A whole host of new bands have been added to Twenty One Pilots’ upcoming All Points East all-dayer, and it is turning into a real celebration of the band’s incredible culture.
NOAHFINNCE, Honey Revenge, Royal & The Serpent, Mouth Culture, Half Alive, Red Leather, Teen Jesus And The Jean Teasers, Artio, Emi Grace, Reece Young, Gang of Youths and Jessie Murph are the latest additions to the absolutely stacked line-up.
They join the already revealed Wunderhorse, REN, BBNO$, PVRIS, Nova Twins, Dead Pony, Kid Kapachi, and LEAP.
And, of course, the day will end with a full Twenty One Pilots headline set. It’s going to be pretty special.
There will also be an exclusive Fan Premier Exhibit on the grounds. This is set to feature memorabilia including new ‘Breach’ items from the band’s personal collection, interactive photo opps, and more.
Fans will also be able to step into the immersive Banditø Camp – a community space where fans can take photos, explore the camp’s artefacts, and connect with fellow Banditos.
The event will be taking place on August 30 at London’s Victoria Park. Tickets are available right now from www.allpointseastfestival.com
Skindred have announced a nu-metal-themed UK and Ireland headline tour.
Joined by Alien Ant Farm, Spineshank and Orgy at select dates, the trio will celebrate their impending album You Got This with fans up and down the country this autumn – including a whopping 10,000 of them at London’s Alexandra Palace on Halloween.
“We wanted to do something really special to support the release of our new album You Got This,” enthuses drummer Arya Goggin. “After touring with our friends Alien Ant Farm in Europe last year, we had to bring them to the UK to join the Skindred party!
“Halloween is always such a special night, for both us and our fans, so this year our annual ‘Night of the Living Dred’ show will be its biggest-ever at London’s Alexandra Palace! Along with Alien Ant Farm we have Spineshank and Orgy joining us. It’s going to be a really special night with loads of surprises.”
Catch them live at the following:
Skindred You Got This UK/Ireland headline tour
October
24 Nottingham Rock City 30 Birmingham O2 Academy 31 London Alexandra Palace
November
6 Dublin 3Olympia 7 Belfast Telegraph Building 13 Glasgow Barrowlands
Tickets go on general sale this Friday, March 27 from 10am.
Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026 via Auroura Records and Republic Records. Alongside the announcement, she has shared the new single 595, accompanied by a video.
The album was recorded between late 2024 and early 2025 at producer Justin Raisen’s Los Angeles studio, drawing influence from alternative music of the late 1980s and early 1990s. Artists such as Pixies, Soundgarden, PJ Harvey, and Alice In Chains have helped shape the album’s sound. “I’ve listened to that stuff since I was a kid,” Grohl says.
“There’s something so powerful about that period of music,” Violet says, “from the messaging to the visuals, it’s authentic and raw.”
Grohl’s songwriting blends raw emotion with cinematic textures, inspired in part by the work of filmmaker David Lynch. Tracks like THUM and Applefish have already introduced listeners to her distinctive style, while 595 delivers a bold and provocative edge.
The album will be available on CD and multiple vinyl formats, including exclusive editions. Grohl is also set to perform at the Shaky Knees festival in Atlanta later this year.
In addition to CD, Be Sweet To Me is available to preorder in black, blueberry jam (exclusive to indie retailers) and ivory vinyl (exclusive to the official artist store). Pre-Save + Pre-Order via violetgrohl.lnk.to/besweettomePR.
Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026
Violet Grohl – Be Sweet To Me – Tracklist
1. THUM 2. 595 3. Bug In A Cake 4. Last Day I Loved You 5. Big Memory 6. Mobile Stars 7. Often Others 8. Applefish 9. Cool Buzz 10. Pool Of My Dream 11. Plastic Couch
If you listen to metal for long enough, you will inevitably encounter at least one of a plethora of solo projects. The modern state of recording tools has only made that option more accessible with each passing year. On one hand, that ensures more exceptional creative voices are able to enter the fold and share a vision that would never otherwise be experienced. On the other hand, that means every jackoff with enough money and bad ideas can slop out a bunch of nonsense. Most one-person bands end up somewhere in the middle. The biggest problems you’re likely to encounter in a one-person circus are overindulgence and a lack of self-editing. Luckily, Bekor Qilish mastermind, Andrea Bruzzone, does not fall into that trap and managed to make album number three a tidy, fraught and engaging 30-minute affair. But, there must be SOME self-indulgence, right? Ok, well, Bruzzone is clearly a fan of Crimson II and Catch Thirtythree both in certain sonic choices and because this 10-track album is intended to be viewed as a single composition. It works, I swear!
Release date: March 27, 2026. I, Voidhanger Records.
As is the case with pretty much all music coming from I, Voidhanger, Consecrated Abysses Of Dread unleashes the kind of music that would’ve landed Bruzzone in an asylum had it been released anytime before Black Sabbath hit the scene and set our lives on a better path. “Emptiness-Wrought Cognition” skips any pretense and goes straight to electrocuting your brain with slicing guitars, aggressive drumming and froggy vocals. Before it even hits the halfway point, there’s a synth passage that will have you asking if Bruzzone has brain worms. Then it fires off a sick guitar lead that lasts longer than expected and throws in some Cynic-esque cleans just for the hell of it. At three minutes and 45 seconds, the opener is one of the longer tracks; the Edge Of Sanity love is real.
Consecrated Abysses Of Dread has consistent undercurrents and influences, such as a steady diet of Krallice huffing angel dust, but each track does take its moment to shine. “No Solace At The Eschaton” hews closer to the Meshuggah influence with some guitar parts that have the cleaner, siren effect and squiggliness of Fredrik Thordendal. Roughly half of “Fatal Remedy Of The Unyielding Plague” is a deranged breakdown that sounds like the album is having a panic attack. While “Everlasting Advent Of Eternal Forms – Part 2” is not short on pummel, it also closes feeling almost grandiose. There’s a stretch on “The Harmless Mask Of Disembowelment” that sounds almost traditionally Japanese with the instrumentation. The synth-focused opening of “The Abyss’ Voice Grows Distant” is like a campy 80’s horror movie picked a fight with a buddy-cop film. While all of these moments give each track a distinct flavor, they never feel out of place or overly jarring when they come in.
Bruzzone may be the main maestro, but he also brought in some quality guest musicians to help bolster his work. In terms of some of the more recognized names from the guest list, Mick Barr (Krallice) contributes the previously mentioned lead on the opening track, and Lisa Voisard (Anachronism) and Gabriele Gramaglia (Cosmic Putrefaction) contribute an excellent array of vocals on the closing track to give it a violent death metal finish. Bekor Qilish should be credited for doing an excellent job in bringing in outside voices that retain their makers’ quality while still feeling like a part of the designed vision. You wouldn’t immediately assume a guest is present. The album does seem to rely on a drum machine/programming, which may be a deterrent for some. Perhaps one day Bruzzone will add a session drummer that can add some extra oomph to the proceedings, but I don’t personally view the programming as a shortcoming here.
All in, Consecrated Abysses Of Dread is a buzzy, strange and wily little adventure that’s perfect for the I, Voidhanger roster. It’s well-paced, giving listeners breathers from the chaos right when it’s needed, has an eclectic blend of influences, and was created by someone with the vision to know that at least some outside input and contributions would help elevate it. Why not get a little dissonant and weird in the middle of the week?
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their
Event Details
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their
Event Details
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their
Event Details
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their
Event Details
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their
Event Details
Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.
“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”
Punk maverick from rural Georgia, Biters frontman, producer and solo artist, Tuk Smith has seen the best and worst of a music industry in constant flux.
He has been critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most.
“I want to do something that means something to people,” Tuk says, “because a lot of shit nowadays is so disposable and so plastic. I just don’t connect with that. I’d like to do things that impact people positively.
“It’s a weird time on the planet, so to have songs about hope, but not be cheesy about it, it’s something I think we need with songwriting. That’s the kind of music I want to hear.”
With the Troubled Paradise EP out now, and 2025 seeing Tuk on the road with Danko Jones, as well as playing Planet Rockstock, 2026 will see the mild-mannered frontman back out strutting his stuff.
“Rock ‘n’ roll is essentially the illusion of not giving a fuck, right? Like, you know, Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens.
“The point is I sit at that piano many hours, working on this stuff.”
Finnish symphonic metal band Amberian Dawn is headed for a new era: not only do they announce their ninth album, ‘Temptation’s Gates‘, which will be released on June 26th, 2026 via Napalm Records, but they also introduce a new singer with it. Swedish-English musician Nicole Willerton is taking over from previous frontwoman Capri, who sadly […]
Zürich’s FUELED BY FEAR have released their reinterpretation of A-HA’s 1985 classic hit song ‘Take On Me’, unveiling another emotional layer hidden beneath the surface. The track is taken from the band’s new EP “Ordinary Evil” (released on January 31st 2026), produced by Oscar Nilsson (The Halo Effect, The Haunted), bringing the characteristic Gothenburg metal sound to perfection at Bohus Studio. His extremely broad and uncompromisingly hard production gives Fueled By Fear their final edge – like the missing puzzle piece of their sound.
Daniel Zopfi (Guitar) on ‘Take On Me’: “We grew up with “Take On Me” by A-HA. it’s one of those songs that everyone knows, but we always felt there was another emotional layer hidden beneath the surface. With our version, we wanted to bring out the darker side of that feeling . the tension, the urgency, and the sense of stepping into the unknown. The video reflects that idea: being pulled between worlds, between safety and risk. It’s not just nostalgia. it’s about what that song feels like today, through our lens. We didn’t want to copy the original we wanted to reinterpret it in a way that feels honest to who we are as a band!”
Mauro Galasso (Drums) adds: “The idea to cover “Take On Me” came up about four years ago, and at first, I honestly thought: what the hell? Turning an 80s pop classic into a metalcore / melodic death metal track just didn’t seem to make sense. At least not to me. That changed the moment I actually heard it. Once the arrangement came together, everything clicked. For the video, we leaned into that contrast. We embraced the 80s aesthetic, added a bit of parody, and mixed it with our heavier sound. It’s a tribute, but definitely not a traditional one. We shot the entire video in a single day in a small location, keeping things raw and simple, focusing on vibe over perfection. What started as a random idea turned into something we didn’t see coming. And probably not what you expect when you hear “Take On Me.”
Mauro Galasso (Drums) on “Ordinary Evil”: “The title Ordinary Evil is inspired by Hannah Arendt’s book Eichmann in Jerusalem and her idea of the banality of evil. The realization that evil often doesn’t appear as an obvious monster, but emerges through conformity, thoughtlessness, and the abdication of personal responsibility. These thoughts feel disturbingly relevant today. Authoritarian tendencies, power figures, and oversimplification show how quickly history repeats itself when people stop thinking for themselves and find resistance too exhausting. This confrontation also shaped our work on the EP. During the creative process, we completely questioned ourselves musically and personally. What defines us? Where do we want to go? It was a process that forced us to let go of the familiar and approach things differently. There were moments when it would have been easier to give up rather than face this confrontation. This is exactly where Ordinary Evil comes in: Don’t give up. Keep going. Face the repetitions, defend your own path, and don’t let indifference win. It’s worth staying committed. Creatively, humanly, defiantly. Ordinary Evil is our statement for that”
Manuel Elber (Guitar) continues: “Imagine making a dough, only to discover that you don’t like the texture. You put it back into the fridge. The next day you add a little bit of this, a little bit of that, and after processing, your dough still sucks, but not so much to scrap it. So you put it back in the fridge, thinking about what to change. Then you try to learn all the insights a baker learns in a crash course. You add your dangerous half-assed knowledge you gained and surprisingly it starts to feel better. You keep going, learn, each time adding more to the dough and finally you have a bake-worthy consistency, so far from where you started, that it seems like magic. For context: “Ordinary Evil” took about four years to come to life. Scrapped more times than I can count. Cost us blood, sweat and tears, caused literal breakdowns, frequent questioning of the reason why we do this. But it shaped us as musicians, as a family, as a team. The amount of things we learned, technical, recording-wise, in persistence, in constructive criticism, is something no one can take from us. And as for all endeavours this heap of maniacs is tackling: it’s always evolving, always changing, following the heart with an open mind. This one, we’re especially proud of!”
Daniel Zopfi (Guitar) adds: “Ordinary Evil was written out of frustration, anger, and watching the same systems fail us over and over again. It’s about how cruelty gets normalized, how power hides behind routine, and how people learn to live with injustice as long as it’s quiet enough. This EP isn’t subtle and it’s not meant to be comfortable. It’s confrontational by necessity. These songs come from a place of distrust toward empty promises, authority without accountability, and a world that keeps demanding silence and obedience. It’s loud, raw, and uncompromising, fueled by everything we’re done ignoring: the hypocrisy, the violence beneath the surface, and our own complicity in letting it happen. This is us calling it out, refusing to soften the message, and turning that anger into sound exactly as we feel it right now.”
On the EP artwork Mauro Galasso shared: “The cover of Ordinary Evil visually captures the central idea of the EP: Hannah Arendt’s realization that evil often doesn’t appear as an obvious monster, but hides behind an ordinary facade. The ancient bust, whose surface crumbles to reveal a demonic face, is deliberately chosen. Ancient busts are a core element of my visual language as an artist, but here an additional layer emerged: They represent history and human patterns that repeat themselves. The monumental decays and releases what has been repressed. We had various approaches that were either conceptually too complex or didn’t properly convey the message. When I returned to my own visual language, it became clear: The rawness, the epic quality, and the bold impact of this visual language reflect exactly the musical identity we developed with this EP. The series was planned from the beginning. With each release, the facade crumbles further until the true face is fully visible at the end. A visual evolution that runs parallel to the EP. That my own style represents the band best has confirmed me as a graphic designer and as the drummer of Fueled By Fear: We have taken the right creative path.”
With their new EP, Fueled By Fear deliver their most mature and uncompromising work to date. The five tracks move between dark groove steamrollers and melodically dense anthems – harder, more powerful, and more forceful than all previous productions. The band has sharpened their sound: hardness meets groove, tempo meets aggression, while melodic passages merge with modern pressure. The result is songs with enormous chorus quality and real singalong potential – dark, but irresistibly catchy.
BIO: FUELED BY FEAR from Zurich have been combining the intensity of metalcore with the melodic depth of melodic death metal since 2011. The band manages to merge melodic passages with grooving rhythms into a sound that can both strike brutally and touch emotionally. Support performances for In Flames, Sepultura, and even Pantera underscore their international relevance. Their debut “Two By Eight” reached #5 on the Swedish rock charts and #22 in Switzerland. Fueled By Fear stands for authentic metal without filters!
For Fans Of: Heaven Shall Burn, In Flames, Caliban, Darkest Hour, At the Gates, The Haunted, Bleed From Within
Photo credit: Marcel Bruderer
Line-up: Vocals: Marco Böhlen Guitar: Manuel Elber Guitar: Daniel Zopfi Bass: Josh De Souza Drums: Mauro Galasso
Zürich’s FUELED BY FEAR have released their reinterpretation of A-HA’s 1985 classic hit song ‘Take On Me’, unveiling another emotional layer hidden beneath the surface. The track is taken from the band’s new EP “Ordinary Evil” (released on January 31st 2026), produced by Oscar Nilsson (The Halo Effect, The Haunted), bringing the characteristic Gothenburg metal sound to perfection at Bohus Studio. His extremely broad and uncompromisingly hard production gives Fueled By Fear their final edge – like the missing puzzle piece of their sound.
Daniel Zopfi (Guitar) on ‘Take On Me’: “We grew up with “Take On Me” by A-HA. it’s one of those songs that everyone knows, but we always felt there was another emotional layer hidden beneath the surface. With our version, we wanted to bring out the darker side of that feeling . the tension, the urgency, and the sense of stepping into the unknown. The video reflects that idea: being pulled between worlds, between safety and risk. It’s not just nostalgia. it’s about what that song feels like today, through our lens. We didn’t want to copy the original we wanted to reinterpret it in a way that feels honest to who we are as a band!”
Mauro Galasso (Drums) adds: “The idea to cover “Take On Me” came up about four years ago, and at first, I honestly thought: what the hell? Turning an 80s pop classic into a metalcore / melodic death metal track just didn’t seem to make sense. At least not to me. That changed the moment I actually heard it. Once the arrangement came together, everything clicked. For the video, we leaned into that contrast. We embraced the 80s aesthetic, added a bit of parody, and mixed it with our heavier sound. It’s a tribute, but definitely not a traditional one. We shot the entire video in a single day in a small location, keeping things raw and simple, focusing on vibe over perfection. What started as a random idea turned into something we didn’t see coming. And probably not what you expect when you hear “Take On Me.”
Mauro Galasso (Drums) on “Ordinary Evil”: “The title Ordinary Evil is inspired by Hannah Arendt’s book Eichmann in Jerusalem and her idea of the banality of evil. The realization that evil often doesn’t appear as an obvious monster, but emerges through conformity, thoughtlessness, and the abdication of personal responsibility. These thoughts feel disturbingly relevant today. Authoritarian tendencies, power figures, and oversimplification show how quickly history repeats itself when people stop thinking for themselves and find resistance too exhausting. This confrontation also shaped our work on the EP. During the creative process, we completely questioned ourselves musically and personally. What defines us? Where do we want to go? It was a process that forced us to let go of the familiar and approach things differently. There were moments when it would have been easier to give up rather than face this confrontation. This is exactly where Ordinary Evil comes in: Don’t give up. Keep going. Face the repetitions, defend your own path, and don’t let indifference win. It’s worth staying committed. Creatively, humanly, defiantly. Ordinary Evil is our statement for that”
Manuel Elber (Guitar) continues: “Imagine making a dough, only to discover that you don’t like the texture. You put it back into the fridge. The next day you add a little bit of this, a little bit of that, and after processing, your dough still sucks, but not so much to scrap it. So you put it back in the fridge, thinking about what to change. Then you try to learn all the insights a baker learns in a crash course. You add your dangerous half-assed knowledge you gained and surprisingly it starts to feel better. You keep going, learn, each time adding more to the dough and finally you have a bake-worthy consistency, so far from where you started, that it seems like magic. For context: “Ordinary Evil” took about four years to come to life. Scrapped more times than I can count. Cost us blood, sweat and tears, caused literal breakdowns, frequent questioning of the reason why we do this. But it shaped us as musicians, as a family, as a team. The amount of things we learned, technical, recording-wise, in persistence, in constructive criticism, is something no one can take from us. And as for all endeavours this heap of maniacs is tackling: it’s always evolving, always changing, following the heart with an open mind. This one, we’re especially proud of!”
Daniel Zopfi (Guitar) adds: “Ordinary Evil was written out of frustration, anger, and watching the same systems fail us over and over again. It’s about how cruelty gets normalized, how power hides behind routine, and how people learn to live with injustice as long as it’s quiet enough. This EP isn’t subtle and it’s not meant to be comfortable. It’s confrontational by necessity. These songs come from a place of distrust toward empty promises, authority without accountability, and a world that keeps demanding silence and obedience. It’s loud, raw, and uncompromising, fueled by everything we’re done ignoring: the hypocrisy, the violence beneath the surface, and our own complicity in letting it happen. This is us calling it out, refusing to soften the message, and turning that anger into sound exactly as we feel it right now.”
On the EP artwork Mauro Galasso shared: “The cover of Ordinary Evil visually captures the central idea of the EP: Hannah Arendt’s realization that evil often doesn’t appear as an obvious monster, but hides behind an ordinary facade. The ancient bust, whose surface crumbles to reveal a demonic face, is deliberately chosen. Ancient busts are a core element of my visual language as an artist, but here an additional layer emerged: They represent history and human patterns that repeat themselves. The monumental decays and releases what has been repressed. We had various approaches that were either conceptually too complex or didn’t properly convey the message. When I returned to my own visual language, it became clear: The rawness, the epic quality, and the bold impact of this visual language reflect exactly the musical identity we developed with this EP. The series was planned from the beginning. With each release, the facade crumbles further until the true face is fully visible at the end. A visual evolution that runs parallel to the EP. That my own style represents the band best has confirmed me as a graphic designer and as the drummer of Fueled By Fear: We have taken the right creative path.”
With their new EP, Fueled By Fear deliver their most mature and uncompromising work to date. The five tracks move between dark groove steamrollers and melodically dense anthems – harder, more powerful, and more forceful than all previous productions. The band has sharpened their sound: hardness meets groove, tempo meets aggression, while melodic passages merge with modern pressure. The result is songs with enormous chorus quality and real singalong potential – dark, but irresistibly catchy.
BIO: FUELED BY FEAR from Zurich have been combining the intensity of metalcore with the melodic depth of melodic death metal since 2011. The band manages to merge melodic passages with grooving rhythms into a sound that can both strike brutally and touch emotionally. Support performances for In Flames, Sepultura, and even Pantera underscore their international relevance. Their debut “Two By Eight” reached #5 on the Swedish rock charts and #22 in Switzerland. Fueled By Fear stands for authentic metal without filters!
For Fans Of: Heaven Shall Burn, In Flames, Caliban, Darkest Hour, At the Gates, The Haunted, Bleed From Within
Photo credit: Marcel Bruderer
Line-up: Vocals: Marco Böhlen Guitar: Manuel Elber Guitar: Daniel Zopfi Bass: Josh De Souza Drums: Mauro Galasso
