Although they came together as a band in 2003, the members of Athens, Ohio's Skeletonwitch draw the bulk of their inspiration from artists and musical styles born all of two decades earlier: namely the undying flame of classic Bay Area thrash; its creative bedrock in the New Wave of British Heavy Metal; and, to a lesser degree, death, black, and Viking metal. First introduced via 2004's independently released At One with the Shadows album and 2006's Worship the Skeletonwitch´s retro-fitted yet modernly executed creative vision arguably reached a new level of maturity with 2007's Beyond the Permafrost full-length, their first for Prosthetic Records.
In any case,Skeletonwitch members Chance Garnette (vocals), Nate Garnette (guitar), Scott Hedrick (guitar), Eric Harris (bass), and Derrick Nau (drums) then set out to prove their metal mettle on tour, Flying V's cocked and loaded. After some hefty touring, Chance and Nate Garnette, Hedrick, Nau and bassist Evan Linger headed into the studio to begin work on album number two. The resulting Breathing the Fire dropped in 2009, and debuted at number 151 on the Billboard 200 chart. Arriving in 2011, Forever Abomination was the first Skeletonwitch outing to feature new drummer Dustin Bolties, and 2013's critically acclaimed Serpetns Unleashed reached number 62, but would prove to be the last go-around for vocalist Chance Garnette, who was fired in 2015 due to his substance abuse problems. The following year the band added Wolvhammer vocalist Adam Clemans to the roster and release a new EP, The Apothic Gloom.
Northern Germany’s feral two piece MANTAR have achieved more in five years than most bands twice their age and size. The product of a twenty year friendship between guitarist/vocalist Hanno Klaenhardt and drummer Erinc Sakarya, their success story born is entirely a result of one thing: hard work, with 3 albums, an EP and a live release already to their name. Releasing their 2014 Svart Records debut »Death By Burning«, an uncompromising clash of stripped-back punk attitude and metal intensity to instant critical acclaim, the band toured relentlessly, gracing stages the world over, including the hallowed likes of Roadburn (NL), Wacken Open Air (D) and Maryland Deathfest (US). They used 2016’s »Ode To The Flame«, their Nuclear Blast Records debut, to further build upon their incendiary live reputation, conquering not only Europe and the US, but Russia, Japan and South Africa.
Now, following a brief period of repose which saw Hanno move to Florida, MANTAR return with »The Modern Art Of Setting Ablaze«, a short, sharp shock that hones the hungry riffs and breath-taking pace of their previous records. “We skipped the bullshit,” explains Hanno. “I wanted 3 or 4 minute songs; bam, bam, bam. Every song different, catchy - that’s what rock and roll is about.”
MANTAR’s metallic genesis is unique in that neither member classes themself as a metalhead. Hanno’s a punk kid that developed a love for black metal later in life. Erinc’s tastes are even further removed, preferring the svelte sadness of the likes of THE SISTERS OF MERCY. “But we have a metal audience and we are a metal band, I guess!” states Hanno proudly, “I take that as a gift.” He’s never listened to more classic metal records than when writing »The Modern Art Of Setting Ablaze«, and it shows in the album’s ceaseless, hook-laden riffs and caustically blackened, nihilistic atmosphere. “Riffs, riffs, riffs are the only hard currency for MANTAR - simple as fuck - that’s what I like,” says Hanno. “»The Modern Art Of Setting Ablaze« is way more metal than the previous two records; on the other hand I think the songs speak for themselves, without the need for genre classification.”
»The Modern Art Of Setting Ablaze« is a title in-keeping with Hanno’s symbolic obsession with fire on albums previous; this time disavowing mankind’s tendency to blindly follow those that would lead us into oblivion. This isn’t necessarily a political statement; more a morbid fascination with current smouldering tensions that threaten to set the minds of the masses on fire. »The Modern Art Of Setting Ablaze« is the spark that will ignite the flame - especially onstage. “I’m addicted to those moments up there,” impresses Hanno, “being loud, raw and aggressive - setting the stage ablaze, causing violence; that’s what I live for.”
EVIL INVADERS (BE) delivers the ultimate expression of aggression. As an unstoppable rollercoaster ride of tempo switches and twists from start to finish, EVIL INVADERS have definitely brought their A-game to a whole new level. From Thrash to Death and from Heavy to Progressive Metal, EVIL INVADERS will guide you through a relentless and twisted journey which every extreme Metal music fan should and will relate to.
After touring extensively through different continents in support of their debut album “Pulses Of Pleasure” (2015) and follow-up EP “In For The Kill” (2016), EVIL INVADERS have managed to capture the ultimate collection of adrenaline and compressed violence on their recent album ‘Feed Me Violence’, released on Napalm Records.
Joe – Vocals / Guitars
Max – Lead guitars
Senne – Drums
Joeri – Bass guitar
DEATHRITE (DE) Not too many bands share the ability to instinctively hit the sweet spot where only the most severe elements of death-metal, grindcore and punk converge. Surely one of the most thrilling acts of this rare breed are DEATHRITE from Dresden, Germany, who honed their knuckle-dragging savagery for four years now over a series of releases, including the highly praised „Into Extinction“, released through the esteemed German label Per Koro in 2013.
On numerous tours and countless shows DEATHRITE have played with internationally renowned artists like Napalm Death, Rotten Sound, Aura Noir, Mutilation Rites, Integrity and Full Of Hell, just to name a few. Coming from – and sticking to – Germany’s vivid DIY punk scene these four guys have never been afraid to add a huge amount of old school Death Metal riffage, Grindcore speeds and even hints of head-hits-concrete sludgecore villainy into the mix.