Metal Bulletin Zine #82 March 26, 2016 (no.4 in March) Washington state, U.S. www.metalbulletin.blogspot.com www.twitter.com/MetalBulletinZn www.facebook.com/The-Metal-Bulletin-paper-zine-238441519609213

Artillery (Denmark) Necronomicon (Canada) Ashen Pyre (Seattle, U.S.)

Thunderstone(Finland) Vocífera (free album; Brazil) Altarage (Spain)

plus: Gloria Morti (Finland), Dead River Runs Dry (Australia) free metal music: Bleedskrieg (Russia) Seattle area concert calendar: Satan, Skelator, Substratum, Gatekeeper, Nox Velum, Abbath, High On Fire, Tribulation, Skeletonwitch, Hell's Bells, Steve Grimmet's Grim Reaper, Skelator, Power Trip, Gag, Lower Species, Dokken, Hell's Belles, Absu, Witchaven, UADA, Imperial Triumphant, Iron Maiden, and more www.fuglymaniacs.com (issues online, videos, …)

— Metal Bulletin Zine P.O. Box 1339 Lake Stevens WA 98258 USA Metal Bulletin Zine #1-20: (2006-2009): Wisconsin #21-26: (2009-2010): Texas #27(2010)--now; Washington state All album reviews, news, updates below are by MMB, unless stated otherwise. ** Artillery (Denmark) Penalty by Perception Metal Blade Records release: 25 March 2016 Artillery's first album was ferocious thrash metal as you can hear on 1985's "Fear of Tomorrow," a strong debut full of youthful energy and lots of rage. Wonderful 80s thrash, even though it doesn’t get mentioned much in the press nowadays. The aggressive semi-growl from said album turned into a scream for vengeance on the next one, "Terror Squad" (1987). The production was clearer, the vocals more expressive and irate, the musicianship tighter, and the songwriting was more memorable, but the band now sounded angrier, mad at the world of politics, religion, government, police abuse and just mad, mad, mad. Gosh, some of those lyrics will make you blush even today: songs like “Let There Be Sin” and “Terror Squad” are no friends of authority. Somebody in Artillery woke up on the wrong side of the bed … every day in 1987. Then came the sophistication of "By Inheritance" (1990): they were more tuneful, and the vocals had pivoted towards more traditional heavy metal singing. Artillery had now arrived at that sound that they have today: thrashy, but not so uptight about utilizing a bit of that Judas Priest heavy metal foundation.

To make a long story short, the times have changed, the band has broken up a few times and each time it looked like they just weren't able to get along for a long time or they just couldn't keep it together. Thus, here we are in 2016, and despite the drama and dirt of the music business, Artillery is still alive and with a new album. It’s number eight, if I am not mistaken. They have been knocked down more than a few times. Some people gave up on them. Things weren't looking so good at times. They almost got counted out. Yet, somehow, here is Artillery, following up on the 2009 album, the 2011 album, the 2013 album. Hey, now, this new century hasn’t been too bad, eh? The old dogs are wiser and they still got it. At this point in time, the band has been around the block and they have been on the chopping block. They are no spring chickens. They are a thrash band, but not a pure one; it's more like both thrash and classic metal. They have the uptempo songs, but they can do a rocking, catchy power ballad like "When the Magic Is Gone." This is an album by a band doing their best to have the strongest set of songs that they can. If you have never heard the band before, this album is a good introduction. They are on the

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ball. They take care of business. The only questions that are left to answer are the ones that only you can answer for yourself. Do you like the vocals? Is this a style of singing that you enjoy? Do you like the modern production that they have or is it too modern for you? When you are Artillery, there's no need to play retro thrash or nostalgia thrash because thrash is their identity. “Life is a rodeo, somebody makes it, somebody don’t,” but don't nobody gotta tell you how the rodeo works if you have spent a lifetime in it. As long as the band is fully behind what they are doing, then it's going to work for them. Fame and fortune? That ship sailed a long time, friend. The false illusions are gone, the youth is but a memory (well, they do have some younger members in the current incarnation, though). All that is left is the desire to rock. Ah, but that’s what matters! It's all you need! “And if that’s all there is, it ain’t so bad.” C'mon, Artillery is here, you are here, let's do this thing. They came to rock. www.facebook.com/ARTILLERY.DK www.twitter.com/artillerymetal ** Necronomicon Recently I had the chance to listen to the new album by this Canadian symphonic extreme metal band, “Advent of the Human God.” I did not really know what I was getting myself into this time: I was familiar with the name of the band, but looking deeper into the history of the band a whole bunch of questions came up. Necronomicon seems to have a history that goes back to the late 80s. They have a death metal demo from 1992 called “Morbid Ritual.” The demo or part of the demo is on YouTube, too. It’s a brutal, full-on death metal recording. They now have five albums in total. At any rate, I figured it would be a good time to try to get some answers. Fortunately for this publication, the band’s

vocalist/guitarist Rob “The Witch” was very accommodating and responded.

Metal Archives shows some crazy information about your band! Did the band really start in 1988?! Metal archives is not super accurate, some info there are wrong. Yes, I Rob the Witch, started the band in 1988, but besides some local shows at the time and a self-recorded rehearsal tape we didn’t have much. We hit the road for our first mini tour in 91 for 12 shows and then recorded our ‘’Morbid Ritual’’ demo that we released few months after in 92. The story is really long and has a lot of things that happened on why we don’t have as many albums on that long of a career. The entire story of the band have not been written because it would be time-consuming and I’m not sure a lot of people would be interested on the story of band members running out with the band money, stealing the band gear to buy drugs, suicide, and the list goes on and on with crappy things that happened. We need to focus on the here and now and that’s what is all about. How would you describe your music back in

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the late 80s? Already I was struggling to form the band with the idea and the vibe I wanted to do, but people where I come from were more into the ‘’Metallica’’ and other bands like that, even the people more into Slayer just wanted to play cover songs and not really compose their own music. So it was really not easy on that part, but also when you want to do something that’s more with an occult or dark theme most of them were backing out. You have to think that I come from a remote region and people were still believing that metal is the devil’s music. Now that you have your album out and ready for the world, what are your objectives? We want to get where we never have been before for sure, but at the same time we want to keep growing on the markets we already had worked on these last years. For example, we have been doing really good in the US compared to what we used to, that market became something we love to reach on tour and we just want that expended as much as possible. We think it’s possible with that album since we saw the difference with ‘’Rise of the Elder Ones’’. You are from Canada, correct? How is life for you and your band, in the part of Canada where you live? Are you professional musicians at this point in your music career? Yes, we are Canadians and living in Montreal. I’m not sure what you mean by professional musicians …what you considered to be professional musician is the real question. Here it means you are touring and have albums, endorsements and media attention that is what I call professional musician. In that aspect, yes, we are. We don’t play really often here, as for many place we could say

that no one is prophet in his own country and that applies really well to us, even if I can say that things start to look a little different nowadays. There’s like 100 bands just in Montreal, with the event of the internet and computer recording everyone is in a band, so when you play it’s in front of people that are in bands and start to compare themselves with what you do. On top of that people take you for granted, so they don’t want to pay you what you charge, money that they can have easily anywhere else. So it’s not that we don’t like to play here, it just don’t happen very much.

“Advent of the Human God” sounds like a professional, quality recording in the genre of modern extreme metal. What keeps you motivated? Are you stubborn, like the guys from Anvil?! You started in the late 80s and you are doing great work in 2016! Well, I’m the only original member, and I don’t have family or kids and I don’t think I would have time for that anyway since my main priority is Necronomicon. The Anvil reference represents really well how here in Canada we have no support from any kind of industry for metal bands because it simply doesn’t exist beside few underground acts that don’t have the power to push bands to the international market. As Canadians we have to work 5 times more than any bands to get out of here and try to get something that’s worth it. We

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got screwed and abused by labels, managements and other medium of the industry many times, Anvil are not the only ones; we are many in that position. Some other bands have been more lucky and been backed up by the right people at the right moment, like Kataklysm for example, not saying they don’t work hard here, but just that they have been really lucky. Don’t think it’s to be stubborn but more a reality of the fact that Necronomicon is getting bigger every album, not as fast as other bands did, but it never stopped growing and doing better. Is “Advent of the Human God” a concept album? What are the ideas behind the album? It continues the concept of the band about life, death, rebirth, the idea than man is one with the creation and we should renounce what is imposed on us to face our true self and become as gods. To project ourselves on an evolutionary path that will be more in harmony with the cosmos and to see what is really good and bad from the universe perspective and not from religious or human made preprogramed way of thinking. That’s a short version on what is going on there but we have some songs that are a little on the side of that like the one called ‘’The Fjord’’, that one is about me and Rick (drummer) home region in the north and the fact that we move away from there for our music career among other things. Since you have such experience making music and have seen so many changes in the industry, how do you see the future of metal music, especially for underground and extreme metal bands that do not have multinational corporations supporting them?

Well, things need to change because even if people in the industry say that they don’t make money anymore, well it’s half the truth, they still do make money, for sure they do less than before but they really still do make money where musician are the ones going down with nothing. Already it was hard before now it leaves no chance to anyone who don’t have already a financial support for their band if they really want to go somewhere. You need money to make your band happen and that’s a reality, you need to work and know the right people. It’s not sending your Cd to a label that will make you hit the jackpot, that doesn’t exist. You need to prove you want to do something and already be someone before a label might get interested, and from there it’s in which aspect you accept to get screwed, because you will get screwed, it’s just a matter of what will you accept in exchange to get your name at the bottom of the label mailing list. So things need to change because starting a band from scratch these days is almost futile.

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What can your listeners do to give some support to your band? Like the band page on Facebook, like and subscribe to the YouTube channel, buy the album, watch and like the video clip and buy merch, of course. We are not backed up by big money shots here, what we do it ourselves and it takes a lot of work, time and money. You were asking how we stay motivated after all that time…at the end it’s the people who decide, at end it’s the fans that made us keep going and it looks like it’s far from over the way it’s going right now. What news do you have about your band for the rest of 2016? Stay in touch because we have some tour dates coming that are in planning at this moment, I can’t say much now, but I assure you that it’s coming. www.facebook.com/NecronomiconMetal/ THE END ** Ashen Pyre Tract I: Malus Ferox release date: February 18th, 2016 label: independent This is a demo of minimalist/necro/depressive black metal. Metal Archives and Facebook give next to nothing in terms of information. Supposedly, this is a one-person project from Seattle. Regardless, you can stream the recording on Bandcamp. It also seem that the recording is available for free/name-your-price. Metal Archives and Bandcamp give the following information about the recording. Anyway, maybe in the future it’s possible to find out more about this entity. We’ll see what happens.

1.I 01:33 2.II 05:25 3.III 06:24 4.IV 03:34 5.V 05:38 6.VI 05:17 total time 27:51 www.ashenpyre.bandcamp.com www.facebook.com/ashenpyre ** review by The Man of Much Metal Artist: Thunderstone Album Title: Apocalypse Again Label: AFM Records Date Of Release: 1 April 2016 The Blog Of Much Metal seems to have been inundated with albums that have a strong power metal influence recently. Arguably however, this is the most straight-up no-nonsense power metal record of them all. And it comes in the form of the sixth full-length album from Finland’s Thunderstone, a band that I have been aware of for a number of

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years since the release of ‘The Burning’ back in 2004. It has been six long years since the quintet last released a studio album but more importantly, it is the first in a decade to feature original vocalist Pasi Rantanen who initially left after the release of ‘Evolution 4.0’ in 2007. And, on the basis of ‘Apocalypse Again’, it would appear that their returning vocalist has brought with him a renewed hunger and desire that has permeated the entire band. ‘Apocalypse Again’ bursts out of the gates in impressive fashion thanks to an energetic and fast-paced opening number in the form of ‘Veterans Of The Apocalypse’. Together, the quick tempo, flamboyant keyboard and guitar lead solos and rousing chorus make an impressive statement of intent, leaving a pleasant taste in the mouth, nicely whetting the appetite for the remaining eight songs. ‘The Path’ follows and after a keyboard-heavy and rather grandiose opening, it settles into more of a mid-tempo chug throughout the verse only to open up into another big hook-laden chorus via a darker, more theatrical bridge. ‘Fire And Ice’ is dominated by some lush keyboards courtesy of Jukka Karinen and another immediate chorus which shows off Rantanen’s vocal skills to great effect. What I really like about Thunderstone on this record in particular is that they are not afraid to bust out the keyboard solos and more often than not, let them duel with the lead guitar of Nino Laurenne. Whether or not it was a deliberate act on the band’s part, the upfront and undiluted keys nevertheless create a slightly old-school feel to the material as well as an element of fun and devil-may-care attitude which I really like.

Back to the songs themselves and ‘Through The Pain’ is slightly slower, almost ballad-like with an absolutely huge chorus and more of a melodic hard rock sheen. It’s a really storming track and one of my favourites on the record. Not for the first time, I’m reminded of Jorn Lande in Rantanen’s delivery, not that this is a bad thing by any stretch of the imagination. With only nine tracks making up ‘Apocalypse Again’ it is important that there are no fillers and that every track offers something of value and worth. On that score, it is good news as this is a remarkably consistent album with barely a let-up in quality throughout. ‘Fire And Ice’ is reminiscent of Masterplan at their best with another brilliantly infectious chorus and driving rhythm from drummer Atte Palokangas and bassist Titus Hjelm whereas ‘Wounds’ features some really tasty riffs during a song that’s delivered in full-on attack mode at 100 miles an hour. One of the big strengths about ‘Apocalypse Again’ aside from the songs themselves is the

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production, which packs a real punch and ensures that all instruments are clear and possess the necessary power. The real winner however, is the muscular and bruising rhythm section, the drums in particular catching the ear. ‘Apocalypse Again’ is an album that gets better with each and every listen. It is addictive, infectious and powerful. It has been a long time coming, but the wait was worth it as a rejuvenated Thunderstone have returned with one hell of a bang, producing a slab of impressive and expertly crafted power metal in the process. Highly recommended. The Score Of Much Metal: 8.75 Read more writings by The Man of Much Metal: www.manofmuchmetal.wordpress.com www.twitter.com/ManOfMuchMetal ** free thrash album Vocífera (Brazil) Evil Thoughts Release date: March 15th, 2016 label: independent This is very good news for thrash zealots. It’s a new album from Vocífera and it’s free/name-your-price at Bandcamp. The band has been active for several years and they finally have the new album ready. As if that were not enough, at this price, love-it-all devoted thrashers now have zero excuses left to get into the pit. OFFICIAL INFORMATION Evil Thoughts is the first full-length of Vocifera and comes with weight and overwhelming riffs, which show the evolution of the band. With a destructive sound, it have a clear

influence from Death and Thrash Metal. This is a conceptual album, the letters talk about fears and darkest desires of the human being and a critical to today's world. Evil Thoughts is a punch in the face.

Fury, begins by the name. Vocifera comes from “Vociferate”- scream, exclaim. And all this rage becomes a heavy and aggressive sound that give rise to this metal band formed in 2011 in Recife / BRAZIL. To compose this destructive sound, Vocifera runs though many schools of metal to, with marked influences of Death and Thrash Metal. Powerfull riffs that transmite the aggressiveness necessary to guide the lyrics that dive in human’s fear, ambitions and desires. Despite the short time on the road, the band is already considered by specialized blogs and sites, a grate underground revelation. The work done by Vocífera has earned your presence at festivals like Matanza Fest, which shared the stage with the Matanza (SP), a presentation in acclaimed April pro Rock Festival, next to the icons of the metal world: Krisiun and Sodom, in Sertão in Rock Festival beside Ratos de Porão

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and recently in Hellcifest Festival, opening for Testament and Cannibal Corpse. In 2016 will be released the much awaited new albun, Evil Thoughts, which comes loaded weight and crushing riffs, which show the evolution of the band. This is Vocifera, a furious breathtaking band, that you need to face. Some influences: Obituary, Benediction, Venom, Cripper, Dracena, Toxic Holocaust, Destruction, Testament, Arch Enemy, Korzus, Violator, Kreator, Death, Holy Moses, Malsain, Bywar, Sacrilege, Izegrim, Suffocation. www.vocifera.bandcamp.com www.facebook.com/vociferametal ** Altarage (review by Akerblogger) Claustrophobic and Devouring: Altarage - Nihl (2016) NIHL, the debut album by Spain's Altarage, is an overwhelming and all-consuming force of dense matter that completely drains all colour and life. The vocals are a hazy and grating, a vibrating shape-shifting monster that crawls from the deep and devours life - I imagine it's the noise that the shadowy and creeping arachnid-demon creature in the fantastic album artwork would make. The entire thing, from the band logo to the artwork to the song-titles to the most important aspect - the music itself - is dripping in a claustrophobic and oppressive atmosphere; the production here is full and bass-heavy and the rumbling of the drums and the grating vocals are an incessant attack on the senses - the album succeeds in stunning the listener into submission. I'd attribute this partly to the diverse drum-work: they close 'Baptism Nihl' with a ritualistic pounding; similarly in creeping atmosphere of 'Batherex' they rumble with a demonic

steadiness; towards the middle and end of 'Vortex Pyramid', as the song breaks down into further instability and chaos, the supersonic drum-work is frantic, almost inhuman, and at 3.45 breaks in to a jazz-like death-metal drum solo.

NIHL is a gem riff-wise too: heavy chugs merge with creaking dissonance, laser-sharp stabbings of coldness merge with reverberating atmospheres and old-school mid-paced grooves merge with intense spurts of brutal-death skull-crushery - it's all very well done. At 36-minutes NIHL is the perfect length for an album of such intensity; not too short - leaving dissatisfaction - but not at all dragging on, becoming stale. The album ends leaving me, at least, craving more brain-sapping and skull-crushing intensity which, at a most simple level, is the sign of a captivating album. Read more Akerblogger: www.akerblogger.blogspot.co.uk www.twitter.com/akerblogger666 **

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NEWS: Gloria Morti Kuebiko Willowtip Records Release: 18 March 2016 Below you will find the official information about extreme metal act Gloria Morti from Finland. OFFICIAL INFORMATION kuebiko – n. a state of exhaustion inspired by acts of senseless violence, which force you to revise your image of what can happen in this world — mending the fences of your expectations, weeding out all unwelcome and invasive truths, cultivating the perennial good that’s buried under the surface, and propping yourself up like an old scarecrow, who’s bursting at the seams but powerless to do anything but stand there and watch. Finnish death metal horde, GLORIA MORTI, will unleash its long-awaited new full-length, and first under the Willowtip Records banner, on March 18th. Titled Kuebiko, GLORIA MORTI’s fifth studio effort finds the unit traversing grimmer and dirtier grounds both musically and thematically. Offers guitarist Juho Räihä of the nine tracks found within: “With Kuebiko we wanted to make a record that is hard hitting, both in lyrical themes as well as in songwriting. We also wanted to steer away from the sterile and lifeless sound heard in most modern metal albums released today. Kuebiko is definitely about making the listener feel something. Mostly disgust and anger. The lyrical themes range from Josef Fritzl to being buried alive. The main point is not to shock, but to make you feel the exhaustion of living in this time where you are just forced to stand

there and watch the atrocities of the world. Kuebiko is an album that stands out from most of modern music and encapsulates what GLORIA MORTI is.”

The band's “Josef Fritzl,” was recently premiered via Decibel Magazine who noted of the pulverizing single, “they picked some appropriately fucked-up subject matter for the track below. In 2008, the world learned of Austrian Josef Fritzl, who imprisoned and repeatedly raped his daughter for 24 years, resulting in seven children. Grim stuff, and appropriately rendered in that the band ‘wanted to steer away from the sterile and lifeless sound heard in most modern metal albums released today.’” Offers drummer Kauko Kuusisalo about the track, “’Josef Fritzl’ is one of the shorter songs on Kuebiko, and after short ‘intro’, it gets to the point right away. It is about three minutes of pure aggression with all the ‘classic GLORIA MORTI elements’ — fast blast beats, melodic chorus riff, and relentless vocals. The morbid story behind the lyrics is should also wake some unpleasant feelings in the listener. This song does not let the listener to rest until it is finished.”

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Adds guitarist Juho Räihä, “The idea for the song is lifted from a public debate on religion featuring the late great Christopher Hitchens. The premise of the lyrics being that there is a problem when trying to reconcile the existence of evil in the world with the (supposed) existence of an all-knowing, all-powerful and good god. The co-existence of evil and such a god is not logically valid. The Fritzl case is, to me, one of the most blatant underlinings of this in recent history.” GLORIA MORTI began their journey in Heinola, Finland in 1999 with a simple goal to have fun and play thrash. Not long after their inception and a host of lineup changes, the band veered towards a more demanding and aggressive sound which they would continue to perfect over nearly two decades. It was GLORIA MORTI’s 2002-issued Ephemeral Lifespan demo which led to a union with Japan’s World Chaos Productions. With the help of Lars Eikind and Nino Laurenne, debut album Lifestream Corrosion soon followed reaping critical accolades from underground devotees. Recorded and mixed by guitarist Juho Räihä, GLORIA MORTI’s follow-up, Eryx, furthered the band’s extreme sound and led to a new home with Cyclone Empire who would go on to release their third long player, Anthems Of Annihilation. The record took a more cinematic direction and paved the way to their first ever European tour. Following additional lineup shifts, the band would release 2012’s Lateral Constraint. The record was handled by Cyclone Empire in Europe and Metal Blade Records in North America finally giving GLORIA MORTI long-awaited visibility abroad. Upon the release of Lateral Constraint, Pop Matters commended, “burnished riffing, blast-beats and gruff Amon Amarth-esque vocals…delivered at a breakneck pace with abundant mass,” while This Is Not A Scene hailed, “Lateral Constraint is a straight up ass kicker from front to back.

It’s got great riffs, tight musicianship, and overall feeling that will put you in the mood for total destruction.” With Kuebiko, GLORIA MORTI is back with another solid slice of confrontational Finnish death metal, the band expertly blending thrash, melodic, and black metal, and surreal atmospheric elements into their sound, like a wrecking-ball sound that is reminiscent of such bands as At The Gates, Carcass and Fleshgod Apocalypse. GLORIA MORTI’s fifth studio effort, Kuebiko finds the unit traversing grimmer and dirtier grounds than ever before, both musically and thematically. www.facebook.com/gloriamortiofficial ** NEWS: Dead River Runs Dry Hierophants of the Storm Static Tension Recordings Release: 3 June 2016 Dead River Runs Dry is an extreme metal band from Australia. As you will see below, the band prides itself in its honesty in the recording of its music. Find out for yourself what exactly that means.

Static Tension Recordings is pleased to announce that it will release the vinyl edition of Hierophants of the Storm, the critically acclaimed debut album by Dead River Runs Dry. The album is 10 tracks of blackened metal for fans of bands such as Watain and Immortal. The album will be released on June

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3 2016. About Dead River Runs Dry: A charred black slab of ruthless venom that only Australia could spit out, Dead River Runs Dry's debut album Hierophants of the Storm is an obsession with the annihilation of constraint, a savage reaction to existence as determined by ignorance and an insight into further paradigms that are offered through experience alone... Recorded by the band with assistance from close ally Mat Taylor and mastered by DRRD vocalist Brad Gentle, Hierophants of the Storm is an album that embodies the elemental characteristics of the natural phenomena that are storms. Merging fragments of black metal and sub-genre offshoots of hard rock/heavy metal, haunting melody and a slight psychedelic/‘experimental’ edge, Hierophants... showcases a band making a bold statement of intent early in their lifespan, refusing to be bound by genres. Devoid of drum triggers, programming, sample replacements and guitar amp patch simulations, all sounds on the album were created with real amplification, field recordings, outboard equipment sonic conjuring and battery. Featuring stunning art by renowned artist Lucas Ruggieri, Hierophants of the Storm will be available through Static Tension Records (USA). www.deadriverrunsdry.bandcamp.com www.facebook.com/DeadRiverRunsDry **

free metal music

Bleedskrieg www.letargy.coma release date: January 15th, 2016

How about a free album of extreme metal from Russia today? The music is generally death/thrash, aggressive/groove metal with growling. This is an album of six songs that keep it straight to the point. Overall, the music is the kind that many people can understand because it's direct, upfront. The guitars, drumming and vocals work together tightly for common impact. The drumming sounds programmed, but I don't know for sure. There's not much information about the history of the band, but making the album available for free/name-your-price is not a bad start, right? I don't know how long the album will available for free, but it is free now. 1.Boomerang 06:24 2.Suspence Disconnect 06:09 3.Solitary Plague 06:05 4.Dont Cross the Hate 04:49 5.Old School Tyranny 08:41 6.www.letargy.coma 05:55 total time 38:03 www.bleedskrieg.bandcamp.com/releases www.vk.com/club93037143 **

concert calendar Seattle region concert calendar by Metal Bulletin Zine (Washington state). If you know of other metal concerts in the area, please get in contact with Metal Bulletin Zine. March 28 Satan, Skelator, Substratum, Gatekeeper, Nox Velum at Highline, Seattle,

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WA April 1 Decibel Magazinel Tour ABBATH, High On Fire, Tribulation, Skeletonwitch at El Corazón - Seattle, WA April 7 Hell's Belles at Clearwater Casino, Suquamish, WA April 7 Steve Grimmet's GRIM REAPER, Skelator at Studio Seven, Seattle, WA April 8 Power Trip, Gag, Lower Species at The Highline, Seattle, WA April 8 Dokken at Malibu's, Vancouver, WA April 9 Dokken at Tony V's Garage, Everett, WA April 9 Hell's Belles at Sound Check's - Lynwood, WA April 11 Absu, Witchaven, UADA, Imperial Triumphant at The Highline, Seattle, WA April 11 Iron Maiden at Tacoma Dome April 12 The Desolate, Pile of Priests, Dilapidation, Oxygen Destroyer at The Highline, Seattle, WA April 14 Iron Kingdom, Skelator, Substratum at The Kraken Bar and lounge - Seattle, WA April 16 Sarcalogos at Cryptotropa - Olympia, WA April 18 Malevolent Creation, Pyrexia, Abiotic at Studio Seven - Seattle, WA April 23 D.R.I., Wolpack at El Corazón, Seattle WA April 25 Sarcalogos at Substation, Seattle, WA April 28 Rhine, Deathblow, Xoth, Hexengeist at The Highline - Seattle, WA April 30 Napalm Death, Earth Control, Rot Monger, Narrow Minded, The Drip at Mainstreet Studios, Walla Walla, WA April 30 Holy Grail, DevilDriver, Incite, Hemlock at Studio Seven, Seattle, WA April 30 Fear Factory, Soilwork, American Wrecking Company at El Corazón - Seattle, WA May 1 Holy Grail, DevilDriver, Incite, Hemlock at Knitting Factory, Spokane, WA May 1 Napalm Death at The Showbox - Seattle, WA May 8 Primal Fear, Luca Turilli's Rhapsody at El

Corazón, Seattle, WA May 10 Dying Fetus/The Acacia Strain/Jungle Rot/Black Crown Initiate/Reaping Asmodeia/Nylithia/System House 33/Twisted Heroes /Into The Flood at Studio Seven, Seattle, WA May 13 Pallbearer at The Highline, Seattle, WA May 14 Dropdead, Magrudergrind, Yautja, The Drip at The Highline, Seattle, WA May 15 Soulfly, Suffocation, Battlecross, Abnormality at Studio Seven, Seattle, WA May 16 Night Demon, Visigoth in Seattle, WA May 17 Amon Amarth, Entombed AD, Exmortus at Showbox Market - Seattle, WA May 27 Anvil, Unleash the Archers, Graveshadow at El Corazón, Seattle WA May 31 Corrosion of Conformity, Lamb of God at WAMU Theater, Seattle, WA June 2 Discharge, Eyehategod, Toxic Holocaust, Ringworm at Studio Seven, Seattle, WA June 5 Iron Kingdom at Tony V's Garage in Everett, WA June 11 Voivod at El Corazón - Seattle, WA June 14 American Wrecking Company at Studio Seven - Seattle, WA June 17 Perdition Temple, Sempiternal Dusk, Ascended Dead at Highline, Seattle, WA August 12, 13, 14 MIGRATION FESTIVAL at the Capitol Theater in downtown Olympia, WA: AUROCH, THE BODY & KRIEG collaborative performance, CHRISTIAN MISTRESS, DEAD TO A DYING WORLD, FALSE, FÓRN, FULL OF HELL, KHEMMIS, KOWLOON WALLED CITY, KRALLICE, MUTILATION RITES, NIGHTFELL, OBSEQUIAE, PALE CHALICE, THOU, VASTUM, VHOL, and YELLOW EYES. October 1 Def Leppard at Tacoma Dome, Tacoma, Washington November 26 Dark Tranquillity, Swallow the Sun, Enforcer, Star Kill at El Corazón, Seattle, WA January 28 Blue Öyster Cult at Historic Everett Theatre, Everett, WA

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— metal programs (these are Pacific Times) Mosh Pit (Madison, WI): Monday night 9:30pm-12am WORT 89.9 fm www.wortfm.org Sweet Nightmares (Houston, TX): Thursday night 9pm-12am KPFT 90.1 fm www.kpft.org Excuse All the Blood (Olympia, WA): Friday night 11pm-1am www.kaosradio.org Metal Shop (Seattle, WA): Saturday 11pm-3am KISW 99.9fm www.kisw.com — This zine is available at: www.issuu.com/metalbulletinzine