Posts Tagged ‘Bandcamp’

Listen: ‘If You Found This It’s Probably Too Late’ by Hellripper

Posted: 20 October 2026 in Singles and EPs, Recommended Streams and Videos
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Scotland’s ibex-obsessed blackened thrash bastards of Hades otherwise known as Hellripper continue to globally promote their fourth studio album Coronach which was released via Century Media Records earlier this year.

Next up, Hellripper are embarking on a first complete North American tour in October/November and in order to whet the appetite for the upcoming activities, Hellripper have already released a digital double-single with the cover versions of Seattle’s legendary speed-metal-punks Zeke of the tracks ‘Let’s Get Drugs’ and ‘Mainline’. Hellripper have now also unleashed a blackened metal reimagining of an Arctic Monkeys B-side track ‘If You Found This It’s Probably Too Late’.

Hellripper’s mastermind, guitarist/vocalist and songwriter James McBain comments on the Arctic Monkeys cover song as follows: “I wanted to record something that would perhaps be a little unexpected, and this Arctic Monkeys B-side was screaming for the Hellripper treatment. It may be kind of surprising to some, but they’re one of my all time favourite bands, and though it may not be immediately evident in my music, they have always greatly influenced how I approach songwriting and production. Enjoy!”

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Hellripper – Live:

MO 26.10.2026 Roseville, CA (USA) – Goldfield Trading Post ^

TU 27.10.2026 Berkeley, CA (USA) – Cornerstone Berkeley ^

WE 28.10.2026 Los Angeles, CA (USA) – The Regent Theater ^

TH 29.10.2026 Fresno, CA (USA) – Strummer’s ^

FR 30.10.2026 Las Vegas, NV (USA) – Backstage Bar Billiards ^

SA 31.10.2026 Mesa. AZ (USA) – Nile Theater ^

MO 02.11.2026 Dallas, TX (USA) – AM/FM ^

TU 03.11.2026 Austin, TX (USA) – Come and Take it Live ^

WE 04.11.2026 Houston, TX (USA) – Warehouse Live Midtown ^

FR 06.11.2026 Atlanta, GA (USA) – Masquerade (Hell) ^

SA 07.11.2026 Nashville, TN (USA) – Basement East ^

SU 08.11.2026 Asheville, NC (USA) – Eulogy ^

MO 09.11.2026 Richmond, VA (USA) – Canal Club ^

WE 11.11.2026 Baltimore, MD (USA) – Baltimore Soundstage ^

TH 12.11.2026 Harrisburg, PA (USA) – Capital City Music Hall ^

FR 13.11.2026 Boston, MA (USA) – Brighton Music Hall ^

SA 14.11.2026 New York, NY (USA) – Racket ^

SU 15.11.2026 Lakewood, OH (USA) – Mercury Music Lounge ^

TU 17.11.2026 Detroit, MI (USA) – Catacombs at the Sanctuary ^

WE 18.11.2026 Chicago, IL (USA) – Reggies ^

TH 19.11.2026 Kansas City, MO (USA) – Recordbar ^

FR 20.11.2026 Denver, CO (USA) – Gothic Theatre ^

——————

WE 25.11.2026 Montreal, QC (Canada) – Piranha Bar

TH 26.11.2026 Quebec, QC (Canada) – La Source De La Martinière

FR 27.11.2026 Ottawa, ON (Canada) – Dominion Tavern

SA 28.11.2026 Toronto, ON (Canada) – Supermarket Bar & Variety

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SA 09.01.2027 Mangualde (Portugal) – Mangualde Hardmetalfest

TH 14.01.2027 Rio De Janeiro (Brazil) – Experience Music

FR 15.01 2027 Curitiba (Brazil) – Basement Cultural

SA 16.01.2027 Sao Paulo (Brazil) – Burning House

SU 17.01.2027 Belo Horizonte (Brazil) – Caverna

TU 19.01.2027 Buenos Aires (Argentina) – Uniclub

WE 20.01.2027 Santiago (Chile) – Sala RBX

TH 21.01.2027 Lima (Peru) – Vichama Conciertos

SA 23.01.2027 Bogota (Colombia) – Ace of Spades

SU 24.01.2027 Quito (Ecuador) – Necronik

TU 26.01.2027 San Jose (Costa Rica) – Amon Solar

TH 28.01.2027 Monterrey (Mexico) – Cafe Iguana

FR 29.01.2027 Hermosillo (Mexico) – London Pub

SA 30.01.2027 Tijuana (Mexico) – Dragón Rojo

SU 31.01.2027 Mexico City (Mexico) – Circo Volador

——————

SA 13.03.2027 Eindhoven (The Netherlands) – Dynamo / Welcome To Hell Festival

TH-SU 25-28.03.2027 Oslo (Norway) – Inferno Festival

FR-SA 28-29.05.2027 Kirchdorf bei Haag (Germany) – Bavarian Battle Open Air

FR-SA 28-29.05.2027 Buchenbach (Germany) – Boarstream Open Air Festival

TH-SA 03-05.06.2027 Stykkisholmur (Iceland) – Satan Festival

FR-SU 11-13.06.2027 Leeuwarden (The Netherlands) – Into the Grave Festival

FR-SA 23-24.07.2027 Freißenbüttel (Germany) – Burning Q Festival

TH-SA 26-28.08.2027 Næstved (Denmark) – Næstved Metalfest

^ w/ Havok

And many more shows to be announced soon!

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Forensics – Dogtown

Posted: 20 October 2026 in Reviews, Singles and EPs
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Gotta love the Leeds scene. It keeps on throwing up noisy bands who really capture the zeitgeist. Sure, the city’s been redeveloped and gentrified and is a world away from the dingy days of Thatcher’s Britain, which saw it become the heartland of the early 80s goth scene. But for all its plush shopping centres and slick office spaces, home to wealthy finance firms, and for the way university life is now less The Young Ones and more the domain of the well-heeled – most often from overseas – who can afford to take on forty grand’s debt with only limited hope of a better job – it’s still a place where there is considerable poverty.

My generation was lied to: we were promised ‘graduate jobs’ which paid salaries well above the national average. Call me a failure: after a three-year degree in English literature – followed by an MA, and then a PHD, I failed to land a job which paid a ‘graduate’ wage and eventually, twenty-five years after graduation, I had my three student loans written off. Yes, I’d advocate staying poor as a career choice, naturally.

I digress somewhat, but the Leeds scene has always been, and continues to be, different. More recent years has seen the city’s sound move away from goth to noisy shit. This fashion started in the mid 00s, with the likes of That Fucking Tank, Pulled Apart by Horses, and These Monsters, and there was oddball stuff like Forward Russia! And This Et Al, and while lumped in with the post-rock trend. iLiKETRAiNS (later I Like Trains) always stood apart. Leeds has long been… well, different.

Forensics are different, too, and quintessentially Leeds, too. As they pitch it, they’re ‘Influenced by a desire to establish a sound that was as gritty as it was unrelenting’ and ‘have set straight their objective from the start; to put the world to rights as an unforgivably noisy 5 piece unafraid to incorporate influences from noise to hardcore punk, from black metal to garage rock’.

‘Dogtown’ is raw and biting. It’s built around a dingy, grainy garage-rock bassline, and during the verses, a sinewey guitar line twists through skewed angles in a fashion that calls to mind The Jesus Lizard, and, by some kind of default, Blacklisters. Then the chorus drives straight ahead with a racing urgency, the rabid punk vocals reminiscent of a screamier Wayne Barrett of Slaughter and the Dogs. It’s fierce.

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Listen: ‘To Be Eviscerated’ by The Body and Cel Genesis

Posted: 17 October 2026 in Reviews
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The Body and Cel Genesis have shared ‘To Be Eviscerated,’ the final preview of their collaborative debut, Whole Wide World, out November 13 via Thrill Jockey.

Following previous singles ‘Candy Crush’ and the title track, ‘To Be Eviscerated’ opens with rattling toms and ominous electronics before erupting into a barrage of blown-out noise, impassioned vocals, and restless percussion. It captures the tension at the heart of the Portland and Oakland projects’ collaboration: creation itself becomes an act of defiance, a way to carve out something meaningful from a world facing oblivion.

About the track, Chris says “Love this track, composed of an insane array of genre elements, from industrial textures to dubstep-inspired subs, roto toms to gabber kicks, all married with three distinctly horrifying vocals. An unhinged, dynamic, yet cohesively powerful banger. Perfectly captures the collision of elements and influences represented by this exceptional collaboration.”

Hear it here:

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The collaboration took shape on tour, with few rules established ahead of time. Cel Genesis’ maximalist compositions and aggressive editing collided with The Body’s improvisational instincts, allowing both projects to push their respective approaches into unfamiliar territory. Drawing on trance, distortion, and experimental electronics, the resulting album is driven by the visceral interplay of dual drumming from Lee Buford and Nick Cowman, alongside the combined force of both groups’ vocals.

Recorded at Machines with Magnets by Seth Manchester, with additional recording by Andrew Oswald in California, Whole Wide World evolved over two years of recording and meticulous editing. Some songs began with electronic beds generated by Cel Genesis, while others grew from live drums, with each group reshaping and reimagining the material.

Whole Wide World is dense and heavy, yet made with joy. Its songs confront today’s harsh realities through the eyes of an unrelenting optimist reckoning with the death of possibility itself.

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Body and Cel

Photo: Chris Danko

Listen – ‘Bye Bye Land’ by THEN COMES SILENCE

Posted: 16 October 2026 in Singles and EPs, Recommended Streams and Videos
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Stockholm post-punk trio Then Comes Silence present ‘Bye Bye Land’, the third single from their impending Requiem Ballroom album, due in late November via Metropolis Records.

Confronting the helplessness of watching a loved one struggle with trauma, this song delivers a deeply personal reminder of life’s value, the power of human connection, and the hope of finding a reason to carry on.

A tightly focused trio since 2022, Then Comes Silence was formed in 2012 by vocalist-bassist Alex Svenson in 2012. Drummer Jonas Fransson and guitarist Hugo Zombie, round out the band in its most direct, powerful and uncompromising form. One of the leading names on today’s goth, post-punk and darkwave scene, they are driven by a fascination with horror, the occult and the raw intensity of underground music, having forged a distinctive sound and a devoted international following.

“This song is, in many ways, a slap in the face to one of my dearest friends. Someone who, after experiencing a life-changing trauma, reached a point where he decided he no longer wanted to be here. I’m not going to pretend that I know what was going through his mind or that I can fully understand what he was feeling. But I do know how deeply grateful I am that he’s still here. And I know I’m far from the only one who feels that way. With this song, I want to remind him of how much he means to all of us… and, most importantly, how much his life means to himself,” says Alex Svenson.

“Watching someone self destruct can leave you feeling completely helpless, especially when it seems like there’s nothing you can do to intervene. If you or someone you know is going through a difficult time or experiencing thoughts of suicide, please know that help is available. You don’t have to face it alone.”

Listen here:

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Listen: ‘Endless Bridge’ by Martin Saint

Posted: 13 October 2026 in Recommended Streams and Videos, Singles and EPs
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Montreal-based indie rock/alt-pop artist Martin Saint presents his new single ‘Endless Bridge’, a poignant exploration of love, loss, forgiveness, and letting go. The song follows a relationship from its tender, snow-covered beginnings through heartbreak and separation, ultimately arriving at the possibility of reconciliation and emotional release.

Drawing on the atmospheric DNA of ’80s artists such as The Mission, The Church and Echo and the Bunnymen, ‘Endless Bridge’ evokes changing seasons, long distances, and the passage of time. Its imagery moves between the innocence of early romance, a sense of divine grace, and the vulnerability of confronting what remains after two people part.

At its core, the song is about what happens when love is tested by time and distance. Rather than holding on at all costs, the narrator gradually arrives at a place of acceptance—where forgiveness becomes a form of freedom, and letting go becomes its own expression of love. The final image, like an offering carried out to sea, captures that surrender: painful, beautiful, and ultimately liberating.

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Martin Saint is a Montreal-based singer-songwriter who is perhaps best known as lead singer and guitarist of The Ember Glows and Citylake prior to that. Since The Ember Glows parted ways in 2024 after half a decade and a solid string of releases, Martin has established himself as a solo artist. Apart from writing, recording and performing his own music, he also collaborates with a handful of fellow Montreal artists, such as Johnny Couteau, SU, DJ Sarcastic, and HJ & The Constellations.

‘Endless Bridge’ is Martin’s first new music since his full-length Seekers album, released in spring of 2025. With glimmers of Nick Cave, David Bowie, Leonard Cohen, Bauhaus and The Doors infused through his work, his music presents a unique cinematic mood permeated by poetic lyrics, baritone vocals, and hooks over soundscapes.

“The song ‘Endless Bridge’ is about as close to a love song as I’ll ever get, but there’s a bittersweetness to it. Beginnings, endings, renewals. It expresses faith in the future and letting go of forces holding us back, even if this may take a lifetime. There’s definitely a spiritual undertone tucked in there. Musically, I wanted something that’d sound epic. Something that is melancholic and foggy, but ultimately also uplifting and catchy,” says Martin Saint.

“In between the two albums, I went back into the studio to re-record ‘Endless Bridge’, one of my holder songs that I had originally released back in 2017 with my former band Citylake. I felt this song, in particular, deserved a dedicated rework and a new release — under my own name this time around. This song and its performance reflects where I am at this moment in time, as well as how far I’ve come since the period that the song was penned.”

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Listen: ‘Wired for War’ by Dismantled

Posted: 11 October 2026 in Singles and EPs, Recommended Streams and Videos
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Founded by US electronic musician Gary Zon in 2000, Dismantled issued five albums over the next decade that blended multi-layered electro-industrial music with melodic trance elements, resulting in a darkly brooding and futuristic sound.

‘Wired For War’ is the second single to be released ahead of a long-awaited new album entitled Endless, out on 20th November via Metropolis Records. As with its predecessor, ‘Zero’ , it is a synth-pop noir nugget tailor-made for futuristic dancefloors, albeit with a lyrical message critical of the hollow inanity of much of modern society.

Endless was primarily recorded in Oregon and completed in Southern California. Zon describes it as his most cohesive work yet and a record that has helped him rediscover the sound that gave the project its unique appeal at the outset. He also states that fans will spot deliberate references to previously issued songs.

Hear ‘Wired for War’ here:

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Having begun making electronic music in 2000, Gary Zon soon came up with a brand of complex yet melodic electro-industrial and trance sounds that saw him compared to peers such as Front Line Assembly, Haujobb and Wumpscut.

Dismantled signed to Metropolis Records and issued a self-titled album in 2002. It was followed by the acclaimed Post-Nuclear (2004), a record that introduced a clearer vocal style into what was otherwise a grittier and more organic soundscape. Standard Issue (2006) was previewed with Breed To Death, an EP that included remixes of new and already released songs by the likes of Psyclon Nine, Haujobb and Wumpscut, and was then followed by a lengthy period of touring ahead of the release of fourth album, When I’m Dead (2007).

US and European tours with VNV Nation, Apoptygma Berzerk and Combichrist preceded the The War Inside Me (2011), the most aggressive Dismantled output to date. Promoted on a tour with Front Line Assembly, it was followed by an EP, Whole Wide World (2012) and two further EPs, The Hero (2016) and No Escape (2020).

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Listen: ‘My Eve My Dawn’ by Kali Malone

Posted: 1 October 2026 in Recommended Streams and Videos, Singles and EPs
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Kali Malone presents a second preview of her forthcoming album, Burning Song with the new song and album closer, ‘My Eve My Dawn.’

‘My Eve My Dawn,’ represents a clear vision of this process; foregrounding the cohesion between endings and beginnings, it moves through passages of sadness and joy, the linking tones offering a sense of continuity, and thus of acceptance.

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Burning Song arrives via Ideologic Organ digitally on October 30th with the LP & CD version arriving on November 13th.

Burning Song, Malone’s first new album of solo compositions since 2024’s All Life Long, marks a transformation in her compositional approach towards a process that is more intuitive and direct. Moving through endings and beginnings, reflection and foresight, the music of Burning Song hovers in the moment just before understanding, where revelation lives.

The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period.

Throughout Burning Song, Malone is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection through the development of Malone’s 2023 work Does Spring Hide Its Joy. The trio moves as one through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ’s upper register. By discarding canon form, which has dominated much of Malone’s organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before.

Live dates 2026

Fri. Oct. 9 – Venice, IT @ Chiesa di Santa Maria de Nazareth ^
Sun. Oct. 11 – Bern, CH @ Berner Münster [bee-flat] ^ tickets
Sun. Nov. 22 – Stockholm, SE @ Stockholm City Hall [City Hall of Stockholm] ^ tickets
Sun. Nov. 29 – Bratislava, SK @ Novy evanjelicky kostol [NEXT Festival] ^ tickets
Burning Song Live 2027

Mon. Jan. 25 – Berlin, DE @ Gedächtniskirche [CTM] # tickets
Tues. Jan. 26 – Berlin, DE @ Gedächtniskirche [CTM] # tickets
Thu. Jan. 28 – London, UK @ St. Martin [Baba Yaga’s Hut presents] # tickets
Fri. Jan. 29 – London, UK @ St. Martin [Baba Yaga’s Hut presents] # tickets
Sun. Jan. 31 – Geneva, CH @ Madeleine Chapel (Espace de la Madeleine) [Festival Antigel] # tickets
Sun. Feb. 28 – Basel, CH @ Pauluskirche [Festival Interfinity] # tickets
Thu. April 1 – Sun. April 4 – Knoxville, TN @ Big Ears # tickets
Thu. Apr. 8 – San Francisco, CA @ Grace Cathedral [The Lab Presents] #
Sat. Apr. 10 – Los Angeles, CA @ First Congregational Church [Upend Presents] # tickets
Mon. Apr. 12 – Brooklyn, NY @ First Unitarian Church [LPR Presents] #
Tues. Apr. 13 – Brooklyn, NY @ First Unitarian Church [LPR Presents] #
Fri. Jun. 4 – Helsinki, FI @ Temppeliaukio Church [We Jazz Presents] # tickets

* = Electronic set
^ = Solo organ set
# = Burning Song set

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Listen: ‘Whole Wide World’ by The Body and Cel Genesis

Posted: 11 September 2026 in Recommended Streams and Videos, Singles and EPs
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The Body and Cel Genesis share ‘Whole Wide World,’ the title track and second preview from their debut collaborative album of the same name, out November 13 via Thrill Jockey.
The song wastes no time getting to the point, fusing the punishing force of power electronics with a bitter nihilism that runs throughout the record. Built on lyrics by Chip King and Pauline Poderoso about exhaustion and the limits of continuing to place hope in humanity, the track offers a direct distillation of what emerges when the two projects’ sounds and sensibilities collide.

That confrontation extends to the song’s construction. As Chris Danko of Cel Genesis explains, when bandmate Poderoso delivers the line “You want a key change?,” the song gives way not to a key change but to a crushing breakdown, a moment that plays with spectacle while deliberately addressing and challenging the listener.

About the track, Chris comments, “What was once before you – an exciting, mysterious future – is now behind you. Lived; understood; disappointing. You realise you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone’s experience.”

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The collaboration was first conceived on tour, with few parameters set in advance, letting Cel Genesis’ maximalist compositions and aggressive editing meet Body’s improvisational approach on even ground, with both projects pushing their ideas to their outermost limits. The resulting record draws heavily from trance, distortion, and experimental electronics, anchored by the visceral interplay of dual drumming from Lee Buford and Nick Cowman and the combined force of both groups’ vocals.

Recorded at Machines with Magnets by Seth Manchester, with additional recording by Andrew Oswald in California, Whole Wide World evolved over two years of recording and meticulous editing. Some songs began with electronic beds generated by Cel Genesis, while others grew from live drums, with each group reshaping and reimagining the material.

Whole Wide World is a dense and heavy album, but one that nevertheless feels joyful and fresh—an uncategorizable ode to egoless invention. It’s a work born of artists with disparate approaches, who feel compelled and comfortable to surrender them in service of the birth of new art. Whilst the album was made with joy, its themes confront today’s harsher realities; we see this play out through the eyes of an unrelenting optimist processing the death of possibility itself.

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Photo: Chris Danko

Listen: ‘Phantasmagoria’ by Ani Glass

Posted: 28 June 2025 in Recommended Streams and Videos, Singles and EPs
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Ani Glass announces the release of ‘Phantasmagoria’ on the 4th of July, the lush first single and title track from her forthcoming second album.

In February 2020, just before the release of her debut album Mirores, Ani Glass (Cardiff-based artist Ani Saunders) was diagnosed with a rare benign brain tumour. The diagnosis marked the beginning of a personal journey that shaped her second album, Phantasmagoria (released on the 26th of September), a lush, introspective concept album that delves deeply into her experience of navigating life with this diagnosis. With lyrics in Cymraeg (Welsh), Kernewek (Cornish), and English, as well as some BSL woven into her live performances,  Phantasmagoria brings together all languages and mediums at Ani’s disposal to express a poignant time in her life.

Opening single ‘Phantasmagoria’ weaves themes of water and sleep into a beguiling sonic landscape layered with mystical ethereal vocals invested with a restless need for stillness and comfort. Lush instrumentation is underpinned by synth pulses played by co-producer Iwan Morgan and swirling flutes played by Laura J Martin. “I’m the prophet of sleep and silence/Phantasmagoria/We’ll rest until summer” Glass sings touchingly, in the arms of chiming classical textures, there are echoes of early Goldfrapp or the enveloping vocal swoops of Enya. Yet, it’s a moment of warm, transcendent beauty and comforting self-realisation. Now we rest, the storm will pass.

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Crafting a elegantlly drawn sonic world underpinned by electronica, samples and synth pulses yet informed by the spirit of Arthur Russell who inspired her to learn the cello, Glass crafts her most personal and inspirational work yet, she stretches her sonic tapestry with live instrumentation and innovative vocal performances, that push into the realms of the avant-garde and forward-looking pop, Phantasmagoria fascinates and invigorates at every turn, revealing intricate and innovative details with every listen.

The single Phantasmagoria is out on the 4th of July and her new album is released on the 26th of September.

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Listen: ‘These Wires’ by KEN mode

Posted: 27 August 2023 in Recommended Streams and Videos
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KEN mode has released ‘These Wires,’ the latest single from its upcoming album, VOID.

The sequel to last year’s acclaimed NULL album, VOID will be released September 22nd on Artoffact Records.

Stream ‘These Wires’ here:

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KEN mode frontman Jesse Matthewson gives this statement about the new song: "Why would anything feel right again? Do you get the sense that a lot of people have been fundamentally damaged by the pandemic? The psychological fallout of this event is going to be seen for years to come, and this is its anthem."

An 8-minute epic, building from an icy lament into a deluge of distress, "These Wires" is perhaps the song that best expresses VOID’s story of sorrow and dismay. Centered around a simple piano melody, courtesy of newest member Kathryn Kerr, and Matthewson’s fragile spoken words, the song erupts into thunderous rhythms, propelled by the machine-like interplay of bassist Skot Hamilton and Jesse’s brother Shane Matthewson on drums. Jesse’s pleas hit with all the directness of Henry Rollins (whose "KEN mode" acronym, described in his book, Get in the Van, provided the Matthewsons with the inspiration for their band’s name, almost 25 years ago) as he belts out the song’s crucial six-word phrase: "Why would anything feel right again?"

Released in September of last year, KEN mode’s eighth album, NULL, was inspired by the bleakest days of the COVID-19 pandemic and saw the band create some of the rawest, harshest material of its career. The album also marked the official debut of multi-instrumentalist Kerr, who helped install a new palette of No Wave and industrial-tinged sounds into the band’s trademark mix of metallic hardcore and noise rock.

Amongst other honors, NULL earned KEN mode the front cover of Decibel Magazine, wherein the music was described as "evocative, guttural, Howl-esque poetry laid over frantic, Godflesh-ian soundscapes." A review from Stereogum stated: "NULL is KEN mode at their peak as composers."

Arriving exactly one year after NULL, VOID is KEN mode’s ninth full-length album. More than merely the follow-up to NULL, VOID is a companion to that album, inspired by the same events, and written and recorded within the same time frame. Where NULL embodied the chaos and shock of the early days of the pandemic, VOID is the sound of disappointment and sadness that followed.

Upon VOID’s release in September, KEN mode will embark on a tour of Europe, including dates with Fange and Lingua Ignota, followed by US dates with Baroness and a slot on the next Decibel Metal & Beer Fest in Denver.

Tour:

Sep 24 – Porto, PT @ Amplifest

Sep 26 – Rouen, FR @ Le 106 w/Fange

Sep 27 – Lille, FR @ L’Aéronef w/Fange

Sep 28 – Paris, FR @ Point Ephémère w/Fange

Sep 29 – Angoulême, FR @ La Nef w/Fange

Sep 30 – Clermont-Ferrand, FR @ La Coopérative de Mai w/Fange

Oct 1 – Yverdon-Les-Bains, CH @ L’Amalgame

Oct 2 – Karlsruhe, DE @ Jubez w/Fange

Oct 3 – Dresden, DE @ Ostpol w/Fange

Oct 4 – Wroclaw, PL @ Klub Łącznik w/Fange

Oct 5 – Berlin, DE @ Urban Spree w/Fange

Oct 7 – Aalborg, DK @ 1000 Fryd w/Fange

Oct 8 – Aarhus, DK @ HeadQuarters w/Fange

Oct 10 – Liege, BE @ La Zone w/Fange

Oct 11 – Haarlem, NL @ Patronaat w/Fange

Oct 12 – Bruxelles, BE @ Le Botanique w/Fange

Oct 13 – Brighton, UK @ The Hope & Ruin

Oct 14 – London, UK @ Islington Assembly Hall w/Lingua Ignota

Oct 31 – Portland, OR @ Hawthorne Theatre w/Baroness

Nov 3 – Seattle, WA @ Crocodile w/Baroness

Nov 4 – Vancouver, BC @ Rickshaw Theatre w/Baroness

Nov 6 – Edmonton, AB @ Union Hall w/Baroness

Nov 7 – Calgary, AB @ The Palace Theatre w/Baroness

Nov 10 – Saskatoon, SK @ Amigos Cantina

Nov 11 – Winnipeg, MB @ Good Will Social Club w/Tunic

Dec 1 – Denver, CO @ Decibel Metal & Beer Festival

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Photo: Brenna Faris Photography

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