Necrospective: CANNIBAL CORPSE

It’s been a while since the last time I wrote something on this “blogzine” or however you want to call it. As I supposed even from the beginning the videoreviews just didn’t click, so I am going to revert back to good, honest, old school written reviews, like usual. I haven’t been completely idle all this time actually since I have been writing some stuff for a new issue of the paper version of NA (out some day) but I felt like kicking a bit of dust here with another necrospective. As you might remember from the last one, necrospectives generally are about bigger, less underground bands, I can’t see the need to make extensive biographies on obscure bands even if I might consider that as well one day. Every music writer holds the hidden desire to write about classic albums so here it is a long story about one of the most uncompromising bands of the genre. I wish I could find the interview i did with Corpsegrinder i did on the band’s van in 1996 but I can’t find that old mini tape, if it shows up one day though, it would be a lot of fun to rip it on mp3, even just for my atrocious English (now that I think about it I brough the tape to English class ahah).

It’s quite obvious but worth remembering that these reviews are not objective nor written with the competent ear of a professional. Since I don’t believe in “musical journalism” at all I will try to describe the impression I got from these records the day I bought them and how they just influenced my own life when and if they did. Take all these reviews with a pinch of salt.

I think I’ll just bypass the demo, singles, EPs and live albums since we have plenty of full length studio albums to dissect.

Eaten Back To Life – Metal Blade 1990 (7,5/10)


I listened to Chris’ old band Leviathan some time before this album was released on a Metal Forces compilation although I never connected the two Chris Barnes were one and the same until a few years later, uh. “Eaten Back To Life” is a good album, a little thrashier and a bit brighter than the two following monsters that followed it, but good nonetheless. The lyrics were already spot on: high on gore elements involving car crashes, psychos eating cadavers and of course the band’s main theme – zombies. You might have noticed it but every Cannibal Corpse album has at least one song about zombies, starting from this one. For the time this album was quite a shock as few bands actually brought the theme of extreme splatter to these levels. Overally speaking I liked the album a lot, spun it endless times, even though the vocal patterns sometimes just sounded a bit too plain, something however the band completely fixed with their next album, THE real masterpiece.

Butchered At Birth – Metal Blade Records 1991 (10/10)


Starting from the greatest cover ever, and one of the best covers in the Death Metal world in general, with that thick, almost three-dimensional feel, this album is all in all the best stuff this band ever released in my opinion, listening to Butchered at Birth is like being inside that cover, some forgotten gore covered dungeon cell with zombie doctors butchering pregnant victims. This album has no space for breathing, it’s so grimy the air itself feels thick when it spins. This is one of the albums I’d save should I decide to cut all my record collection to just a shelf. Complete masterpiece. Only problem I had with Butchered at Birth was that it didn’t include lyrics so I had to mail a friend who got a Xerox from France to finally be able to read it. Third generation copies ahah. I think the original one came from their fan club, I had one of those letters years ago and I recall the frame was amazing, I even used that for a couple of concert flyers. Not a lot to add, this is a perfect album, flawless from (severed( head to toes.

I just realized I already did a review of this album long ago, here is the link.

Tomb Of The Mutilated – Metal Blade Records 1992 (9,5/10)

R-7532710-1443438525-4667.jpegObjectively, from my perspective, THIS is the best album Cannibal Corpse ever recorded. With Tomb these guys just progressed from the path paved on the previous album and took the whole package to an entirely new level of extreme. Even more graphic than before, somehow darker, everything on this album is perfect, not just artwork and music, but the lyrics (this time with some sexual elements) too are so sick they manage to touch some nerves. I honestly felt the album was not as claustrophobic as the previous one, but what it lacks in thickness, it gained in gory, creepy feel. Even if I should rate it higher that Butchered, I consider it a hairline lower in my own personal agenda. Barnes vocals are as dark and deep as ever, but I think in Butchered they just had that extra punch. Some songs are memorable and well, I just can’t find any real weak spot to mention here, it’s a huge classic.

The Bleeding – Metal Blade Records 1994 (5,5/10)

R-758918-1220371464.jpeg R-7260478-1437413288-8319.jpeg

I don’t know if it was the lack or Rusay that left the band before this album, but I was totally disappointed by The Bleeding. I remember I got the vinyl from a record store in Bologna and I was skeptical from the start because the cover was just a big gash instead of that Locke galore I was expecting, I hoped for something over the top and all I got was a small detail from the artwork that could be seen on the back of the sleeve. I spun it a couple of times before realizing this album was giving me absolutely nothing. Barnes vocals this time were way too clear, almost sounding like a bark, and the riffing was not as tight as before, it sounded as if the band was trying to go on the wrong direction although not in a disgraceful way as a lot of their contemporaries. Listening to The Bleeding recently I realized I don’t dislike it as much as I did when I bought it, however it’s just way inferior to the two masterpieces that predated it. I still don’t like much Barnes vocals here, but I think he was starting to work on an idea that would soon turn ito that shit band called Six Feet Under. Luckily enough, the shittiest parts of this album drifted to SFU leaving space for a more than decent follow up, “Vile”.

Vile – Metal Blade Records 1996 (7,0)

R-386365-1412423353-6326.jpegI was completely surprised to hear Barnes was leaving Cannibal, so much so that I still envision Barnes when I think of the bend even if he left over 20 years ago. But I was even more puzzled by hearing they engaged Monstrosity’s singer, whose vocal style was not just different but right the opposite of the static grunting of Barnes that was characteristic of that early incarnation of CC. Corpsegrinder’s a singer that articulates and modulates his vocals a lot, how could they fit him to sing old CC material? Luckily the band first came to Italy just a few weeks after this album hit the stores, so I could see it by myself (and this is also where I managed to have that interview with George I mentioned before) and what could I say? The guy was a great replacement, even though the style changed dramatically to fit his vocal style from early on. I later heard three songs recorded for “Vile” with Barnes on voals and honestly I heard few things so uninspired, weak and shitty as those. Maybe just Six Feet Under suck that bad, but I can dare to say these songs were even worse. Was he already planning to leave the band before being kicked out? We’ll never know for sure. “Vile” in se is a good album for me, it might have some songs like “Bloodlands” that feel like they’ve been written a bit too hastily but there are some others like “Puncture Wound Massacre” which are real killers. All in all not the pinnacle of the band, but good stuff nonetheless.

Gallery Of Suicide – Metal Blade Records 1998 (7,5)

R-510732-1127665124.jpegWell, this album offically greets version 2.0 of the band. While “Vile” sounded like they were still reasoning how to incorporate Fisher’s vocals to their sound,”Gallery” shows the band’s new ugly face to the world. Pat O’ Brien also chimed in to replace Rob Barrett and the cover art is the first real sign that Locke was changing his style radically even though the work is excellent save for an horrible glow effect on title and that new logo we already saw on “Vile” (Barnes owned the right on the old logo, meh). This albums also mark my departure from the band, not because it’s a bad album, but because at the time I was completely into obscure underground acts and generally was considering these albums “safe to get later”, if you know what I mean. Gallery of Suicide is a good massacre in my book, thicker and darker than Vile, and a decisive evolving of that album’s sound carefully tailored on the Corpsegrinder’s inimitable throat-ripping. Like said before, the evolution in songwriting shows us a different Cannibal Corpse here, with a wider range of solutions and ideas that sometime border on experimental. I have read bad things about the album’s production, possibly because there’s no Burns behind the band from now on, but I personally can’t find anything wrong here, “muddy” to me is Ok if we talk about Detah Metal. You want to hear a “too muddy”, underproduced album? Check out “Breeding the Spawn”, or “Death Metal” by Dismember, certainly not this one.

Bloodthirst – Metal Blade Records 1999 (8)

Layout and graphics aside, this album delivers badly the new Cannibal as fit as ever. I am definitely not a sound technician nor I care much at all, but it’s impressive how everything in this album just stands out neatly, including Webster’s monster bass-work and Corpsegrinder’s words of hate. It also goes a bit beyond that, as the orchestral work also extends to the song writing as well. This might be a mature peak for a band that is known mostly for its uncompromising discipline and dedication to brutal music. It should be remarked that the end of the 90’s was also the time a lot of the second wave of Brutal Death Metal bands started to flower expecially in the States, a genre so loved and despised by many even today. I personally feel both emotions today, preferring the more uncontrolled, chaotic, possibly dirty and ugly sound of punk into my Death Metal, but I also liked a lot of the “cut the shit” attitude of bands during that time lapse that went straight for the deepest, sickest riffs and guttural vocals. It’s a long story that doesn’t change much my opinion on this album, as you can’t really classify it in the Brutal Death galore of that time for reasons both musical and historical. Preachers of the “old school” sound might probably ridicule it, but you know, haters gonna hate.

Gore Obsessed – Metal Blade Records 2002 (7,5)

R-484793-1122801058.jpgAh, this new studio album welcomed the Cannibals in the 21st century. If there’s one thing I like about Gore Obsessed is the feel you get that this album is just a big statement of intent, a giant, middle finger blasted high in the open sky. It gives the impression that they wanted to make it clear they just don’t give a fuck about people complaining about the gory topics they keep singing about and therefore released this album that basically says “we’re gore obsessed, OK, fuck you!”. Which is, well, a statement I can’t help but appreciate. There is not really much to say about this album, aside from the production which is now handled by Neil Kernon. It follows ups where Bloodthirst ended, which is not a problem at all to me. The lyrics are still sick stuff, yet still not as deranged as the Barnes ones, an era which is just gone forever and probably for the best.

The Wretched Spawn – Metal Blade Records 2004 (7,5)

wretchedIt takes a lot of effort not to watch Cannibal Corpse’s hideous new logo with random Photoshop effects layered on top stretched as wide as the whole cover with the same shit applied to the title, giving the whole cover the feel of a total print bootleg shirt bought in the parking lot in front of a venue. I personally am not a fan of Locke’s new style that here shows more accurately as well, with that weird method of mixing unnaturally livid colors, yet the artwork is as graphic as ever (I think they also got some problems with it when it was released but can’t remember properly), so much so it was once again censored in some editions. Musically you it once agains follows up where Gore Obsessed ended, maybe with some more accurate metrics by Fisher, but it’s still solid to the face Death Metal the like the Cannibals got us used to, which is not a bad thing in my book. Blastbeats and intricate riffing? Check. Inhuman vocals with impossible patterns? Check. Gore lyrics and theme? Check.

Kill – Metal Blade Records 2006 (7)

R-1014848-1397840380-2522.jpegWith Barrett (of which I am admittedly no fan – but he basically wrote only one song here) back on rhytm guitars replacing founder Jack Owen our heroes hit the 10th studio album with the minimal-looking Kill. Minimal in looks but not in composition, even though overally this album feels just a bit more uninspired compared to the previous two, Corpsegrinder is the real monster here, with vocals that feel just like out of some cenobite ruled hell of suffering. Production, mixing and engineering are on the shoulders of Erik Rutan this time, resulting in his typically flawless yet a bit plastic sound. The work however is technically superb as all the instruments fall into place clear cut from the rest, which considering the complexity of the songs makes sense.

Evisceration Plague – Metal Blade Records 2009 (7,5)

R-2635632-1294336323.jpegThe cover art on Evisceration Plague is plain terrible, I hoped it was the usual detail of a bigger censored cover but the illustrations on the inner sleeve are even worse, I have to believe Locke scetched this shit during lunchtime thinking about a card game or a teenage book because I really can’t believe it’s the same hand that drew Butchered At Birth. This guy still knows how to do great works, this one is just an evident fail. Yet surprises come in all shapes. This album is in my opinion the best one they have done in the new Millennium right after the following “Torture”. They gained back some of the darkness and harshness of the beginning (just hear the first few seconds of the title track) with some added variety on the songs and a Corpsegrinding vocalist that managed to find interesting patterns on really, really impossible riffs. People consider it a follow up of Kill, I personally like it way better.

Torture – Metal Blade Records 2012 (8,5)

R-3497495-1332760027.jpegWhoah, despite a string of roughly similar albums, the cannibals ultimately delivers their best album since Tomb of the Mutilated here, with a collection of songs that are as varied as heavy and brutal as they’ve never been since Barnes left the band. I basically like all the songs, including the “zombie song” that always appear in each album and this time runs right after the opening track. Heavier sound, fewer tricks, a choice of just a few killer riffs make this album one of the three Cannibal albums I’d keep if I was forced to sell my collection. Great stuff from start to finish, lots of ideas and definitely no fillers. On the contrary, the album might feel a bit more straightforward and simpler, but the magic worked here was to keep just the best stuff to create a few solid songs that each stand on its own, unlinke some of the earlier albums in which each songs sounded a bit like a variation of the same, if you know what I mean. That’s it, top notch experimentation within brutality.

A Skeletal Domain – Metal Blade Records 2014 (7,5)

R-6094283-1410928966-7136.jpegA Skeletal Domain is a good album, it follows up where Torture left, by maintaining the distinctive “new” songwriting style all the while adopting some of the old solutions as well. It’s a mix of Torture and the previous five albums, in a sense. While Torture was a new breed of CC with a lot of the feel of the earlier days but veichled into some interesing concepts, this album somewhat crosses the path with the post Bloothirst era of the band by picking heavily from the compositions and not just the feel. It’s still an album to have like all the Cannibal ones, in my opinion.

OK this is the last one, from just 2 years ago. Whew, Never would I have thought reviewing the whole discography would take a full week, these guys really went through ages in the Death Metal timeline right through the sedimentation rings of sickness and brutality.

Death Metal Singing Class

There’s something I never quite understood, or better yet, something that has been pissing me off for some time in the past until my nihilistic point of view justly settled in and told me not to care. I am talking about people vigorously debating about so called “Death Metal ” vocals techniques. Endless argling-bargling on whether to exhale or inhale when making growls or how to keep your throat when screaming. All of this is, in my humble opinion (and as a short-time singer myself 20-something years ago already) utter bullshit. There is no proper singing technique in Death Metal, at least not in Death Metal as it was in the beginning, at least not any technique specific for Death Metal. I guess general singing techniques on how to use your diaphragm and stuff like that possibly works on DM as well, but Death Metal, per se, is not something you should easily describe or catalogue in a class.

Death Metal vocals only need to be scary, period. You just do it using whatever you have according to the shape of your body and lungs.

Just grab any old DM albums from early ’90 or so: Malevolent Creation, Death, Autopsy, Vader, Cannibal Corpse, Suffocation, Dismember, Morgoth, Disharmonic Orchestra, Carcass, all of these had their own specific, readily identifiable characteristic way of singing. None of these bands had probably any real guidelines besides maybe oldies like Massacre, Repulsion or Deathstrike (for some), but what I want to stress out is that you cannot just pick up a mic and decide if you want to scream or growl. Dismember had neither kind of vocals and yet I dare someone tell you they’re not properly Death Metal. Moreover, part of what makes this music so unique is that it’s* spontaneous, holistic if you wish.

You just put things together and see if they work.

This obsession of classifying and cataloguing everything came with the swelling and inflation of the genre in that huge, universal pout-pourri of the “underground for everyone” that the ’90 brought us.

*should be.

Netherland Death Fest 2016 Astral Review – Day 1

Day one in the Lands of Nether. Since the show starts at 4 PM (and that’s Teethgrinder on the secondary stage, guess my excitement) I decide to oversleep a bit before plunging to the gym, have a shower and a solid healthy breakfast ready for the show to start.

At 11.00 AM I am ready to go and already enjoying some great landscapes and monuments of Northern Europe before immersing myself in the trippy Museum of Modern Art De Pont .


Look at that shit Dolly, Mondrian meets Newman, but round!

As a quick lunch I get a piece of their Broodje Jantje cake and get a bottle of Schrobbeler to chug during the concert, one should never be caught unprepared, you know. Once at the liquor shop, I just slip some Hullie Gullie as well in the bag.

Hullie Gullie

Se prima eravamo in tre a ballare l’Alligalli…

While i sip some of the chocolate flavored liquor on a bench among the fine company of pigeons, I have a look at the bill. The whole Festival is going to be split between two venues, the scarily named Poppodium 013 and the even scarier Patronaat (which sounds a bit like a place where they help you compile your taxes).

Anyway: Day one, or “the Grind Day”, is about to start, let’s split the shows between stages. Unluckily my astral form doesn’t allow me to bring a camera so I am not able to take pictures. Sorry. However moving at the speed of thought has a couple of advantages, one of which is I am able to see all the bands playing even if they are playing at the same time, talk about efficiency!


The 013 Poppodium (aka the Teneronium)

Stage 2

Teethgrinder (4)


You can run but you cannot hide. They’re destined to be there forever: they are the filler bands. They all sound a little bit like a pretending to be grindcore version of Neurosis, with zero-energy screams, neat and well-educated sound, lots of dissonance and so on. As useful as a plaster on a pegleg. Luckily this stuff generally doesn’t live for long, unlike the brigthly colored tattoos these guys are generally covered with, I hope their emploeyrs at McDonald’s won’t mind 10 years from now. Just 10 years ago they would have had sideburns, funny fringe haircuts and a contract on Willowtip/Relapse (or both).

Visceral Disgorge (5)Visceral Disgorge

While I found Kraanium enjoyable (yes I went forward in time and reviewed that first – this shape allows me to do a lot of things), I found this band as boring as it can get. Too much slam, endless tempos, flat vocal line and so on. BDM might a complex beast to tame so even if you do all your homeworks properly the results aren’t assured. This stuff is too long, not enough compressed, not enough varied, at least for me.

Kraanium (7)


I didn’t know this band at all, that basically says much about my knowledge of Brutal Death Metal dopst 2005, when they told me a Kraanium was playing I thought they meant that shitty speed metal band on Necropolis. I have a complex relationship of love and hate with BDM, some days I find it incredibly boring and unispired, some oother days I can spin it for hours. It is a great genre to play full volume on a very loud set, and I generally do enjoy it at a fastival in particular after a show. Karrnium are fast, complex and as heavy as it can get, and you know what, today for me they were a yes. Not so  many bands from Norway play this shit as far as I know, that I know of.

 Disentomb (7)

DisentombDidn’t know this band either, I thought they played classic “traditional” Death Metal until I saw the logo, which looks exactly like a million others (I suspect it’s that Asian guy who draws all brutal-slam bands, sort of a yellow Christophe Szpajdel of Brutal Death). Disentomb play some sort of ultra-tigh version of American Death Metal that grabs from Guttural Secrete and Disgorge as well as hyper-chaotic messies like Enmity. Not my favorite style in itself but these guys pummel the stage hard, swaying from the usual boring breakdowns choosing a more violent, crushing path. flawless shit.

Magrudergrind (3)


As a rule of thumb, if a band released albums on both Willowtip AND Relapse, I am almost certainly going to hate it, and well, my predictions were quite accurate. This shit is even worse than Teethgrinder. Modern stuff that pretends to sound like grindcore or powerviolence, mediocre songwriting and tracks that sound like they’ve been assembled using riffs discarded from *name-one-of-the-gazillion-dissonant-grindcore-bands-from-US* around. This is a band that manage to be equally mediocre in both blasting and slow chugging, the whole crowned with among the shitties vocals ever heard. And they managed to release like 6 albums. Meh.

Cripple Bastards (6)
Cripple Bastards

I don’t really like the grindcore/HC/Hatecore (can’t remember the correct definition now) this band plays, but no one can deny a couple of things when talking about CB – they’re absolutely original in mixing elements of horror and social topics. All the songs are well written, every liyrics worth reading. They’re a paramount of integrity, completely laid back and deeply passionate about their works. I wish I could dig them more than I do, actually. Anyway I saw them like 20 times, and all of their shows were fine.

Wolfbrigade (7)


I might not have a perfect pitch, but every single song from Wolfpack/Wolfbrigade sounds exactly the same to me, ahah. You could record a whole album with the same song on loop 10 times and I won’t notice. But know what: I like it. The swing and groove of good crusty grind is strong in these guys. This is good music to listen to when you’re getting drunk, they just reveberate on the same chords as a good hangover.

Stage 1

Blockheads (6)

BlockheadsBlockhead is the title of an old Brutal Truth song, no idea if the band took the name from that. In any case it’s a band that know how to kick ass then speeding up. They play good grindcore, not as dirty and ugly as I would like it, but decent enough I guess. I don’t really like it when they slow down but in general the show was ok. Not much to say, rather routine stuff.

Vitamin-X (ahaha)


Sorry, I was laughing at their name. This band plays some decent Hard Core, outstandingly out of place here. But hey, in a venue where there’s people that are more interested in removing anti-antifa stickers than watching bands play who am I to judge? There’s people paying for having their nuts squeezed after all.

Dropdead (8)

DropdeadI prefer the namesake Siege album but Dropdead isn’t bad either. Their vocals honestly suck the hugest dicks but the songs are great examples of great skull-crushing grindcore, the simple straight in your face shite to be played full volume. I generally have little patience for the typical brainwashed fan who goes crazy for this stuff but the music itself is more than good to me, I also have their old album and play it sometimes.

Doom (8)

Even if they’re probably part of the fag barricade that boycotted Disma at the show, I still like Doom as I always did. I grew up with this shit and bought “Police Bastard” right out of the factory, so what else can I say, they might not have the same pissed off fury of their young beginnings but I still like the gruff, ugly vocals and primitive Dischargesque sound of this band.

Agoraphobic Nosebleed (3)

Agoraphobic NosebleedRanking among the top bands I don’t live a fuck about since Relapse started to replace Mortician, Incantation or Goreaphobia with this new brand of shitty protogrind, I could sum up this microreview with just one sentence: Agoraphobic Nosebleed SUCKS.

Infest (7)

InfestI like to consider this band as a kick ass Hard Core one and not a mediocre Grind Core one. In any case Infest created their own style, and you can just tell an Infest song from any other from that million xeroxed cover 7″s with some war photo on you can find on crust stands. They’re like holy cows many have been trying to imitate but like it often turns out, the original one is still the best.


Keitzer (6)

KeitzerYou can say what you want about this band, but they’re definitely fast. A bit messy but nonetheless suprisingly good. They tend to lose it when they slow down but they definitely know how to blast properly.

Primitive Man (2)

Totally shitty raw stoner/drone stuff, you know I wasn’t lookin at the stage but I am ready to bet 10 euros that someone had a shirt from one of these bands, roll 1d4:

  1. Eyethategod
  2. Sunn O)))
  3. Man is The Bastard
  4. Neurosis
Inhume (9)

InhumeI was saddened by the demise of one of the best band ever from The Netherlands some eyars ago as Inhume were in my opinion fucking punishers and among my favorite spins. Their Death/Grind was CRUSHING like nobody else. Truth is maybe they never disbanded for real, I just lost track of them after their latest album on Osmose a couple of years ago. Seeing them on the bill was great in any case I really can’t think of many bands as brutal as Inhume, they just have IT.

Undergang (8)

UndergangSaw them once with Anatomia a couple of years ago, this band has all the elements I like in Death Metal, Dark, sewage, filthy, sick and swampy sound, lyrics and artwork. Totally devoted to the “old school” way. So what could be wrong? Undergand are the paladins of rot and they just deserve all proper respect.


That closes the first day of shows. Lots of patches and military jackets around here make me unconfortable. I prefer to go to the hotel. Luckily I saved Bobbi Eden‘s phone number.

Hello Bobbi, how are you doing tonight?

Netherland Death Fest 2016 Astral Review

Netherland Death fest

The 2016 edition of the NDF might probably have the greatest bill of all time. Autopsy, Blasphemy, Angelcorpse, Morpheus Descends, Magrudergrind (ah ah no, just kidding on this last one) and so on. Stuff to make you sleep like shit at night, especially when you’re not going to attend it. Yeah, a bunch my fave bands ever are (is?) playing in Europe and I am not going for some miserable aspect of my life I don’t want to publicly share here.

Hating myself since my birth however allowed me to channel my energy into the realm of possibilities and make pretending. Since I could no accept it, I will pretend to be there and have fun and share beers with friends while listening to “In The Grip of Winter” live. With the right dose of booze, I can project my astral form and attend the show even if I am not, how cool is that? Wiggle your fingers, Magician Mick!

Trip to Tillburg

I decided to wake up earlier this time and have a long workout in my basement with cardio and some clean and jerks and PR deadlifts before getting a good shower and an healthy breakfast. Positive and full of energy like I am always in the morning* I control once last time the checklist of items to pack in my hand bag. weighing it once more to be certain the airport is not going to create any problems. ID check, money check, credit card check, phone and adapters check, Disma shirts check,

I feed my cat and make sure my neighbor has all the correct instructions to keep her litter clean, her water fresh and her food bowl full to the brim. My brand new*, problem-less* car drives me uneventfully to the airport where I park in the extended-time lot. I take a healhty snack with some carrots and celery* while waiting for the plane to land. At the airport I meet with all the 72 friends that Facebook assured me will be attending to the great event. happy to see you all here, pals*!

Since I am still in good shape when the plane arrives in Tilburg and I have some time left before the sunset I visit the beautiful church os St. Josef not too far from the venue. Built in 1899, the church looks still cool. It still has you know, the towers, the grey stones, everything looks right.

JosefThe Auberge Du Bonheur is as enchanting as I expected. I leave my bag in the hotel room and plan a quick drink with friends. On the way out, probably attracted  by my DISMA shirt these two girls try to hook me up and get me laid. I tell them I have no time for that shit and I am there just for the music. Making the sign of the horns with my right hand while sticking my tougue out like a true metal warrior.

Prerelase party


Quick ice cream at the Intermezzo and I head to the Kandinsky pub (yes, like the Russian painter, lots of originals hanging at the walls actually!). My feet are sore and the beer is so refreshing at that time of the evening, but what a surprise! I could share a few of these with my friends and the guys in Autopsy that justs dropped by for a last sip before rest. We take some pictures together but I tell them I have to leave because I want to be perfectly in shape for the morn after.  We take one last shot and we have a look at the bands playing tomorrow: lots of grindcore… grindcore… ah yes also Undergang and Vitamin X.

Wait: Vitamin X? Jeez.

Anyway I say hello to Eric, Chris and Danny and I go to sleep.

Stay tuned for the festival proper!