ALBUM REVIEW: Aeon – God Ends Here

While it seems strange to refer to a sound that has been around for over two decades as “modern”, it feels completely accurate to describe the sonic barrage of Aeon as Modern Death Metal. Renowned for keeping the intensity levels up – backed by a production to level small towns with its ripped, lean torso – for their fifth release Swedish violence-dealers have shown no relenting despite lockdown, No extra inches have been added to their waist-bands, and no sign of flabbiness added to their carb-free sensory assault.

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When The Circus Is In Town: Jason Keyser of Origin


krisiun origin north american tour

Emerging from a sea of black t-shirts, Jason Keyser of Origin finds me standing mid-way through the venue’s pre open-door line.

Oh, good it’s not a video recording,” Keyser says as we make our way around the corner to a quiet side of the street.

As we set down our gear on the sidewalk, Keyser greets wallet-chain wearing kids who recognize him.

No, but this way, you can pose in the photos and fluff-out your hair,” I remark between his handshakes with fans.

I’d rather you Photoshop me a lot,” he says as the crowd thins. “Give me a glow.”

Lindsay O'Connor of Ghost Cult with Jayson Keyser of Origin. Photo credit by William Williams

Lindsay O’Connor of Ghost Cult with Jason Keyser of Origin. Photo credit by William Williams

Although Keyser and crew are about halfway through their co-headlining slot on the Devastation Across the Nation US tour, he looks rested and already illuminated, so I skirt the suggestion.

Tony Lazaro said it best: ‘I feel like an old carnie in an old circus,’” Keyser quips, referring to a remark the Vital Remains guitarist made while Origin toured with the band in 2011. Lazaro parlayed the jest while standing at his band’s merch table as he watched young kids run amuck. “There’s a new generation of fans, and we’re still holding on,” Keyser says. “But [Origin guitarist and vocalist] Paul Ryan is the only original member, and he’s still just as young at heart as you can imagine; it’s adorable—he’s a lifer!”

Although there are newer generations of Metal fans taking to the scene, Origin remains one of the well-respected staples, lauded for their blast-beat blitzkriegs and searing technicality. And while Origin isn’t touring in support of anything necessarily “new,” the band’s last album, Omnipresent (Nuclear Blast), remains innovative and relevant.

We’re lucky we’re not big enough that we have to cater to a certain look or style,” Keyser says. “People still seem to dig it, dig what we do. It keeps it fresh. Our last album, [Omnipresent] was a little different from the last one before it, but how ever we’re feeling is how we express ourselves.”

<center><span style="color: #999999;">Origin, by Susanne A. Maathuis</span><center/>

Origin, by Susanne A. Maathuis


Would you ever take fans for a loop and put out a Funeral Doom album?

Yeah, maybe—why not? Omnipresent featured a straight-up circle-pit, Thrash-Metal song, as well as a Black Metal song, so maybe we’ll put out an Origin Sludge album—slow it all down by 100 percent.”

Do you give a shit about what your fans think?

If we could have sold out, we would have sold out a long time ago—I guess we are one of those bands that doesn’t “care” about what fans think, because if we did we’d be “selling out.”

I don’t think about it specifically like that, but…hmm, now that you broke it down, I’m going to have to think about it. “

Do you have plans for a follow-up to Omnipresent?

After we’re done with the tour, we’ll have a lot of time off, and we’ll start pounding out a new [album] in early spring [next year].”

origin album cover

Now a-days, you have to keep pumping out albums to stay relevant—

There are some bands, however, that take a long time to put out an album, like Meshuggah.

Meshuggah makes way more money than we do—we don’t have that luxury!

It is good to stay relevant; there’s a weird time period before the next album becomes a comeback—like, you have to put out new music before two years or after six, otherwise you’re lost in the abyss.

As far as a new album, though, I’m the last person whose input gets put in that consideration—my role comes last in that.”

Other than this tour, what do you have in the hopper you’re looking forward to?

The tour is halfway done—I’m excited about it being all the way done, actually!

Ideally, we’ll be playing South America, and we’ll be playing a festival in South Africa too—I’m basically using the band as an excuse to travel around the world—good work if you can get it!”

Keyser and I make invisible oranges, before he disappears back into the club. Doors open, and my buddy and I make our way inside. We see Keyser sitting at the Origin merch table, fashioning a quiet grin, arms folded as he observes a carnival of young fans collecting in throngs before him.


Origin continues to co-headline the Devastation Across the Nation tour with Krisiun, and with supporting acts Aeon, Alterbeast, Soreption, and Ingested. The band is planning to head to the studio next year, so be on the look out for more information on their forthcoming activities online here:


Diabolicum Releasing Ia Pazuzu (The Abyss Of The Shadows) On July 7th

diabolicum Ia pazuzu (the abyss of the shadows)

Cult Swedish industrial black metallers Diabolicum will be releasing their first release in 14 years (and third overall) with Ia Pazuzu (The Abyss Of The Shadows) on July 7, 2015 via Code666/Aural Music. This one features Shining‘s Niklas Kvarforth on vocals.

Initially spawed in 1994 by Sasrof and Thorne under the Imperial moniker, Diabolicum stand among the prime instigators of the industrial black metal scene. The collective’s first demo appeared under the title Mori Voluntaria. The tape was recorded in just two days at a mental hospital and included the session vocals of Blackblood (Tommy Dahlström now of Aeon). Following various personnel shifts, Imperial unleashed The Imperial Darkness demo with vocals and lead guitar handled by Thyrfing (Stefan Dhalberg) with third demo, De FÆrdÆmdas Legion, unveiled by Arte De Occulta shortly thereafter. By 1997, members of Imperial formed black metal collective, Helvete, together with Mysteriis and Kraath of Setherial. The project was put on hold when guitarist Sasrof took over bass responsibilities for Setherial.

Ia Pazuzu (The Abyss Of The Shadows) Track Listing:
01: Baxxar Ehl Uhza
02: The Void Of Astaroth
03: The Silent Spring
04: Genocide Bliss
05: Salvation Through Vengeance
06: The Abyss Of The Shadows
07: One Mans War
08: Angelmaker
09: Ia Pazuzu

Diabolicum 2015 Lineup:
Niklas Kvarforth – vocals
Sasrof – guitars
Gorgorium – bass
Likstrand – guitar

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Audio: Entrails – Midnight Coffin

Swedish death metallers Entrails (Birdflesh, General Surgery) is streaming “Midnight Coffin” off of their new album Obliteration, out May 19, 2015 via Metal Blade Records here.

The album was tracked by Jimmy Lundqvist at Bloodshed Studios and mixed and mastered by Dan Swanö (Edge Of Sanity, Bloodbath, Aeon, Hail Of Bullets etc.) at Unisound.

Krisiun and Origin Co-Headline North American Tour

krisiun origin north american tour

Krisiun and Origin have announced the Devastation on the Nation tour with Aeon, Alterbeast, Soreption and Ingested as support. Krisiun had previously announced that they were working on their next record with producer Erik Rutan (Cannibal Corpse, Six Feet Under, Malevolent Creation, Madball, Agnostic Front) at Mana Studios in Tampa, FL. Origin is supporting their latest release Omnipresent, which was recorded and mixed with longtime producer/engineer Robert Rebeck at Chapman Recording in Lenexa, KS, mastered at Menegroth – The Thousand Caves with Colin Marston, and features artwork once again by Colin Marks (Nevermore, Kataklysm, Exodus). The album marks the recording debut of Jason Keyser (Skinless), who has being touring with them as their vocalist since the release of Entity.

“Devastation on the Nation” tour dates feat. Krisiun & Origin with Aeon, Alterbeast, Soreption, Ingested
Sep 04: Mojoes – Joliet, IL
Sep 05: High Noon Saloon – Madison, WI
Sep 06: Zoo Cabaret – Winnipeg, MB
Sep 07: Dickens – Calgary, AB
Sep 08: Starlite Room – Edmonton, AB
Sep 09: Rickshaw Theater – Vancouver, BC
Sep 10: Studio Seven – Seattle, WA
Sep 11: The Pin! – Spokane, WA
Sep 12: Duffy’s Hangar – Salem, OR
Sep 13: Rockbar Theater – San Jose, CA
Sep 14: The Grizzly Den – Upland, CA
Sep 15: Brick By Brick – San Diego, CA
Sep 16: Joe’s Grotto – Phoenix, AZ
Sep 17: LVCS – Las Vegas, NV
Sep 18: Bar Deluxe – Salt Lake City, UT
Sep 19: Roxy Theater – Denver, CO
Sep 20: Blu Phoenix Venue – Albuquerque, NM
Sep 22: Gas Monkey B&G – Dallas, TX
Sep 23: Dirty Dog Bar – Austin, TX
Sep 24: Scout Bar – Houston, TX
Sep 27: Drunk Horse Pub – Fayetteville, NC
Sep 28: Diamonds Pub – Louisville, KY
Sep 29: Ottobar – Baltimore, MD
Sep 30: Reverb – Reading, PA
Oct 01: Saint Vitus Bar – Brooklyn, NY
Oct 02: Broadway Joe’s – Buffalo, NY
Oct 03: Mod Club – Toronto, ON
Oct 04: The Foundry – Lakewood, OH

Krisiun on Facebook
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Krisiun on YouTube
Krisiun on Myspace
Origin on Twitter
Origin on YouTube

Cannibal Corpse – Behemoth – Aeon – Tribulation: Live At The House of Blues

Cannibal-Behemoth US Tour

After New England has taken the beating of a lifetime from Mother Nature this winter in the form of tons of snow, and frigid temps, it was good to feel the warmth of a venue again. This night was not just poised to be a memorable metal concert, but it was my two-year anniversary with my girlfriend Tara. Keep your flowers and candy; I can’t think of anything more romantic than a night of top-shelf death metal, gore and blasphemy, and my beloved agrees, so off we went to Boston for the show.

I had access to the House of Blues Foundation Room for me and lady on this night. I had some preconceived notions about what the experience was going to be like: corporate and sterile. I could not be more wrong about the unassuming, funky Indian-themed environment. I had a blast and would do it again.

Tribulation opened the show and they were killer. It seems like the band is poised for bigger things here in the US and it was great to see so many fans in the venue super into them. Maybe it’s because Johannes Anderson kind of looks like Evan Peters from American Horror Story. No, that’s not it. They played an awesome set of a few favorites and one new song from their forthcoming album Children of the Night, dropping in May from Century Media.


Aeon just flat out destroyed! From the first note to the last they just brutalized the audience to death musically. They were the “aha” band for many when this tour was announced, some fans I know claiming they would leaved after the heavy Swedes were done exsanguinating us all. In the mean time this band keeps killing it big time year after year. They played a brilliant, if too brief for me set with happy little tunes such as ‘Satanic Victory’, ‘Living Sin’, ‘God Gives Head In Heaven’ and ‘Forever Nailed’. I caught up with Tommy Dahlstrom backstage for a quick interview between bands and he said he’d never been happier with a tour. You could tell from their performance it was true.


Behemoth was next and I thought right off the bat it would be hard for them to live up to their performance for last spring. In my mind that was as flawless a performance as I might ever see in Death Metal, and I have seen some great ones. Well they certainly came close again tonight. On the even bigger stage of the House of Blues, Nergal and his comrades in Behemoth certainly seemed like larger than life heroes. Milking every ounce of energy and adulation the audience could give, Nergal cajoled cheers and demanded attention with every dramatic arm movement and pose. With the set list now comprising at least half of 2013’s The Satanist (Nuclear Blast) plus the “hits”, it would be nice to hear the band play more from their classic, 90s material. But alas, I doubt we will hear too much of those songs in the future, which is a shame. Still, if the show had ended here I wouldn’t have complained.


Nearly any other band would have been hard pressed to follow the performance just witnessed. Cannibal Corpse does live what they have done every step of their career: play technical death metal with effortless mastery. After 25 years it says a lot that they can play a brutal set of 14 tracks and, still leave you wanting more. Newer cuts like ‘Evisceration Plague’ and ‘Kill or Become’ flow perfectly with ‘Hammer Smashed Face’ and ‘The Wretched Spawn’. The pits were consistently awesome for the Corpse, as opposed to Behemoth, but that is likely due to the up and down tempos of the co-headliners. Although I have seen the band countless times, they never fail to amazing with putting on a great set. Corpsegrinder was hilarious as always with his in between song banter, allowing him to be the foil, while his bandmates focus on playing. They continue to be the gold-standard of all death metal band and arguably the best ever.


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Tribulation Release The Death and the Rebirth of Tour Seven Inch Single

Tribulation is currently on the Cannibal Corpse, Behemoth and Aeon North American tour and have a new limited edition seven inch single available at all shows while supplies last, titled The Death & Rebirth Of…

The single features a demo version of the new track “Holy Libations” on side A (to be included in its final form on the band’s upcoming studio album, The Children Of The Night) and another new track, “Laudanum Dreams”, on side B.

TRIBULATION will release The Children Of The Night, the band’s third album (and first full-length through Century Media Records), in April 2015.

w/ Aeon, Tribulation:
Jan 28: House Of Blues – New Orleans, LA
Jan 29: House Of Blues – Houston, TX
Jan 30: Mohawk – Austin, TX
Jan 31: House Of Blues – Dallas, TX
Feb 02: Sunshine Theater – Albuquerque, NM
Feb 03: The Summit Music Hall – Denver, CO
Feb 05: The Complex – Salt Lake City, UT
Feb 06: House Of Blues – Las Vegas, NV
Feb 07: The Observatory – Santa Ana, CA
Feb 08: The Fillmore – San Francisco, CA
Feb 10: El Corazon – Seattle, WA
Feb 11: Comodore Ballroom – Vancouver, BC
Feb 13: Union Hall – Edmonton, AB
Feb 14: MacEwan Hall – Calgary, AB
Feb 16: The Garric – Winnipeg, MB
Feb 17: Mill City Nights – Minneapolis, MN
Feb 18: Orpheum Theater – Madison, WI
Feb 20: House Of Blues -Chicago, IL
Feb 21: Egyptian Room – Indianapolis, IN
Feb 22: House Of Blues – Cleveland, OH
Feb 23: St. Andrews Hall – Detroit, MI
Feb 24: The Phoenix – Toronto, ON
Feb 25: Metropolis – Montreal, QC
Feb 27: House of Blues – Boston, MA
Feb 28: Webster Hall – New York, NY
Mar 01: Theater Of The Living Arts – Philadelphia, PA
Mar 02: The Fillmore – Silver Spring, MD
Mar 03: The Fillmore – Charlotte, NC
Mar 05: Masquerade – Atlanta, GA
Mar 06: Janus Landing – Tampa, FL
Mar 07: Revolution – Ft. Lauderdale, FL

TRIBULATION live at European Festivals 2015:
Apr 17: Neurotic Deathfest – Tilburg (The Netherlands)
May 30: Muskelrock – Alvesta (Sweden)
May 31: Temples Festival – Bristol (UK)
Jun. 18-20: Tons Of Rock – Halden (Norway)
Jun. 20-22: Hellfest Open Air – Clisson (France)

Tribulation on Facebook

Cannibal Corpse And Behemoth Co-Headline North American Tour

Cannibal-Behemoth US Tour


Cannibal Corpse and Behemoth will be teaming up for a co-headlining tour of North America with Sweden’s Aeon and Tribulation as support. Dates are below.

w/ Aeon, Tribulation:
Jan 28: House Of Blues – New Orleans, LA
Jan 29: House Of Blues – Houston, TX
Jan 30: Mohawk – Austin, TX
Jan 31: House Of Blues – Dallas, TX
Feb 02: Sunshine Theater – Albuquerque, NM
Feb 03: The Summit Music Hall – Denver, CO
Feb 05: The Complex – Salt Lake City, UT
Feb 06: House Of Blues – Las Vegas, NV
Feb 07: The Observatory – Santa Ana, CA
Feb 08: The Fillmore – San Francisco, CA
Feb 10: El Corazon – Seattle, WA
Feb 11: Comodore Ballroom – Vancouver, BC
Feb 13: Union Hall – Edmonton, AB
Feb 14: MacEwan Hall – Calgary, AB
Feb 16: The Garric – Winnipeg, MB
Feb 17: Mill City Nights – Minneapolis, MN
Feb 18: Orpheum Theater – Madison, WI
Feb 20: House Of Blues -Chicago, IL
Feb 21: Egyptian Room – Indianapolis, IN
Feb 22: House Of Blues – Cleveland, OH
Feb 23: St. Andrews Hall – Detroit, MI
Feb 24: The Phoenix – Toronto, ON
Feb 25: Metropolis – Montreal, QC
Feb 27: House of Blues – Boston, MA
Feb 28: Webster Hall – New York, NY
Mar 01: Theater Of The Living Arts – Philadelphia, PA
Mar 02: The Fillmore – Silver Spring, MD
Mar 03: The Fillmore – Charlotte, NC
Mar 05: Masquerade – Atlanta, GA
Mar 06: Janus Landing – Tampa, FL
Mar 07: Revolution – Ft. Lauderdale, FL

Cannibal Corpse on Facebook
Behemoth on Facebook
Aeon on Facebook
Tribulation on Facebook

Cannibal Corpse – Revocation – Aeon: Kentish Town Forum, London, UK



For some reason, Halloween is exempt from the Prohibition Against Mainstream Fun that prevents Metal fans from publicly enjoying other festivals. Admit that you like Christmas and you’ll be ejected from The Hall faster than if you’d been seen wearing a Five Finger Death Punch t-shirt, but celebrating Halloween is not just permitted but actively encouraged. Clearly not even a Cannibal Corpse gig is enough to spoil the one Metal Approved religious festival in the calendar, and tonight the Forum is packed with Teletubbies, scary clowns, lazily-made-up-skeletons and a man dressed as a giant penis. The audience is absolutely wired from the off, moshing to silence and bellowing for walls of death before the first band even take to the stage.

Fortunately, their enthusiasm is not misplaced as openers Aeon, having apparently not been told that they’re just a support band, rip into their set as if they’re headlining. In a recent interview with Ghost Cult, Cannibal Corpse bassist Alex Webster described Aeon as a personal favourite of his, and it’s instantly clear why. They’ve been given a rich, heavy sound far beyond most openers and they don’t waste it, delivering taut, commanding bursts of powerful, Deicide-esque Death Metal with utter confidence and control. The audience prove that a band who act like headliners get treated like it, with a crowd response extremely healthy for a band playing at 7.30 to a venue that still hasn’t filled up.

Next up, Boston’s Revocation betray their simplistic name with an ambitious mash-up of Death Metal, Thrash and Hardcore with more progressive elements. It’s a complex, often surprisingly subtle blend that eschews many of the more traditional trappings of Death Metal, with Hardcore-style shouted vocals (occasionally giving way to clean-sung choruses), jagged song-structures and frequently dissonant changes of mood and tempo within a track. On paper they’re an odd choice to support a band as orthodox as Cannibal Corpse, and some old school Death Metallers in the audience are visibly perplexed, but for most people here the sheer savagery of the performance and the band’s clear enthusiasm wins through, earning another hero’s welcome (not to mention a circle pit in which the man in the penis costume sticks out like the world’s sorest most misshapen thumb).

By the time Cannibal Corpse take to the stage the audience are so wired that they’d probably circle-pit to ‘Let’s Get Ready To Rumble’ (PJ and Duncan) on a loop, but the band don’t use that as an excuse to cut corners. By this point in their career, reviewing Cannibal Corpse almost seems pointless – if you’re reading this you know exactly what they sound like and whether you like them or not – but live the sheer, undeniable enormity of their performance simply overwhelms everything else. On record their familiarity can be almost comforting, but live they take repetition to the point of transcendence, one idea repeated so often and so powerfully that it annihilates everything else. The point of a Cannibal Corpse review is not to tell you what they sounded like, but to attempt to capture just how good it was.


The first thing you notice about Cannibal is that the flashy showmanship and theatrics employed by both support bands are entirely absent. With the exception of some endearingly awkward stage banter from George “Corpsegrinder” Fisher (challenging the audience to a headbanging contest; sincerely exhorting them to “keep supporting fucking Death Metal!”), there is almost zero communication between band and audience – they stand in a line, lock their feet in place and simply hammer out one song after another like there’s nothing else in the universe. It seems jarring after the usual Metal posturing, but is entirely fitting and consistent with the band’s aesthetic of unrelenting, no-nonsense Death Metal. The second thing is how utterly, terrifyingly tight and precise they are. Watching Alex’s fingers is dizzying in itself, a more fitting visual accompaniment to the musical assault than any amount of shape-throwing or play acting would have been, and it rapidly becomes clear that you are watching a band who – twenty six years and thirteen albums into their career – still rehearse every single day. The music is literally everything, and within the tight parameters they have set themselves, they have attained absolute mastery.

Every possible criticism of their performance – the lack of variety; the relentless, no-pause-for-breath pacing; the lack of showmanship – misses the point of what it is they do, and why. Those aren’t bugs, to steal a phrase from a different world entirely, those are FEATURES. Cannibal Corpse are essentially a machine, constructed solely for the purpose of musically punching the listener in the face as many times as they can until the lights go on – if that’s not for you, that’s through no failing of theirs.

In a genre as insular and niche-focussed as Death Metal bands who dare to put their heads above the parapet will often be derided as sell-outs, but Cannibal Corpse are not just the most successful band in Death Metal, they are its purest and most dedicated adherents, and are still at the very forefront of the genre after twenty-six years.

Cannibal Corpse Setlist

Staring Through the Eyes of the Dead

Fucked With a Knife

Stripped, Raped and Strangled

Kill or Become

Sadistic Embodiment

Icepick Lobotomy

Scourge of Iron

Demented Aggression

Evisceration Plague

Dormant Bodies Bursting

Addicted to Vaginal Skin

The Wretched Spawn

Pounded into Dust

I Cum Blood

Disposal of the Body

Make Them Suffer

A Skull Full of Maggots

Hammer Smashed Face

Devoured by Vermin

Cannibal Corpse on Facebook

Recovation on Facebook

Aeon on Facebook


Cannibal Corpse React To Russian Tour Disruption

Cannibal Corpse, Russian Tour
Cannibal Corpse, Russian Tour, Raids


Death metal legends Cannibal Corpse have addressed the controversial situation that emerged at their show in Russia last week. The band were forced to cancel several concerts in Moscow and St Petersburg after Russian authorities claimed the five piece did not have the correct paper work and also searched one of the bands gigbags for drugs. The band have played in Russia before without such problems and praised fans who did manage to see the band on their disrupted tour.

Press Release:
CANNIBAL CORPSE addresses Russian tour issues!

CANNIBAL CORPSE recently completed their tour of Russia, a place they have played previously played many times with no issues. Unfortunately, as many Russian fans are already aware, this tour did not go as planned. CANNIBAL CORPSE has released a statement, which can be read below.

A message to our Russian fans:
“As you all are certainly aware by now, our concerts in Ufa, Moscow, and St. Petersburg were cancelled. We were present in these cities and ready to perform each of these shows but were not permitted to. In Ufa the power was turned off shortly before the show (we were told because the venue was late on rent), and in Moscow and St. Petersburg we were told that we did not have the correct visas and that if we attempted to perform the concert would be stopped by police and we would be detained and deported (prior to the tour we had been told that we did have the correct visas and that all of our paperwork was in order).

Our show in Nizhny Novgorod also had problems. In that city we performed half of our set before being stopped by police. We were told the police needed to search the venue for drugs and that the show had to be terminated.

These are the reasons for the cancellations as far as we have been told.

On the brighter side, we had a fantastic time performing in Krasnodar, Samara, Chelyabinsk, and Yekaterinburg. We were able to play our full set in all four of those cities.

We came to Russia excited and prepared to play all of the scheduled concerts, and we apologize that we were not able to do so. It was beyond our control. We are extremely disappointed. We have played in Russia many times and we love our Russian fans. Hopefully someday the situation for us in Russia will be different and we will be able to return.”

Photos: police raid photo from Nizhny Novgorod, paddy wagon in St. Petersburg

CANNIBAL CORPSE’s European tour with Revocation and Aeon continues tomorrow in Sweden. The dates are below, as well as on the newly re-launched


17/10/14 SE – Stockholm – Debaser Strand
18/10/14 NO – Oslo – Vulkan Arena
19/10/14 SE – Gothenburg – Sticky Fingers
21/10/14 NL – Zwolle – Hedon
22/10/14 DE – Saarbrücken – Garage
23/10/14 FR – Lyon – Ninksi Kao
24/10/14 ES – Barcelona – Razzmatazz 2
25/10/14 ES – Madrid – Arena
27/10/14 FR – Toulouse – Le Bikini
28/10/14 FR – Paris – Trabendo
29/10/14 FR – Strasbourg – La Laiterie
30/10/14 BE – Antwerp – Trix
31/10/14 UK – London – Forum
01/11/14 UK – Leeds – Damnation Festival (only CANNIBAL CORPSE)
02/11/14 FR – Lille – Splendid
04/11/14 DE – Frankfurt – Batschkapp
05/11/14 DE – Ludwigsburg – Rockfabrik
06/11/14 DE – Osnabrück – Rosenhof
07/11/14 DE – Hamburg – Klubsen
08/11/14 DK – Aalborg – Metal Festival
09/11/14 DK – Copenhagen – Amager Bio
11/11/14 DE – Berlin – C-Club
12/11/14 CZ – Prague – Club Roxy
13/11/14 DE – München – Backstage
14/11/14 DE – Glauchau – Alte Spinnerei
15/11/14 CZ – Brno – Fleda
16/11/14 PL – Cracow – Fabryka
17/11/14 PL – Warsaw – Progresja
19/11/14 AT – Graz – Explosiv
20/11/14 HU – Budapest – Club 202
21/11/14 SK – Banska Bystrica – Urban Spot
22/11/14 AT – Wien – Szene
23/11/14 SI – Nova Gorica – Mostovna Club
25/11/14 IT – Treviso – New Age
26/11/14 IT – Milan – Alcatrazz
27/11/14 CH – Lausanne – Les Docks
28/11/14 CH – Pratteln – Z7
29/11/14 DE – Bochum- Matrix
30/11/14 NL – Dordrecht – Bibelot