Whiplash, Valkyrie, Krieg, etc Confirmed For Death To False Metal Festival

Posted on April 23, 2015 by newsteam

The inaugural Death To False Metal Festival will be taking place on May 1, 2015 on August 14 and 15, 2015 at The Outer Space & Ballroom in Hamden, CT. The event is sponsored by Earsplit PR and Metal Insider. The lineup will feature the following artists:

Friday night’s lineup:
Whiplash
Valkyrie (Relapse Records)
Imperial Triumphant
Nightbitch
Vengeance
Bedroom Rehab Corporation

Saturday night lineup:
Krieg (Candlelight Records)
Secrets Of The Sky (Metal Blade Records)
Immortal Bird
Destroyer Of Light
Godhunter (The Compound Recs/Battleground Records)
Secret Cutter
Tomb & Thirst
Grizzlor
Archaic Decapitator

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Krieg – Transient

Posted on October 10, 2014 by News Team

New Jersey isn’t a place you’d imagine was capable of spawning a Black Metal act that could appease the kvlt masses, all 666 of them. Indeed, the Garden State had best prepare for the oncoming blizzard. Being a band for nearly 20 years, Krieg has been among the forerunners of the USBM movement alongside Judas Iscariot, Weakling, and Leviathan, a distinction well deserved if it culminates in the release at hand, entitled Transient. The unassuming cover art features naught but a ruined building in black & white; no logo, no title, just an unassuming portrait of decay to accompany the equally grim music.

Far from being merely an imitation of the Norse masters, one can still pick out glimmers of old Immortal, and DarkThrone, as well as that distinctively American (fuck yeah) sound that pays homage to Crust Punk. Speaking of that, there’s a killer cover of Amebix’s ‘Winter’, with faithfully replicated vocals, cleverly placed in the middle of the album as opposed to being tacked on at the end. Not many bands do this, but I feel as though Transient on its own could have gotten away with that, seeing as the material is strong enough to hold its own merit. The drumming’s cannonading assault is rhythmically sound, and even provides enough subtlety, particularly in the cymbalwork, to keep me tuned in throughout. The guitar work is simple, but does its job well enough that they don’t need flashy solos, complex intertwining harmonies, etc. Just endless snow. Even the bass is audible, and that extra layer of low end goes a long way in enhancing the already potent axes.

Overall, I found myself preferring the tracks with the catchiest melodies, as I’m a sucker for songwriting in my Black Metal. ‘Atlas With A Broken Arm’ has a particularly sorrowful, even catchy melody, and near the end puts in a rockin’ headbang section, complete with an atmospheric lead (or is it a synth?), finishing with a spectacularly anguished wail that departs from Lord Imperial’s standard delivery. ‘Ruin Our Lives’ opens slow, has a brief electronic interlude, and returns with renewed malice in the form of Satanic Warmaster-esque pummeling. Closing track ‘Gospel Hand’ is perhaps, alongside ‘Atlas’, one of the strongest tracks, due to its melody also being quite the earworm, insofar as Black Metal can have catchy riffs without being false. Take notes, aspiring Black Metallers, before strapping on those spiked gauntlets: You can make music.

Picturesque bleakness and a comforting sense of nihility pervade this release. No filler makes itself known here, even though the average song is around 4-5 minutes, the longest being ‘Home’, an ambient track featuring a seasonably bleak spoken word piece that drives er… home the essence and heart of the album. Enriched by electronics and a simple acoustic guitar riff, it’s a welcome shift musically, tonally cohesive enough to earn its place. In all, the album doesn’t reek of modernity, nor wallow in its vinyl closet, but offers quality at every turn. A highly recommended soundtrack for your impending death.

9/10

Krieg on Facebook

SEAN PIERRE-ANTOINE

666% Free – Jan Slezak of Ramlord

Posted on July 16, 2014 by News Team

One of the most exciting underground bands in America today is Ramlord. Led by the positively nihilistic Jan Slezak (Leather Chalice), their mesh of crust-laden blackened d-beat has kids beating the piss out of each other up and down the east coast and scowling a lot in general. Sort of an anti-hero band for people in these times of anti-everything; these guys play fast, sick music without apology or regard for typical conventions. Their recent album, Crippled Minds, Sundered Wisdom (Hypaethral Records) was a keeper too. Ghost Cult scribe Sean Pierre-Antoine has risked his own life and limb in the mosh pits of raided-by-police DIY venues and Elk’s Lodges to witness the fury Jan and his mates put down. It was only fitting that a fellow eccentric, like Sean, pen this Q & A for the band to try to uncover some ugly truths about them.

Aside from the obvious, what inspired the name Ramlord?

The name Ramlord was created by founding member and ex-bassist Brian, who played on Stench of Fallacy and the couple splits that followed it. I can only imagine his sick obsession with melding common livestock with honored religious figures. We praise the horned one eternal at the dawn of each painful, regrettable day.

On the topic of influence; what are some non-metal/punk artists that the band draws from?

I honestly don’t listen to anything outside of trve territory besides some harsh noise/power electronics and dark ambient, although those genres don’t have much influence on Ramlord. We draw from all extreme corners within punk and metal though.

You’ve got splits out with Cara Neir, Condensed Flesh, Welkin Dusk, and most recently, Nuclear Devastation; do you have a favorite?

Each release is special to me and slowly helps fill the many voids I experience on a daily basis. The romantic sounds of ‘Ceaseless Grief’ (from Welkin Dusk split) serve a different purpose than the introspective ‘Affliction of Clairvoyence’ (from Cara Neir split) so it is difficult to decide.

How would you describe the creative process behind the “normal” Ramlord song?

Although I write a majority of the music and bring it to practice beforehand, the songs shape and evolve when other members contribute their ideas to the sound. We often jam on one riff for a very long time until we can churn out the filthiest noise from it and then commit the best part of the jam into a short section of the track. It is an ever-evolving mass of sewage although it is always very clear when the trail of slime runs dry.

At the risk of raising discontent; is there anything you are dissatisfied with under the Ramlord name?

Ramlord is the ultimate project I can image being in, as I feel 666% free to pursue the musical direction in my filthy heart. All those strange pieces somehow come together to create one vision, or perhaps not, but our discography is so fragmented through short releases that no one notices.

How do you view the growing popularity of your stench?

It is very rewarding to see people making bootleg crewnecks and getting numerous pressings of releases and seeing my words and music resonate with many other suicidal failures. I have a very specific vision for songwriting and I am getting closer and closer to it with each release, this is the only optimistic aspect of my life.

What are your thoughts on the term “USBM”, and do you feel as though Ramlord fits in this category?

I would guess our closest genre is “blackened crust” although I feel quite detached from the metal, hardcore and punk scenes in my area. People have told us we aren’t “black metal enough” so this could be a big reason why.

What band(s) would you kill to tour with; active, non-touring or dead?

For all eternity :: Discharge. Other legends like Blasphemy, Incantation, Venom, Coffins, Abigail, Autopsy, Saint Vitus, Bathory hologram, etc..

How many songs about death, despair and loneliness do you have left in your collective soul?

I always thought I was constantly evolving lyrically with each release but I recently read through all the lyrics in one session and realized they are all about self-loathing and the fetishism of death’s release. No matter what I set out to write about, it comes full circle to the one true master : death.

Should we expect musical experimentation on future releases?

The newer recordings we have are heavier and use more ODSM influence, however, there are no plans to leave the banner of punk and metal any time soon. We have often talked about doing a 40-minute song of pure doom but with the constant barrage of splits, it might be a while before that happens.

Is there ever too much Discharge?

Absolutely not. I have never heard of a Discharge-clone I didn’t like, especially live. All bands should play Discharge covers, regardless of genre, if they want to be taken seriously (by me).

Smoke weed//Kill cops forever

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Ramlord on Bandcamp

Future Ramlord releases:

Krieg/Ramlord (7” on Unholy Anarchy, cassette on Wolves ov Hades)

Stench of Fallacy repress (cassette on Wolves ov Hades)

Untitled EP (7” on Broken Limbs)

Sea of Bones/Ramlord (7” on Broken Limbs)

SEAN PIERRE-ANTOINE

Wolvhammer/Krieg – Split 7”

Posted on July 3, 2014 by News Team

Hailz to Broken Limbs for putting out this split release! Krieg hail not from the frozen vasts of Finland or Norway, as their sound may suggest, but Somers Point, New Jersey, though they’re just about as evil as allowable. Since 1995, Krieg has just not given a damn, only being concerned with bringing forth musical gloom, dispensing with the usual occultist/Satanic rhetoric. ‘Eternal Victim’ does just what a band called Krieg should, and creates atmospheres both slow and doomy and warlike. The alternations of tempos, and the use of blistering rawness coupled with a sense of melody, hearkens to Finland’s notorious Satanic Warmaster, and that’s certainly no bad thing. Those looking for a good headbang section will get plenty, as Darkthrone’s early days definitely left their impression on this crew.

2008 brought us Minneapolis’ Wolvhammer, and being more modern, are unsurprisingly in league with the blackened sludge/crust end of the cauldron, bringing to mind acts like nearby Chicagoans Welkin Dusk, with the dirgey sludge influence of Japan’s Coffins. “Slaves To The Grime” struts with a swaggering rock-tempo verse like a wolf slathered in petrol, and also boasts whirlwind tremolo picking sections like an avalanche sending ice daggers. The vocals are a pure stormy howl, of which any fan of the genre will find at least palatable. Think Lightning Swords Of Death but with less cosmic echo. Again, the production is raw-ish, but it is used to benefit the aura rather than create static for kvlt sake. If anything, you could say this is quite ‘well-produced’, but that’s because you can even hear the rumbling of what appear to be some low-end frequencies. Shocking?

While this may seem a glowing review, bear in mind that both Krieg and Wolvhammer are certainly not re-inventing the formulæ they play; rather, they have done well in their arts, but it’s been done, is being done, and will continue to be done as long as people like it. But that being said, a worthwhile release, with slight favour going to the Krieg side, as I feel it’s just more… well… krieg. USBM in all its glorious despair has a light of hope.

8.0/10

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Krieg on Facebook

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SEAN PIERRE-ANTOINE

Closing a Chapter – Stavros Giannoplous of Twilight

Posted on April 25, 2014 by News Team

“We haven’t been doing any interviews, so it’s a miracle it’s been getting out there at all. Europe seems to be latching on to this record, so that is good.”

These are the first words Stavros Giannoplous said to me concerning the just released final album from bleak black metal super-group Twilight, III: Beneath Trident’s Tomb (Century Media). In addition to Stavros, the group is made up of underground metal luminaries like Wrest (Jeff Whitehead, of Leviathan, Lurker Of Chalice) Imperial (Neill Jameson) (Krieg, N.I.L.) and Sanford Parker (Corrections House, Minsk, Nachtmystium, Buried At Sea) and alt-rock legend Thurston Moore (Sonic Youth, Chelsea Light Moving). Steve was on tour with his main band, The Atlas Moth, but took time to chat with Ghost Cult back stage at The Sinclair, in Cambridge MA. He talked about the difficulty in finishing the album, some drama going on in the band, the idea of a whether a super-group can really work in this day and age, and working with Thurston Moore.

Right off the bat, he first touched on why Twilight is ending:

“The reason this is the final record is with all the negative shit that’s going down with Blake (Judd), I think it’s just best. Me and Jeff, Sanford and Neill are all really close friends. I have seen everyone, all but Jeff on this tour and we wanted to continue to make music. But at this point we are just mired in bullshit. Also before we started this band, before I even became involved with it there were no movies with sparkly vampires (laughs). Shit’s changed and it’s for the best. I was in Philadelphia just 48 hours ago and we were talking about doing something else eventually, so there is always a door open to work with Neill, Jeff, and Sanford again, just not under this name. We definitely won’t call it Twilight. I wouldn’t say its the total end of the band, but the end of this chapter with this band. We we very adamant about cutting the ties. Especially since Blake isn’t even on this last record.

Pulling no punches, Stavros gave us an inside view of the events leading up to Blake’s departure from the group and the aftermath of trying to finish the record without him:

He brought in a couple of songs, but once everything went down, that was it. It was two songs and they made up a very short amount of the record. We were just, not wanting to deal with this anymore. He had pulled some really backhanded shit, and I won’t go into the details. The songs he brought in, we got rid of them and made it known that this was it. He’s got problems. Unfortunately at some point or another when you end up in a scenario when you are constantly getting shit on, whether it’s on purpose or not, or just happenstance, it doesn’t matter that someone is just fucked up. At some point or another, no matter how much you care about a person, you can’t deal with them business wise. When I met Blake, he was not as nearly as fucked up as he is now. People change that way. I absolutely wish him the best, and good luck to him.

We mused about the notion that by nature super-groups are not really meant to last. Stavros argued that it depends on the collection of artists in question:

“Look at even Down, right? That band put out one of the best fucking records I have ever heard in my entire life to this fucking day, and what did it take, 7-8 years before they ever put out another record. It was a while. It kind of all depends on the timing, I guess. With this particular group, there isn’t a live presence to our band, nor will there never will be. So I just can’t see it being in the forefront in out minds. See Imperial does stuff all the time. Sanford does production all day long, and also he has Corrections House now, which is almost like a full time band now. This is something like the flip side with a so called super-group where Corrections House can work. That is one of those things for instance for Bruce, where Yakuza and Bloodiest don’t work all the time. Sanford doesn’t have a full-time band. And both EyeHateGod and Neurosis tour limitedly. So these guys, that is the other side of coin of the super-group story. Like “Oh! Something like this works, because we had some free time.” Or we happen to have some free time. So for Twilight, particularly for our group, inevitably it would get longer between records, or maybe even never have another one. You never know.”

Since most of the remaining members of the group live far from each other in some cases, we asked about the creative process and how the tracking was all done: “Jeff was living in Chicago at the time, so he and I wrote the bulk of the record together. Actually all the guitar riffs that weren’t Thurston’s, were written by me and Jeff. And you know…we just added on top of it and added on top of it, and added on top of it. It’s much different than a band that is just in one studio. Thurston came in and did his parts. We could do all kinds of looping and other crazy shit. All of the sudden someone is banging on a jug of water, which is cool. The two records that we did together, we just settled into a certain vibe. That is just how it works. That is how we write music for that band. It kind of showed. The song structures definitely vary throughout any of the Twilight records, and we were pretty loose form wise, and we definitely got experimental with the writing.”

Century Media is doing a very nice, limited digipack release of the album along with other formats. We asked about the value of limited edition releases, and if other versions will be forthcoming.

“The vinyl is out. You know honestly as far as I know, there will only be the digipack and the vinyl forever. Because I didn’t do any more layout work than that. At the time everything was going down with Blake, everyone was mad at each other, not particularly us at each other, but more all of us at Blake. really. And so when that started happening, everyone stopped giving a fuck. And then our relationship with the A & R guy fell apart, so I had to take control of everything business wise and then I got busy with some other business opportunities too. I really didn’t have much help. And I didn’t really want to take the time to put together a booklet for a record that everyone had checked out on, since everyone was so mad. So there is not going to be more a limited release than there is now, but knowing Century Media, they will keep it in print anyway.”

Sometimes in the business of music the challenges come from outside of the band too, as Stavros learned: “I’ve always done all the business for The Atlas Moth. But this is like a machine. It’s the five of us, a well-oiled machine working together, grooving together and sharing the responsibilities together. I am not running the show here by any means. We’ve all worked our way up together, so we know how the inner workings of the band goes. But all of the sudden when it comes to being voted in as the guy to handle stuff, someone already had their hands in the pot mixing things up before me. So I was the guy that almost had to come in and clean it up. It was definitely a bit much for me, and I was already dealing with a ton of crap. The Atlas Moth will always be my first and foremost priority. So I was doing countless, worthless hours dealing with bullshit, doing stuff for a record no one seemingly gave a fuck about. I’m really happy everything came together, and we are all really proud of it. But at the same time, under the circumstances, you can hate something! (laughs) The things that bring up memories from the record, man, that could really piss you off. But in hindsight we are all still really stoked on it now that we’ve gotten a little hindsight. It’s been almost two years since we recorded it.”

One of the real bright spots of the record was working with Moore. Not only did the mainstream media latch on to the notion of him joining the band, the band was equally intrigued about working with him. A seemingly random sequence of events led to their collaboration:

“He came in for the second half of the session. We did two sessions and he came in for the second week. The Sonic Youth sound guy worked with Sanford in his studio in Chicago. He told us Thurston was really into black metal. This was around the time of the second record. And we said “Send some of this stuff to Thurston Moore and see what he thinks about it. And see if we wants to do a record with us.” And he did! (laughs) And I was like “Well I’ll be damned!” (laughs) “We’d better write a brand new Twilight record!” He was incredible. He was super rad to work with. He was totally mellow and great to work with. He totally knew his black metal. It was fucking awesome to be able to write a record with that dude. And also to watch him play and get that much closer to someone with a unique style, it was awesome. He was super awesome to work with. We talked about including him for future sessions, which I would love. He is just a music library. He is fucking incredible. I don’t know how that guy puts it all together in his head. He’s something else man!”

Twilight on Facebook

Keith “Keefy” Chachkes

Twilight – III: Beneath Trident’s Tomb

Posted on April 7, 2014 by News Team

Twilight has released a stunning effort in III: Beneath Trident’s Tomb; but that’s the good news. The bad news is it is also their last release.

III: Beneath Trident’s Tomb (Century Media) is a grand swan song of noisy, yet tasty and sludgy riffs, in a raw wall of sound courtesy of producer/guitarist/keyboardist Sanford Parker (Minsk, Corrections House). This is further enhanced by the addition of a guitarist who is known for making musical noise an art form – Thurston Moore – yes, of Sonic Youth. It may seem to be an odd pairing, but it does work, and it should. Sonic Youth carved their niche as avant-garde musicians with little regard for things such as standard tunings and playing it safe, and Twilight is cut from the same cloth…albeit the darker, more tattered edge of it.

Moore is but another notch in the belt of a band that has culled quite a roster of musicians over its 14-year existence. The lineup for this final release is rounded out by vocalist N. Imperial (Krieg), co-founder/drummer/bassist/vocalist Wrest (Leviathan), guitarist/vocalist Stavros Giannopoulos (The Atlas Moth/Chrome Waves). Their performances are as good as expected, but this record overall appears to be a cross between their 2005 self-titled release with its aggression and Black Metal lo-fi trappings, and their 2010 release Monument to Time End‘s gaze-y leanings.

‘Lungs’ opens the record with Black Metal screams through Parker’s atmospheric production and grinding riffage. ‘Oh Wretched Son’ is dissonant and driving, successfully combining Noise Rock with Death Metal. ‘Swarming Funeral Mass’ is a doomy affair, starting off sparse but later filling up like an angry well complete with metallic banging effects and dual screams. ‘Seek No Shelter Fevered Ones’ also starts of quiet but very quickly rears up into a powerful beast of a mid-tempo song. ‘A Flood of Eyes’ reminds me very much of Neurosis overall, which is never a bad thing, then it cranks up the Thrash, brings in the barreling double-bass and then brings it down to a mid-tempo trot, resulting in a very cool musical ride. ‘Below Lights’ closes out the record, starting out as a creepy industrial song, and ending as a very creepy Industrial/Death Metal hybrid that would the perfect soundtrack to the kind of nightmare that wakes you up in the middle of the night and prevents you from going back to sleep.

There is not a lot of speed on this record, but what it lacks in speed and blast beats it more than makes up for it in sheer intensity. There is a weight to this record that is palpable, and practically visual. It is very easy to allow your mind to go to very dark places as this insidious soundtrack blares itself into the cracks of your subconscious.

Sonically broad, cold and uncomfortable, calling it Black Metal is not completely accurate. Other Metal genres snake in and out, such as doom, thrash and death. “Experimental” is a word that I do not like to use because it implies a hesitation or an uncertainty. That is not the feeling I get from listening to this record. It is a carefully crafted slab of Metal that is intended to be powerful and unsettling, and it succeeds at both. To get the best idea of what you are in for, picture Tombs at its bleakest, or Neurosis Nat its angriest.

Co-founder Blake Judd (Nachtmystium) appears to have been involved with the writing and development of this record, but left prior to its release. Perhaps this ended a band whose existence was as unpredictable and shrouded in mystery as the music itself. It may never be clear whether Twilight was a black metal supergroup, a kult collaboration, a label-commissioned project or the madness of one man with friends who understood it. Whatever they were, they leave as an enigma with a righteous stain of sound to mark their departure into the ether.

9/10

Twilight on Facebook

Lynn Jordan

Blastfest: Day One – Bergen Norway

Posted on April 1, 2014 by News Team

The first year of Blastfest marked the beginning of a somewhat risky adventure, at least for mainman and festival promoter, Yngve “Bolt” Christiansen, a guy you might already know as front man of the Norwegian death metal band Blood Red Throne. He gave everything to get this up and going, and to secure Bergen a replacement for the much missed Hole In The Sky Festival, that unfortunately called it the day back in 2011, after twelve years of catering to Bergen’s metal needs. OK, so we did get Beyond The Gates already the year after, but they had downsized and focused on “underground” acts like Nocturnal Breed, MGLA, Nifelheim, Aeternus and the likes of them. So the gap, the segment of in between bands like these and Slayer, was really not catered to in terms of a festival. Up stepped Yngve, risking both his car and his apartment in the process. Yngve is a guy who thinks in what psychologist Kahneman has coined “System 1” thinking; he is indeed fast, instinctive and emotional, praise Satan for that!

I arrived just as the very first band of the festival played the last minutes of their set, thus Tantara was missed, except for that one single song, a couple of minutes of pure thrash metal. However, that was not the case with Finnish black metallers Woland, recently signed on Indie recordings. The two bands would preferably have switched places though, because Woland were a generic black metal trio, most memorable for their vocalist not just taking off his shirt, but also for him doing Fabio poses. Being remembered for poses is hardly krieg, right?

The next band on stage was Lakei, which is Norwegian for ‘footman’. They set the bar a lot higher with their perfectly executed take on the sludgier and groovier form of metal. They’re also a local band, and really stick out in a scene mostly made up of extreme metal acts, in a city maybe most famous for black metal bands like Gorgoroth, Taake, Enslaved, Immortal and Burzum. Next up was the German thrashers of Fatal Embrace, and boy was this fatality! The lead guitarist seemed to have picked up his playing skills mainly through viewing the Abbath guitar lessons on YouTube over and over, which needless to say made for a subpar performance. And when the vocalist boastfully declared “We destroy this house tonight – this is ‘Another rotten lie’ “, I simply couldn’t help but giggle a little to myself. Said vocalist, as pointed out by some other attendees, could probably do good from a little cardio excercise too, since his face became all red already halfway into the first song. There was a lot of heavy breathing, and very little musical material of interest to be heard from Fatal Embrace.

Fellow Germans, Der Weg Einer Freiheit, were the next band on stage, and boy were they something else. Perfectly executed black metal, good sound and a lot of people left looking to buy their music in the wake of their performance. Sadly they didn’t seem to have brought anything for sale. Although, one must question what black metal has evolved into in later years, when you have a band looking as if they just came from a seminar in C++ programming, even wearing some beach loafers on stage. The aesthetical aspect seems to be more and more neglected, which might very well work out on an album, not so much so in a live setting.

Koldbrann on the other hand; they adhere to the old school black metal aesthetics, full corpse paint and all. That being said, the vocalist had an eerily similar style to that of Batman sidekick Robin. He still came across as far more dominant and commandeering than the vocalists earlier in the evening, and the band churned out really good versions of songs like ‘Drammen’, ‘Totalt Sjelelig Bankerott’, ‘Djevelens Treskeverk’, and finished off beautifully with their cover of ‘Russian Vodka’. Then came Myrkskog, for the first time ever gracing Bergen with their presence, and with Nils “Dominator” Fjellstöm behind the kit for the occasion. And speaking of this guy; what the fuck does he do to manage to play at such infernal speeds!? The same goes for some of the guitarwork of Sechtdamon (which you might know from Morbid Angel by now). Boy can these guys play! They raced through songs like ‘Discipline Misanthropy’, ‘A Poignant Scenario Of Horror’, ‘Domain Of The Superior’, ‘Deathmachine’ and ‘Utter Human Murder’, all flawlessly executed. However a chaotic sound production probably made sure one had to know the material beforehand to really enjoy the show. The last band before headliner Shining were the veterans of Aura Noir. And one thing is always certain about this band, and that is the certainty of getting a superb performance. Blastfest got a run-through of a set filled with classics, like ‘Blood Unity’, ‘Sons Of Hades’, ‘Mirage’, ‘Released Damnation’, ‘Condor’, ‘Black Metal Jaw’ and ‘Hell’s Fire’. Sadly the band had to walk off stage before they were through with their set, but we all know that might happen at a festival. So there was no ‘Conqueror’, sadly enough. Also, at some point during their set they had to play with only one bass drum, which Apollyon referred to as “just like at the circus”. Speaking of circus … the final headlining act this first night was Sweden’s Shining. Seemingly people implicitly agree with me on the fact that Aura Noir should have been headlining, because the crowd was much thinner during the main headliner this night. we got the usual stuff, like spitting blood and drinking whiskey and whatnot, and the usual suicidal lullabies. And they are somewhat lullabies these days, as it feels more and more like the band has outplayed its role, at least to those having already passed through their teenage angst phase.

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Words: Pål Lystrup

Photos: StiPa Photography

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