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Image of Hell On Earth
So, 24.09.

Hell On Earth

Cattle Decapitation, Broken Hope, Hideous Divinity, Gloryhole Guillotine

Cattle Decapitation

Compromise is not a concept Cattle Decapitation are willing to entertain. Ever. Over the course of nineteen years and six full-lengths the San Diego quartet have more than proven this, defining themselves as one of the most vital, brutal, and relentless forces in extreme music, and with The Anthropocene Extinction they have delivered a volatile, apocalyptic beast that is as hideous as it is compelling. “I feel that something rare happens with our band in that we get better and better with each release rather than going in the opposite direction, which happens to a lot of bands,” states vocalist Travis Ryan. “As we get older we feel we have less and less to lose, which is freeing, and we really want to go as far out on a limb as we can without losing the extremity that has always driven us.”

With 2012’s Monolith Of Inhumanity Ryan, guitarist Josh Elmore, bassist Derek Engemann and drummer Dave McGraw delivered a sledgehammer blow, maintaining their position at the most violent end of the death metal spectrum yet expanding their sound, allowing a little more melody in without losing any of their intensity. As always tied together by a central concept, Ryan’s bleak lyrics bluntly illustrated the fate of the human race if allowed to continue pillaging and destroying the planet. With The Anthropocene Extinction he extrapolates on this subject, looking back at the world in the aftermath of such ecological and environmental devastation, with its focus largely centered on the Pacific Ocean. “The Anthropocene Era is the era that humankind has inhabited, and it encompasses all of the ages that have come and gone during that period, and the record focuses on how we have managed to bring that era to an end. As our technology has advanced we have degraded the Earth. When you look to the oceans the footprint we have left comes in the form of all the junk and plastic that has made it out there because we let that happen, and the effect that has, because when you start breaking down eco-systems it’s a domino effect and will one day end up doing us in. The Anthropocene Extinction is set in the world that we destroyed, and it’s certainly the most depressing record I’ve written.”

Of course, rather than taking such themes and applying them to introspective, navel-gazing music they weld them onto a soundtrack of all out savagery. Dominated by their blistering death-grind attack, shades of caustic black metal seep in across the record, and they further expand on the more epic and melodic aspects of its predecessor, at the same time making for a far more cohesive listening experience. “We’ve never  actively  said “let’s  do  a  black metal  part” or “let’s  do  a  brutal blastbeat part!” We base everything on feeling, but we definitely focused much more on fluidity within the songs and making the record flow much more than on some of our earlier releases.” With doom drenched opener “Manufactured Extinct” they set the scene, the monstrous “Clandestine Ways (Krokodil Rot)” – which turns the tables on the vivisectionists working in the cosmetic industry – and “Not Suitable For Life” perhaps the most intense and violent music the band have yet put their name to. Alongside these sit brooding instrumental “The Burden Of Seven
Billion” and the melancholic “Ave Exitium”, and across the record Ryan’s mutated, high pitched melodic shriek – which could never be mistaken for ‘clean’ vocals – gets more space to breathe. This provides The Anthropocene Extinction with its catchiest parts, though dispensed sparingly and never forced, taking “Mammals In Babylon”, “Apex Blasphemy” and closer “Pacific Grim” into somewhat tragic, desperate territory. “I think we came out with something pretty damn catchy, which I know isn’t a common trait of this kind of music, but then again we’re not trying to be like everybody else, or anybody else. When you have four drastically different opinions in a band that’s where I think actual magic happens. We’re all into very different things, and sometimes that can lead to conflicts, sometimes that can lead to greatness.”

Reenlisting Monolith Of Inhumanity producer Dave Otero (Allegaeon, Cephalic Carnage), the band returned to Flatline Audio in Denver, CO, eager to revisit the close collaboration that helped bring that record to life. “Dave is a bonafide producer, he’s got a lot of great ideas and this time we heard him out pretty religiously because making Monolith had worked out so well. We’ve always kind of co-produced our records with whoever we brought in, but these last two we did a lot more listening to what he had to say rather than just sticking with what we were saying. Sometimes we shot down his ideas and vice versa, but that discussion was always beneficial. He basically becomes the fifth member of the band at that point, and I think that kind of relationship is the best way to get anything out of anybody.” The Anthropocene Extinction also features contributions from some notable guests, with Tristan Shone (AKA Author & Punisher) contributing to “Plagueborne”, Bethlehem’s Jürgen Bartsch providing a spoken word part – in his native German tongue – for “Pacific Grim”, and Phil Anselmo lends his sandblasted larynx to “The Prophets Of Loss”. “We originally didn’t plan on having any guest appearances, but when the opportunities presented themselves while we were in the studio, they just seemed to fit perfectly and it was great we were able to actually get them involved. We had played the Housecore Horror Film Fest in Austin and we shot the shit with Phil,who is a very cool guy, but it was our friend John Jarvis (Pig Destroyer, Fulgora) who reached out to him – without telling us – and then told us he wanted to be on the record!” Ryan laughs. “The part you hear him do on that song is exactly what popped into my head as soon as we learned he was going to do something with us, and really all of those guys contributed something so cool to the finished product.”

The Anthropocene Extinction also sees the band extending their collaboration with Wes Benscoter, who has handled the artwork for every release since 2002’s To Serve Man. “As with the case of Dave Otero, when we work with Wes he becomes a member of the band, and this also applies to Mitch Massie [who directed the notoriously NSFW video clip for Monolith Of Inhumanity’s “Forced Gender Reassignment”]. I care about their opinions just as much as my own, and it’s about putting the ball in the court of these guys as much as possible without sacrificing our artistic integrity.” As usual, Benscoter formulated striking imagery that conveyed the record’s themes in unflinching style, the cover featuring a bloated and distorted corpse washed up on a beach, its torn abdomen disgorging a mass of waste plastic. “It harkens back to what’s going on with the albatrosses they have been finding on Midway Island for years. They’re mistaking plastic for krill, ingesting this and dropping dead on the island, and as they decay the plastic inside them spills out. It paints a vivid picture of what’s going on out there, and we’re taking that and putting that within a human context, because, as I said before, it’s a domino effect that ultimately leads back to our own downfall.”    Bio written by Dan Slessor

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twitter.com/cattledecap
youtube.com/officialcattledecap

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Broken Hope

Brought forth in 1988, BROKEN HOPE was the brainchild of guitarist/chief-lyricist-songwriter, Jeremy Wagner. Though Jeremy was still attending High School, his passion and drive for bringing the band out of obscurity was apparent from the start. In 1989 and 1990, BROKEN HOPE recorded two demo tapes which landed them a deal with the underground label, Grind Core records. In 1991, BROKEN HOPE spewed forth their debut album, Swamped In Gore, which subsequently launched the band out of the underground and into the mainstream. Swamped In Gore was not only ahead of its time musically, but it was also the first digitally-recorded death-metal album; yet again showing the forward thinking of the then fledgling act.

By 1993, BROKEN HOPE broke away from their first record label, and quickly was immediately approached by Metal Blade Records. BROKEN HOPE released four albums with Metal Blade Records: The Bowels of Repugnance, Repulsive Conception, Loathing, and the re-release of Swamped In Gore. 1995’s Repulsive Conception, reached CMJ New Music Monthly’s Metal Top 25 chart, as did the follow-up, 1997’s Loathing.

The first four albums are stellar examples of the fury and sheer brutality possessed by BROKEN HOPE, and is also the albums that etched BROKEN HOPE’s place in death-metal history. The first decade for the band was filled with non-stop writing, touring, and constant visibility with each album. BROKEN HOPE’s music has received praise from bands such as SLIPKNOT, DEVILDRIVER, THE BLACK DAHLIA MURDER, DYING FETUS and many more.

By the end of the ‘90’s, BROKEN HOPE produced and released their fifth album: 1999’s, Grotesque Blessings. After North American and European, BH founder—Jeremy Wagner—cleaned house and put Broken Hope into “metal hibernation” in 2002.

In 2007, BROKEN HOPE’s original Loathing lineup sat down face-to-face to discuss reuniting and doing a world tour. Due to personal scheduling conflicts, the guys were unable to make anything happen after this special meeting.
On January 20, 2010, original BROKEN HOPE vocalist Joe Ptacek committed suicide. He was only 37 years old. Before his death, Ptacek met with Jeremy Wagner and Shaun Glass and discussed the resurrection of BROKEN HOPE. With Ptacek’s death, Wagner and Glass took time off to reconsider their next moves.

In 2012, Jeremy Wagner resurrected BROKEN HOPE and vowed to make the band a full-time monster—forever. BROKEN HOPE made their long awaited return to the realm of Death Metal on the highly successful Carnival of Death tour. BH’s high intensity COD live offerings received top-praise, and confirmed that not only was BROKEN HOPE back, they were also more rabid than ever.
The band went on to perform at the 2013 editions of Extremefest (Germany) and Maryland Death Fest to stellar reviews which leads us to a new chapter in the annals of BROKEN HOPE.

In 2013, BROKEN HOPE put pen to paper and signed a worldwide deal with Century Media Records. Their sixth album, OMEN of DISEASE, released in October 2013 release. OMEN of DISEASE opened with a big first week, hitting #2 most-added at US radio, nearly breaking into the top 10 at CMJ, and with the track “Womb Of Horrors” added as a Flavor Track at Music Choice. OMEN of DISEASE also dropped with nearly 1,100 copies sold in its first week of release.

Omen Of Disease is available via Century Media Records

Trevor Strnad of THE BLACK DAHLIA MURDER made a guest appearance on backing vocals for the track, “Rendered Into Lard,” and OMEN of DISEASE also features the artwork and return of BROKEN HOPES’s former (and brilliant) album cover artist, Wes Benscoter (SLAYER, KREATOR, MORTICIAN plus many more). BROKEN HOPE has supported OMEN of DISEASE with non-stop touring with bands like DEICIDE, IMMOLATION, OCEANO, and festival appearances at BRUTAL ASSAULT, NEUROTIC DEATHFEST, OBSCENE EXTREME, and more. This release was followed by a live DVD entitled LIVE DISEASE, which captures their appearance at Brutal Assualt festival in Czech Republic.

BROKEN HOPE recently overhauled their lineup with the addition of Matt Szlachta (ex-CHIMAIRA) on lead-guitars, and bassist, Diego Soria (Disgorge).

BROKEN HOPE did their FIRST-EVER “HEADLINE” TOUR across EUROPE in April of 2015. The “APRIL ATROCITY TOUR” also included their friends in INTERNAL BLEEDING. BROKEN HOPE is writing their 7th album, which will see release from CENTURY MEDIA sometime in 2017. 2016 announces the partnership with MAD booking in Europe, which will continue their live legacy abroad.

http://www.brokenhope.com/

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Hideous Divinity

Born in 2007, Hideous Divinity quickly established itself as one of the strongest uprising European Death Metal acts thanks to their signature style of Technical yet gloomy and old schoolish death metal, often compared to the likes of Nile, Hate Eternal and Immolation. Their two Unique Leader releases“Obeisance Rising” (2012) and “Cobra Verde” (2014) led the Italian combo to tour Europe together with Cannibal Corpse and Krisiun in Spring 2016 and appearing at some of the most relevant European extreme metal fests during the last few years.

On April 28th 2017 Hideous Divinity release their 3rd full length “Adveniens”,once again via Unique Leader Records. Recorded, Mixed and Mastered at Stefano Morabito’s 16th Cellar Studio during autumn 2016, Adveniens is the result of an extensive 3-years in the making songwriting process, bringing you Hideous Divinity in their darkest and heavier shape ever.

https://de-de.facebook.com/hideousdivinity/

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Gloryhole Guillotine

 

GLORYHOLE GUILLOTINE was formed in Chicagoland in the summer of 2016 by longtime friends Tyler Affinito, Jeffrey Kornfeld, and Carlos De Anda.

They brought their diverse backgrounds together based on their mutual love of grindcore, death metal, and 80’s one-hit wonders.

GLORYHOLE GUILLOTINE aim to deliver ear-splitting riffs at breakneck speeds along with their horror inspired lyrics.

https://gloryholeguillotine.bandcamp.com/releases
https://www.facebook.com/gloryholeguillotine/
https://twitter.com/ghggrind
http://www.bandsintown.com/GloryholeGuillotine 

 

 


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