G’N’R’ graced the stage of the O2 in Dublin last night (Thursday May 17^th) and to the surprise of many, Axl Rose and the boys managed to make it onto the stage before 10.30pm. Playing a set stemming almost three hours long, bursting with greatest hits such as ‘November Rain’ and ‘Civil War’, the cynical crowd left satisfied. The band shocked the UK in February, announcing a 10-date UK tour following their disastrous appearances at Reading and Leeds Festival and the Dublin O2 Arena in the summer of 2010. Axl Rose is said to have injured himself in Moscow last week at an after-party following a performance, and so many feared this would have been used as an excuse to cancel the gig. Luckily for the sold-out crowd, this was not the case. Great to hear that G’N’R’ fans weren’t left disappointed again.

Dan Briggs is best known as the bass player in modern progressive metal masterminds Between the Buried and Me but in recent months he’s come to fore again with new jazz-fusion project Trioscapes, who are about to release their debut album ‘Separate Realities’. Dan Briggs talks to Molten’s Jonathan Keane about how Trioscapes came to be and what we can expect from the new Between the Buried and Me album.

Firstly, tell us a little bit about how Trioscapes formed?

It’s almost been a year now since we got together. I had last summer off for the first time in about seven years. I sat at home for about a week, not doing much, and I got kind of antsy and started making some calls and got this group together. I’d known Walter [Fancourt, tenor saxophone and flute] and Matt [Lynch, drums] for a little while and there wasn’t a ton of thought that went into it. I was just listening to some tunes one day and talking with Walter about probably Zappa and Mahavishu Orchestra and then the next day I called everyone and was like hey let’s try and make some music and see what happens.

Had you played with Walter or Matt in bands before?

I hadn’t, no. Between the Buried and Me had played a show that Matt’s old band had opened and they just blew me away. I just loved how solid and precise his playing was, he wrote really creative drum parts. Walter was someone that I just kind of heard his name buzzed around town and friends being like ‘you need to see this kid play or play with him’. I ended up going to see him play and was like wow.

Is Trioscapes an outlet for stuff, like the Frank Zappa and Mahavishu Orchestra influences, that you may not be able to do in Between the Buried and Me?

There have always been subtle influences of those sorts of groups. They’re such big influence of mine that they’ve found their way into Between the Buried and Me music here and there. The influence is a little bit more direct with Trioscapes. I feel like I could be in any setting with any musicians and as soon as one person plays one riff or one little melody, it’s going spark something inside me that’s new and I never thought to do before or an idea that wasn’t in my head. That’s what’s enticing about constantly playing with new people.

There are people on the Between the Buried and Me fan spectrum who are worried that I’m wearing myself thin or my creative energy should be focused on one thing but this stuff didn’t exist before. It wouldn’t have happened if Walter hadn’t played me a line or if I didn’t have the prospect of writing music for three people. A lot of the stuff I do in Trioscapes involves a lot of bass looping and I had never done stuff like that before so it’s all completely new and fresh.

Is most of the material in Trioscapes written by you?

As far as the basic melodies, a lot of it is the both of us [me and Walter]. I came in with a couple of songs, ‘Blast Off’ and ‘Curse of the Ninth’ that were pretty much complete compositions. For ‘Blast Off’, once I got together with Matt and he played me some crazy beat that he had and notated it and put some melodies to it and that ended up being the final part of that song. My favourite stuff that we’ve done writing wise is the stuff where we’re in the same room together and arranging on the spot, just messing around and jamming a bunch and seeing what comes. That’s a different style of writing than I’m used to, I like it.

You worked with producer Jamie King on this album, who you’ve worked with extensively on Between the Buried and Me albums. Was he an obvious choice?

I was in Europe throughout all of September and then had Between the Buried and Me commitments throughout October so I had about little over a week’s window to record this album. It wasn’t short notice but it came together pretty quick. We were putting things together in August to record in October. I knew that I wanted to work with Jamie and that he bends over backwards for any of the stuff us in BTBAM do and moves sessions around or work extra time to get us in, which is great. We really appreciate everything he does. It was cool and I kind of wanted to test him out on something that was a modern take on some of those fusion records that we love from the 70s that were probably recorded live.

With the record being recorded in just one week, was there any pressure to get things done or anything rushed?

No, it was great because we did the drums close to where our drummer lives in Georgia with a friend who’s a really talented engineer. He did that before our session even started. I got back from Europe, the drums were done and then Walter and I went to the studio and Matt met us there. From there it was pretty easy. We knocked out most of the rhythm stuff on the bass in a couple of days and Walter would run his sax from there. The thing that took the longest was finding the right tones. I wanted to get a distortion sound since the bass was going to be the main driving power in the group that had clarity that still had bass in it but was really aggressive sounding. Jamie and I experimented quite a bit with that. It was just enough time. I think we even had a little extra time at the end, which was nice, it was pretty relaxed.

How did this differ from writing and recording with BTBAM?

Well, there was less football played in the backyard ha ha. We’re getting ready to record a Between the Buried and Me album in 11 days. We’re going into the studio for about six weeks. I’d say about 40% of the time is spent recording and 50% of the time is playing in the backyard and the rest eating. This was kind of a no bullshit session. We went in, did the thing, laughed at Jamie’s jokes, it was fun.

Regarding more live shows for Trioscapes, what have you planned?

We’ve got high expectations to do a lot of stuff. We have a few weeks in the States in September and working on getting stuff for the end of June and July. Near the end of the year we hope to be out to do a full US run. I pretty much want to fill in all my gaps between BTBAM tours with Trioscapes stuff. The guys are ready to do that, I’m excited. I’m ready to have an insane, busy year. I’m hoping at some point in the album cycle, it’ll bring us over to the UK and Europe.

So you’re working on a new Between the Buried and Me album right now. What can you say at this early stage about the direction and concept of the album?

We have all the songs demoed out. We take a good bit of time doing our demos because some people that write music hear the songs a little more like how they’re going to be when they’re done in their heads. But for other members, they need to hear exactly how it will be. It’s great now because while I’m practicing my stuff for the album I have a good sense. Of course it always changes a little bit. The direction; it’s really the most cohesive record from start to finish. I think people thought we achieved that with ‘Colors’.

‘Colors’ was, musically, loosely conceptual, lyrically not at all. With this record, we wrote with the story in mind. Every song musically seems so connected. It was conscious but not a conscious effort as well because all that music was fresh in your head and we’d be working on something else and then maybe it was in a similar tempo but in a different key and so naturally you started playing these rhythms and you’re like ‘oh yeah, that’s kind of like that thing we were doing, the song that’s later in the album’. Some things are a very subtle and some things are like we’re repeating this big chorus. Musically, it’s hard to describe. I’m really excited and I feel like I could go on and on and on about it. It’s pretty wild, I’m pretty excited about it, I think it’s different.

This will be the follow-up to last year’s EP, ‘The Parallax: Hypersleep Dialogues’, where the concept began. What can you tell us about where the story is going?

Most of my and Tommy’s [Rogers, vocals] favourite records happen to be conceptual records. It’s something that we’ve wanted to do for a long time. Tommy was never quite sure if he had it within him to really write something like this because there’s a little cheese that goes along with the concept records we love. Some are great and you don’t even think twice about any sort of cheesy element. Our story is kind of sci-fi and kind of out there. We were all big into that show Lost and I think that might have played into the initial ideas of it a little bit as far as dealing with time travel elements. It’s a pretty crazy story. I couldn’t tell you what’s 100% happening on this record. Me, Tommy and Paul [Waggoner, guitar] got together before we even started writing music and we talked about how the EP ended and where this album should go. We haven’t seen the final lyrics, Tommy is still writing them now so it’ll be interesting to see. Right now we’ve been talking with the art guy a lot and we’re really going to painstakingly depict what’s going on in the story within each track throughout the layout.

When can we expect the see the album released?

I know it’s coming out in October. I feel it’s going to happen right in the middle of the European tour in October.

Will there much new material played on the European tour?

We’ve got some ideas. The way the tour is set up it’s kind of weird. We’ve got a good bit of UK stuff in the beginning and then all of Europe but then we come back at the very end and play a London show. We might play something a little special when we’re in London.

It’s been quite a few years since Between the Buried and Me have played in Ireland. Were there ever any plans to come back?

Yeah, man. It has been. I’m always kind of confused when I see our schedules and we’re never going there. I guess it’s kind of an extra trip getting there. The shows were so great when we got to play there with Dillinger Escape Plan [in 2008] that I figured we’d be right back there every tour! But it hasn’t happened. There are areas of America that we’ll go three years sometimes without hitting. Florida is one of those states. For some reason we sometimes skip the Pacific North West. It’s just a matter of how time lines up.

Jonathan Keane

Trioscapes ‘Separate Realities’ is out on May 8th through Metal Blade records. Pick it up here from Play.com.

We’re approaching the end of April and into May (one step closer to lazing around in the sun with a cold beer) and what better way to celebrate this with Issue 8 of Molten?! On the cover of this issue we have none other than Till Lindemann, frontman of the mighty Rammstein. You Du Hast (sorry… I couldn’t resist!) to pick it up! If that incredibly bad pun isn’t enough to sway you, here are 8 reasons to pick up Issue 8 of Molten…

- As previously mentioned, Till Lindemann graces our front cover and along with that comes a WORLD EXCLUSIVE Rammstein article documenting how they finally made it to the UK and Ireland, not to mention all the controversy along the way. There is never a dull moment with the German outfit. We also have a live review of their monstrous show in The O2 in Dublin along with exclusive live pictures.

- Our live review section is bigger than ever! Featuring some of the hottest gigs of late with the aforementioned Rammstein, Suffocation, Exhumed, Amon Amarth, UFO, Alcest, Alestorm, Fleshgod Apocalypse and Mael Mordha… not to mention all the supports acts!

- Our CD Review section is packed full of the latest and essential releases being spread over 7 pages. Some shouts outs must go to Cynic, Asphyx, The Treatment, Gorod, Municipal Waste, Hawk Eyes, Fuckhammer, 3 Inches of Blood, Shattered Skies, Naglfar and Bloodshot Dawn. Also, make sure to have a flick through and see who scored a 0/5!

- This month our gear talk is with Paul Mcguire from Scotland’s Cerebral Bore and how he managed to land a handful of endorsements before their big signing to Earache and what gear he just can’t do without.

- Without a doubt, one of the years most anticipated release was Meshuggah’s aptly titled ‘Koloss’. We caught up with Mårten Hagström to discuss their new album, why it was slightly delayed and how they constantly make things difficult for themselves. We wouldn’t have it any other way!

- ‘Making Waves’ gets it’s début in the magazine which keeps you well up to date on all the latest news from the freshest bands. This month we get the low down from the likes of Halestorm, Spawn of Possession, The Treatment and Christian mistress to name a few.

- A brand new gig, tour and festival listing that just entices you to break out the credit card. We really are starting to get spoilt for choice on the gig front!

- An insight to DIY and independent life with Welsh rockers Saturday’s Kids. An essential section for all you budding bands out there who are hell bent on ‘doing it yourself’!

You can pick Issue 8 of Molten for delivery worldwide from here.  Or from your local newsagent, including Easons across the UK and Ireland. Can’t find a stockist in your area? Email info@moltenmagazine.com and we’ll point you in the right direction. Keep it Loud!

‘L’Enfant Sauvage’ – one of the most eagerly anticipated releases of the year. But what about the previously promised EP and DVD? Well when we recently had a chat with Gojira’s drummer, Mario Duplantier, we thought we’d ask and put your questions to rest. Here ya go…

What happened about the ‘Sea Shepherd’ EP and ‘The Way Of All Flesh’ DVD?

The DVD will be released with Mascot Records in June. Roadrunner and Mascot discussed it together and it’ll be a DVD about the release of ‘The Way Of All Flesh’. It’s about the previous album, there are two live performances, old stuff but it’s all very interesting to see if you love the band. Also we did a documentary with a woman in France who helped us do a montage, it’s a one hour documentary so it’s very interesting if you want to go inside ‘The Way Of All Flesh’. It’ll be released early June. For the ‘Sea Shepherd EP’ we were so busy on the album we couldn’t work on it at the same time but for sure we’ll release it because it’s very important to us.

I’m aware you had some problems with computers when you recorded it?

Yeah we did but we aren’t like computer geeks and we live in a part of France in the southwest where nobody works on computers. If you have a problem with your computer or it needs repaired you have to wait for two months to get the computer back [laughs].

It’s for anti-whaling charities isn’t it?

Yes. It’s very important for us to finish this and the songs are actually already finished and recorded so we just need to add little things and have a think about how we’d like to release it because it’s a non-profit release. We want to do it properly.

Gojira’s ‘L’Enfant Sauvage’ is out in Europe this 25th June on Roadrunner Records.

Interview – Andrew Pennington with Doug Aldrich & Brian Tichy

A – How did the Whitesnake jobs come about for the both of you?

D – David [Coverdale] stopped Whitesnake because he wanted to stay home and raise his little boy so he put Whitesnake on ice for a little while. Then in 2002 he decided that he wanted to reform the band. He really did a lot of research and looked at a lot of options to who he was going to work with. I’d actually heard that he was looking to work with [John] Sykes which I thought was pretty cool. One of the people he was looking at was Brian Tichy and then he called me. I said, well if you’ve got Sykes it’s probably not a good idea as we’re quite similar stylistically and he said no, we want you, I want Brian Tichy and I want Marco Mendoza. He said that Brian was really in deep though as he was working with Billy Idol at the time. He was co-writing, co-producing and doing all this stuff with Billy so we couldn’t get him at that time. Years went by and David decided that he wanted to make a change, mainly on the rhythm section and I had been a fan of Brian’s work and so had David obviously so I said DC this guy is at the top of his game. He’s the best drummer in rock, that’s the guy we have to get. Honestly I said I don’t care what it costs you but you have to get this guy.

B – So two yachts and a jet later and I’m sat here. [Laughs] He loves to tell that story…

D – That’s the story, that’s the truth!

B – I got in the band I was a fan. I would go to Lake Tahoe where David lives and I would wait outside his gate when I found out where he lived. I had 8×10 coloured glossies of my face smiling, I had a David Coverdale banner and I had two cassettes of me playing all the beats, all the right correct beats. He opened the gate one day and I burst out in tears crying, begging. It was crazy and he said I’ll give you a shot mate and I said thank you… [Laughs]

D – You know what I think sold it was your Cozy [Powell] cymbal crash thing.

B – Yeah if you look at Cozy in that ‘Slide it In’ video, which one is it? ‘Slow an’ Easy’? He hits a cymbal over there but he looks the other way. Like I know where it is, I don’t have to look [Laughs]. I always looked at my cymbals and until somebody told me you always look when you hit it I worked it out. Doug and I did a jam last year, a benefit show in January 2010 and in April 2010 I finished with Foreigner. Then Doug sent me an email me because him and David were talking about wanting to get the new record going and having a new rhythm section so it was all really good timing. I came home, I wanted to be home a lot more and that’s kind of why I’d left Foreigner. We did the whole record and then it was a year later that we did the whole tour. It was a lot of fun to come into what I would call David and Doug’s world. They had all these songs and were very focused and prepared, ready to make the record. I just jumped in and said OK, I want to play these drums the best I can to make the sound that you guys are going for.

D – We had a really basic idea of what we wanted the drums to sound like and Brian took them and made the songs really work. It was from the get go on the record that it started off really cool because of how he interpreted the songs and made changes to the parts. He also brought in Michael Devin on bass so we started to have this chemistry that we didn’t have for a long time, since Tommy and Marco were in the band. Tommy and Marco were friends and had played together in bands and there was chemistry between those guys and that’s important on a rhythm section. Now we have Brian and Michael and these guys were friends. I don’t know what you would call it synchronicity, serendipity…

B – Those are good words…

D – I have no idea what they mean [All Laugh] He took off, then Michael took over, then Reb [Beach] did his thing and I put guitars on and then David was like yeah, this is happening.

B – As far as the serendipitous aspect of us meeting there was nothing superfluous about it.

A – You’ve got stuck in the S’s.

B – There was definitely synchronicity in ‘Snake.

D – I think it’s a superior ‘Snake at this point in time…

B – It is, it’s slithery, it’s sexy, it’s not superficial and it’s special.

D – I would say it doesn’t suck to be a snake.

A – Is there anything your involved in at the moment you want to talk about?

D – We’re gonna have some dates next year and we’re gonna do some stuff with Marshall in the year for their 50^th anniversary and Natal. We recorded a bunch of shows from the tour so maybe we’ll get to work on some of that stuff and put it out maybe, maybe a DVD or something.

B – We’ve a lot of time at the moment to look at all the options, we’ll see.

A – That’s all from me, thanks for your time.

Earlier this year New York’s Suffocation announced UK and Irish dates with Blood Red Throne, Cattle Decapitation, Cerebral Bore, Sadist and Carceri yet it wasn’t so much the show announcements that got people talking but more the headline band’s changing line-up as the dates drew nearer. First off it was revealed that one of the band’s founding members, drummer Mike Smith, was no longer part of the band and then off the cuff of that we were told that frontman Frank Mullen would also be absent from the UK and Ireland stages. As the days passed by the inevitable rumours started their rounds, ‘Frank was out’ ‘Mike did this’,  ‘they did that’! What was the true story? An interview with Sick Drummer magazine recently revealed Mike’s side of the story but what about the band’s side? Well, eager to find out we pulled up a pew with guitarist Terrance Hobbs in a smoky room above a venue packed with hungry Suffocation fans to hear the band’s side surrounding the split and what the deal was with Frank’s absence.

We’ve heard a lot of stories since Suffocation split ways with Mike Smith. I just want to hear something from your side, what’s the story?

Basically, I don’t know. Mike and the band just weren’t getting along. He wanted to sit at home, do more singles and not tour as much, and the rest of the band wanted to go out on the road more to support everything. That was a fundamental difference and things just escalated from there really to a point where we could no longer even jam with the guy.

It created a bad atmosphere?

Yeah exactly and Mike’s a real opinionated guy and he likes to talk a lot so it just wasn’t a good thing for us. Dave [Culross] joined the band and we’ve been playing shows ever since which is good.

You were saying about him being very opinionated. Have you read any interviews with him about the split?

No, I mean I hear there are so many interviews. It’s kind of like he’s a sore girlfriend. Just let him spew his stuff and maybe he’ll get it all out one day and feel confident about himself again, whatever makes him happy. It’s nothing to us; we’ll just keep doing what a band should be doing rather than that sort of stuff.

Some of the things said were quite personal for example in an interview with Sick Drummer he said that the new drummer wouldn’t have a hard time because the hired guitarists can’t play the songs…

If that’s how he feels then that’s how he feels.

[Guitarist Guy Marchais pipes in to new drummer Dave Culross]

GM – Dave are you having a hard time?

DC -  No!

TH – There you go. That’s how it is I guess and he’s just making more excuses. For me it’s childish stuff, I mean he’s played songs that other drummers have played on record that are just as talented as he is, so for him to say that, it’s you know… Personally it’s all about him and whatever he wants to say. I really don’t choose the time to listen to that stuff and that’s the kind of unproductive stuff that was stopping the band from moving forward.

In that same interview he referred to himself as not just the drummer but also the founder, manager, songwriter…

But he’s really not. He was just another member of the band like the other guys. Yes, he had his hand in the business side of things but we obtained management and he wasn’t willing to let go, he wanted to control all those things. He’s still spouting that stuff even though he’s not in the band. It’s just pointless stuff.

What was the story with Frank?

Frank has had a long-term job for like forty years and he’s slowly getting towards retirement. As we’ve been doing so much touring it’s been taking up a lot of his time and it makes it very difficult for him especially as he’s got a daughter to bring up. He needed to be at home more because he’s not there as much, which is totally understandable, but he’s still in the band he just couldn’t make the UK tour between the job and so on and so forth so he said just get a filler and we said ok. He came over and did the shows he could do and went home.

Thanks for clearing those few things up.

Well there we go at least we’ve heard something from both sides! Any thoughts get in touch! For now though here’s a recent video from their Dublin show with Bill from Decrepit Birth filling in on vocal duties.

Photo: Irene Siragusa

With the release today of Paradise Lost’s ‘Tragic Idol’ we thought we’d put up a recent interview between Molten and guitarist Greg Mackintosh where we chat about their thirteenth studio album, influences and playing Hammerfest 2012. Enjoy!

What would you like to say about the new album ‘Tragic Idol’?

I guess it depends if you know a lot about the history of the band or not. If you know about the history of the band it’s quite easy for me to summarise. I’ll just say that if you were a fan of our ‘Icon’ album or more specifically the song ‘True Belief’ then I think that this album is a thing that you will like. If you’re not aware of the band then I will say it’s a kind of a modern retro mix, which is a strange thing to say. It’s kind of a backlash to modern metal techniques and things like that. We’re kind of annoyed about how modern metal sounds exactly the same, you know? It’s all very processed and all the same drum replacement samples.. all the same amps so it all sounds a little generic. I think a part of the thought behind the album was to do something a little different to that… like a backlash. You kind of have to go back maybe 30 years to find a metal album that sounds refreshing at the moment. I guess that was some of the thinking behind it but also on the previous album we had a lot of orchestration and things like that, and on this record we just wanted to strip it right back and come up with an album that was basically the core of our sound. But to do that we had to inject a lot more melody than what was on the previous record.

I see you mentioned before that the album was more influenced by classic and doom metal than anything else. Were there any artists in particular that you took influence from when you were working on the record?

I can’t say really… I know I was listening to a lot of stuff that I listened to when I was growing up which would be anything from early Black Sabbath, Trouble, Candlemass, Saint Vitus through to lots of other things but no one in particular. It was just getting the right feel to the record I guess.

A standout on ‘Tragic Idol’ for me would be something like ‘Theories From Another World’. The riff on it is absolutely heavy and infectious. I’m not going to ask you to pick your favourite as I’m sure it’s impossible but could you talk about maybe three tracks from the album and what makes them standout for you?

Well, you see you picked one that I wouldn’t necessarily go for as I’m more on the whole doom side of the things. I like the really slow stuff. Nick [Holmes], our vocalist really reigns me in a bit and tells me that we need more up-tempo stuff. I guess my favourite songs are ‘Fear of Impending Hell’… I just love the chorus on there. I think it’s a really great, anthemic chorus. I’m really looking forward to playing that one live. There is also ‘Honesty In Death’ that we’ve done a video for which should be released in about a week or so. The reason I like that one is that it’s just Paradise Lost in a bottle, it’s totally the essence of our sound. The last one I would choose is ‘Solitary One’, which is the opening track purely for the fact that it’s utterly miserable!

Moving away from the album, you played Hammerfest recently, just before Anthrax. What was the atmosphere and the show like for you.

It was good! There was a decent crowd there and we’d played there once before a few years ago so we kind of knew what to expect as regards to the venue and everything but when you play that late on, people had been drinking all day so you can see that some people are quite over the top drunk.

It’s one of the first festivals of the year so I’d imagine there were a lot of excited people [laughs].

Yeah! It was a great atmosphere but there were some real sights to be seen if you know what I mean!

Can you remember what the first record was to inspire you musically?

That’s quite tough. There are two different era’s that inspired me. When I first got into music it was punk so I was into bands like Discharge and stuff like that. I think a big turning point for me was hearing Celtic Frost’s ‘Morbid Tales’, their first record.

If you had a chance to go back and be present during the writing, recording and production process for any previously released album. What would it be and why?

Just to be present? Wow… that’s a tough one. It would possibly be the first Candlemass record or the first Black Sabbath record… Actually it would be the first Black Sabbath record because the song ‘Black Sabbath’ is the first doom metal, I think… So it would be kind of interesting to be there just to see what the thought process was because they had no benchmark to come up with a song like that.

Thanks for your time, you can have the final words…

I guess you’ve noticed that Ireland isn’t on the touring schedule for the first part of the tour but that’s because we are releasing the album at a weird time for us. We’ve never really released an album around April before so we don’t have time to do a full European tour before the summer festivals. So what we’re doing is half a tour, then the summer festivals then after that we’ll be coming to back to play everywhere else. We should be in Ireland shortly after that summer festival season.

Here’s the offical video for ‘Honesty In Death’ off new album ‘Tragic Album’ out now via Century Media.

My Dying Bride will play a special one-off show at Damnation Festival and are set to perform new material live for the first time in many years. The rare homecoming appearance for the Bradford doomsters will follow the release of their latest as-yet-untitled album.

The band comments, “My Dying Bride would like to say just what a great privilege it is to actually play a festival in their home County and to some of us our home town. Not only is this the second time we will have darkened the Damnation Festival door but this time we will be showcasing for the very fucking first time in many years our brand new material to Damnation Festival’s fans first! Damnation Festival, we love you, but prepare to meet thy Doom.”

Festival director Gavin McInally adds, “My Dying Bride’s appearance at Damnation Festival in 2008 was one of the best we have hosted and it’s a real honour that they have chosen to celebrate the release of the latest album with a return to Leeds. With Pig Destroyer and My Dying Bride confirmed as our first two bookings, it’s shaping up to be a beast of a year and we’re confident that we can, once again, put on the best day of metal, rock and eclectic noise the UK has to offer in 2012.”

Damnation Festival will take place at Leeds University Union on Saturday, November 3, 2012.

Early bird tickets, priced £29 will be available until Monday, April 30 from http://www.leedstickets.com and via the official Damnation Festival site and Facebook through Ticketscript: http://www.damnationfestival.co.uk/tickets

For more information visit the official Damnation Festival sites:

Web - damnationfestival.co.uk
Facebook - facebook.com/damnationfestival
Twitter - twitter.com/damnationfest

Running The Label

In The Digital Age

Publicity

The videos were shot by Scion A/V who also shot a few interviews with Nuclear Blast bands, see below.

Exodus

All Shall Perish

Origin

Decrepit Birth