DYING FETUS reissued the out of print 'Infatuation with Malevolence' CD (their 93-94 demo collection) with extra tracks via their own label, Blunt Force Records. The new version contained three live songs recorded on the 1998 European tour, as well as one demo track not included on the previous edition of the disc.

Looking to expand their scope even further, DYING FETUS signed to Relapse Records in early 2000 and immediately hit the road for a U.S. tour with DESTRUCTION and KATAKLYSM. The band re-issued their 'Grotesque Impalement' EP, a collection of old material and covers before completing work on their first Relapse album 'Destroy The Opposition'. A musical mugging aimed at corporate "rock," 'Destroy The Opposition' was a brutal response to the everyday stress and pressures of reality in today's age, providing a natural outlet for the alienation and frustration that such a pathetically consumer-oriented and greed-dominated society creates. The record was an immediate success and the band hit the road, touring internationally in support of the album for the next 16 months. In 2012, the album went on to receive Decibel Magazine's prestigious Hall of Fame honor.

After almost three years DYING FETUS returned with 'Stop At Nothing' in 2003. Symbolically representative of the greater alliance of anti-mainstream death metal/grindcore/hardcore-punk scenes, DYING FETUS stand in direct opposition to what is considered "normal" in the overwhelmingly conformist American musical arena. The band quickly hit the road in support of Stop At Nothing completing numerous North American and European headlining tours as well as delivering stand-out performances at international metal festivals.

Since then, Dying Fetus has been on a path toward supremacy, destroying everything in their path while attracting more loyal followers with every step. 2007 saw the release of War of Attrition, which found the band touring with CANNIBAL CORPSE and label-mates NECROPHAGIST. This release was followed by Descend Into Depravity, the 2009 masterpiece which led to numerous headlining tours in North America and abroad, including the band's first ever appearances in China and Southeast Asia.

On June 19th 2012, the band took their biggest leap yet, with their earth-shattering album Reign Supreme. Long-term fans rejoiced at the band's consistency and critics lauded the band's unparalleled musicianship, with Heavymetal.about.com raving that "Dying Fetus are at the top of their game with this record, which is sure to thrill old fans and gain them even more new ones." Dying Fetus will be touring behind Reign Supreme nonstop. Having already completed a full U.S. tour with Six Feet Under and being a featured act on the 2nd Annual Metalliance Tour, as well as a headlining European tour in the fall with JOB FOR A COWBOY and REVOCATION. Almost twenty years into their career, Dying Fetus shows no signs of slowing down or softening up. With Reign Supreme, arguably their heaviest release yet, it is clear why the band has been hailed as "one of the most dominating forces in death metal," and why they were booked to play the UK's infamous Download Festival almost purely on a fan campaign via Facebook and Twitter. Anything less than total supremacy is simply not an option for this band.

Acid King

Once upon a time, ACID KING's creator, songwriter, guitarist and singer Lori S. hung out with her friends at Busse Woods, a forest preserve outside Chicago where teenagers up to no good hung out with their trunks open, cranking tunes and selling drugs. After the cops caught on this era ended.

Several years and several bands later, some friends recommended a book that would ultimately kindle pounding, wicked riffraffdom . It was called Say You Love Satan - a bizarre, tongue-in-cheek account of a Mansonesque stoner dude named Ricky Kasso who, well.... dropped acid and did fucked-up stuff. He looked pretty fucked-up, too. But anyway... Lori finished the book in half-an-hour and Acid King was born. The name came way before the group came together.

1993 was the year of reckoning. The decision was made to base the still embryonic AK in San Francisco. Bassist Peter Lucas stepped up to the plate first. He read SYLS (a pre-req for joining), had a good laugh, and he and Lori hit it off straightaway. But they needed a drummer to make things official. Obviously. Joey Osbourne read the book and came on board several months later. Suddenly, Acid King was an entity. For real. Alright!

Local gigs followed. AK's signature was distortion, tight guitar-bass riff attacks and a Marshall- stacked, bloated low rear end. Ampeg bass amps and Osbourne's Ludwig drum kit supplemented the heaviness accordingly. Heavy but spacey. Lori's searing guitar leads contrasted nicely with her nefarious vocal stylings. People appreciated something different and distinctive, enthusiastically supporting AK's opening slots for the likes of the Obsessed, Sleep, and Hawkwind. A 10" on Sympathy for the Record Industry came next, and in 1995 AK released Zoroaster, its first full-length. The material Lori was putting together was plodding yet intricate, her music clearly K.O.'ing her lyrics in terms of depth and magnitude. In keeping with the SYLS theme, Lori's lyrics largely revolved around the Acid King, Ricky Kasso. And the rush of motorcycle riding. "I'm not a lyricist, y'know," Lori qualifies. "I think of the melody first, and then I write the lyrics. At the last possible minute. Most of the words are written about the book, because that's our theme: Ricky - the Acid King." She strove to maintain a generic overtone to her words so that anyone could relate to them. "My lyrics are like horoscopes!". "They apply to anybody!"

The band embarked on its first national tour shortly thereafter, only to lose Peter Somewhere In Michigan. Lori called on longtime friend Dan Southwick,, to fill in for Peter with only two weeks to learn the songs. Although he never read the book, Dan's ace musicianship and deference to Ricky Kasso translated into a full-time slot with the King.

By 1997, AK had fallen in with the Man's Ruin folk - it was bound to happen! - and released the "Down With the Crown" 10" on the label. The record featured a naked devil chick air-guitaring with a pentagram scrawled across her tits. "People always think she's me!" Lori smirks, "Actually, I have this Jimi Hendrix poster in my rehearsal space with him playing guitar like that and the logo in the same typeface... I pointed it out to the band one day: 'Look - that's our record! The same pose, except it's with a naked girl!' The guys didn't get it, though." The buzz that "Down with the Crown" generated infused AK with more self-confidence. Tours with Fu Manchu and the Melvins strengthened AK's rank with heavy music fans and took their sound afar. Weird shit was happening at shows, too. A creepy tourist visiting SF who had never seen AK perform before noticed Kasso's crazed image on Joey's kick drum. The guy had brought along his copy of SYLS - just purchased at the airport - and couldn't believe the very group he was watching was a rocking tribute to the book's protagonist. Exciting, but weird.

Despite all this coolness, there were some chemical imbalances within the King. Surprise, surprise. Dan bid bye-bye on amicable terms - he never read the book, don't forget - and Brian Hill (ex-Buzz Ov'en, Spilth) was brought into the fold after doing his required reading. Brian worked with the band this past year to record the new CD and do some touring along the way. He has since departed. Surprise,surprise. Lori stresses that AK's personnel changes have been motivated by many different circumstances. Enter one Guy Pinhas the ultimate of rock Bass players former member of The Obsessed and Goastsnake. He will continue on with The King and bring them into the year 2000's and hopefully then some.

The vibe is clicking and album, Busse Woods, has spewed forth on Man's Ruin. More Kasso-inspired tunes are the rule rather than the exception, but a departure of sorts will emerge with AK's cover of "39 Lashes" from the Jesus Christ Superstar soundtrack. The band has steadfastly resisted doing covers, but they decided to do this one for kicks. Brian handled the talking parts and Lori says there's a whip in the mix, too. " I tried the whip once and I couldn't do it, so a trained professional had to be called in!"

One more release would come out before the demise of Man's Ruin. The Acid King/Mystick Krewe of Clearlight split. AK had the honor of playing several shows with the band in New Orleans and worked with Jimmy Bauer (Eyehategod/C.O.C) and leslie keyboard master Ross Karpleman to make it happen.When the Krewe enlisted the one and only Wino (Spirit Caravan/Obsessed) to add on some vocals it was an extra added bonus! The band also contributed a song to the new compilation called "Daze of the Underground" a tribute to Hawkwind, released in 2003 by Godreah records out of the UK.. Their quaalude version of Hawkwinds, Motorhead is quite unique.

After the end of Man's Ruin AK took some time off and came back with their latest release CD "III" on Small Stone Records. They bid farewell to Guy on bass and say hello to Rafa Martinez and Mark Lamb on the 4 strings. Rafa - former guitarist for Gammera, former bass player for 16 and current drummer for Black Cobra - will join the band for an unlimited amount of time to play the new songs for most of the live performances. Mark Lamb, frontman for Scorched-Earth Policy will also be filling in the 4 strings and both kick major 4 string ass! With 2 European tours, 1 U.S and 1 Japan the band has taken some time off and is now in the process of writing a new record........

Comeback Kid

In 2002, what started as a side project from Andrew Neufeld and Jeremy Hiebert's band Figure Four, became what Amp magazine called a "a wildly successful scene institution." Two critically acclaimed albums later and after tirelessly touring in the UK, Europe, Canada, USA, Japan, Australia, New Zealand, and Iceland with bands such as Rise Against, Sick Of It All, Madball, Bad Religion, Dropkick Murphys, Gorilla Biscuits, Terror, and Bane, Comeback Kid have become one of the biggest names in hardcore today.

In 2003 Winnipeg, Manitoba's Comeback Kid put together a self-released six-song demo and signed to California hardcore label Face Down Records, who released Comeback Kid's debut album, Turn It Around, that spring. For their 2005 album Wake the Dead, they signed to Victory Records internationally, and to Smallman Records in Canada. Wake the Dead has now sold over 100,000 copies and was voted Alternative Press's 100 bands to know in 2005, Chart Magazine's top 100 albums of 2005, favorite CD in Uptown Magazine, and nominated for Best Hardcore Group at the Indie Awards at Canadian Music Week, and also for the CBC Galaxie Rising Star Award.

In 2006, lead singer Scott Wade left the band to pursue other interests and guitarist Andrew Neufeld took over lead vocals. The current tour line-up features Andrew Neufeld (vocals), Jeremy Hiebert (guitar), Kyle Profeta (drums), Kevin Call (bass), and Casey Hjelmberg (guitar).

On February 20, 2007, Comeback Kid released Broadcasting…(Victory / Smallman), their most diverse album yet. Recorded again with Bill Stevenson (All, Descendents) at The Blasting Room, the album encompasses both heavier and more melodic elements. As lead singer Andrew Neufeld explains, "We wanted to up the ante with this one. I think it's great to explore new things and push the envelope a bit."

Broadcasting…is a superbly crafted, hard-hitting tour de force. Described by Neufeld, "This is the darkest record we have ever written. We were going for a more epic, full sounding album. It has the classic CBK elements but everything is turned up a notch."

Isolation can often result in unique outcomes. Hailing from the tiny, frosty, untamed and detached Australian state that is Tasmania, Psycroptic have become an unparalleled act in an enigmatic world wide movement commonly known as death metal. Fifteen years have passed since their formation in 1999, the band having released five critically acclaimed studio albums, all which show an organic progression along a clandestine path from which they will never stray.


On the eve of their sixth full-length, though more technical and brutally intuitive than ever, the four-piece has not been afraid to get in touch with their softer side. Long known as the 'Tasmanian devils', they recently became the first band in the world to adopt their own Tasmanian Devil, whom they dubbed Psycro, in an attempt to help preserve the critically endangered carnivorous marsupial. Newer elements too can be expected when the new album is finally unleashed - more vocal variation, a heightened handle on instrumental melody, and an overwhelming sense that this act has truly mastered their craft.


Psycroptic have toured all corners of the globe with names that need no introduction to those in the know - Cannibal Corpse, Suicide Silence, Decapitated, The Faceless, Obituary, Carcass, Nile, The Black Dahlia Murder, Origin, Kataklysm, Aborted, Despised Icon, Suffocation, Veil of Maya, Cryptopsy, Misery Index, Vader, Born of Osiris, Hate Eternal… you get the picture right? They also recently guest hosted the ABC music video program Rage, an honour reserved for only the most class Australian acts. Metal legend Max Cavalera has also been sporting the band's merch in recent promotional photos, bringing things full circle from the days when they were influenced by Sepultura in their youth. It's safe to say that Psycroptic's place in the history of heavy metal is solidified, and that everything that happens from here on in is simply a bonus…

For the recent successes of technical death outfit ARCHSPIRE to come into fruition, certain variables must align. Talent, drive, creativitiy, and absolute dedication are only a few characteristics one may notice about the group, and indeed many have experienced the bi-product of these characteristics:

A tight live performance, where impressive speeds come grinding to a halt, and in even less time twist and contort into complex passages rife with beautiful harmonies, juxtaposed against insidious melodies. An attention to songwriting, focusing not only on technicality, but originality as well, take this sub genre and put it on it's ear. And the combination of musical backgrounds, which is apparent in much of ARCHSPIRE'S music, showing itself through catchy rhythms, interesting riffs and arrangements, and progressive passages.

Pushing boundaries of speed and endurance set only by the genre's top artists, while remaining accessible and interesting is no small feat. These Canadians have proven themselves worthy of touring and playing with bands like Origin, Decapitated, Hate Eternal, Abysmal Dawn, Vomitory, Fleshgod Apocalypse, and Aborted.

When all the elements required align in such a way that they form something original, and interesting, it becomes a catalyst for something new... and in the case of ARCHSPIRE, All has indeed, Aligned.

For fans of : Origin, Spawn of Possession, Obscura, and Immolation.

primitive man

Denver's PRIMITIVE MAN's music matches its name: a savage, sparse mix of death metal, blackened noise, and doom riffs. The threepiece was formed in February of 2012 by Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy (all current and former members of Vermin Womb, Withered, Clinging To The Trees of A Forest Fire, Death of Self and Reproacher). In October of 2012 the band recorded their debut LP Scorn at Flatline Audio with Dave Otero (Cephalic Carnage, Cobalt, Catheter, CTTTOAFF). Scorn was released a collaboration between Throatruiner and Mordgrimm Records. After the release of Scorn, the band parted ways with Kennedy and recruited Isidro "Spy" Soto to take over on drums. The band also self-released a three-song EP in February titled P/M.


The unique metal hybridization of Scorn caught the attention of Relapse, who liked the record enough to sign the band and reissue the full-length in summer 2013. Dubbed a "totally malignant sounding record and one that will consume you whole if you're not careful," by Cvlt Nation and called "the best worst thing that has ever happened to you," in an 8/10 review from Metal Hammer, Scorn found PRIMITIVE MAN celebrating a slow-roasted apocalypse through seven suffocating hymns of hatred, disease and sonic deviance. The record put the band on the map for many listeners, and enabled PRIMITIVE MAN to embark on a relentless touring schedule that would soon see the band playing live shows across the US and Europe (often for the vast majority of the year) in company with acts such as Hexis, Reproacher, Fister, Celeste, Opium Lord, and Mammoth Grinder. PRIMITIVE MAN also played Denver Black Sky in 2013 alongside Relapse brethren Dying Fetus, Exhumed, Skinless, Iron Reagan, Call of the Void, and Weekend Nachos.


All of Ethan McCarthy's projects have been prolific, and PRIMITIVE MAN is no exception – the band released four splits between 2013 and 2015, and dropped another bombshell of nihility in 2015 with its Relapse EP Home Is Where The Hatred Is. The EP was well-received by publications including Metal Injection, MetalSucks, Revolver, and Exclaim!, the latter of who stated, "unapologetically bleak and permeated by loathing and hostility, Home Is Where The Hatred Is will either leave you wanting more or contemplating teetering off a ledge." Despite their primeval, bludgeoning approach, PRIMITIVE MAN wouldn't exist without their savage awareness of modern humanity: simultaneously old and new, atavistic and groundbreaking, PRIMITIVE MAN stands to redefine current conceptions of hope, faith, and metal music.

Gatecreeper

"This is thick, punishing, bone-rattling death metal like the legendary bands of the late 80's to mid-90's played it." - Deathwish Inc.

"Gatecreeper swept through the death metal underground last year with their self-titled tape and emerged as one of the genre's fresher, younger voices." - VICE

Witch Mountain

Witch Mountain was founded by guitarist/songwriter Rob Wrong and drummer/manager Nathan Carson in Portland, OR in 1997. In those days, if you didn't wear a cardigan and play sloppy indie-rock on a guitar you bought at a garage sale, you were not going anywhere. But the band was committed to its roots in the Blues, Rock, and Metal. Carson and Wrong shared a love of the Beatles, Black Sabbath, Pink Floyd, Jimi Hendrix, Judas Priest, and the Beach Boys. By the time the Homegrown Doom demo was recorded in '99, the band was already on its 4th bass player (he didn't last long, either).

Since those early days, Witch Mountain's accomplishments read like a laundry list: Three albums for Profound Lore, a single for Scion, a comp track on Adult Swim's metal compilation. Festival performances at Roadburn, Hellfest, Hopscotch, and tours all over Europe and North America with the likes of Nik Turner's Hawkwind, Cough, Lord Dying, Spirit Caravan, Weedeater, were all great successes. Likewise, the major press has levied accolades on Witch Mountain, from Pitchfork to NPR, Spin to MSN, Noisey to Rhapsody. If you can name a band that influenced doom, be it Candlemass or Blue Öyster Cult, Sleep or Diamond Head, Saint Vitus or Uli Jon Roth, Witch Mountain has shared the stage with them.


2015 brings new blood to the group, with vocalist Kayla Dixon taking over for the recently retired Uta Plotkin. Dixon's talent and enthusiasm continues to revitalize the band, which is remarkably far from jaded after nearly 18 years as a unit. Latest album Mobile of Angels won worldwide praise, and placed on most Top 20 Year End lists for metal music in 2014. Now, with latest and greatest bass player Justin Brown (#11, we think…) in tow, the group is set to tour America once more, this time in support of its longtime friends YOB.

Once against the grain in every way, time and culture has cycled the band into a new era where Doom is somehow considered cool, and Witch Mountain is recognized as an organic, unwavering stalwart of the scene.

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Critical praise for Witch Mountain:
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"Uta Plotkin's voice should be declared a national treasure, of the doomed nation if not the whole damn American music scene. Bluesy, ballsy, sensual, and commanding, this lady's powerful pipes make this band what it is, and when she chooses to exercise the fullness of her dizzyingly elastic range (as in, for example, her rumbling death growls on "Veil of the Forgotten"), the result is electrifying." - Pitchfork
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"Solo-prone guitarist Rob Wrong is unmistakably 'a Hendrix acolyte,'" - SPIN
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"…few can match vocalist Uta Plotkin's raw soul, a gut-level howl that can just as easily turn into a sinister coo. Finally, those massive, rumbling doom riffs aren't just there to get your slow-motion headbang on (well, they're good for that, too), those riffs want to bore into your skull, crack open a beer and make you a lifer..." – NPR
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"…crawling epics like "Aurelia" and "Never Know,"… take full advantage of doom's glacial sprawl to take listeners on an 'amps to eleven' psychedelic journey. Songs like these prove that Witch Mountain isn't a one-trick pony, but a band of kindred spirits apparently put on this Earth to create jammy doom, making the world just a little bit heavier one album at a time." - Allmusic
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"Sabbath started out as a blues band, and Witch Mountain is ever mindful of that fact, whether in Wrong's expressive solos or the swing that drummer Nathan Carson brings to each song. But what makes the new album Cauldron of the Wild so extraordinary is not just the instrumental arrangements, but also the presence of Plotkin, who dominates every song with her powerful, at times decidedly un-metal singing style." – MSN
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"…the band are poised to leave a mark not only on the fertile Pacific Northwest underground, but the doom genre as a whole." – The Obelisk

Heavy metal from Vancouver, BC.

Homewrecker

Matt Barnum
Matt Izzi
Steve Cray
Chris Vangorder

Somewhere between sheer, apocalyptic heaviness and precise riffing, lays otherworldly ANCIIENTS—a Vancouver-based rock juggernaut forging crushing heavy metal evocative of veterans High on Fire and contemporary sonic craftsmen, Opeth. ANCIIENTS have combined fuck-off-huge chords with mind-altering riffage that takes you on an unfamiliar trip.

Loud, pissed, chaotic heavy metal.

TYRANTS BLOOD

Tyrants Blood were conceived in late summer 2005 , and solidified its original lineup in January of 2006. Started by ex Witches Hammer/Blasphemy guitarist Marco Banco(traditional sodomizer of the Goddess of Perversity) and local drummer Kevin Volatile. The group now consists of 'Marco Banco', ex Abuse drummer 'Matt Blood Modder', Infernal majesty vocalist 'Brian Messiah Langley'

and Bass/vocalist 'Vinnie Borden'.

Their debut album was released by Morbid Moon records out of Montreal Quebec in late 2006. Then in 2007 they were signed to Ireland's main metal company Invictus records, where they released both the 2007 e.p .titled Prophecy,and there latest full length album from 2009 titled, Crushing Onward Into oblivion.This latest release has also been picked up by Mutilation records out of Sao Paolo Brazil for distribution in South America.

Since their inception, Tyrants Blood have supported their efforts with live shows through out western Canada , South America and Europe. As of this date ,Tyrants Blood are finishing the mix and mastering for their 3rd album, titled, INTO THE KINGDOM OF GRAVES.

Wake

Bushwhacker

In an era of over-classified genre taxonomies, it's a breath of fresh air to find a metal band that just makes music.
Vancouver's Bushwhacker is one such. Their sound combines influences from many decades, from traditional death and black metal genres to 60s and 70s British prog and psychedelia, and even further to jazz and darker
1800s-era classical. The result is a complex and thoughtful arrangement that both challenges and pleases the ear, defying classification.

Koma

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