Asylum 13: Every Thursday Night! Presents
BILE Infests Asylum 13
The Rabid Whole, DeathMaschine
1706 Philadelphia Pike
Wilmington, DE, 19809
9:00 PM (event ends at 1:00 AM)
This event is 21 and over
Watch & Listen
Originally formed as a performance art project in 1992, the Long Island-bred Bile grew into a ferocious spectacle of industrialized metal and post-apocalyptic visuals. With as many as 11 members on-stage -- including a dominatrix and fire-breather -- the group took the snarling, aggro-electronic formula of artists like Ministry and tortured it with distorted vocals and terrorizing sampling.
Led by enigmatic vocalist Krztoff, the band released three albums on Energy Records, including their impressive debut, Suckpump. Following a tour with GWAR and countless lineup changes, Energy folded, inciting Bile to regroup and record for their own label. Sex Reflex was released on Bile Style Records in March 2000.
Following their most monumental album, Bile continued with numerous compilation discs, a best of, and their latest album, Demonic Electronic. Bile has been a one-man-project for many years, as Krztoff is the brains / creativity / talent of the studio. To accompany on tour, RHBear and other select artists are chosen to perform. Bile has become one of the biggest underground acts of the 90's as well as the millennium.
Bile has gone through constant lineup changes. The two founding members still pursuing the project are Krztoff and RH Bear. Currently, Bile is Krztoff, RH Bear, Brett Frana, Dave Sussmann, and Jester. Various artists have been in the act, so Bile has never had a permanent group lineup.
The Rabid Whole
Currently based in Toronto, ON, Canada, The Rabid Whole is a band that plays a mixture of rock, industrial, electronica, and alternative music.
DeathMaschine present an incendiary combination of harsh electronics, scathing metal, and decrepit industrial backdrops. Drawing as much from the nightmarish atmospheres of Skinny Puppy as from the raucous guitar-driven noise of Rammstein, making for a sound that is both hauntingly familiar as it is unsettlingly fresh. The Human Condition marks the second of the band’s self-released efforts, following after 2009’s Impulse Over Restraint and furthering their exploration of mechanical madness. The formula is simple and effective, full of aggression that never once lets up, enough to instill paralyzing fear and vicious glee all at once. The production is just as dirty as the music and in all the right ways to enhance DeathMaschine’s audio/visual onslaught. At five tracks and just over 20 minutes, The Human Condition is brief enough to keep the formula from diluting, packing a fully volatile punch that will leave the listener’s ears feeling appropriately bruised and abused