Genre Archives: Metal/Hardcore

Shaman’s Harvest and Crobot

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request.  Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change. 


“This was the hardest record we’ve ever made, on every level,” says Nathan Hunt, referring to Shaman’s Harvest’s seventh LP.

The storyline seems obvious: The Missouri hard-rockers assembled this project during a global pandemic that debilitated the entire music industry. “Hard” has kinda been universal lately. But the road to Rebelator was even rockier than the band expected: natural disasters, logistical nightmares, an extreme case of collective writer’s block. “We struggled the whole way,” Hunt adds with a gruff baritone chuckle. “It was an interesting process for sure.”

Every creative step seemed to be hampered by an outside distraction—or even act of God.

“A tornado ripped through our town, 2 miles from our studio, leveling everything in its path” recalls guitarist Josh Hamler. “Luckily, no one was killed. Everything can be rebuilt, but we completely lost our creative vibe following the tragic event”.

“There was so much stop and go,” adds Hunt. “There was a flood. We’d have something scheduled, so we’d focus and be locked down for like a month at a time. Then somebody would have to go home, and it would be three weeks later before we’d start up again.”

“Or we’d run out of money,” Hamler adds with a laugh. “It was like Murphy’s law at one point—like, Jesus, what else is going to go wrong in the making of this record?”

Luckily, they had time on their side. After a couple grueling years of touring behind their last album, 2017’s Red Hands Black Deeds—a stretch that included numerous major rock festivals and runs opening for Nickelback and Seether—Shaman’s Harvest were creatively and personally drained. “You try writing on the road, maybe go to the back of the bus and come up with an idea,” Hunt says. “But it’s hard to be inspired when you’re tired. We were like, ‘Let’s just take the time off we need to make the record.’ We didn’t want to half-ass it.”

So founding members Hunt and Hamler, along with guitarist Derrick Shipp and drummer Adam Zemanek—hit the reset button hard, clearing out six months for demo construction at their Jefferson City rehearsal space. This meticulousness marked a distinct change from their usual methodology—instead of slapping together outlines before entering the studio, they treated their first takes with a new level of sensitivity, fleshing out the pieces until they knew them intimately.

“We usually have a really rough idea going into the studio—maybe it’s a verse, maybe it’s a thought,” Hunt says. “But we just write it on the fly and try to catch the magic. This time we wanted to approach it with some intention. We saw the demos all the way though, and that took a good, long pieces of time.”

The process was fairly haphazard at first, as the band tried to regain their footing. With everyone on-hand (the non-Missouri residents were staying in the space itself), they’d all wake up and try to churn up ideas—though it was slow going for a bit. “We’d just sit there and noodle until the spark [was lit],” the frontman admits. “The first songs—some of them made the record, and some of them didn’t. Some of the stuff wasn’t up to par. We were sending stuff back and forth to the label, like, ‘What do you think of this?’ Just going from tour mode to creative mode, I had quite the block. I know everybody was like, ‘I don’t have anything.’ Then it just erupted.”

An early breakthrough was “Wishing Well,” a signature rocker that pairs a detuned metal chug with a twangy, soaring chorus and subtle yet eyebrow-raising flourishes like fingerpicked acoustic guitar and experimental vocal effects. The ideas just kept flowing from there, with the band encouraged by producer Kile Odell, who joined them for a month to offer his feedback.

Shaman’s Harvest were working with any musical seeds they could plant—like Hamler’s droning guitar on “Bird Dog,” which sprouted into a desert wasteland atmosphere of mouth harp, group percussion and deep, growling vocals. Hunt calls the final result a “weird mixture of things,” blending its dust-blown textures with bits of Metallica and Queens of the Stone Age—the perfect backdrop for his almost post-apocalyptic lyrics.

“It’s definitely a cinematic thing—if nothing else, it’s a color or just one little scene in my head,” he says. “In my head, I was envisioning a lot of these small towns, like a railroad town or a farm town where people don’t want to farm anymore. And it just goes to shit, and then you have the opioids come in and everyone becomes a zombie.”

When they arrived at lead single “Voices,” a graceful balance of light and shade, the band instantly knew they’d written one of their best—a feeling cemented by their mutual celebration. “Once we had it all laid out and had a rough demo,” says Hamler, “we listened back to the first time, and we all looked at each other and busted out laughing, like, ‘Fuck yeah!'”

“It’s one of those things that wrote itself,” adds Hunt. “It needed an anthemic hum-along vibe. Everybody saw that song, which is pretty rare.”

Though they ultimately found their momentum, some of the darkness from this era wound up informing their lyrics—though often indirectly. Breakup song “Flatline” documents an unspecified doomed relationship that, Hunt says, “just keeps on corroding” past its natural shelf life. “Wishing Well,” the “epic of the record,” zeroes in on the “predatory” and manipulative nature of some men. The band’s own creative challenges even added to the overcast themes—”Just the frustrations of trying to make a record,” Hunt notes with a laugh, “when the universe did not want you to make a record.”

Shaman’s Harvest persevered, of course, and wound up with their richest, most well-rounded album to date—a natural progression from Red Hands Black Deeds, 2014’s Smokin’ Hearts & Broken Guns and 2009’s Shine, which featured the breakout single “Dragonfly.”

In keeping with the spirit of those last three albums, the band aimed to, in Hunt’s words, “de-genre-fy” their music—aiming beyond the rote contemporary rock-metal formula to add sublet arrangement quirks.

The loose yet professional atmosphere in St. Louis’ Sawhorse Studios, where they hunkered down for a month with house engineer Jason McEntyre, helped them in that quest for experimentation.

“We were able to stretch our legs a little bit,” says Hunt. “That’s kind of a dying thing: people renting out whole studios, because it’s expensive as fuck. The piano was [featured on an] Ike and Tina Turner record, and we were able to pick up on the vibes from that. Jason knew all the tricks of that room to experiment, Like using the talkback mic on the drums or using old tape machines.”

A good example of their trial and error is “Lilith,” a sonic jigsaw puzzle that pairs an Allman Brothers-style slide guitar with a distorted, drop-tuning riff and a tender piano outro.

“That song in particular has a Southern rock vibe in the slide, but there’s also an industrial electronic feel in the percussion,” Hunt says. “There’s the acoustic vibe at the end with the piano. There’s a lot of weird warbles going on. Especially in rock and roll, people seem to be afraid to add a fucking banjo or a mandolin under there. But when you think about the mix when it’s done, those are the things that pop out. I think it’s important that we de-genre-fy the rock culture and sound.”

“We don’t want to feel limited when we’re in the studio,” Hamler interjects. “We want to try things or take something that’s out of the ordinary and find a way to make it work.”

“Otherwise, how are you going to get anyone to pay attention these days?” Hunt adds. “Or even get yourself to pay attention? We’re all artists, and nothing destroys art like monotony.”


Riff-monsters Crobot conjures up the kind of rock ‘n’ roll that has grooves so powerful they throw you around the room and hooks high enough to shake the heavens. They take the sweet-sounding nectar of the gods and pour it down your throat until you’re wailing along like a banshee.

With tens of millions of streams, countless shows and acclaim from the likes of Metal Hammer, Classic Rock, Kerrang, BBC Radio, SiriusXM Octane, Loudwire, Guitar World and more, Brandon Yeagley [vocals], Chris Bishop
[guitar], Tim Peugh [bass], and Dan Ryan [drums] realize their vision like never before on their fifth full-length, Feel This [Released June 3 via Mascot Records].

Feel This is the follow-up to 2019s Top 10 Heatseekers album Motherbrain – whose cumulative streams have surpassed 30 million. 20 million of which were for the goliath single “Low Life” – a US Top 10 at active rock radio on the Billboard Mainstream with a 29-week run.

“This is the record we’ve been wanting to do ever since we started,” exclaims Brandon. “We’ve always thought of ourselves as a live act,” he continues. “When Jay Ruston described his process of recording, we were beyond excited about getting in and getting our hands dirty. It involved performing live as a unit and finishing all instruments on a song before moving on to the next. We recorded 16 songs in 21 days, which is a feat in itself.”

Feel This is a tale of perseverance. “Through constant struggles, we learn more what it’s like to be human. Our shortcomings and strengths alike make us a unique species,” Brandon reflects. “Feel This very well may point to our biggest strength of all, our ability to feel emotion (for better or worse).”

Human nature is threaded throughout the album, from volatile relationships [“Dizzy”] to imperfections and learning from mistakes on “Holy Ghost.” Its warbling harmony wraps around the wah-drenched guitar straight out of Seattle; Brandon’s grunge-y wail rings out on the hook, “I am not the holy ghost. I won’t ever save your soul.” There’s “believing in something so much” on “Set You Free,” which spirals towards a seismic crescendo and emotionally charged guitar lead from Bishop.

Around the psyche-digging lyrics, they are never far away from thunderous rock ‘n’ roll. “Electrified” kickstarts the album as a rip-roaring livewire anthem. “It’s your classic rock ‘n’ roll tune about Frankenstein boots and being invincible!” Brandon says. There’s an epic anti-hero tale on “Without Wings,” and then there’s “Dance with the Dead.” Forgetting your troubles over an irresistible groove, the song struts with high-register harmonies and the infectious chant of “Let’s go dance with the dead. They know how to kill it!”

“Golden” is a soaring homage to a god-gone-too soon. “When it came to the lyrics, we collectively wanted it to be a tribute to Chris Cornell,” says Brandon. “We’re so influenced by everything he and Soundgarden have done. We ran with the song in honor of his legacy.”

They made waves with Legend of the Spaceborne Killer [2012], Something Supernatural [2014], and Welcome To Fat City [2016]. However, Motherbrain [2019] represented a high watermark. They’ve crisscrossed the US and the world in road-warrior style, playing with the likes of Anthrax, Black Label Society, Chevelle, Clutch, Volbeat and more. They’ve lit up festival bills and the annual Shiprocked! Cruise. “We tour the pockets off of our pants and sleep in our van for half of the year. To some, that may seem like misery, but to us – it’s Heaven baby!” the frontman says. Something they highlight on the new song, “Livin’ on the Streets”.

2019 ended with a US tour supporting Steel Panther, and then Covid19 punched the world in the face. As the Global Pandemic descended upon us, Chris and Dan hunkered down in Austin to jam and cut demos, sending ideas to Brandon back in Pennsylvania. 2021 saw the boys enter Orb Studios in Austin with producer Ruston [Stone Sour, Anthrax, Steel Panther]. Since the world has begun to open up, the band have not stood still. Rat Child EP was released last summer and featured a mighty cast of Frank Bello [Anthrax], Howard Jones [Light The Torch/ex-Killswitch Engage] and Stix Zadinia [Steel Panther]. They’ve also headed out on headline tours, played ass-kicking performances at festivals such as Rocklahoma, Aftershock, the Jericho Cruise and supported Halestorm.

You’ll feel rock ‘n’ roll comes to life in Crobot’s hands. “We never want to make the same album twice,” Brandon leaves off. “There is something for every Crobot fan out there as well as newcomers. At the same time, we’re having fun. We want to be taken seriously, but not too seriously—because this is monkey hour after all.” “That’s the fucking line right there,” agrees Bishop. “We want you to walk away smiling. If I can make you smile, I’ve done my job.”



Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request.  Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change. 


Ferocious and uncompromising in their execution, CARCASS’s ability to intricately dissect the innards of death metal, and display them for us to sonically understand has been their point of excellence for over three decades. Last December (2019) the band released their first single in over 5 years “Under The Scalpel Blade,” followed by a 4 song EP entitled Despicable (October 2020), setting a potent precedent for the full length album to come in 2021: TORN ARTERIES. With the album title itself referencing an old demo created by original drummer Ken Own back in the 80’s, TORN ARTERIES sits as a bookend on the modern side of the CARCASS discography, connecting directly back to where everything began over 30 years ago.

The album artwork also rings reminiscent of the grotesque photography that appears on classic CARCASS album covers like Reek Of Putrefaction of Symphonies of Sickness. Artist Zbigniew Bielak traveled outside his normal wheelhouse to bring forth a time lapsed set of photos showing vegetables shaped like a heart, rotting over time upon a white plate. This form of artwork was influenced by Japanese Kusôzu, meaning: ‘painting of the nine stages of a decaying corpse.’

It’s very clean, white, which we’ve never done before,” explains Vocalist and Bassist Jeff Walker, “it doesn’t look evil, or typically death metal, but I like how clean it is; almost like a coffee table book.” This new album presents images, lyrics, and sounds that so distinctly scream CARCASS, but ferry us into a new era of production, songwriting, and art all together.

I think as our 7th album, it does stand out from the others both sonically and stylistically,” explains Walker. “You can definitely tell that it’s CARCASS; when you drop that needle on the vinyl, when you hear that guitar tone, you can tell it’s Bill Steer, but each album is always a product of its time.

The general approach to writing hasn’t changed much over the years for CARCASS.There’s no real designed method,” analyzes Walker, “no one’s writing a song, coming in the room, and saying: ‘this is how the song goes.’ A lot of these songs are written around a rhythm, or an idea: have we ever had a song with this type of intro? Have we ever had a song with this type of drumming? If we didn’t care, we’d do the same generic, verse-chorus song writing bullshit, but we don’t want to repeat ourselves. We’re always trying to remain creative and have a valid purpose in what we’re doing.”

With TORN ARTERIES, each track stands unique from the rest in its approach to guitar, bass, vocals and drumming, along with all the finer details. Filthy and dominating guitar work creates thick layers of tone and melody, piling on top of each other like the weight of dead flesh in tracks like “Kelly’s Meat Emporium.”

The working title for Kelly’s was originally ‘Stock Carcass,’” laughs Walkerwe knew that one was a real meat and potatoes track for the album.” Meanwhile the elevated speed and catchy beat in “Dance of Ixtab” tell a robust and airier story, one that is certain to get a reaction from live crowds. “We built this song around the beat,” explains Walker, “we had an approach to each song that was a definite idea. It’s all about ‘what haven’t we done before?’”

Curious about the lyrics? CARCASS bets you are, but don’t expect them to be an easy puzzle to solve. Over the years metalheads the world over have referenced CARCASS’s complex, bizarre, and gore filled lyrics with affection, humor, and fascination. This time around will require fans to actually purchase the physical album, and closely examine the artwork in order to place the lyrics in their proper order. “I’d rather people spend time actually going through the record, listening to it, taking the words out as they hear them, and from there try to draw their own conclusions of what the lyrics are, instead of delivering them on a plate,” chuckles Walker.

Recording and Production for TORN ARTERIES wasn’t as simple as sitting down for a few weeks and knocking it all out, but rather spread out over the course of approximately 1 year bouncing back and forth between England and Sweden. Initially, drummer Daniel Wilding did session work in Sweden at Studio Gröndahl with David Castillo while guitars were recorded at The Stationhouse with James Atkinson in Leeds, England. Eventually needing some form of residential location to finalize vocals, bass, and other guitarwork, the band headed back to studio Gröndahl in Sweden to continue work in a very relaxed atmosphere with Castillo. “There was no real big plan to do it this way, the process just organically grew on its own,” says Walker.

Most will find that the only real struggle when indulging in TORN ARTERIES is fighting the desire to start it over the second it finishes. It covers substantial new ground for a band with such a reputation, while still retaining that addictive, time honoured CARCASS sound that has come to represent the face of true death metal.

Bill Steer | Guitar, Vocals
Jeff Walker | Bass, Lead Vocals
Daniel Wilding | Drums
James Blackford | Guitars






For fans of Darkthrone, Emperor, Bathory

Mayhem performing classic album “De Mysteriis Dom Sathanas” in its entirety
In 1994, the debut album of MAYHEM was released, marking a paradigm shift in the Black
Metal genre. This was the culmination of years of progression, which sadly was never witnessed
by key members of the band.

MAYHEM was formed in 1984 in Oslo, Norway by Euronymous (guitar), Necrobutcher (bass)
and Manheim (drums). The band was pioneer in the growing extreme metal scene, heavily
inspired by bands like VENOM, BATHORY and HELLHAMMER. Starting out playing mostly
covers, the band eventually started composing their own material and started gaining notoriety
outside of their native borders.

Following  their 1987 EP “Deathcrush”, released on their own label Posercorpse Music (later
Deathlike Silence Productions), drummer Manheim was replaced by Hellhammer, and a new
singer was recruited in the form of Dead (Per Yngve Ohlin, formerly of Swedish cult band
MORBID). This took the band to a whole new level, both musically and conceptually and paved
the way to what was to become the absolute gold standard for Black Metal.

Tragically, Dead committed suicide in 1991, in the house that he shared with other band
members. Rather than going straight to the police, Euronymous went to the store and bought a
disposable camera to take pictures of the scene. This, along with other growing extremist views
of the guitarist, made bass player Necrobutcher depart from the band.

Although somewhat disrupted by the passing of their singer, work on their debut album
persisted. Dead had left behind the bulk of the lyrical content for the album and a lot of the music
had already been composed and was being refined. Guitar player Blackthorn (known from
THORNS) joined ranks which gave yet another dimension to the music, and Attila Csihar of
Hungarian band TORMENTOR was recruited on vocals. The sole member of BURZUM Count
Grishnackh, whose debut album had been released on Euronymous’ label Deathlike Silence
Productions, stepped in as bass player.

The band entered the legendary Grieghallen Studio in early 1993, to record what was to become
“De Mysteriis Dom Sathanas”, slotted for release on Deathlike Silence Productions later that
year. Plans were cut short though, following the murder of Euronymous. Arrested and
subsequently charged with the murder was none other than bass player Grishnackh, with guitarist
Blackthorn being charged with murder by complicity. Grishnackh has claimed that the motive
was a dispute over money, but also an alleged conspiracy by Euronymous to have him killed.
The album was eventually released in May 1994 and made a huge impact in the Black Metal
scene. It is universally viewed as one of the best and most important albums in what is known as
the “second wave of Black Metal”, which abstained completely from some of the humorous
elements of former peers. While seemingly almost simplistic in artwork and execution, the
album holds a depth of complexity in composition that seems almost inhuman. The drum work is
some of the finest to ever have been recorded, and Attila Csihar’s chilling and unique vocal style
add a dimension that no other band has ever managed to achieve.

With the death of the main composer and driving force of the group, MAYHEM was briefly
disbanded, but later reformed in 1995 with Necrobutcher returning on bass, Blasphemer (AURA
NOIR) on guitar, and previous vocalist Maniac, and cementing them as a very actively touring
constellation. Two albums were released with this lineup, taking things in a more Avant Garde

In 2004, Maniac left the band and Attila Csihar returned, and the band’s fourth album in was
released in 2007. The year after, Blasphemer quit, and following a number of lineup changes the
band finally found a new guitar player in Teloch (NIDINGR). The band released its fifth studio
album in 2014.

In 2015, old plans of performing “De Mysteriis Dom Sathanas” in its entirety started to re-
emerge. With the addition of Ghul on second guitar since a few years back, the live sets were
now at a stage where the band felt that it could do justice to the material, and after incorporating
more and more of the songs into their performances, they finally decided that it was time.
The first performance was in December 2015 at Black Christmass Festival in Norrköping,
Sweden. This was followed by select festival appearances in the summer of 2016 in preparation
for later tours, the first of which being an extensive tour in Latin America in October. In
December 2016 the band joined forces with Swedish WATAIN for a shorter tour in Europe, and
later an extensive tour in USA in January and February (aptly named “Purgatorium Americæ
Septentrionalis”), supported by INQUISITION (COL) and BLACK ANVIL (USA), as well as an
extensive European tour in March and April (“Purgatorium Europæ”) supported by DRAGGED
INTO SUNLIGHT (GB) and various other carefully selected bands.

After a summer of festivals, the band is now going on the road again, starting out with three
shows in Japan in September, an extensive tour in Europe, “Purgatorium Europæ – Pars
Duorum”, in October 2017 (again together with DRAGGED INTO SUNLIGHT and other select
acts), and “Purgatorium Americæ Septentrionalis – Pars Duorum” in North America, November
2017 together with IMMOLATION and BLACK ANVIL.

Backing up these shows is also the release of a live DVD (also on vinyl and CD) of the Black
Christmass Festival performance. This was officially released on December 13, 2016 in limited
edition and re-pressed March 2017.


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