Graspop 2017 - Review with Ivo

Graspop, one of the Big Three European Metal Festivals (the others are Wacken Open Air and the always unbelievable Hellfest) is around the corner again and for some reason I’m there again.
Graspop is everything that Roadburn isn’t. A big multimillion corporation that tries to please everybody from the stoic black metal elitist to the beerbellied weekendtripper who likes the singles of AC/DC. A sponsored spectacle where you are constantly being reminded which companies and brands brought the bands this year.

Luckily it’s not all mercantile cynicism and cultural poverty. There are also bands. Even good ones!
Friday was basically Rammstein-day. The German have not played on Belgian soil for a while now and the Belgian audience showed up en masse to witness their spectacle. That resulted in a densely crowded festival area and many people who was waiting for one band and one band only.
Still there was an entire day to kill before Ze Germans would occupy the mainstage and there were bands to check out.
The first was
Sinistro who made their Graspop debut in less than ideal circumstances. The Portugese doom fado collective had a shitty timeslot at around 13h in the Metaldome, a small marquee stage and the sound, especially the bass, was atrocious. Still relatively a lot of people showed up and the band managed to make a good impression. They have great melodic doom metal riffs but it was singer Patricia Andrade who stole the show. Her beautiful, almost haunting vocals balance between tender “saudade” and madness which she accompanied expressively with her stage moves. A great show from a great band.

Next was Middle-Eastern black/prog metal band M elechesh . Although they also suffered from a muddy sound that killed a lot of nuances, a great show. Something that I’ve noticed about this band: when people talk about Melechesh they always mention their Middle-Eastern style and their Sumerian sources of inspiration but nobody, literally nobody, ever mentions their groove. On the record it is somewhat lost but on the stage the music rocks and swings. Anyway, this band had a great setlist of older and newer stuff and they delivered a great, GREAT show.
Due to a bit of luck my friends and I managed to see a bit of Blue Öyster Cult who basically were on stage doing the songs and afterwards they fucked off back to the backstage. No chitchatter on the stage, no spirit, no fire and I doubt people will remember them for anything else but “(Don’t Fear) The Reaper” aka the Cowbell song.
A band that I’ve seen a few times already is Greek death metal band Rotting Christ . Somehow this sounded a bit different than what I remembered. This show was furious, raging and the band made a furious impression.
Remember the piece I wrote about
Sólstafir ’s new album? How the band are slowly but steadily, like a gletsjer becoming a post rock band? Their set pretty much confirmed that. Not that the band had a horrible setlist or received a horrible response from the audience, far from it but if they were programmed for, let’s say, Glastonbury, Lowlands or Pukkelpop, they wouldn’t exactly be the misfit band that stands apart. Still, a great show and ear cleanser after all death and doom. A song that deserves an honorary mention is the gorgeous and emotional “Fjara”

 Originally W.A.S.P. was scheduled to play Graspop but they cancelled to continue working on the new album. Since I don’t really care about W.A.S.P. I was more than happy that Dee Snider was announced as a replacement act. With Twisted Sister Snider has excited crowds and made about a million people sing along with him. Now he was doing it as a solo artist. Although he is an excellent, clever, funny and sincere entertainer, he didn’t quite get the party like he used to with Twisted Sister but then again, TS had been playing for over thirty years and this band for, what, a year? And perhaps the relatively early slot at around 19h was simply too early. Still it was a good show and Snider had an interesting setlist with Nine Inch Nails’ “Head like a Hole” and Soundgarden’s “Outshined”. However, my favourite moment was when he asked the crowded to sing along to “(I Want to) Rock” in death metal style and couldn’t stop laughing afterwards. Give him and the band a year and then you are going to see something. By the way, was it me or did his band look like they came straight out of an episode of The Simpsons?

Next band we technically saw: Epica but they interest me so little that I paid no attention to them.
How horrible must it be to open for Rammstein? You can ask
Emperor who had to do exactly that. There is nothing bad I can say about them, after all Emperor have always been one of the most interesting black metal bands who continued to push the envelope, experiment and reflect upon themselves but when one half of the audience is not listening to you because they are at the other stage waiting for Rammstein and the other half is watching the time in order to leave in time for Rammstein, it must be a huge pain in the proverbial ass.
Now then,
Rammstein ... Even without playing one note they have been weighing heavily on the entire day. They were on everybody’s mind, they were THE Graspop headliner, more than Deep Purple or Evanescene, and did they deliver? Oh mein Gott ja!
You can say what you want about the band but a few things that nobody can deny are a) they know how to write a catchy song, b) singer Till Lindeman is an underrated but brilliant lyricist who knows how to put together a German chorus that everybody from Buenos Aires to Tokyo can sing along, even if it has an ambiguous theme and c) they have the best spectacle, less campy than KISS and more interesting than Slipknot. So even if everybody has seen it before on YouTube, it is still damn fuckin’ impressive to witness.
The band was obviously in a good mood and having a good time, Lindemann literally drew some blood by headbutting his microphone and guitar player Paul Landers. Not all the hits passed by (no “Bück Dich”, “Mein Teil”, “Mutter” or other ballads) but still this was a very good, hard setlist.
Although musically it might not have been the best show (that might have been Melechesh), as a whole yes, this was the best show of the day. Hands down.

After Rammstein’s blitzkrieg, saturday felt surprisingly empty, maybe not so much in the number of visitor but definitely in the artistic field. What was left after the last explosion? Where do you go from there? To answer both question: “booze” and “tent, drinking”. Maybe not great answers but they worked for us. In fact they worked so well that we forget that we had to see the Cavalera Brothers perform the legendary Sepultura album “Roots” in its entirety. And Baroness. And Devin Townsend Project. And Coheed and Cambria. 

In fact the first band that we managed to see was Gojira . I’ve heard a lot about this band. The biggest and arguably best French band at the moment. Maybe even the best European band according to some. Maybe the latter is a bit exaggerated but judging from what I’ve seen, it is understandable. Gojira is an excellent, tight band with a good bit of variety in their songs, a pummeling machine that shows no remorse. No surprise that the band is getting bigger and bigger despite playing extreme, fairly inaccessible metal.
One band that I needed to see that day was Clutch . Remember when I said that Sólstafir is secretly a post rock band lost in the metal scene? Well, Clutch is a blues band lost in the metal scene, even more than Aerosmith. All the songs have that irresistible boogie that made the girls and the guys dance and fuck, there were a lot of both of them to see Clutch! Even in a steaming hot metal dome the feet were uncontrollable, especially during “Electric Worry” and it was just good times, good mojo during the entire concert.
Still the best show for me was Monster Magnet . To be honest, I wasn’t sure what to expect. The last couple of years I stopped following the band’s latest musical efforts. It lacked excitement and while it was decent chillin’ music, it wasn’t exactly the band’s forte. No, their forte is heavy psychedelic rock with a shitload of delay. At their best they are the wild, dark, ultra druggy version of Hawkwind, the Mr. Dave Wyndorf to Dr. Dave Brock. And it was exactly this Monster Magnet that showed up at Graspop.
The band came on stage and dived right into it with “Dopes to Infinity”, grabbing the audience by the throat without letting go until after their anthem and closing song “Spacelord”. And in between it was just one great song after the other. No breaks, no chitchat, nothing. Song over, count off the next one and bang! No atmospheric wanderers but all the good, furious stuff. “Tractor”, “Powertrippin’”, “Negasonic Teenage Warhead”, “Radiation Day”...
And singer Dave Wyndorf... He is basically mister Monster Magnet, the most recognisable member and the most important creative force behind the band. Whether or not Monster Magnet is just good or rips the stage apart, depends on him. And while he has had his fair share of (subscription) drug abuse and the come down, he seemed just as young as ever on that stage on saturday. I’m not sure what he was one but it was the right stuff. And it rubbed off to the rest of the band who were playing equally furious. Best. Fuckin. Show. Of the day.
And after that, I was basically partied out. We still saw Deep Purple who, despite having a predictable setlist, did a fine job. “Spacetruckin”, “Smoke on the Water”, “Black Night”... And people should stop nagging that they didn’t play “Child in Time”! In Flames was a band that I’ve seen a few time before but never really connected to me until now. It was melodic and sincere. Normally I would have more to say but at that time I was deadtired. After their last song I went back to the tent and fell asleep.
Normally I’d have added reviews of Steel Panther, Mastodon, Opeth, Evanescene and Primus but what are you going to do when you wake up and find a hole in your tent through which your wallet and phone were stolen? Right!
Not go to Steel Panther but go home and masturbate furiously.

Not go to Mastodon but go home and smoke your leftover stash of weed.
Not go to Opeth but go home and get a bottle of Chateau Migraine from the nightshop. Not go to Evanescene but go home and google “MILF”.

Not go to Primus but go home and try to find your emergency stash.
And take a shower because no matter who you are, after three days without a shower you stink.

- Ivo Viruswithshoes

-Gravarson take a deeper look behind the new phenomena Matterhorn it's debut track 'Aorta'

I was shopping some vinyl from a guy on the net, and we talked about our own music in general and it turned out to be Tommy from the Trondheim based metal bands Griffin and the legendary Manes.
He was also supposed to be InThe Woods' front figure as the band stepped up into the metal scene, that did never happen.
He later on told me he had a new project in the making named Matterhorn as a result of my curiousity and I got the link to Matterhorn's debut song named 'Aorta' 

Anyhow I decided to enter with an open mind since I'm not one those evil threw & Kwlt heads that dies if they listen to any other genre than theirs and everything released in more than 5 copies 'cause it's so fuckin' threw!

Let's throw the ball to the target, Matterhorn's track 'Aorta'

It's sounds far from what he's been doing with the previous bands. The musical lanscape starts of slow and gloomy disquised in a beautiful atgmosphere and harmony that builds slowly throughout 'Aorta' 
When the mid verse and build up and the chorus like vocals hits it's just pure fuckin' gold and I know this something I want more of so I just press replay. This is one of those delightful journeys when you are drawn into a world beautiful relaxation and entertainement. 
This is the finest I've heard in this genre if I knew what that would be... Progressive avantgarde or just simply dark and beautiful pop music? Who cares! It's great and you should definately give this a listen as this is something that should become big in the future, hopefully we won't have to wait to long for the debut album

Latest News : All the audio files from 'Aorta' has been delivered to Skei (Manii,Manes & Lethe. We can probably expect some Dark and twisted electronic madness. Skei also did a some remixing for Mortiis latest album, so this is something to look forward to, probably during august/september.


Odyssey - Eve To Adam _ Review

Bilderesultat for odyssey eve to adamThings that I hate about Disturbed. Overdramatic singing style that makes William Shatner sound like a box of valium. Incredibly cliché songwriting that comes straight out of the first chapters“Songwriting for Dummies”, if only they would finish the goddamn book... Forgettable riffs that sound like a million other American bands. A guitar tone that just "rumbles" but never bites, growls, squeals, cries or, in the case of black metal, summons a demon by means unholy chanted verses. In general just plain fuckin’ stupid, I always imagine Disturbed fans as 30 year old rednecks who are still in highschool.  
Things I hate about Eve to Adam's fifth album "Odyssey". All what I hated about Disturbed, for starters. The guitar sound, the songwriting, even the singing sounds exactly like Disturbed Cliché synths that never sound adventurous, daring but just make a random noise to remind you that this album is edgy and renewing because IT HAS SYNTHS AND GUITARS! Cliché rhythm patterns that have been around since house music started in Detroit.  
Things that I love about "Odyssey" It makes me appreciate Fear Factory, Aphex Twin, Gorillaz and Misery Loves Co. even more.  
Get your sonic lobotomy here: (

-Ivo Reyens

Ivo talks about the latest Mark Lanegan album' Gargoyle' VS. Ulver - The Assassination of Julius Caesar

There have been two releases that I wanted to cover this week: one being “Gargoyle”, the new Mark Lanegan record, and Ulver’s latest release “The Assassination of Julius Caesar”. These two have very little in common, I agree but still there is one thing that I’ve noticed. Before we get to that, let’s
take a closer look at the albums. 

©  Ingird Aas 2014
“The Assassination of Julius Caesar” was presented about a month ago on the Roadburn festival and while still some trve cvltists left because Ulver STILL haven’t returned to their original black metal sound, the gig can easily be regarded as one of the highlights of the festival. Superbe lightshow, impeccable performance from the band and although Depeche Mode and Massive Attack were more obvious inspirations than Bathory and Venom, the audience seemed to appreciate the new stuff. Seen that I hadn’t heard the record before, I decided to give it a spin.
Now, since I obviously really liked what I heard at Roadburn, I was a tad biased and obviously my feelings towards the record are perhaps a bit more positive than if I had decided at the time to skip Ulver and sleep off my fever in my tent.
That being said, this record is a “grower” as in it doesn’t immediately blow you away but it gets under your skin. Instrumentationwise, there is a lot of interesting things going on but nothing is really mixed in your face and jumps out which is an old fashioned thing. I keep discovering new things on this record every time I listen to it.
There is a common theme to the lyrics involving icons, their rise and fall. Singer Kristoffer Rygg mentions the Colossus, princess Diana, Roman emperor Nero and the assassination attempt on pope John-Paul II. I have to admit that it is refreshing to have actual lyrics that mean something instead of a couple of great sounding one-liners.
So, top notch record although their vintage approach might alienate young listeners.

Now to “Gargoyle”, the latest addition to the already immensely long discography of former Screaming Trees, Queens of the Stone Age, Gutter Twins singer Mark Lanegan. I’ve stopped couStone Age, Lanegan has been trying to take a rock line-up and enhance it with drum computers, keyboards and synths. Despite his sincere intentions, earlier artistic accomplishments and the fact that the “indie” press loves him, the formula has gone stale and doesn’t add anything new to hos body of work.nting somewhere after the release of the “Here Comes that Weird Chill” EP in 2003. On that note, I used to be a big fan of Lanegan and so, again, I am biased. He appears on a substantial part of my record collection and I’ve seen him live a couple of times. That being said, I really, REALLY can’t get into this record. It annoys me and often I feel like I’ve heard all this before. Ever since his time with the Queens of the

 It doesn’t help either that Lanegan is a, and I’m forfeiting my entire career as a reviewer by making this statement, one trick pony. Sure, he has that recognisable, gritty grave digger voice but as a singer he has a limited range and it’s not as if he is extremely versatile. As much as I adored his semi-crooning style, it does get boring, especially if the lyrics aren’t that good. It seems to me that he is just stringing dark sounding words together, like “crows”, “dark”, “goodbye, lover”.
Maybe it’s time for Dark Mark to push aside his notorious need for control and contact a good producer who can help him create new sounds, write songs and find inspiration. In any case he is in need of somebody who can help him update his formula because in 2017 it sounds Outdated.

But how does that compare to “The Assassination of Julius Caesar”? I mean, I give Lanegan shit for sounding outdated but when looked at the albums objectively, the sound of “The Assassination of Julius Caesar” is also outdated. Even more since that the direct inspiration for that album were synthpop bands from the 80’s and yet I like that one much better than “Gargoyle”. So, what is it? Am I full of shit? Is it because I’m discovering more music? My immer evolving taste?  Or is it Zeitgeist?
Do I like “Gargoyle” less because Lanegan is playing catch-up with the trends and losing at it while Ulver decisively went for a 80’s sound and expand upon that?

 That one could make sense and I can think of a few examples in other media where something similar happens. I could describe “now” but by the time you read this, “now” has already changed. Wasn’t there a Greek saying for that? Is it a fashion thing? The 80’s are hot for some reason and a lot of old farts that I know are sharing old pictures, snippets of crappy old cartoons and movies.
A few entrepreneurs and artists seem to have turned this nostalgia into a business model and making money out of it. This option however seems unlikely. “The Assassination of Julius Caesar” is too dark, too “difficult”, too artsy to be interesting from a commercial point of view. Perhaps it’s something more basal. Maybe the material on “The Assassination of Julius Caesar” is stronger than on “Gargoyle” but by making that statement, I’m becoming more subjective and personal…. Or has it got something to do with Ulver being the freshest memory? Like stated earlier, I haven’t followed Lanegan in some time and looked up his record out of curiosity. From the Ulver show I have great and recent memories even if I was coughing up my lungs at the time. Anyway, it should be clear that there is more to liking music than just the music. Zeitgeist, personal circumstances, external factors, visual stimulations…  That is  what I wanted to share. Feel free to discuss about it...

-Ivo Goeyens - Mail :

ALTAIR • „Descending: A Devilish Comedy“

'Seed Of Violence' (Official Videoclip)

-= Highest demands =-
When the Italians published their exquisite debut album "Lost Eden" in October 2013, the POWER METAL world listened abruptly.
Finally, ALTAIR, founded in 2008, debuted with all-around high-quality material, which bundles all the virtues of the genre. An abundance of enthusiastic reviews was the deserved result.
But otherwise, the heavily ambitious authors were able to score on a wide range, which resulted in a large number of followers and enthusiasts who loyally respect the guys.
For the second album "Descending: A Devilish Comedy", the sextet from Ferrara succeeded in optimizing the exciting, pretty progressive overall sound.
The new compositions shoot themselves liquid-virtuosic as also metallic-cheering in varied wise into the ears.
And there is no lack of punctual pressure, high-rising epic, or skillfully elaborated melody. For the latter, all sorts of inspirations from the Classical world were given free access to the radiant sound cosmos of ALTAIR.
Keyboarder Enrico Ditta, an experienced actor at the electric organ, makes the nimble fingers dance as fast on the keys as if he stands under high voltage. His not infrequently solemnly, theatrical performance is integrated with the perfection of a Swiss clockwork into every nuance of the tracks.
Noble guitar duels, gloriously harmonious leads and ecstatic drumming make the wonderfully organic sounding disc a real jewel in the field of tastefully and aesthetically oriented Power Metal.
The fact that the new, great animating discus has definitely the content for a classic, is proved song by song. Example compliant? The inevitably overwhelming number "Flame Of Knowledge" testifies to the outstanding flair of the formation for the highest, timeless class.
Even vocalist Simone Mala can do anything. He covers on "Descending: A Devilish Comedy" the whole range of possibilities with his far outstanding, multi-mutable voice.
Master Mala, always animated by frenetic fervor to the marrow, completes every single song to a real, delightful experience. From massive-voluminous over full-bodied expression, to siren-like passages, the man can just sing as few!
With their compositional and instrumental mastery performances and the high level of playing culture, ALTAIR raise more than subtle reminiscences on the early works of the famous Brazilians of Angra or the countrymen Rhapsody. A powerful fact, which should provide positive inner unrest among connoisseurs and gourmets of the metier. (Markus Eck)
The official release date for "Descending: A Devilish Comedy" is June, 30th 2017.

ALTAIR - online:

Metal Injection Premiere HELLEBORUS' New Single "Prayer Of The Undying"

      Stirring the cauldron of black metal, Colorado blood brother duo Jerred & Wyatt Houseman's HELLEBORUS unleashed their debut album "The Carnal Sabbath"
in June 2016 via Satanath Records (Russia), Black Plague Records (USA) and on vinyl via Flesh Vessel (USA). They supported the album with festival appearances
at Shadow Woods, 71 Grind, Black Mourning Light plus tours and show dates with bands such as Fleshgod Apocalypse, Cannibal Corpse, Taake, Cattle Decapitation, UADA, Destroyer of Light, Lotus Thief and more.
Taking a short hiatus to enter their studio dungeon, the brothers have a recorded a new single for fans entitled "Prayer Of The Undying" that they are exclusively premiering on
HELLEBORUS comments on the track:
"This new single stands solitary as an offering to the Mother of the Night. The lyrics are a prayer or hymn of introspective nature reflected in the Orphic vein. We encounter symbolism of The Hanged Man and the essence of the Mandrake root. I use flowers as symbolic offerings similar to that of The Language of Flowers, a Victorian tradition. The man surrenders himself in attempt to gain enlightenment and the Mandrake is uprooted by the Divine Hand."

"Prayer Of The Undying" can be heard at

A full stream of their debut album "The Carnal Sabbath" can be heard at
Conceived within the womb of Execration, Helleborus is the latest emanation of Jerred & Wyatt Houseman. Like the enigmatic and deadly winter flower from which the project takes its name, Helleborus pushes the exploration of traditional black metal into the uncharted territory of sensual duality and mysticism. Building on their professional experience with Execration and personal experiences through Akhenaten, the Houseman brothers sought a deeper expression of their experiential-driven musical style that audiences can connect with through a union of opposites.
“We’ve always had a vision for the type of black metal project Helleborus would be. We wanted to explore and deliver a darker and yet more romantic side of black metal. There is an unknown side of metal that is masculine and powerful, yet sensual and respectful; controlled chaos.” comments vocalist Wyatt Houseman.
Album Band Line Up features: Wyatt (vocals, lyrics) & Jerred Houseman (producer, all instruments)
Live Band Line Up features: Brent Boutte’ – Drums, Jerred Houseman – Guitar & leads, Wyatt Houseman – Voice, Ian Horenman – guitar & rhythms
For more info, please visit the following links:

Chilean / Canadian Thrashers SOCIAL ARSONIST To Play Loud As Hell Fest

Chilean / Canadian Thrashers SOCIAL ARSONIST To Play Loud As Hell Fest

    Chilean/Canadian thrash hybrid SOCIAL ARSONIST will be performing at this year's Loud As Hell festival being held from August 4th-6th in Drumheller, AB. Now in its sixth year, the 2017 edition of Loud As Hell features 40 bands from across Western Canada and beyond with headliners BATTLECROSSBLACK WIZARDBISON and Canadian 80's thrash legends AGGRESSION (full line-up listed below). The festival also includes various vendors, tattoo artists, suspension demos, and guitar / drum clinics. 

"Hello Western Canada and fellow socialites, Social Arsonist is pleased and extremely happy to perform for you at the one and only Loud as Hell open-air music festival in Drumheller Alberta! We are very excited to be on this bill and to share the stage with many tremendous acts and welcome you all into our family. Come join us as we break bread and show Canada how we thrash in CHILE! We hit the stage on Saturday, August 5th at 3pm. Be Social, Be Loud, and Welcome To Hell!" 

Weekend passes for Loud As Hell are now available at regular price of $99 CAD. Weekend passes include tent camping (additional onsite charges for RV's, trailers, & motorhomes).
Tickets available at


Formed in Chile in 2009 by bassist Dario Zuniga and guitarist Manuel Morgado, the two musicians were unable to locate the perfect vocalist in their home country and turned the World Wide Web. Finding Canadian singer Cayle Charlton, the duo worked with him for years via the internet, honing their material before taking the ultimate step of relocating to Canada.

With a full line up in Vancouver, BC, the 
fiery crucible of Chilean thrash met the icy cauldron of Canadian metal to create an explosive storm built on a foundation of classic thrash and modern metal resulting in two releases. Their 2016 full length ‘Duality of Perception’ and 2014 debut EP 'De-Evolution of Thy Self' both demonstrate the hardship of the band's sound that is aggressive, fast, intense, catchy and disruptive. 

Bassist Dario Zuniga reveals that SOCIAL ARSONIST are inspired by subjects beyond metal clichés.
“The whole album carries the Social Arsonist aggression and message of rebellion and anguish against the institutionalization of society plus we have a wide range of influences, including a South American flavouring that everyone seems to enjoy, and coming from South America just to play our music in Canada, we put a lot of effort and passion into our performance!”

Album Stream - Duality of Perception -

Cayle Charlton - Vocals
Manuel Morgado - Main Guitar
Jean Carlo Ibarra - Second Guitar
Dario Zuniga - Bass
Danny Sever - Drums

Show Dates:
July 14 - Abbotsford, BC - Brother's Bowling and Billiards
August 5 - Drumheller , AB - Loud As Hell Fest - 

Loud As Hell - 2017 Line Up & Set Times

Facebook Event: 

Friday, August 4
Cocaine Moustache (Vancouver, BC) - 12:45am
Bison (Vancouver, BC) - 11:15pm
Exit Strategy (Calgary, AB) - 10pm
Mortillery (Edmonton, AB) - 9pm
Sentient (Calgary, AB) - 8pm
W.M.D. (Calgary, AB) - 7pm
Leave The Living (Red Deer, AB) - 6pm

Saturday, August 5
Shocker (Edmonton, AB) - 12:45am
Aggression (Vancouver, AB) - 11:15pm
Planet Eater (Regina, SK) - 10pm
All Else Fails (Edmonton, AB) - 9pm
Tyrants Demise (Winnipeg, MB) - 8pm
Expain (Vancouver, BC) - 7pm
Neck of The Woods (Vancouver, BC) - 6pm
Shark Infested Daughters (Calgary, AB) - 5:15pm
God Said Kill (Port Coquitlam, BC) - 4:30pm
Burning Effigy (Calgary, AB) - 3:45pm
Social Arsonist (Chile/Vancouver, BC)- 3pm
Hammerdrone (Calgary, AB) - 2:15pm
Cell (Winipeg, MB)- 1:30pm
Tides of Kharon (Edmonton, AB) - 12:45pm
The Cadavor Dog (High River, AB) - 12pm
Concrete Funeral (Calgary, AB) - 11:15am
Nuclear Oath (Medicine Hat, AB) - 10:30am

Sunday, August 6
Battlecross (Detroit, MI) - 11:15pm
Black Wizard (Vancouver, BC) - 10pm
Galactic Pegasus (Vancouver, BC) - 9pm
Scythia (Calgary, AB) - 8pm
Nylithia (Vancouver, BC) - 7pm
Dead Asylum (Vancouver, BC) - 6pm
Altars of Grief (Regina, SK) - 5:15pm
Skepsis (Edmonton, AB) - 4:30pm
Tales of The Tomb (Edmonton, AB) - 3:45pm
Tyrants of Chaos (Lethbridge, AB) - 3pm
Slaughterhauser (Mission City, BC) - 2:15pm
Sovereign Enemy (Winnipeg, MB)  - 1:30pm
Statue of Demur (Calgary, AB) - 12:45pm
Gales of Avalon (Calgary, AB) - 12pm
Immunize (Edmonton, AB) - 11:15am
Caste of Shadows (Lethbridge, AB) - 10:30am