INTRODUCING: Floya

FLOYA are the perfect band to open us all up to the spring and summer sounds. Lush and nostalgic synths, with bouncing rhythms and gorgeous vocals, they’re fast turning heads with their debut album Yume. An album stacked with athematic songs; we caught up with vocalist Phil Bayer about the record, playing live and continuing to explore their sound.



“What’s most important to us when we’re writing a song is, how does it make us feel? We’re trying to not look for anything intentionally, a lot of what we do just happens or it doesn’t, whatever feels right in that particular moment,” Phil explains about the songwriting process. “Speaking from a lyrical perspective, Wonders was the first track that changed my outlook on myself writing songs a lot. It was that massive shift in my mind that happened; I wanted to write about positivity and love while also trying to weave a certain consciousness of passing time in there. What I mean by that is; everyday life makes it hard to recognise that our days are ultimately numbered, so a lot of what we write about is conscious living, taking action now.”

Yume has found an instant audience, with the album feeling coherent and fluid, while each song stands proud in its own right. “We’re trying to control the outcome of what we write as much as possible, but we’re trying not to limit ourselves during these processes, so it’s always a bit of ‘expect the unexpected’,” Phil clarifies about the process of honing the album. “That notion is what keeps things interesting for us. Sometimes you want a song to go into a certain direction only to then see that your monkey brain thought of something entirely different,” he laughs. “Sometimes the results of that can be astounding.”


Avid listeners will note that while this is FLOYA’s debut album, the duo have been working towards the record for a while, dropping singles for several months. While it’s been a long time in the making, it’s allowed the vision of the band to really solidify. “It’s a lot like getting older, with every passing day, you can kind of condense what it is you want a little more. So, I’d say the vision of this project is still very much on par with how it felt to us right at the beginning, we just fleshed it out more as time passes.”

The live shows are another huge draw to FLOYA, with energetic performances that really enhance their music. “We love playing live so much, it’s priceless to feel people’s emotions and our own in these moments. It’s also always interesting to find out how much we change a given song in a live environment, that’s always an adventure,” Phil happily agrees. “We’re very happy about how the album turned out, it’s been a long and, at times, painful process, there’s so much of our personalities in there. We can’t wait to take this to the stage!”

As a band with a lively, bright sound, the synth element is a vital part of bringing in the vibe. However, what makes FLOYA stand apart from a purely synthwave or progressive band is that they can blend and break expectations. “Sometimes it might be nostalgic when we’re talking about analogue synth emulations, but sometimes our synths tend to be fully intentionally digital too,” he laughs. “I think what adds to that nostalgic feeling sometimes is Marv’s playing as its deeply rooted in the 80s and 90s with a modern twist to it.” The pull of old school sounds coupled with a contemporary approach and application has rooted FLOYA as a fresh sound in the music scene. Experimenting with sounds without being constricted means that FLOYA can play around with genre’s without feeling stuck. “What keeps us motivated long term is finding out how far we can take this mixture of rock and electronic music, you know? But I wouldn’t go and limit the possibilities of what FLOYA can sound like, as we want to artistically express ourselves as freely as possible.”

FLOYA’s approach music in the same way they seem to approach life. There’s a huge amount of positivity spun into Yume in the bittersweet moments. By actively choosing optimistic sound to channel life’s issues and conflicts makes for a encouraging soundtrack to life. “Absolutely! We focus a lot on the positive sides of life as it is very easy to find reasons to focus on the things that don’t work in our lives, you know? Focusing on what does work makes every day so much more enjoyable to us as people.”

Yume is out now via Arising Empire.

Like FLOYA on Facebook.

LAMB OF GOD'S MARK MORTON RELEASES GRITTY MEMOIR "DESOLATION: A HEAVY METAL MEMOIR"

For a band as extreme as Lamb Of God, mainstream success and touring the world to massive audiences was an almost surreal achievement. But for guitarist and lyricist Mark Morton, the triumph was dulled by the pain of addiction and loss.

In Desolation: A Heavy Metal Memoir (Hachette Books), Morton traces the highs and the lows of his career and personal life, revealing how the pressures of success and personal battles eventually came into conflict with his dedication to the creative process. Morton writes about the greatest personal tragedy of his life: the death of his newborn daughter, which plunged Morton further into hopelessness. Surrounded by bandmates living their wildest dreams, Morton wanted nothing more than to disappear, ingesting potentially lethal cocktails of drugs and alcohol on a daily basis.

And yet intertwined with self-destruction and harrowing heartbreak, there were moments of joy, self-acceptance, and incredible connection. Morton developed close relationships with his bandmates and crew members, sharing experiences that have made for some strange and hilarious tales. He also gained a greater sense of purpose through interactions with his fans, who remind him that his work reaches people on a deeply personal level.





“Initially, I started writing this book just to see if I could do it,” said Morton. “But as the writing process unfolded, it quickly took on much more meaning. Unpacking my story, I was able to observe events in my life with an objectivity that I hadn't experienced while I’d lived them in real time. Through a lens of hindsight and recovery, I made friends with my past and found value in my most difficult days. I hope that by offering my experiences, I can create a point of connection and commonality. There are a lot of fun stories in here and a few really sad ones. I'm grateful to have the opportunity to share them.”

Desolation is, at its core, about Morton's journey as a musician navigating self-doubt, anxiety, and the progressive disease of addiction, and ultimately finding relative serenity and gratitude.

“Mark Morton’s Desolation is one of the most remarkable rock memoirs I’ve ever read, and Hachette Books is thrilled to be his publisher,” said Ben Schafer, Executive Editor at Hachette Books. “Through its humility, candor, and strikingly unpretentious style, it delivers a life story that is simultaneously relatable and remarkable. The rise of Lamb of God, Mark’s surprisingly varied influences, and his personal highs and lows are all chronicled with such a disarming and rigorous honesty that readers of all sorts will be moved and inspired to create, to recover, to live in a state of gratitude.”

Buy from Amazon and all good book shops including Waterstones and Blackwell's (digital available today, hardback July 11).



Praise for Desolation:

“I’ve spent over half of my life crossing the globe with Mark Morton, and during that time he has been many things to me - bandmate, fellow roofer, drinking and drugging partner-in-crime, and even occasional drunken brawling opponent. Most importantly, he’s been my dear friend. But for almost a decade, I was thoroughly convinced I would find him dead in his tour bus bunk. This book tells those stories, but it is also the story of how I got my friend back. I don’t worry about him dying anymore, so read this and know that there is still hope, even when everything falls to pieces.” - D. Randall Blythe, author of Dark Days and singer of Lamb Of God

“As a Virginia native and as a music lover and as a former knockabout kid who loved to sneak out and head to Richmond, I found this searing, emotional, furiously raw and real memoir to be a REVELATION. Mark Morton peels back the layers of his soul and lays them bare. This is more than a memoir, it is a testament to the power of music and the love that it creates. Bravo!” - S.A. Cosby, bestselling author of All The Sinners Bleed and Razorblade Tears

LIVE REVIEW: Tool @ Resorts World Arena, Birmingham

If you were passing through Birmingham International on a Thursday night, you’d have no idea that proggy post-metal foursome TOOL were in town at the neighbouring Resorts World Arena. There’s young couples dressed to the nines at the bar; there’s denim-clad dads and copycat children at the merch desks; and there’s old-school grannies grooving their way to their seats. It’s not until the Californian’s iconic heptagram rises to the stage’s night sky as the lights go down that it’s abundantly clear it’s time to worship at the altar of messrs Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor.



Until then though, fellow Californian’s NIGHT VERSES slip on stage as subtly as the soundscapes they create sound. Unlike the headliners to come, the trio of guitarist Nick DePirro, bassist Reilly Herrera, and drummer Aric Improta refuse to dabble in audiovisual psychedelics, staying in their same positions from opener Arrival all the way until closer No. 0 like professional stuck-in-the-mud players.

If it wasn’t for the incendiary theatrics of Improta — who’s time in FEVER 333 with livewire frontman Jason Aalon Butler has clearly paid off —you’d be forgiven for simply believing you’d been submerged into a pool of glimmering post-prog art-rock. It’s not that NIGHT VERSES aren’t captivating — their musical chemistry is contagious as they glide through dexterous rhythmic workouts with minimal effort, as if they’ve barely broke a sweat —, it’s simply that they fail to fill a stage built for bombast and pomp.

If you’ve been plugged into NIGHT VERSES for a while, you’ll find no deep cuts as they focus on this year’s Every Sound Has A Color In The Valley of Night. It’s these cuts, over 2018’s From The Gallery Of Sleep, that shine brightest: 8 Gates Of Pleasure’s post-metal heart beats with life thanks to its story-driven voice tracks, whilst Karma Wheel roars with a Tyrannosaurus-sized riff. It’s just a shame they don’t see off their set with the Chancellor-guesting Seance — it could’ve been just the trick to lift the support slot’s level up a notch.

Rating: 7/10Tool @ Resorts World Arena, Birmingham. Photo Credit: Scott Moran

Unlike NIGHT VERSES, TOOL need not worry about holding anybody’s attention. Despite being an entirely-seated show, the 13,000 or so in attendance stand to attention like soldiers on the frontline as soon as the lights go down, and Carey, Chancellor, Jones, and Keenan take to the stage. Opener Jambi’s throbbing riffs bubble and boil up like a witch’s cauldron, as Keenan stalks the upper decks of their two-tier stage set-up like a mischievous imp doing the devil’s business, before Chancellor’s groove-laden bass delays send their mind-altering music into overdrive, coalescing with the psychedelic visuals spread out across a stage-wide screen.Just one song in and TOOL have you eating out the palm of their hands.


Draped across every other seat is a signpost to stay away from your screens, unless you fancy an early night. Before TOOL take you on a hallucinogenic journey through space and time, Keenan takes to the mic for just one of two speeches. Egging on the crowd to be “less scouse, and more brummie” and cheer louder as he greets them, he then says it’s time to undertake a journey with them, and to stay off our phones – “if you can’t stay away from your phone for two hours, then you’ve got a problem” – and if we’re good, we’ll get to film the final song.

With the ground rules read out, TOOL dive into the deep blue pool of the titular track from 2019’s comeback album, Fear Inoculum. It’s the album their nearly 2-hour, 11-song set is built around, dropping a cut ritualistically every other song. It’s testament to TOOL’s musicianship that they can play just three songs – Fear Inoculum, Rosetta Stoned, and Pneuma – in thirty minutes, and not a single soul is sat back down. It says something to the worship TOOL receives from its audience that so many of their staples — Ænema, Forty Six & 2, Schism, The Pot to name a few — are missing tonight, yet every step through their catalogue is mesmerising and worthy of inclusion.Tool @ Resorts World Arena, Birmingham. Photo Credit: Scott Moran

Intolerance has the crowd buzzing along word-for-word like bees in a hive, as Keenan stomps across his mini-stages with the sheer force of an immovable object; the 13-minute monolith Descending drifts into a dreamy world of wonder that see’s audience members swaying to and fro, tapping out Carey’s percussion on their chests, and getting lost in its labyrinthic rhythms; and the seismic chorus of The Grudge brings act one to a close in climatic fashion.

Following a 12-minute intermission – where many spend it filling up their pints – it’s time for Carey’s spotlight-stealing super-solo as Chocolate Chip Trip takes on a new life, switching into a maze of modular synths. The lamest confetti cannon explosion you’ll ever witness, like a balloon whizzing away its helium, celebrates the culmination of Flood, before Invincible makes you feel exactly that.

Having earned Keenan’s approval, the arena becomes a sea of shiny screens, thousands capturing segments of the all-conquering closer Stinkfist. It’s the explosive end to the night – like the New Years Eve fireworks – that crowns yet another set that suggests TOOL are an otherworldly being capable of creating magic out of nothing every time they step on stage.

Rating: 9/10

INTRODUCING: Fire At The Plantation House

Photo Credit: Michael Sanders

“How meticulous was it? Pretty goddamn meticulous!” laughs John Angel, aka the mastermind behind the progressive death metal entity that is FIRE AT THE PLANTATION HOUSE. He’s just been hit with what in hindsight is a bit of a silly question about the complexity of the process by which he created his debut album Southampton Insurrection – a near 50-minute concept album he has written, recorded and is now promoting entirely himself. “I was like ‘fuck it, I’m just gonna cross this bucket list item off my list’,” he explains of the project’s inception, which came shortly after his previous band fell apart. “That was 2018 when I made that decision, and here we are.”



Even beyond some of the obvious reasons for such a long gestation period – like the pandemic and the time it took Angel to assemble a home studio – Southampton Insurrection was always going to require a lot of work. As if the intricacy of the music itself wasn’t enough, its influences drawn everywhere from Angel’s education in classical music to his love of bands like LAMB OF GOD and BETWEEN THE BURIED AND ME, it also tells and embellishes the true story of Nat Turner’s Rebellion of August 1831 as Angel reckons with the United States’ history of racial injustice, its persistence today, and his own place as a person of privilege seeking to effect positive change.

“I wrote the bones of the story before I started writing music,” he elaborates. “Because I wanted the music to reflect what was happening – as much as you can with death metal and stuff. I feel like that’s something that maybe not enough bands do… a lot of time it’s just like they write the album and it sounds really cool and the pacing is great, but then the story isn’t necessarily reflected in the music.”

This is borne out especially in Angel’s use of leitmotifs and the careful attention paid to how different melodies and themes appear and reappear throughout the album. Perhaps the most crucial is the slave spiritual Go In The Wilderness – a song that has been theorised to have been used to call clandestine meetings among slaves, and that some suggest may have even been used by Nat Turner himself. It appears in various forms throughout the record, including in a fairly faithful reproduction towards the end, this as mentioned being just one of many influences that give the album such broad sonic scope.


“I didn’t worry too much about what I wanted the sound to be,” offers Angel on how he keeps it all cohesive. “It was sort of just like whatever comes out is what’s supposed to come out. I was talking to my therapist about it years ago and I still remember this conversation, I was like ‘I don’t really feel like I’m writing it right now. I feel more like I’m slowly uncovering what it’s supposed to be’. There was some quality control, I’m not trying to sit here and be like ‘I’m a fucking genius, everything that pours out of my hands and mouth is brilliant’, but I was kind of approaching it like ‘I’m just gonna make the record that I want to make.’”

Of course, Angel is keenly aware that his use of slave spirituals, and indeed his telling of the entire story, could see him credibly accused of cultural appropriation, which is why he has chosen donate 50% of all proceeds from sales of and related to Southampton Insurrection to Feed The People Collective – a grassroots, Black-led mutual aid organisation based in occupied Ohlone territory – aka San Francisco – that seeks to provide healthy meals and culinary know-how to those in need in the area.


“I really felt that I had to do something like this because I am a white man and I took a piece of music and a story that comes from the time when Black people were enslaved in the country and I made a piece of art that I always intended to sell,” he explains. “I had gone to some Feed The People Collective events and I was like ‘this is the organisation’. I know the people, they’re good people and I’ve seen how it works.”

So it’s ‘progressive’ death metal in more ways than one perhaps. Of course Angel hopes that people think Southampton Insurrection is “fucking sick” and that they are impressed that he did it all himself, but he also genuinely wants to challenge his listeners, to make them consider their place in the world, and especially what they might do to help dismantle the systems of injustice and oppression that still shape it today.

“From a socio-political standpoint, if you’re a white person and you listen to the record I want you to come away with a desire to reflect on the way the world is,” he concludes. “Especially the United States and how it came to be in this fucked up state and how you can make it better. If you’re a Black person and you’re listening to the record, I’m not telling you anything that your upbringing probably didn’t tell you, but I want you to come away knowing that there’s people in the scene who care about you, who want you to be there and who are concerned that your story and your presence is missing from the scene. If anybody wants to talk to me about anything in that regard I’m listening. I’ll answer your email, I’ll respond to your DM or whatever.”

Southampton Insurrection is out now via self-release.

Like FIRE AT THE PLANTATION HOUSE on Facebook.

HEAVY MUSIC HISTORY: Feel The Steel – Steel Panther

Pull out the hairspray, squeeze into that spandex, and call your coke dealer ‘cause we’re about to get all sorts of depraved with the band whose mission statement was the resurrection of heavy metal; STEEL PANTHER.



Before the glam metal resurgence began with the release of Feel The Steel in 2009, STEEL PANTHER had garnered themselves quite the reputation. Beginning life as cover act METAL SHOP then METAL SKOOL, the band played up and down the Sunset Strip, eventually landing themselves residencies at the illustrious House Of Blues, The Viper Room, and The Key Club. Now don’t allow us to blow smoke up anal cavities, the salacious foursome have serious musical chops. Whether it’s Satchel (guitar) wielding the axe with Rob Halford’s FIGHT, or Michael Starr (vocal) being invited to sing at a VAN HALEN reunion show before David Lee Roth decided to show up last minute, their reputation preceded them… and then some. With the likes of P!NK and KELLY CLARKSON jumping on stage for an impromptu jam session, and Mike Starr (ex-ALICE IN CHAINS) blasting through an impressive cover of Man In The Box, it was high time STEEL PANTHER had some original material.

Just how well would this parody of MÖTLEY CRÜE, WHITESNAKE, and all things 80s translate to an original record? Taking the plunge on the back of the band’s EP Hole Patrol (2003), where Fat Girl (Thar She Blows), Stripper Girl, and bonus track Hell’s On Fire originally spawned, Universal sublabel Republic Records snapped them up and Feel The Steel began to take shape. If anyone thought the vibe of The Key Club was going to be dropped purely because the band entered a recording studio, they would be sorely mistaken. Feel The Steel included a smorgasbord of metal icons. COREY TAYLOR swung for PAPA ROACH on Death To All Metal and lurked in the background for Asian Hooker and Eyes Of A Panther. THE DARKNESS’ bard Justin Hawkins serenades us to Party All Day (Fuck All Night) and AVENGED SEVENFOLD’s M. Shadows encourages us to “whip out a condom and the astro-glide” on the shall we say charming Turn Out The Lights. We even have a crossing of the streams (phrasing…) between original drummer Ray Luzier [KORN] and reigning king of the skins Stix Zadinia. That’s without trawling through the production notes for members of NELSON, EXTREME, ANTHRAX, and THE DONNAS.


Surely this star power would make for a solid album? If you thought TENACIOUS D crossed the line with iconic Fuck Her Gently, STEEL PANTHER took the line and snorted it in gloriously glam metal fashion. With the Sarah Silverman led video for Death To All But Metal, there was simply no escaping STEEL PANTHER and the infectious “Heavy Metal’s Back!”. Released first in the UK on June 8, 2009, fans of the obscene and borderline offensive lapped it up. The instrumentals of BON JOVI and POISON were suddenly cool again… even if we did have to turn it down when grandma entered the room.


STEEL PANTHER’s lyrical content comes with heavy doses of misogyny, homophobia, and sizeism. Feel The Steel was prime example of this with Stripper Girl, Girl From Oklahoma, and Eatin’ Ain’t Cheatin’. This would garner the attention of many a critic who questioned whether STEEL PANTHER was really a parody or were these the opinions of white men in metal. We’ll leave you to answer that question. However Sophie Bruce of the BBC hailed the album as “an utter feelgood masterpiece” despite the content being “sometimes so far across the line they can’t see it anymore”. The Independent scribed “Is it new? Don’t be stupid. Is it funny? Hell yeah.”. While others found the dick jokes wore thin after 40 minutes and called it “pornographically offensive”, it would be NME’s Hardeep Phull who would pull the least punches [we shall be censoring the next quote]. “Only those with a r-d grasp of comedy would want to sit at home and listen to fifth-rate, crass glam-metal parodies” Phull would say, heralding Feel The Steel as “an exercise in taking a joke way too far”.

While some were offended, others adored Feel The Steel as it would peak at 98 on the Billboard 200 upon eventual release in the US and would top the Billboard Top Comedy Albums Chart. To this day, Feel The Steel is celebrated as one of the greatest comedy albums of all time. It’s also an album which is beloved by STEEL PANTHER fans, second only to 2011’s Balls Out. Death To All But Metal decimated music channels across the Sky platform. Eyes Of A Panther became a firm live staple. While women across the world join the band on stage to be serenaded with the heartfelt “My heart belongs to you/ But my cock is community property” of Community Property. Turn Out The Lights and The Shocker may have been dropped from the live set over the years, they still remain fan favourites. The audiences must be men of a certain look and mental standpoint we hear you assume. No friends, the majority of STEEL PANTHER’s live shows were, and continue to be, women of all ages, sizes, and races as they celebrate all things carnality.

Many claim the excess of the 80s should have dispersed at the turn of the decade. Yet with economic crises and the world at large going to shit, some will take reprieve where they can get it. A lot of us still find jokes about dicks and farts funny. The elitism of the metal scene was strung up for the world to see with Death To All But Metal. The joke may have flown under the radar of some and fell flat to others at the mention of a homophobic term which is a very valid standpoint for us here at Distorted Sound but this is where the line between satirical and offensive was crossed. This is a notion STEEL PANTHER come across many times throughout their discography as we’ll cover in future Heavy Music History pieces. In the period of Feel The Steel, we had the golden age of MÖTLEY CRÜE and DEF LEPPARD reigning supreme once more and it’s those glory days some of us will continue to pine for.



Feel The Steel was originally released on June 8, 2009 via Universal.

Like STEEL PANTHER on Facebook.

Tormentor Bestial: Legado e celebração à família em novo álbum "Eternal Nightmare"

Fotos por Pedro Campos (@pedro_audiovisual1978)


A banda de Heavy/Thrash Metal TORMENTOR BESTIAL, diretamente de Taubaté/SP, anuncia com entusiasmo o lançamento de seu quinto álbum de estúdio, intitulado "Eternal Nightmare". Este trabalho destaca-se como um marco no cenário do metal nacional, sendo inteiramente produzido "em família".

A expressão "em família" reflete a atual formação da banda, composta por parentes diretos, sendo eles: Luiz Amadeus (pai, vocal/guitarra), Pedro Teixeira (filho, vocal/guitarra), Bruno Amadeus (filho, baixo) e Niko Teixeira (filho, bateria).

"Um dos orgulhos que tenho são os meus três filhos se tornarem excelentes músicos e ainda ter o privilégio de tocar com eles. Estamos felizes e entusiasmados com este novo capítulo e esperamos que todos os fãs do metal pesado gostem do nosso som", comentou Luiz Amadeus.

Niko Teixeira complementou: "Tudo soa perfeito nessa nova fase, desde entrosamentos até ideias. Como somos todos irmãos junto ao nosso pai, não há erro com nada; encaramos tudo com certeza e descontração total. Fazemos o dever de casa direitinho e sem medo. Bom, se não fizermos, a gente fica de castigo (risos). Nossa meta agora é ensaiar muito, nos preparar para shows e montar nossa merchandise, assim começamos do jeito que tem que ser!'





















Ouça agora "Eternal Nightmare" em: https://onerpm.link/731581573480

Arte de capa por Fábio Menezes (Inkcreations)
Gravado em Audiolab Extreme Studio, em Taubaté/SP
Produção, mixagem e masterização por Tormentor Bestail

Desde sua fundação em 2008, por Luiz Amadeus e Niko Teixeira, a banda passou por algumas mudanças de formação, mas sempre buscou criar um Thrash/Heavy Metal pesado e agressivo, incorporando influências que vão do Hard Rock, Heavy Metal Tradicional (NWOBHM) até o agressivo Thrash Metal Oitentista.


Como uma boa família unida que se preze, onde procuram sempre fazer tudo juntos, "Eternal Nightmare" foi logicamente todo composto, gravado e produzido pelo quarteto, em seu próprio estúdio (Audiolab Extreme Studio), e por conta dessa interação mais intimista trouxeram uma abordagem bem diferente dos álbuns anteriores.

Sobre a sonoridade de "Eternal Nightmare", Luiz Amadeus comentou:

"Neste álbum, aprimoramos ainda mais as guitarras, optando por uma bateria com sonoridade mais acústica e pesada, utilizando trigger apenas nos bumbos. As guitarras estão mais densas e bem definidas, enquanto o baixo possui um timbre mais estralado. Nas seções de solos, adotamos uma abordagem inovadora, destacando o baixo e proporcionando uma sensação mais autêntica e próxima de uma performance ao vivo quando a guitarra assume o solo."

As letras do álbum consistem em 10 faixas baseadas em histórias e contos variados, mantendo-se afastadas de temas políticos. Cada música apresenta uma narrativa distinta, abordando temas que vão desde histórias antigas e terror até críticas sociais, lutas contra vícios, resiliência e corrupção nas religiões. Tudo é escrito de forma conotativa, deixando margem para ambiguidades.

O lançamento de "Eternal Nightmare" não é apenas um marco na trajetória da Tormentor Bestial, mas também um testemunho da união e do espírito familiar que permeia a banda. A colaboração entre pai e filhos não só fortalece os laços pessoais, como também enriquece a música com uma sinergia única. Este álbum é um tributo ao poder da família e à paixão compartilhada pela música, comprovando que, quando se trabalha em harmonia, o resultado é um som autêntico e poderoso que certamente ressoará no cenário do metal nacional com sobras.

Siga as mídias sociais da banda em @tormentorbestial

Assessoria de Imprensa: JZ Press (@jzpressassessoria)

PRIMITIVE WARFARE TO LAUNCH "EAST COAST ASSAULT" US TOUR TOMORROW

American war metal entity, Primitive Warfare, will be launching their "East Coast Assault" tour in support of Ares Kingdom, along with Black Eucharist. The onslaught will launch its first strike in Atlanta, GA tomorrow, June 18, and will continue to lay waste to the states until it ceases fire on June 22 in New York City. The full itinerary can be found below.