Kris Barras has built quite a following over the years, first as a blues rock artist, both solo and with acts like Supersonic Blues Machine, then moving into a more straight ahead melodic rock direction, on the way to embracing … Continue reading
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Words: Dan Barnes
Photos: Tim Finch
Sunday will see a plethora of bands from the darker regions of extreme music, with main stage headliners, Norwegian legends, Satyricon, ready to bring the curtain down on the event for another year. Beginning back at the start of the Second Wave, the duo of Satyr and Frost took their obsession with the Middle Ages and turned it into the band’s first two records. Over time, Satyricon began pushing what Black Metal could be, issuing genre classics like Nemesis Divina, Now Diabolical and The Age of Nero. Shockingly, it’s been nearly a decade since the last record Deep Calleth Upon the Deep, and this appearance might signify new material is incoming.
Cult Never Dies stage headliner, eco-Black Metal warriors, Wolves in the Throne Room, seemed to catch lightning in a bottle back around the release of their third full-length, Black Cascade, spear-heading a movement which rejected the Satanic focus and looked toward the ideas of a relationship to the land itself. Built on lengthy passages of blasting drums and chainsaw guitars, this is bound to be a worthy companion to the events on the mainstage. Germany’s Ultha, will be getting a day’s rest after their show at the Night of Salvation, but will be an early mainstage act on Sunday; grandiose and overblown symphonics are the order of the day for Florida’s Worm, whose current album, Necropalace will challenge Dimmu Borgir for the most spectacular black metal release of 2026. Damnation does like its misanthropic black metal, with Nathrakh and Dragged Into Sunlight always ticking the right boxes, and Germans, Groza, look set to continue this tradition with their own nihilistic and atheistic rawness. Going back to the roots of the genre, Final Dose take the speed of Venom (RIP Cronos) and replace it with a primitive punk punch. Not to be outdone come Machukha, who explore the nether-reaches of hardcore and punk in their pursuit of black metal perfection.
It’s been eighteen years since British death metal legends, Benediction, last played at Damnation, and on that 2008 mega-bill you could also find both Carcass and The Berzerker; Ravages of Empire was in my Top Five Albums last year. Sadly, Dave Ingram has had to step away from vocal duties due to a health condition, which leaves the door open for Dave Hunt to step into the breach and pick up the mantal once more. You hear the phrase Swedish Death Metal and you instantly go to Entombed, Dismember and Bloodbath and, luckily, it’s the very place the Scandinavia war machine that is Lik want you to be. Chicago power-violence mob, Weekend Nachos put some killer grooves into their killer riffs and raw grind, landing just after everyone’s heads have been mashed by Igorrr.
And speaking of the avant-garde Frenchman, Igorrr make their Damnation debut on the back of the majestic Amen album and killer live shows. From extreme metal to the Baroque style of the eighteenth-century classical music, and from breakbeats to trip-hop, nothing is off the table for the band; expect a complete pummelling, both physically and mentally. Whether Tom G’s Triptykon are to continue with the Celtic Frost set, or to blend the old and the new is to be seen, but whatever happens, to see one of the Godfathers of the Extreme, in whatever capacity, is a mouth-watering prospect. Norway’s Shining make a third appearance at Damnation after a successful Bloodstock rendition of their Blackjazz album; it was a treat to see them that afternoon and it’ll be an equally sized treat to see them doing their thing in the intimate confines of the Meliora stage.
From just across the Channel come Belgians Slow Crush to close out the show with a deeply introspective and deeply emotional run through of their extensive Shoegazing catalogue. Also in from the low countries are Hippotraktor who finally get to bring their progressive and groove-laden post metal to Damnation after having to withdraw the other year. Bristol’s Sugar Horse are always a spectacle as they unfurl Shoegaze introspection with post-metal grandeur and crushing sludge intensity. And for all those already missing Crowbar and Eyehategod, there’s Californians noise merchants, Black Sheep Wall to mess with your noggin’ and Rotherham’s Swamp Coffin to give your Sunday and early boost.
I am not going to lie, but when Walls of Jericho were announced I shed a little tear of gratitude. The Detroit hardcore mob are known to thrash and to indulge themselves in a little metalcore from time to time, and their billing between Benediction and Triptykon could be one of the most intense few hours of the whole weekend; hopefully might even get some new material from the forthcoming System Error: Humanity album, arriving mid-November. Los Angeles screamo/ emo / melodic crusties, Lagrimas promise a different kind of intensity, but few people at the Bowler’s this weekend will need much of an introduction to Mastiff and their nihilistic blend of sludge and hardcore; Eyes, from Denmark have a distinctly grinding ambience to their hardcore and punk-adjacent thrashers Medulla Nocte will be showing off their most recent record A Conversation Alone as they open the Cult Never Dies stage.
Lou’s Brews Stage: SATYRICON / Igorrr / Triptykon / Walls of Jericho / Benediction / Ultha / Hippotraktor.
Cult Never Dies Stage: WOLVES IN THE THRONE ROOM / Weekend Nachos / Worm / Groza / Lik / Eyes / Final Dose / Medulla Nocte.
Meliora Software Stage: SLOW CRUSH / Shining / Black Sheep Wall / Lagrimas / Machukha / Sugar Horse / Mastiff / Swamp Coffin.
So, there you have it – a whistle-stop tour of the many delights awaiting us at Damnation 2026. There’re just too damn many highlights to chose from and you’d only find yourself missing someone important out.
Photo credits: Tim Finch
For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
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Words: Dan Barnes
Photos: Tim Finch
It’s barely the beginning of autumn but the days of 2026 have already become noticeably shorter, those blotchy, outdoor festival tans have started to fade, and my Stonedead trench foot is on the mend. But next stop for the UK festival aficionado is the Bowler’s Exhibition Centre in Manchester for the annual extreme metal knees-up that is Damnation.
Last year’s anniversary format of having two full days of music was such a rousing success that Gav and the team have decided to do it again, assembling an early November weekend with some of the genre’s most tantalising names.
Headlining Saturday are Swedish post metal titans, Cult of Luna, who’ve been away from a Damnation stage for far too long, with their last appearance, back in 2016, where they brought their Mariner masterpiece to life, accompanied by Ms Julie Christmas. Still one of my Top Five Damnation sets – maybe even my number one – but it will be great to see them make their Bowler’s debut this year.
As Damnation seems to be the only extreme festival to give fair representation to the Post Metal genre we can again expect a plethora of similar acts to CoL, with Chicago instrumentalists, Pelican, making their first visit to the Bowlers, in fact their first visit to Damnation, with a headline appearance on the Eyesore Merch stage. In fact that seems to be the place for mind-bending and body-crushing riff today, with Swedish sludge gang, The Moth Gatherer, German psychedelics, Coltraine and a home-grown Hundred-Year-Old Man all warming cerebellums and muscles for the headliners. Away from the Eyesore stage, opening the main arena come Holy Fawn and their post rock shoegaze introspection.
Another band vying for the title of Damnation House Band is British Extreme Legends, Carcass, who make a fourth festival appearance and are another band making a Bowler’s debut. Headline shows in 2008, 2013 and 2021 have given the scousers a high bar, but their shows with Kreator back in the Spring prove age is not mellowing the band in the slightest. Carcass-worshippers and Aussie gabba-grinders, The Berzerker, make a first appearance at Damnation in eighteen years and are locked and loaded for the headlining slot on the Holy Goat stage – after appearing headlining the Night of Salvation the previous evening over at the Bread Shed. Nearly two decades away and they’re pulling double duties. Bringing the brutality earlier in the day will be NoS act, Gorerotted, who appeared at the very first Damnation back in 2005 and have been on hiatus since 2014. They play the Only Tools and Corpses record in full the previous night, so one can only wonder what death-grindy delights awaits us on Saturday. Spanish brutal technicians, Wormed, have the honour of being the first band of the weekend, and promise to start proceedings with a blast.
If you prefer your extremity a little darker, Damnation have laid on Denmark’s Møl, with their emotionally devastating take on black metal, New Yorkers, Krallice, who use the genre as a platform upon which to conduct all manner of insane experimentation. Dutch horde, Dödsrit blend their atmospheric black metal with elements of downbeat crust and blast beats, resulting in an oddly organic sound.
NOLA sludge lords, Crowbar, led by the indominable Kirk Windstein, have been laying down primal riffs and doomy moods for the past thirty-five years and across a dozen records, drawing influences from the obvious places, alongside a distinctly hardcore vibe. Fellow Down alumni, Jimmy Bower, will also be making the trip from the fetid Louisiana swamps to a more-than-likely damp Manchester with Eyehategod, his own take on all-things sludge, with added down-tuning and damaged, droning riffs alongside Mike Williams’ tortured vocal delivery. The South is further represented by Arkansas’ Rwake, who’s psychedelic sludge goes some way to showing the genre is anything but strait-laced. Brittany crew, Fange, add an industrial element to their sound, while Connecticut’s self-proclaimed mutant noise brigade, Intercourse are sure to bamboozle and entertain in equal measure.
Taking the mainstage slot between Crowbar and Carcass will be LA industrial rock act, Health, who’s dalliances with the electronic could well see the band as this year’s Perturbator who, let’s face it, were an absolute blast last time around. Aggy Danes, John Cxnnor is sure to stir things up with their combination of hardcore blasts and electronic rhythms. Early on the mainstage will be Meshuggah-adjacent metalcore maulers, Car Bomb, who promise to make their debut appearance memorable; more ‘core comes from Cabal, the Danish deathcore mob how are sure to pack their biggest beatdowns for their appearance at the Bowlers. Frontierer’s new record, Ultraviolet Paradise, will be out by the time they hit the stage and early signs suggests it’s going to be another barrage of intensity we’ve come to expect from the band.
Pins & Knuckles Stage: CULT OF LUNA / Carcass / Health / Crowbar / Eyehategod / Car Bomb / Holy Fawn.
Holy Goat Brewing Stage: THE BERZERKER / Frontierer / Krallice / Cabal / Dodsrit / Rwake / Gorerotted / Wormed.
Eyesore Merch Stage: PELICAN / Mol / John Cxnnor / The Moth Gatherer / Fange / Coltraine / Intercourse / Hundred Year Old Man.
Photo credits: Tim Finch
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DEAN BIRKHEIMER | Go Venue Magazine
BEAT is a progressive-rock supergroup assembled to tackle the music of King Crimson, a band that spent decades making rock music sound as though it had escaped from a laboratory, and learned to play in impossible time signatures.
On Saturday, October 17, 2026, the Orpheum Theater in Omaha welcomed BEAT, featuring former King Crimson members Adrian Belew and Tony Levin alongside guitar wizard Steve Vai and legendary drummer Terry Bozzio.
This isn’t a conventional tribute band dusting off the hits and hoping the audience remembers the words. Two of the musicians onstage helped create this music in the first place, while Vai and Bozzio bring extraordinary musical pedigrees of their own. The result was a meeting of precision, experimentation and sheer instrumental firepower.
King Crimson never made music for people who wanted their rock served neatly packaged with a predictable verse, chorus and guitar solo. Its music was angular, hypnotic, occasionally unsettling and relentlessly inventive. The interlocking guitar patterns could sound like machinery being assembled in real time, while the rhythm section moved beneath them with the precision of a Swiss watch having an existential crisis.
The musicians have emphasized that BEAT is not an attempt to replace King Crimson. Instead, it is an opportunity to bring this extraordinary body of music back to the stage with respect for its original spirit and the freedom to make it breathe again.
If King Crimson had a front man capable of making a guitar sound like an animal, a machine, or something crawling out of a science-fiction nightmare, Adrian Belew was the man for the job. Belew joined King Crimson in 1981 and became a defining voice of its adventurous 1980s lineup. His playing combined unusual textures, sharp rhythmic instincts, expressive melodies and a willingness to make the guitar do things its manufacturers probably never imagined. Before and beyond King Crimson, Belew built an astonishing résumé. He worked with Frank Zappa, toured with David Bowie during the Stage era, and played with Talking Heads, including on the “Remain in Light tour”.
Steve Vai is not a guitarist who believes in doing anything halfway. A former student and musical collaborator of Frank Zappa, Vai emerged as one of the most technically accomplished and theatrically expressive guitarists of his generation. He later joined David Lee Roth’s solo band, helping create the dazzling guitar work heard on “Eat ’Em” and “Smile”, and went on to play with Whitesnake before establishing an acclaimed solo career. His playing can be blisteringly fast, delicately lyrical or gloriously outrageous.
Tony Levin is one of the most respected bassists in modern music, and his work with King Crimson helped establish the foundation of the band’s 1980s sound. His bass playing is muscular but never clumsy, capable of locking into a relentless groove while leaving room for the music’s intricate rhythmic twists. He is also closely associated with the Chapman Stick, a two-handed instrument that allows him to play bass lines, melodies and chords simultaneously. Levin joined Peter Gabriel’s band in 1977 and became a fixture on Gabriel’s recordings and tours. His credits extend across an extraordinary range of artists, including John Lennon, David Bowie, Pink Floyd, Paul Simon, Alice Cooper and many others. His return to King Crimson’s music through BEAT is particularly meaningful because he helped create the original recordings. Levin’s playing is the sort of musicianship that can be easy to take for granted until you try to imagine the music without it. His bass lines provide weight, momentum and a sense of menace, while his Chapman Stick work adds another layer to the band’s unusual sonic architecture.
Terry Bozzio is a drummer whose reputation has been built on musical imagination as much as physical endurance. He first gained widespread attention through his work with Frank Zappa in the 1970s, tackling demanding compositions that required extraordinary coordination, precision and an almost fearless approach to rhythm. He later co-founded the new-wave band Missing Persons with his then-wife Dale Bozzio and guitarist Warren Cuccurullo, scoring hits including “Words” and “Destination Unknown.” Bozzio also became a member of the progressive-rock band U.K., working alongside musicians including John Wetton, Eddie Jobson and Allan Holdsworth. His wider career includes collaborations with Jeff Beck and a variety of other artists, as well as solo performances built around an enormous, melodic drum-and-percussion setup. His approach turns the drum kit into a complete musical instrument rather than merely the engine room at the back of the stage.
The heart of the show is King Crimson’s celebrated 1980s trilogy: “Discipline” (1981), “Beat” (1982) and “Three of a Perfect Pair” (1984). These albums represented a dramatic reinvention of progressive rock, blending interlocking guitars, experimental textures, muscular rhythms and moments of surprising tenderness. The expanded repertoire also gives the performance a fresh identity. Songs such as “Walking on Air,” “People” and “Dinosaur” demonstrate that the King Crimson catalog extends well beyond the material that originally established this lineup’s reputation. An encore featuring Frank Zappa’s “City of Tiny Lites” alongside King Crimson’s “Thela Hun Ginjeet” provides an especially fitting meeting of musical eccentricity and rock-and-roll attitude. BEAT’s performance at the Orpheum was a reminder that complicated music can still be thrilling, that experimentation can still rock, and that some of the most exciting sounds in rock history refuse to follow the rules.
A quick thank you to the people of the Orpheum. The professionalism of the entire team at Omaha’s historic Orpheum Theater is nothing short of extraordinary. Their courtesy, attention to detail, and genuine commitment to excellence make working with them an absolute pleasure. A very special acknowledgment goes to Sean Kall, Communications Coordinator, whose outstanding support exemplified everything a great venue should represent
SETLIST
SET ONE: Dinosaur – Neurotica – Neal and Jack and Me – Santorini in Tangier – Three of a Perfect Pair – Walking on Air – Industry – Larks’ Tongue in Aspic Part III
SET TWO: Waiting Man – People – The Sheltering Sky – Sleepless – Matte Kudasai – Frame by Frame – Elephant Talk – Undisciplined- City of
ENCORE
Tiny Lights – Thela Hun Ginjeet
[See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer
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16th October 2026
Support: Caspian, Otayonii
Words: Oli Gonzalez
Manchester has been host to some quality progressive and post rock this year. Having seen tours from We Lost The Sea, Plini, This Will Destroy You, and many more pass through the city, it was time for another star studded lineup of experimental music. This time, a Friday night at Manchester Academy 2. The line up spearheaded by Pelagic Record’s own And So I Watch You From Afar (ASIWYFA), alongside Caspian and Otayonii in support.
‘’Is this the right queue?’’
The good ol’ bit of confusion whilst waiting outside Manchester Academy and not knowing which line you’re supposed to be in. However, given that one line was full of largely 18-20 year old students and the other full of middle aged men sporting obscure band t-shirts, it was safe to assume which queue was for British boy band The Wanted, and which was for our night of progressive music.
Once in the correct venue, it was time to get an early vantage point with pints in hand and compare thoughts on tonight’s show, all before the lights went down…
Well, there’s left field music. There’s crazy music. And then there’s Otayonii!
How to even categorise this kind of music? ‘Experimental’ seems to be the only word but doesn’t really come close to fully encapsulating how bat-sh*t crazy this was. Here’s an attempt to describe it.
Try to imagine Lane Shi, a petite Asian woman, on stage by herself. No backing musicians. Just herself. Entertaining the crowd through the medium of interpretive dance, electronic beats and her keytar. This whilst wowing and terrifying the audience in equal measures with vocals ranging from ethereal and haunting, through to straight up violent and blood curdling shrieks! Traditionally, the stage is performers, but she broke that barrier and brought the performance into the crowd just to add to the chaos. Otayonii reminds me of…well Otayonii; there really is nothing like this out there! Sounding like a disorganised secondary school music project that really shouldn’t work, it takes skill to craft compositions that appear so muddled and disorganized whilst having an ineffable glue and cohesion that somehow makes it flow.
Lane Shi recently joined The Ocean as 1 of 2 lead vocalists…and they have a woman who was simply born to perform on stage!
Next up from the USA, post-rock legends Caspian and a band who could have easily closed out tonights show. This was loud. Much louder than anticipated! See, when you’re listening at home on Spotify or on vinyl, you’ll find yourself being lulled by the delicate melodies of songs like ‘Hymn For The Greatest Generation’ or ‘Sycamore’. None of these classics made their way into the set tonight. Instead, today marked the release of their brand self-titled album. As such, it came as no surprise that the set was loaded with songs from this, like ‘A Great Fire’ and ‘Remain’. Whilst still melodic, seeing them in the live setting was a completely different animal! With three guitars, a bassist and drummer, this extra beef in the backline shifted the dynamics from indulgent and opulent, to crushing and overwhelming! The good kind of overwhelming though; the kind that provides that atmospheric immersion that you just simply can’t get from listening at home. Despite being fully instrumental, they say more with just their instruments than could ever be said with lyrics. A Caspian set truly is a journey where you’ll ride through multiple waves of emotions. Like some did tonight. It had been two years since they had performed in the UK. Hopefully it won’t be another two years til they return! Surely Damnation and Arctangent festivals will have their eyes on them!
Almost exactly one year since their last Manchester performance, supporting Coheed And Cambria at the ‘big’ Academy, it was time for the Northern Irish post-rockers And So I Watch You From Afar to take to the stage. They were always going to be up against it and have a hard time following up that solid Caspian set. But they were up for the task. They came out of the blocks sprinting and the pit opened before the last song had finished…hang on, a pit at an ASIWYFA gig? Yes, it seems one of the least likely bands to elicit this kind of reaction. But it was Friday night. Everyone was ready to let loose once they had a few pints in them. Plus their explosive energy, chaotic time signatures, and the sheer walls of sound being pumped out through the PA meant that in some ways, people throwing their bodies around was an inevitable by-product. Especially when the first few seconds of ‘Northcoast Megafauna’ was met with roars of approval from the crowd! Though they slowed the pace down with ‘Mother Belfast’, a song that the band described as being ‘as long and complex as Belfast itself’. They also took the opportunity to thank the crowd and to show gratitude to be playing in ‘a room full of people’. It was pretty busy to be fair!
The end of the set was nigh, as was the inclusion of fan favourites ‘Set Guitars To Kill’ and ‘Big Things Do Remarkable’, as well as a good ol’ sing along to the latter. ASIWYFA walked off stage. We knew they were coming back. Fooling nobody, they returned and closed out the night with two more to round off a well paced and structured set. It’s been over two years since “Megafauna”. Deep into this album cycle, is it time for new music?
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15th October 2026
Support: 10 Years
Words & Photos: Tim Finch
With the end of the road now firmly in sight, Kris Barras Band brought their farewell tour to KK’s Steel Mill in Wolverhampton for the penultimate show of a chapter in modern rock that has seen the band establish themselves as one of the UK’s most formidable acts. With American alternative rockers 10 Years providing support, fans gathered to give one final send-off to a band that has delivered time and time again.
10 Years wasted little time making their presence felt, opening with ‘Novacaine’ before launching into ‘Now Is the Time (Ravenous)’. The American outfit brought a welcome dose of alternative metal to the evening, with their sound balancing a hint of late 00’s nu-metal and a more modern heavy style.
‘Waking Up’ and ‘Through the Iris’ continued to showcase the band’s ability to shift between brooding atmospherics and heavier, more direct rock. Their take on Nirvana’s ‘Heart-Shaped Box’ offered a unqiue take on this familiar ditty, while ‘Gravity’, ‘Russian Roulette’ and ‘Fix Me’ kept the momentum building.
The closing run of ‘Shoot It Out’, ‘Wasteland’ and ‘The Optimist’ provided a strong finish to the set, with 10 Years demonstrating exactly why they made for a fitting addition to the bill. Their performance was tight and assured, delivering a varied set that gave longtime fans plenty to appreciate while offering newcomers a worthwhile introduction to their catalogue
For Kris Barras Band, this was more than just another date on the touring calendar. With only one show remaining after this visit to Wolverhampton, there was an unmistakable sense of occasion surrounding the performance. Opening with ‘Who Needs Enemies’ and ‘Unbreakable’, the band wasted no time getting down to business, unleashing the kind of muscular, riff-driven hard rock that has become their trademark. The energy was immediate, and the response from the crowd made it clear that those in attendance were determined to make the most of the occasion.
‘Dead Horses’ and ‘Unspoken’ maintained the intensity, before ‘Monsters We Made’ and ‘Savages’ delivered another dose of the band’s heavier material. Kris Barras has always had a knack for combining hard-hitting guitar work with accessible, memorable choruses, and that balance was evident throughout the set.
‘These Voices’ and ‘Devil You Know’ continued the assault, with ‘Watching Over Me’ providing a change of pace and a reminder that the band’s appeal extends beyond sheer volume and aggression. There is a strong melodic streak running through their material, and these moments help give the set some breathing room without sacrificing its momentum. ‘Ignite (Light It Up)’ brought the energy surging back, while the wonderfully titled ‘Jamma Lamma Ding Dong’ added another twist to a set that was moving confidently through the band’s catalogue.
As the night progressed, ‘Beautiful Lie’, ‘Riot of One’ and ‘My Parade’ kept the crowd firmly engaged, each track adding another layer to a performance that felt increasingly significant with every passing song. With the farewell tour approaching its conclusion, there was plenty of reason to savour these moments, and the band delivered with the sort of commitment that has earned them a loyal following.
‘Hail Mary’ brought the evening to a close, giving Kris Barras Band a fitting final statement for last show in the Black Country. With just one final show left to go, Wolverhampton had been treated to a performance that celebrated what Kris Barras Band do best, giving fans with one last chance to appreciate the band in this form before the farewell tour reaches its conclusion.
Photo credits: Tim Finch
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15th October 2026
Support: 10 Years
Photos: Tim Finch
We look back at the epic Kris Barras Band show through the eyes of our photographer Tim Finch!
Photo credits: Tim Finch
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