1. “Deformed” – 4:07
2. “In Love” – 3:36
3. “For Your God” – 3:46
4. “Obscure Infinity” – 3:08
5. “Hating Life” – 3:02
6. “Into the Grave” – 4:09
7. “Extremely Rotten Flesh” – 4:36
8. “Haunted” – 3:39
9. “Day of Mourning” – 3:35
10. “Inhuman” – 3:52
11. “Banished to Live” – 3:51

download

FLESHCRAWL came to life in spring 1987 by Stefan Hanus and Bastian Herzog. The band worked under the name Morgöth until the year 1990, when they changed their monicker to Suffocation and decided to become much more extreme concerning the musical direction. After their first demo tape “Festering Flesh” they were again forced to change their band name because of the upcoming US Suffocation and their first vinyl appearance. After having found a constant band name in FLESHCRAWL they released their first 7″ EP “Lost in a Grave” in 1991 on Morbid Records. One year later FLESHCRAWL inked a record contract with Black Mark Production. In June 1992 they recorded their debut album “Descend into the Absurd” at Montezuma Studio, Stockholm. Shortly after, Mike Hanus replaced Gero Schmitt on guitar. In 1993 Fleshcrawl’s second album “Impurity” was produced in Dan Swanö’s Unisound Studio. FLESHCRAWL received great reviews from the international press for their brutal and uncompromising Death Metal sound, not to mention their highly powered live shows. They proved their power at the Easter Bash Tour ’95 where they were joined by Deicide, Cathedral and Brutal Truth.

In December ’95 FLESHCRAWL recorded their third album “Bloodsoul” being followed by their fourth album “Bloodred Massacre” in 1997 – both recorded at Abyss Studios by Peter Tägtgren. Having been the debut for the new singer Sven Gross who took over the place of Alex Pretzer, “Bloodred Massacre” earned the best reviews since their first album in 1992.

In 1998 Tobias Schick occupied the long time vacant bassist slot. After the release of “Bloodred Massacre”, FLESHCRAWL cut the ties with Black Mark and went on a four week European Tour with Vader and Kataklysm, also participating in festivals with Cannibal Corpse and Dark Funeral. Back from the tour, FLESHCRAWL signed a contract with Metal Blade Records. In January 2000 “As Blood Rains from the Sky – We Walk The Path Of Endless Fire” – produced at Fredman Studios in Gothenburg – was released. A top class production with killer riffs and vocals that penetrate to the bone made “As Blood Rains from the Sky – We Walk The Path Of Endless Fire” an absolute must have item for all Death Metal Fans. Press reactions and reviews for this album turned out to be the best since the band came together in 1987.

In June 2000 FLESHCRAWL went out to tour Europe together with Vader and Vital Remains for a 25 show trek. Several single shows and festivals followed throughout the summer (e.g. Czech Dynamo Festival, Summer Breeze Festival). In the meantime, FLESHCRAWL started preparing their new song material for their 2nd album on Metal Blade. In January 2001 they supported Bolt Thrower on a warm-up tour of Germany and Holland followed by the Torture-Tour in June 2001 supporting Six Feet Under. That same year FLESHCRAWL performed live on the Party-San Open Air. In September 2001 the band entered Studio Underground in Västeras, Sweden, to produce album No. 6 – “Soulskinner”. After having returned from the studio with the best feeling ever, the band went out to promote “Soulskinner” supporting Bolt Thrower and Benediction on a 4 week European Tour in January 2002.

Having played a few single shows in Germany and Europe throughout spring and early summer 2002, FLESHCRAWL performed on Wacken 2002, which turned out to be a really successful experience. This also was the first appearance of new guitarist Oliver Grbavac substituting founding member Stefan Hanus, who quit the band for personal and private reasons. In fall 2002 the band appeared on the Westfalenfestival in Dortmund amongst other things. Another premiere took place in November 2002: FLESHCRAWL played their first tour of Japan supporting Hypocrisy from Sweden. This was a very intense and huge experience in the band’s career. In retrospect, the year 2002 became the most successful since the band’s foundation.

After having returned from Japan, FLESHCRAWL started writing for the next album. During the year 2003 the band made itself scarce concerning live shows in order to intensely prepare the new song material for the follow-up to “Soulskinner”. In November 2003, FLESHCRAWL again headed up to Studio Underground in Sweden to record album No. 7, entitled “MADE OF FLESH”, which musically kicks off where “Soulskinner” ended. “MADE OF FLESH” features 10 songs of extreme variety and deadliness – having something in store for every die-hard death metal fan!

FLESHCRAWL supported “Made Of Flesh” by touring with Six Feet Under in February/March of 2004 on a very successful European tour. During the summer of the same year the band played various single shows as well as a bunch of open air festivals (Party.San, Summer Breeze, Metalcamp, Rock Harz, Skeleton Bash, Kaltenbach).

In early 2005 the longtime bass player Tobias Schick left the band for personal reasons. The band continued without a bass player while they were searching for a new fourstringer at the same time. The search took longer than expected and just in early 2007 they found with Nico Scheffler the right guy for the position. Nevertheless the band played various single shows and festivals (Up From The Ground, Walpurgis Metal Days) in the year of 2006.

In early 2006 FLESHCRAWL begun writing new songs for the successor of “Made Of Flesh”. But fate struck the band as several band members had to face serious private problems during 2006 and the songwriting process was hold on ice for a while. The band took off where they left in the second half of 2006 to continue writing songs for the eighth album “STRUCTURES OF DEATH”. Since Tobias was not in the band anymore, the guitar team Mike Hanus and Oliver Grbavac stepped in and delivered a great portion of the song material for this album. For the first time in the bands history FLESHCRAWL didn´t record in Sweden, but in the Studio Toninfusion in their home city Ulm/Germany with Martin Schmitt behind the desk. The clear and heavy rough mixes proved their decision to be right! Pelle Saether at Studio Underground in Västeras, Sweden mixed and mastered the album once again and delivered the perfect job!

“STRUCTURES OF DEATH” contains 12 in-your-face old school Death Metal songs with a lot of variation. Killer melodies and smashing, neckbreaking riffs of incomparable catchiness make “STRUCTURES OF DEATH” one of the best Death Metal releases in 2007!

Discography:
1992 Descend into the Absurd [pt1] [pt2]
1994 Impurity
1996 Bloodsoul
1997 Bloodred Massacre
2000 As Blood Rains from the Sky…
2002 Soulskinner [pt1] [pt2]
2004 Made of Flesh
Structures of Death(2007) [pt1] [pt2]

Members:
Sven Gross
Mike Hanus
Oliver Grbavac
Nico Scheffler
Bastian Herzog

Former members:
Wendel Dopfer
Alfred Handke
Gero Schmidt
Alex Pretzer
Markus Amann
Stephan Hanus
Tobias Schick

“There is this beautiful thing that great bands have something… Identity and I think BrainStorm has that,” Anton Corbijn

“There is kind of innocence to BrainStorm’s sound, something that is unique to their culture or what I imagine is unique to their culture and that made them special to me,” Alex Silva.

The experience of being citizen of Latvia who has been raised up in former Soviet Union and being witnesses of so called “iron curtain” and Latvia’ s return into Europe has made unique musical influence and background for the members of the band that reflects and goes through the music BrainStorm makes. Singer Reynard reveals: “The truly first influences of BrainStorm I can name Russian cartoons and Latvian popscene in 80-s. Talking about cartoons – I still love those songs and listen to them time after time, they have some kind of unique happiness and sadness at the same time that is hard to describe and that’s how I also see most of Stormer’s songs. And only when we were some 14 – 15 we started to learn what happens on the other side of the moon.”

The beginning of BrainStorm is dated with year 1989 even thought the seeds was found already when singer Reynard and drummer Nick danced and sang together around Christmas tree at kindergarten and later on all members of the band sang the same lines at the choir of the school they all attended in their native city Jelgava, Latvia. Through the years knowing each other and making music together already fourteen years (they were 15 years old when formed the band) the chemistry between guys has created the atmosphere of the real family: “Good old family thing, in this case just five fathers together. It’s so hard sometimes to find just one way out of five”

BrainStorm for several years is the biggest band of the native Latvia, latest 3 records they made and “Best Of” has reached Platinum status on sales, every radio single goes straight to #1 on airplays, they gather several prizes each time nominated for Latvian Music Awards, they play as big crowds as tiny Latvia can gather and closing concert of their latest Latvian tour on 1st of September, 2003 gathered 25 000 big audience and beat the record of Skonto Stadium. But sooner or later it is time to go into international music scene and BrainStorm can be called ice-breakers in this field by being if not first that for sure one of the first band’ s from Eastern Europe to enter Western music market. Their breakthrough was on 2000 with hit single “My Star” and followed by album “Among The Suns” (with releases in 18 countries, UK, Germany and Scandinavia including), album “Online” released in year 2001 stormed over Eastern Europe (Gold in Poland) and Scandinavia with ethereally dreamy and catchy melody “Maybe”. Over 3 years band has toured Europe on their own tours as well as supporting Rolling Stones in Prague, The Cranberries in Germany, Italy, Belgium and Czech republic, Depeche Mode in Baltic States and Supergrass in Denmark.

But we are here and now and today – on a day before tomorrow – BrainStorm comes with album named “A Day Before Tomorrow” – the slideshow of life in 12 chapters called songs that shows band’ s piece of mind and heart, the way they think and feel about this world. Here and now: “The title of the album includes the philosophy we believe in – we don’t say simply – today, because – of course you have to live in the moment you are, but also have to remember there is day after it and by remembering that you care about future, have your dreams and visions, but still – you don’ t let the beauty of the moment simply to slip away, because you value it and don’ t live only in the illusion about unknown future.”

For making of their 6th studio album “A Day Before Tomorrow” that is 3rd album for international release BrainStorm teamed with 2 producers – Echo award winner Alex Silva (his credits include successful work on Herbert Grönemeyer’ s album “Mensch”, Suede, e.t.c.) and Steve Lyon (worked with Depeche Mode, paradise Lost, Reamonn, e.t.c.). Art-directon, logo and pictures for the album sleeve and press were made by famous rock-photographer Anton Corbijn.

As to latest success in December 2003 BrainStorm got the awards for “the best pop video”(“A Day Before Tomorrow”) and “the best band” on Latvian Independent Television Music Awards. On annual Latvian Music Awards which took place in Riga in January 2004, BrainStorm got prizes at the categories they were nominated – best pop song – “A Day Before Tomorrow” (Latvian version), best rock song – “Colder”, most played song on the radios – “Colder”, best rock album – “A Day Before Tomorrow”, best video – “Colder” (directed by Manuel Werner).

BrainStorm feels blessed for being able to work with people they did for the latest record: “We’ve always believed in miracles, and that’s how it goes and sometimes things just happen if you believe. Who could imagine 2 years ago we will make photos with Anton Corbijn or do records with Alex Silva? But still it’s not about the names, souls are on the same wave feeling friendly and having good time together. Life is about believing in miracles.. and celebrating life, of course!

Anton Corbijn after working with BrainStorm says: “I can’t tell you how much I felt at home with them and felt we were all together trying to achieve something..” Producer Alex Silva also experience warm welcome into BrainStorm’ s world: “There is this uncomplicated thing about the band. They read books, play chess… They are very cookie bunch, they embrace people, invite into their circle that is very nice and warm. But cockie is one word to describe them all!”

The faith, friendship and passion to their piece of Art is what keeps BrainStorm together. Challenges, contradictions, stereotypes and difficulties for those guys can even be called as blessing – as they want to break them, get over them and prove it is possible to make what they have in mind. As BrainStorm love to say: “What doesn’t break us just makes us stronger”.

“…we were divided in regions and religions
we were counted in nations, populations
but we can can break through if we want to
oh, love
we have keys to the higher ground…”
(“Daddy Is Talking To Me”, from BrainStorm’ s album “A Day Before Tomorrow.”)

Discography:
* Hungry (1997)
* Unholy (1998)
* Ambiguity (2000)
* Metus Mortis (2001)
* Soul Temptation (2003)
* Liquid Monster (2005)
* Downburst (2008)

Members:
* Andy B. Franck
* Torsten Ihlenfeld
* Milan Loncaric
* Antonio Ieva
* Dieter Bernert

Former members:
* Stefan Fronk
* Marcus Jürgens
* Henning Basse
* Peter Waldstätter
* Andreas Mailänder

BORN FROM PAIN was founded in the early summer of ’97 after the demise of the glorious Feeding The Fire. Rob, formerly of Point Of No Return, Feeding The Fire, Backdraft and Wheel Of Progress, along with Che, decided to start a new, raw, heavy and in-your-face hardcore band with their friends Wouter, formerly of Feeding The Fire, and Serve, formerly of Quarantine. The outcome was BORN FROM PAIN. The band started doing gigs late summer of that very same year, unleashing the rage upon mankind. Playing energetic and modern NY-style hardcore with a big metal influence, which combines lyrics spewing anger and frustration, they’ve earned themselves a lot of respect everywhere they’ve been. Since that summer these guys have played tons of shows with a wide variety of bigger and smaller hardcore and metal acts, leaving them with nothing but good responses by everyone who’d witnessed their ever-raging live performance. 3 CD’s and numerous tours later they have become the well oiled machine they are known to be.

After successful festival appearances last year (e.g. With Full Force, Pressure Fest, Fury Fest), tours with Hatebreed, Madball and the Eastpak Resistance tour, and US and Japan tours in support of their last full-length album “Sands Of Time”, BORN FROM PAIN are now gearing up to take everything a step further. With a new worldwide deal on Metal Blade Records and a busy tour schedule backing the April 2005 release of their new full-length “In Love with the End”, the band is more than ever ready to conquer Europe, the US and the rest of the world.

BORN FROM PAIN are ready to release a devastating blow to the world with more variety and a straight forward approach to the personal and social politics of life than ever before, musically returning to a sound that gave hardcore its heaviness back in the early nineties. Still heavy, still neck breaking and still taking no prisoners.

“In Love with the End” will see the light of day on April 18th, 2005. BORN FROM PAIN will be touring the world for this release until whenever it takes. Beware!

Discography:
* Reclaiming the Crown (2002)
* Sands of Time (2003)
* In Love With the End (2005)
* War (2006)
* Survival (2008)

Members:
Rob Franssen
Dominik Stammen
Karl Fieldhouse
Roel Klomp

Former members:
Ché Snelting
Stefan van Neerven
Wouter
Kevin Otto

In January of 2001 vocalist Tim Lambesis left Texas-based Societys Finest to return home to San Diego where he and long time friend Evan White began writing music for what would become As I Lay Dying. With a strong vision already in mind they began gathering some of the city’s great musicians. Drummer Jordan Mancino had recently left Edge of Mortality, and Brandon Hays, previously of The Frontline, joined later that year. After establishing their new lineup, the bands debut record, “Beneath the Encasing of Ashes”, was written in March of 2001 and released on Pluto Records. The album is the top selling Pluto release to date.

Having completed their first tour immediately following their release, these guys have become known for their passionately energetic, neck-snapping performances. Since early 2001 As I Lay Dying has embarked on four major tours and have made a name for themselves across the U.S. They have shared the stage with bands such as:

Poison the Well, In Flames, Hatebreed, Shai-Hulud, Zao, American Nightmare, Bane, From Autumn to Ashes, Sick of it All, Snapcase, Dillinger Escape Plan, Evergreen Terrace, Hopesfall, Nora, 7 Angels 7 Plagues, Twelve Tribes, Fall Silent, Curl Up And Die, Stretch Armstrong, Papa Roach, No Innocent Victim, Page 99, Living Sacrifice, The Deadlines, Embodyment, Travail, The Deal, Figure Four, Officer Negative, Norma Jean, Spitfire, Dogwood, Between the Buried and Me, 18 Visions, Bleeding Through, Spoken, Soul Embrace, Point of Recognition, Every Time I Die, Unearth, Andrew W.K., Throwdown, Underoath, Boy Sets Fire and many others.

With a solid and hardworking group of musicians in place, As I Lay Dying was able to write an evolved follow-up to “Beneath the Encasing” released as a split with American Tragedy on June 18, 2002. Since that release, guitarist Jasun Krebs (formerly Edge of Mortality, Wreckingball, Scratchline) joined the band, adding a new dimension to their overall sound and live performance. Through style changes and a dynamic improvement in songwriting, their music continues to develop a heavier, more creative and emotional sound.

Discography:
Beneath the Encasing of Ashes(2001)
American Tragedy(2002)
Frail Words Collapse
Shadows Are Security
An Ocean Between Us

Members:
Tim Lambesis
Jordan Mancino
Phil Sgrosso
Nick Hipa
Josh Gilbert

Former members:
Noah Chase
Aaron Kennedy
Evan White
Jason Krebs
Clint Norris

Although many associate hard rock from Los Angeles in the early ’80s as all glossed up and pop-based (Mötley Crüe, Ratt, Quiet Riot, etc.), there were a select few true metal bands to emerge from the same locale, such as Armored Saint. Formed in 1982 and originally comprised of members John Bush (vocals), David Pritchard (guitar), Phil Sandoval (guitar), Joey Vera (bass), and Gonzo (drums, brother of Phil Sandoval), the group specialized in a style of straight-ahead metal that was compared to such New Wave of British Heavy Metal acts as Iron Maiden, Judas Priest, and Saxon, among others. The quintet issued a three-track self-titled EP on the Metal Blade label in 1983, before signing on with Chrysalis. They put out such underappreciated releases as 1984′s March of the Saint, 1985′s Delirious Nomad, and 1987′s Raising Fear and built a fanatical following in their native region, but failed to break through to the big time elsewhere.

Shortly after a switch back to the Metal Blade label in the late ’80s, Armored Saint issued their first live recording, 1989′s Saints Will Conquer, but bad news was lurking right around the corner. Founding guitarist Pritchard was diagnosed with leukemia and passed away in 1990. The group pressed on (with newcomer Jeff Duncan taking Pritchard’s spot in the lineup), issuing Symbol of Salvation in 1991. But the band decided to call it a day a year later when Bush accepted an invitation to join New York thrash metallists Anthrax. By the late ’90s, Armored Saint decided to reunite once more and Bush remained a member of Anthrax and Armored Saint simultaneously (Vera was also doing double duty, as he’d become a member of prog-metallists Fates Warning). The newly re-formed outfit issued an all-new recording in 2000, Revelation, while a double-disc anthology, Nod to the Old School, surfaced a year later.

Discography:
1983 Armored Saint (EP)
1984 March of the Saint
1985 Delirious Nomad
1987 Raising Fear
1988 Saints Will Conquer
1991 Symbol of Salvation
2000 Revelation
2001 Nod to the Old School

Members:
John Bush
Phil Sandoval
Joey Vera
Jeff Duncan
Gonzo Sandoval

Former members:
Dave Pritchard

Deeply rooted in death metal with firm beliefs in Viking mythology, AMON AMARTH formed in 1992 in Tumba, Sweden, a southern suburb of Stockholm. They began writing material with lots of melodies, harmonies and lyrics about Vikings and the northern gods. In summer 1993 they entered Lagret Studio to record the never released demo “Thor Arise”. The band continued to rehearse and writing stronger material and again entered the studio. The result was the second demo “The Arrival Of The Fimbul Winter”. This time the band was much more satisfied with the sound and songs and launched it to an unsuspecting underground. The response was overwhelming, quickly selling out of the first pressing and secured them a one off deal with Singapore’s Pulverised Records.

This time they decided to use Abyss Studio, owned by Peter Tägtgren of Hypocrisy, and during five days in November 1995 the MCD “Sorrow Throughout The Nine Worlds” was recorded. The five track recording contained three new songs plus two re-recorded tracks from the band’s second demo. The MCD was released in April 1996 and continued the band’s build to world dominance. June 1996 saw the exiting of drummer Nico who was quickly replaced with Martin Lopez. During this time labels began to show interest and after much consideration the band chose to sign with Metal Blade. In March 1997 AMON AMARTH entered again Abyss Studios to record their Metal Blade debut “Once Sent From The Golden Hall” with Peter Tägtgren. The result proved that they were destined to become force of fury in the Swedish Death Metal scene and beyond.

After the recording of “Once sent…”, guitarist Anders Hansson quit just a month before their first major tour with Deicide, Six Feet Under and Brutal Truth in June 98. They quickly recruited Johan Söderberg to make the line-up complete. The line-up was now solidified. “The Avenger” was recorded at Abyss Studios Sweden February to March 1999. Produced by the band, the seven track album is a lesson in pure Viking aggression and brutality blurring the line between death and black metal. The tour following this release was the X-mas massacre festivals, headlined by Morbid Angel.

In November 2000 the band entered The Abyss Studio for, as it would turn out, the last time. This time they recorded the album “The Crusher” (released in 2001). Living up to it’s name, “The Crusher”, the album is the most brutal album the band has produced so far. This release gave Amon Amarth the opportunity to tour a lot more than before and right after the recording they went on their first headlining tour through Denmark and Germany with Purgatory and Seirim. That tour ended up with great succes and they also managed to be the first metal band entering the German stages for the century. 00.05, 01 of January in 2001 in Guben. Then they went on the No Mercy Festivals 2001 with bands like Marduk and Vader. In the fall of 2001, AMON AMARTH was supposed to support Marduk on their American tour, but due to the events of September 11th, that tour was postponed until January 2002, and if that wasn’t enough, Marduk couldn’t make it over to the states. So AMON AMARTH got to headline their very first US tour, supported by Diabolic from Tampa, FL. The tour was a huge success, but unfortunately the tour agency decided to cut the tour short with one week. Returning to Europe, AMON AMARTH was offered the possibility to headline their own full European tour, and in April 2002 they went on the road together with Swedish “gore-masters” Vomitory. During the tour the band kept writing new material for an upcoming album.

August 2002 started with the bands second appearance at Wacken Open Air. Approximately 12 000 people saw the show, and the response was overwhelming. Almost going straight from Wacken to the Studio, AMON AMARTH began recording their new album “Versus the World” on August 7th. This time, however, the band had to use a new studio, since Peter no longer produces or records any bands, except his own, in his studio. The choice fell on Berno Studio in Malmö, and it turned out to be a great choice. Berno Studio has a great reputation in the scene and AMON AMARTH found it to be very easy to work with both Berno (owner, engineer) and Henrik (engineer). Recording in a new studio gave new dimensions to the bands sound. During the recording, the band managed to squeeze in a trip to Germany and the Summer Breeze festival, where they made a successful appearance. The new album is set to be released on November 18th, and proves to be a milestone in the bands career.

Discography:
1991 Demo 1
1993 Thor Arise
1994 The Arrival of the Fimbul Winter
1996 Sorrow Throughout the Nine Worlds
1998 Once Sent from the Golden Hall
1999 The Avenger
2001 The Crusher
2002 Versus the World
2004 Fate of Norns
2006 With Oden on Our Side
2008 Twilight of the Thunder God

Members:
Johan Hegg
Johan Söderberg
Olavi Mikkonen
Ted Lundström
Fredrik Andersson

Former members:
Anders Hansson
Nico Mehra
Martin Lopez

ALTERED AEON was formed in 2001 when Henrik Ohlsson (Theory In Practice, Mutant) presented a bunch of songs to Kjell Andersson (Azotic Reign), but back then the band was called THRAWN. They both agreed on the approach of the music and continued working with Henrik`s musical ideas, building a similar vision that they strived to manifest in the music and lyrics. Due to working with their additional bands it took quite some time before they had developed the sound they wanted for ALTERED AEON. But once they decided to concentrate fully on this band, their other bands being pushed down the priority list in favor of ALTERED AEON, something truly unique emerged musically and lyrically.

In 2002 Niklas Rehn was added to the lineup and the band rehearsed a lot of material during that year, picking out the best songs for a future recording. In February 2003 ALTERED AEON entered the Black Lounge studio and recorded four tracks for a demo that was to be entitled “Light Creates Shadows”. Henrik handled the drums, bass and guitars, Niklas also handling the rhythm guitars while Kjell handled all the vocals. Per Nilsson, recruited for the recording by Henrik, contributed with amazing solos and the whole thing was produced by Jonas Kjellgren – owner of Black Lounge and member of Carnal Forge and Centinex e.t.c. The demo is a four track display of insane speed, incredible guitar solos, both brutal and melodic vocals, intense technical drumming and overall great music arranged with a lot of intelligence. Songs like “Dispirited Chambers” and “Patriots of Sin (aeturnum essentia)” defined the sound of ALTERED AEON around that time and songs like “Dreamscape Domain” and “Transcendence Duology” with their barrier-breaking character shows the potential of the band in terms of technicality and speed. All this backed up with a strong lyrical concept dealing with the obscure reality of occultism and individualism certifies that ALTERED AEON is here to contribute to the metal world in a major way!
Aeon

The lineup was completed later in 2003 when Per joined ALTERED AEON as a full member and Anders Hedlund (ex. T.I.P-session bassplayer) agreed to join the band. In the summer of 2003, ALTERED AEON inked a three album deal with Black Lotus records- Greece`s biggest independent label. During the recording of the debut album THRAWN decided to change the bandname to ALTERED AEON due to right`s issues and a growing need to have a name that was more aligned with the lyrical themes. The debut album, which will be called ”Dispiritism”, is scheduled for release in June 2004..

Discography:
# Aeon Demo #1 (1999)
# Dark Order (2001)
# Bleeding the False (2005)
# Rise to Dominate(2007)

Members:
Tommy Dahlström
Daniel Dlimi
Zeb Nilsson
Max Carlberg
Nils Fjellström

Former members:
Morgan Nordbakk
Arttu Malkki
Johan Hjelm

Celtic Frost’s impact on the evolution of European heavy metal cannot be overstated. Along with power metal kings Helloween (and to a lesser degree, the sometimes cartoonish Mercyful Fate), Frost’s enduring influence on Europe’s heavy metal landscape is arguably comparable to Metallica’s standing in America. Labeled by critics as “avant-garde” for their radical fusion of violent black metal and elements of classical music, the band represented a distinctly European metal perspective. But their history was troubled, their output uneven to say the least, and their ignominious end hardly fitting of their important legacy.

Thomas Gabriel Fischer was the product of a broken home and a less than financially secure upbringing — a rare predicament in his native Switzerland, but one that instilled in him the burning ambition and outcast mentality usually required in the formative years of a rock star. Fresh out of high school, the teenager was already enamored with the New Wave of British Heavy Metal, and particularly high-energy trios like black metal pioneers Venom and proto-thrashers Raven. Inspired by that movement’s D.I.Y. credo, Fischer renamed himself Tom Warrior, and along with bassist Steve Warrior and drummer Bruce Day, formed his first band, Hellhammer, in the fall of 1982. Less than a year later, and though still raw beyond description, the band’s demos — now featuring bassist Martin Eric Ain and drummer Stephen Priestly — had become surprisingly popular within the underground tape-trading community. In late 1983, start-up German label Noise Records signed them to a contract and included two of their tracks on its first release, a compilation of rising German metal bands appropriately called Death Metal. But Warrior and Ain felt that Hellhammer had already run its course and that the group’s extreme nature was too limiting for their increasingly mature compositions. Thus, with their gothic, pseudo-satanic image already coming into focus, in May 1984 they evolved into Celtic Frost.

By October, the trio was in Berlin recording its first album, Morbid Tales, which cemented the group’s position as one of Europe’s most promising metal acts thanks to its still relatively straightforward — but nevertheless excellent — thrash metal attack. The sudden departure of Priestly also proved to be a blessing in disguise, as his replacement, American drummer Reed St. Mark, brought a confidence and musicianship that the group sorely needed. Amazingly, Celtic Frost had yet to play their first concert, so after putting the finishing touches on the Emperor’s Return EP, in April 1985 they performed a single warm-up show in their hometown of Zurich, then set out to tour across Germany and Austria.

Now growing from strength to strength, Warrior decided to replace the increasingly unmotivated Ain with bassist Dominic Steiner for their second album, To Mega Therion. But he soon had second thoughts, and Ain returned after the album’s completion that fall. Its cover graced by original artwork from acclaimed Swiss artist H.R. Giger (of Alien fame), the album expanded Celtic Frost’s songwriting palette, furthered their growing reputation, and was followed by their first North American performance at the World War Three metal festival in Montreal. After the release of the Tragic Serenades EP in the summer of 1986, the band embarked upon its most extensive tour yet — first through Europe (including their first visit to England) with Helloween and Grave Digger, then across America with Voivod and Running Wild.

By the end of the year, Celtic Frost were poised to fulfill their seemingly destined promise with a groundbreaking third effort. On To Mega Therion, Warrior had begun experimenting with different musical styles (especially classical music and electronica), leading certain journalists to describe the band’s direction as “avant-garde” metal. Released in 1987, Into the Pandemonium would substantiate these claims and then some, introducing an unconventional collision of death metal brutality and symphonic overtones on its way to becoming one of the classic extreme metal albums of all time. Frost’s most defining and influential work, it paved the way for the evolution of European death metal as a full-fledged underground phenomenon over the next decade. American guitarist Ron Marks was brought in to flesh out Celtic Frost’s live assault, and their subsequent U.K. tour was a resounding success on all fronts.

Now at the peak of their powers, Frost headed for America to undertake their biggest tour ever, but trouble was right around the corner. First the band’s high spirits were quickly dampened by personality clashes with new member Marks and, secondly, the tour itself became mired in organizational and financial difficulties almost from day one. By the time it finally concluded in New York City (where the road crew was forced to hold the group’s gear hostage in order to get paid by Noise Records), the band was on its last legs. Furious at their record company and completely burnt out from the long months of arduous roadwork, they had had enough: Celtic Frost effectively ceased to exist.

Six months would pass before Warrior got over his disillusionment and was convinced to resurrect Celtic Frost by Swiss guitarist Oliver Amberg. After drafting bassist Curt Victor Bryant and bringing back founding drummer Stephen Priestly, the revamped unit entered Berlin’s Sky Trak studios in the summer of 1988 with producer Tony Platt to begin sessions for the now infamous Cold Lake album. Warrior’s lingering indifference and lack of commitment to the project allowed Amberg and Platt’s commercial tendencies to run wild. In what has since been viewed as one of the most misguided changes in artistic direction in heavy metal history, the duo subverted Frost’s ferocious extreme metal roar into a sugar-coated pop-metal whimper. If this weren’t bad enough, the group then signed their own death sentence by adopting a glam rock image, complete with teased hair, makeup, and colorful outfits to match! The repercussions were instantaneous and devastating; press and consumers alike burned the band in effigy as an utter sellout, and what was expected to be a triumphant world tour turned into a protracted, embarrassing agony for all involved.

Following this unmitigated disaster, Tom Gabriel Fischer (as he’d once again been calling himself after retiring his Warrior-like qualities) began backpedaling as fast as he could. Assuming control of the group once again, he fired Amberg and lured guitarist Ron Marks back to the fold for 1990′s back-to-basics Vanity/Nemesis LP. Marks remained as unreliable as always, though, and would soon exit, forcing Bryant to switch from bass to guitar and opening the door for Martin Eric Ain’s return. As for Vanity/Nemesis, it was a respectable semi-return to form that attempted to pick up where Into the Pandemonium had left off and make believe Cold Lake had never happened, but it ultimately couldn’t undo the damage done to the band’s reputation. After a troubled European tour, Frost planned to return to America for the first time in three years, but when a new recording deal with major label EMI (which had finally severed the band’s long-troubled ties to Noise) fell through due to corporate restructuring, Celtic Frost found themselves dropped and, still in shock, decided to call it a day. Their final act was compiling a collection of hits and album leftovers for 1992′s Parched with Thirst Am I and Dying — its bizarre title taken, in typically quirky Frost fashion, from a fourth century Roman poem.

Fischer would avoid the spotlight completely for the next few years before resurfacing in the late ’90s with a new band called Apollyon Sun, but when this too ground to a halt amid widespread public indifference, he once again connected with Martin Ain, and quietly set about planning Celtic Frost’s resurrection. Working mostly in seclusion and avoiding all external intervention or financing, the duo — plus new drummer Franco Sesa — slowly recorded enough material for a comeback album to be titled Monotheist, which they eventually licensed to Century Media and released to much well-deserved fanfare in early 2006 — just over 20 years after their debut.

Discography:
* Morbid Tales (1984)
* To Mega Therion (1985)
* Into the Pandemonium (1987)
* Cold Lake (1988)
* Vanity/Nemesis (1990)
* Monotheist (2006)[pt1] [pt2]

Members:
Martin Eric Ain
Franco Sesa
Tom Gabriel Fischer
Curt Victor Bryant
Oliver Amberg
Ron Marks
Dominic Steiner
Reed St. Mark
Stephen Priestly
Erol Unala

Judas Priest was one of the most influential heavy metal bands of the ’70s, spearheading the New Wave of British Heavy Metal late in the decade. Decked out in leather and chains, the band fused the gothic doom of Black Sabbath with the riffs and speed of Led Zeppelin, as well as adding a vicious two-lead guitar attack; in doing so, they set the pace for much popular heavy metal from 1975 until 1985, as well as laying the groundwork for the speed and death metal of the ’80s. Formed in Birmingham, England, in 1970, the group’s core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis, the band played their first concert in 1971. Atkins’ previous band was called Judas Priest, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971; during the year, Ellis was replaced by Alan Moore; by the end of the year, Chris Campbell replaced Moore. After a solid year of touring the U.K., Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring, including a visit to Germany and the Netherlands in 1974; by the time the tour was completed, they had secured a record contract with Gull, an independent U.K. label. Before recording their debut album, Rocka Rolla, Judas Priest added guitarist Glenn Tipton. They released the record in September of 1974 to almost no attention. The following year, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore. Later that year, the group released Sad Wings of Destiny, which earned some positive reviews. However, the lack of sales was putting the band in a dire financial situation, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips, who replaced Moore. The record received positive reviews and the band departed for their first American tour, with Les Binks on drums. When they returned to England, Judas Priest recorded 1978′s Stained Class, the record that established them as an international force in metal. Along with 1979′s Hell Bent for Leather (Killing Machine in the U.K.), Stained Class began the New Wave of British Heavy Metal movement. A significant number of bands adopted Priest’s leather-clad image and hard, driving sound, making their music harder, faster, and louder. After releasing Hell Bent for Leather, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album, 1980′s British Steel, entered the British charts at number three, launched the hit singles “Breaking the Law” and “Living After Midnight,” and was their second American platinum record; Point of Entry, released the following year, was nearly as successful.
At the beginning of the ’80s, Judas Priest was a top concert attraction around the world, in addition to being a best-selling recording artist. Featuring the hit single “You’ve Got Another Thing Comin’,” Screaming for Vengeance (1982) marked the height of their popularity, peaking at number 17 in America and selling over a million copies. Two years later, Defenders of the Faith nearly matched its predecessor’s performance, yet metal tastes were beginning to change, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986′s Turbo, where Judas Priest seemed out of touch with current trends; nevertheless, the record sold over a million copies in America on the basis of name recognition alone. However, 1987′s Priest…Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990′s Painkiller. Like Ram It Down, Painkiller didn’t make an impact outside the band’s diehard fans, yet the group was still a popular concert act. In the early ’90s, Rob Halford began his own thrash band, Fight, and soon left Judas Priest. In 1996, following a solo album by Glenn Tipton, the band rebounded with a new young singer, Tim “Ripper” Owens, (formerly a member of a Priest tribute band and of Winter’s Bane). They spent the next year recording Jugulator amongst much self-perpetuated hype concerning Priest’s return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor’s Nothing label with a new project, Two. In the meantime, the remaining members of Judas Priest forged on with ’98 Live Meltdown, a live set recorded during their inaugural tour with Ripper on the mic. Around the same time, a movie was readying production that was to be based on Ripper’s rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film, they ultimately pulled out, but production went on anyway without the band’s blessing (the movie, Rock Star, was eventually released in the summer of 2001, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album, 1997′s Voyeurs, and returned back to his metal roots with a quintet titled simply…Halford. The group issued their debut in 2000, Resurrection, following it with a worldwide tour that saw the new group open up Iron Maiden’s Brave New World U.S. tour, and issuing a live set one year later (which included a healthy helping of Priest classics) — Live Insurrection. In 2001 the Ripper-led Priest issued a new album, Demolition, and Priest’s entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band–including Halford–collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004, with their sixteenth studio album, Angel of Retribution, to be released the following year.

Discography:
# Rocka Rolla (1974)
# Sad Wings of Destiny (1976)
# Sin After Sin (1977)
# Stained Class (1978)
# Killing Machine/Hell Bent for Leather (1978/1979)
#Unleashed In The East (1979)
# British Steel (1980)
# Point of Entry (1981)
# Screaming for Vengeance (1982)
# Defenders of the Faith (1984)
# Turbo (1986)
# Ram It Down (1988)
# Painkiller (1990)
# Jugulator (1997)
# Meltdown(1998)
# Demolition (2001)
# Angel of Retribution (2005)
# Nostradamus (2008) [pt1] [pt2]

Members:
* Rob Halford
* Glenn Tipton
* K. K. Downing
* Ian Hill
* Scott Travis
Former members:
* Al Atkins
* John Ellis
* Chris Campbell
* Alan Moore
* John Hinch
* Les Binks
* Dave Holland
* Tim “Ripper” Owens – lead vocals