Blog

  • TO THE GRAVE – To the Extreme

    WHETHER they are touring relentlessly or releasing a new recording, vegan deathcore unit To the Grave are one of the hardest working bands in extreme metal. With six full length studio albums, a live effort and a string of EPs and splits since their 2013 debut, they have carved out an impressive niche while maintaining an uncompromising, almost incorruptible stance on the issues they support. 

    Their hardline veganism puts them at odds with even the most extreme supporters of similar causes, like Cattle Decapitation. That band’s vocalist Travis Ryan has rejected the widely-perceived idea of them as a vegan band, claiming instead to be vegetarian and saying in interviews such as this one back in 2015 that being on the road often makes it hard for them to know what’s in the food they’re getting while on tour.

    As we settle in to discuss the band’s latest album of unapologetic misanthropy in opposition to humanity’s cruelty to life on our planet, Liberation Front, To the Grave’s frontman Dane Evans scoffs at that suggestion.

    “We have never had a problem finding plant-based foods or vegan food at Walmart or whatever when we’ve been on tour,” he says. “When you make a commitment to the cause you can’t just cut corners or take shortcuts. Maybe that’s just the way it is for people who don’t have the full motivation to look a little bit harder for vegan food. Paying a bit more, sometimes… whatever you’ve got to do.”

    LOUD: It’s not something you can half do, is it?
    Dane Evans: No, definitely not.

    L: I’m really interested in the philosophy behind the music you make. You certainly take it to an extreme level!
    DE:
    That’s something that we certainly hear a lot! I always challenge that, and I always like to say something that was told me, and that’s something like – If I was speaking the way I was speaking, but I was speaking on your behalf, and if someone was going to bite your head off tomorrow morning, it wouldn’t look so extreme then, would it? It would probably look fair and just. I advocate for animals how I would want to be advocated for if I was in that position. I wouldn’t want people to be wusses about and be like, “Oh… please… Let’s talk about it over a picnic” or this and that… 

    L: Are you pessimistic about the way you see things going?
    DE:
    It depends on the day you ask me, I suppose. Some days are a little bit better. Some days we’re making music, making a video, seeing the video come out, watching people pay attention to what we’re saying. Then I’ll be on the highway and I see a truck full of animals that within an hour will all have their heads chopped off. All of them begging me from this truck to let them go. That’s the world we’re in. Then I fucking lose a bit of hope. Because how could you not, when you open your eyes a bit?

    L: I’m not vegan, but I am vegetarian and haven’t eaten meat for seven years. As a person who once raised chickens from eggs and got to understand how beautiful they are as creatures, how they problem solve, set hierarchies and care for their young, it can upset me a bit when I see hundreds of them stuffed into crates on a truck headed to a processing plant somewhere. So I can get behind the message you’re trying to deliver.
    DE:
    I think the majority of people, deep down, do. There’s a lot of conditioning that goes into confessing that we don’t care about animals. But most people do care about their dog, their cat, companion animals, or they don’t want unnecessary cruelty to happen to animals. But that’s what happens every time we eat these products. It is flat-out unnecessary cruelty. I feel like most people would agree if they understood it a bit more.

    L: Dane, is that the message you’re trying to get through with this album? 
    DE:
    Look – we’re not a band that’s going to get up there and make it really obvious. We’re not going to beg people. I’ve tried that. We’ve tried being nice. We’ve tried that approach and people are numb to it at this point. My band is there to remind people of exactly what they’re paying for three, four times a day, and what that would look like if it happened to you. All of a sudden, you wouldn’t like it. That’s definitely something we pulled from Cattle Decapitation. Put people in those positions, and all of a sudden it’s a horror movie. Put animals in there, and it’s just business as usual. So that’s what we’re there for, man. To make you think. The Golden Rule. How would you like it if it was done to yourself? 

    L: That is the Golden Rule, and what you’re saying is almost Biblical in some ways. I’m not a Christian, but one of the things that’s taught in the early scriptures is that man was put here to be a caretaker of the earth, and we really haven’t been that at all, have we?
    DE:
    No, not at all. When you think about Noah’s Ark and all the early scriptures, the ways that we’re supposed to treat animals. It’s insane how we got here. It’s way we wrote a song like Nail Mary. I don’t think any benevolent, all powerful, all kind God would want a world like this, or would want this for His creatures.

    L: Before we move on to the tour, tell us a little about Torture Porn. Because it’s not about what most of us would consider torture porn, right?
    DE:
    No! More so the title than anything else is a commentary on how people can think about what we’re talking about and reduce it to another horrific thing that we just like to write about, or that we’re exaggerating. It’s like when we’re talking about a human rights issue, it’s a very serious thing, and we all agree, and we should be really angry and almost violent when we need to help people, and to liberate people. But then, when we’re talking about animals we get called extreme and all kinds of shit. So we just wanted to have a song that’s commentary on that. We’re a band that actively tells 99.5% of the population to go fuck themselves. This is just one of those songs where we’re like… don’t think that we won’t – you might have met a million vegans whom you’ve bullied or talked shit to, but not us! 

    L: We should talk a little bit about the tour because you’ve got the Australian dates, and then it seems like you’re touring forever after that!
    DE:
    You’re not wrong! We finish that Australian tour and then we fly from Brissie to the States, and then we head back from there for the Hellbound Cruise. And then we might get a second to sit back down.

    L: Even for young blokes like you, that’s a lot of shows in a row.
    DE:
    You’ve definitely got to make sure you’re on top of your game and that you’re hydrated and you can sleep in. After a while on the road, you kind of get used to it. It’s like, a show tomorrow, and you feel great after that one, and before you know it you’re home. It’s sort of crazy.

    L: You’re the first band I’ve had the chance to talk to about Hellbound. Looking at the line-up, you guys are probably by far the most extreme band to be playing it. There’s probably going to be people there who’ve never seen a band as extreme as To the Grave before. 
    DE:
    Yep, that’s going to be a very cool thing about it.

    L: Do you think you’ll be able to get through to some of the people who’ll be there?
    DE:
    I don’t think we’ve ever gone somewhere and not had that infectious energy. It’s been pretty effective everywhere we go with it. So I’m very confident. It sold out really quickly and it’s very cool anytime we get to play to an entirely new crowd. This is Parkway’s fanbase, and I’m looking forward to that. I’m curious! I’ve never been on a cruise before. I have no idea what to expect. I’m just pretty excited for the whole thing. 

    , ,

  • The time Johnny Rotten tried to join Krautrock pioneers Can: “He was phoning and leaving messages at night. And I had to tell him, ‘It’s too late’”

    A pre-fame John Lydon may have famously scrawled ‘I Hate Pink Floyd’ on a t-shirt, but behind the punk posturing lay an appreciation for music that pushed boundaries. While th likes of Yes and Genesis were off the menu, the then-Sex Pistols frontman championed the genre’s more adventurous outer fringes, citing Hawkwind, Van der Graaf Generator and Krautrock pioneers Can as major influences.

    The brand new issue of Prog magazine reveals just how far that admiration went. In an interview with Can co-founder Irmin Schmidt, the keyboardist reveals a tantalising ‘what if?’ moment in rock history: Lydon actively tried to join the band – and the only thing that stopped it was Can calling it quits.

    “He was phoning and leaving messages at night, and he really wanted to become the singer of Can,” Schmidt tells Prog. “And I had to tell him, ‘It’s too late. We finished together. We don’t get onstage anymore.’ I know he wanted to sing with us, it was a brilliant idea. In life, there are situations where you can say, ‘What if?’ What would have happened if Johnny Rotten had become the singer? It’s an interesting thought.”

    Irmin doesn’t specify when this happened, though Can split in 1978 – the same year Lydon left the Sex Pistols and abandoned his Johnny Rotten persona. That union may not have happened, but the singer’s next project, Public Image Ltd, shared Can’s boundary-pushing approach on albums such as First Issue and Metal Box.

    Schmidt, who releases his new solo album, Requiem, on September 26, also address his view on the sometimes contentious ‘Krautrock’ tag, used to describe Can and countrymen such as Neu! and Kraftwerk.

    “I don’t care about this term: it’s like lemonade, now it’s used all over the world,” Schmidt tells Prog. “There were a bunch of painters called the Fauvists, which was pejorative, but now nobody thinks about it. It’s just a category and journalists need categories.”

    Read the full interview with Schmidt in the brand new issue of Prog, on sale now. Order it here and have it delivered to your door.

  • Review VILLAGERS OF IOANNINA CITY “Venceremos”

    One of the bands that has made an impressive rise over the past few years is Villagers Of Ioannina City. It was back in 2019 that I first heard about the Greek band. Their Age of Aquarius album had just been released, and what came through the speakers was an intriguing mix of rock and metal with… Continue Reading →
  • “Everybody knows who Michael Jackson is – and I feel like Ozzy is pretty close to that too”: The iconic metal album Jason ‘Jay And Silent Bob’ Mewes wishes he had made

    Before he became the fast-talking, weed-dealing half of slacker icons Jay And Silent Bob alongside childhood buddy-turned-movie director Kevin Smith, Jason Mewes grew up listening to hard rock and heavy metal. The Clerks/Mallrats/Jay And Silent Bob Strike Back star talks us through the albums that changed his life..

    A divider for Metal Hammer

    The First Album I Bought

    King Diamond – Abigail (1987)

    “My older brother used to buy all the tapes, and I learned what kind of metal I liked through him. So he used to loan me his tapes, but the first one I actually bought was Abigail. That album is my flying music! For some reason it eases me when I’m on a plane.”

    The Album That Defines Metal

    Slayer – Reign In Blood (1986)

    “I would say Slayer, because they’re heavy but they’re not too heavy. I can listen to Death or Deicide, but there are a lot of people you’d play that to who would think, ‘Who is this guy? I can’t stand that screaming, I don’t like this!’ Slayer is still the harder side of metal, but you can still hear the words and enjoy it.”

    The Album I Break The Speed Limit To

    Sublime – Sublime (1996)

    “I dunno about speeding, but I feel like my car music is dancehall and reggae! But for now let’s say Sublime – I know it’s not heavy metal, but I can picture myself breaking the speed limit to it. I know that doesn’t sound crazy but that’s what I listen to in the car!”

    The Album No One Will Believe I Own A Copy Of

    Björk – Post (1995)

    “I’m trying to think what I have here… I have so much crap, ha ha ha! Stuff like Boys II Men, Oasis, The Cranberries… but let’s say Björk. It was when we were doing Mall Rats, there was this girl called Carmen who was really into them, and I really dug it.”

    The Greatest Movie Soundtrack

    Various – 8 Mile (2002)

    “The soundtrack was so good that I actually wanted to go out and buy the CD. 8 Mile! It wasn’t just Eminem on there, but I definitely like Eminem.”

    The Album I Wish I’d Made

    Ozzy Osbourne – Blizzard Of Ozz (1980)

    “I think you can go to the smallest island in the middle of nowhere, where people are washing their clothes in a river, and they’ll still know who Michael Jackson is – and I feel like Ozzy’s pretty close to that, too. So, I would say I wish I made Blizzard Of Ozz because I think Black Sabbath and Ozzy are amazing, but I also think that Ozzy is known all over the place.”

    The Album That Should Not Be

    The White Stripes – Elephant (2003)

    “I always feel like there’s at least one good song on every album. When burning CDs came in, that was amazing to me, because I don’t really like every song on an album! I like the White Stripes’ song Seven Nation Army, but when I got the album I didn’t like any other song on it. But you can’t hate on that, or any artist who puts out a whole album.”

    The Album That Has Soundtracked My Life

    The Beatles – Magical Mystery Tour (1967)

    “I would say The Beatles, if it’s going through my life. There were times I was on drugs on and off, and I remember their song Strawberry Fields Forever was really trippy. With all the songs they had, you could probably put a montage of my life to that, ha ha ha!”

    The Album I Want Played At My Funeral

    The Beatles – Help (1965)

    “If I have friends and family there, they have to be able to tolerate it. So let’s say The Beatles. I think most people can get into a Beatles song… Ticket To Ride! A ticket to ride to the pearly gates!”

    Originally published in Metal Hammer issue 231 (May 2012)

  • Dónal Gallagher Publishes A Book On Rory

    Dónal Gallagher Publishes A Book On Rory

    There’s been a few tomes about Rory Gallagher over the years, yet all of those told the great late artist’s story from the outside, with a rare insight providing a glimpse of who he really was. That’s why a book … Continue reading

    The post Dónal Gallagher Publishes A Book On Rory appeared first on DMME.net.

  • TO THE GRAVE, CHAPEL HILL, NO CURE, ALGOR MORTIS, ANATHAME: Lion Arts Factory, Adelaide, 03/09/2026

    Words by Belinda Quick Photos by Justin White Special thank you to Destroy All Lines “Nature is inexorable and immutable; she never transgresses the laws imposed upon her, or cares a whit whether her abstruse reasons and methods of operation are understandable to men” – Galileo Galilei, Letter to Grand Duchess Christina  The mission statement […]
  • Meat Loaf’s Bat Out Of Hell: The story behind rock’s most crazed death ballad. “Dire Straits may be good, but it just doesn’t do it for me. I was attracted to Hieronymus Bosch”

    First of all, Bat Out Of Hell isn’t even the best song on the album. But it is the title track, and therefore the most representative of that mammoth, life-changing, world-eating magnum opus. Is there any other album ever produced that is viewed so favourably as one recognisable, self-standing entity? Did it even need singles? It was meant to be devoured in one ravenous sitting, and that’s exactly how we all did it.

    If anything represents the concept of “album rock”, it’s Bat Out Of Hell. It is album rock. And it’s probably the greatest stand-alone rock album ever made. It’s also completely ridiculous, albeit in the best way possible. Consider the source: Meat Loaf, a sweaty, overweight leather-lunged theatre kid hungry for an arena, and Jim Steinman, the piano-plinking, black-gloved, Wagner-worshipping trickster who wanted to create immortal rock’n’roll death operas.

    “Meat was the most mesmerising thing I’d ever seen,” Steinman told Classic Rock. “He was much bigger than he is now; he was fucking huge, and since I grew up with (German composer Richard) Wagner, all my heroes were larger than life. His eyes went into his head, like he was transfixed. [At the audition], he sang “You gotta give your heart to Jesus“… I can seem arrogant at times because I’m certain of things and I was certain of him.”

    In any other era, they’d be sent to the loony bin or the unemployment line. Instead, they were locked in a room with Todd Rundgren, and gold was inexplicably spun in vast quantities.

    Of course, no one knew it at first. Here’s the crazy part. Well, the crazier part. Bat-the-album was released in 1977. Bat-the-single wasn’t released until two years later. And let us not forget it’s 10 minutes long (sure, there’s a four-and-a-half minute radio edit, but everybody knows that one is bullshit). Bat is completely inexplicable in every way, and yet it was perfect for the time, place, emotions and parlances of the day. 1979 demanded Bat Out Of Hell, and when it finally got it, it steamed up countless cars blasting the song at make-out points all over the US and the UK.

    The structure is your basic teenage death ballad, complete with leather-clad street gangs, gleaming motorcycles, a breathlessly beautiful teenage virgin, and ‘even young boys down in the gutter’ foaming from the heat. Who knew you could foam from heat?

    It starts out as a theatrical piano ballad, but you just know from the first chord that it’s eventually going to explode into an orgy of over-amped hard rock madness, and that’s just what it does. It entangles you in its drama, shakes you back and forth like a wolf with a rabbit, and leaves you bloody, bruised, and thoroughly satisfied. Steinman originally wrote it for a Peter Pan musical. We should all be eminently thankful that Meat showed up in his life.

    “I never really saw classical music and rock ‘n’ roll as different. I still don’t,” Steinman told Classic Rock. “I grew up liking extremes in music – big gothic textures. I never have much regard for more subtle stuff. Dire Straits may be good, but it just doesn’t do it for me. I was attracted to William Blake, Hieronymus Bosch, I couldn’t see the point in writing songs about ordinary, real-life stuff.”

  • WORM ALTAR – Portland Death Metal Filth Takes Shape on Debut Album Pillars of Eternal Dusk

    Portland, Maine death metal outfit WORM ALTAR will release their debut full-length album, Pillars of Eternal Dusk, on October 16th, 2026 via Dawnbreed Records and Gurgling Gore on LP and CD formats, limited to 300 and 400 copies, respectively. The cassette edition will be released as a co-release between Gurgling Gore and Contemn Light, featuring two limited label-exclusive shell color variants.

    The first single “Watchers of the Gate” is streaming HERE.

    There is something genuinely repulsive about the sound of WORM ALTAR. Crude, abrasive and seemingly dragged out of some damp, lightless corner of the underground, Pillars of Eternal Dusk refuses to polish away the rough edges that give its death metal such an unsettling presence. Yet beneath the layer of grime, the album reveals itself to be far more carefully constructed than its initial assault might suggest.

    Great riffs emerge from the murk, memorable enough to stick in the head long after the noise has subsided. Subtle melodic details and understated atmospheric touches lurk beneath the surface, adding depth without ever compromising the album’s oppressive character. The rawness is therefore not an end in itself: it is the most appropriate vehicle for music that aims to feel uneasy, crawling and fundamentally diseased.

    Drawing inspiration from Gorement, Phrenelith, Disembowelment, Coffins, Mortiferum, Grave Upheaval and Black Sabbath, WORM ALTAR operate in that particularly fertile territory where death metal becomes less a display of brute force than an exercise in atmosphere, physicality and dread.

    Track-list:

    1. Under the Shadow of Night…
    2. Splaying the Offal
    3. Watchers of the Gate
    4. Virescent Fire
    5. The Blind One
    6. Dusk Eternal

    Founded in late 2021 as the solo project of Scott M. (guitars, vocals), WORM ALTAR initially released the Demo 2022 tape through Acid Redux Productions and the Astral Scourge EP in 2023 via Gurgling Gore and Total Death Over Mexico.

    After expanding into a full band, the lineup was completed by John S. on drums, Jon M. on bass and Rob C. on guitar. Jon M. is also a member of sludge/doom legends Come To Grief, while Rob C. handles guitar and vocals in progressive death metal outfit Shabti.

    Pillars of Eternal Dusk was recorded largely live in just ten hours by Todd Hutchisen at Acadia Recording Company in the band’s hometown of Portland. Mixing was handled by Ethan Camp, whose credits include the debut albums of Mortiferum and Mephitic Corpse, while mastering was completed by Dan Lowndes at Resonance Sound Studio, known for work with Ancient Death, Blood Incantation, Cerebral Rot, Imprecation, Infester and Spectral Voice.

    Following the release, WORM ALTAR will perform throughout New England and Canada, bringing the filth of Pillars of Eternal Dusk to the stage.

    WORM ALTAR:

    https://www.instagram.com/wormaltar/

    https://wormaltar.bandcamp.com/

    Dawnbreed Records:

    https://www.dawnbreed.com/

    Gurgling Gore:

    https://www.gurglinggore.com/

    https://gurglinggore.bandcamp.com/

    https://www.instagram.com/gurglinggore

    Contemn Light:

    https://contemnlight.bandcamp.com/

    https://www.instagram.com/contemnlight

  • Kontravoid Announces New Album “Sound of the Void — Listen to New Track “Without”

    Some artists move between genres as tourists, collecting a new set of surfaces with every release. Kontravoid moves differently. Across skeletal coldwave, heavy EBM, freestyle-informed electro, industrial club music, and dark pop, Cameron Findlay has maintained a character that can be recognized within seconds: disciplined drums, bass that seems to alter the air pressure, synthesizers suspended between metallic seduction and industrial alarm, and an abrasive baritone that sounds transmitted from a sealed room. That consistency amid constant movement has made Kontravoid one of the most important acts in the international darkwave and EBM scene.

    The Canadian-born, Los Angeles-based musician, drummer, and producer has announced a new full-length album, Sound of the Void, due October 2, 2026, through Toronto’s Artoffact Records. It will be his second album for Artoffact, coming more than two years after his previous release, Detachment, which came out on March 1, 2024. The announcement includes the new single “Without,” joining January’s “Mortal” as the second track available ahead of the album.

    The space between albums has hardly been empty. Findlay carried Detachment through Europe and North America, appearing at Wave-Gotik-Treffen and playing dates alongside Buzz Kull and Cold Cave. In December 2024, Losing Game Remixes returned to his collaboration with Nuovo Testamento vocalist Chelsey Crowley, while Crowley’s band Nuovo Testamento, Normal Bias, Auragraph, and Tassel each pulled the song into a different corner of the club.

    Findlay also continued his parallel life as a remixer, recasting Ekko the Strange’s “Reanimate,” Modern English’s “Not My Leader,” Mareux’s “The Perfect Girl,” Buzz Kull’s “In the Cut,” and Raudiver’s “No Sun Rising.” The list stretches from foundational British post-punk to contemporary dark pop, but each rework retains his familiar low-end physicality and severe rhythmic control.

    That versatility reaches back beyond the mask. Before launching Kontravoid in 2012, Findlay co-founded the Toronto synthpop group Parallels and played drums with Crystal Castles and TR/ST. Kontravoid gave those experiences a single, durable identity, allowing him to change tempo, density, and genre without losing the tension at the center of his music.

    Findlay’s forthcoming album, Sound of the Void, promises to seamlessly blend coldwave textures with thunderous EBM basslines and pulsating electro rhythms, elevating the body-focused electronic style that has characterized Kontravoid’s recent releases. Yet, “Without” hints that the album will transcend mere repetition of Detachment.

    The new single “Without” opens on a throbbing bass synthesizer, an alarm-like synthwave figure, and drums pressing forward in precise, heavy strokes. Findlay delivers clipped poetic lines through a harsh vocal treatment as warped synthesizers bend around him. When the verse breaks apart, his voice gives way to a flood of effects surrounding a series of shouts. Dark pads, driving electro rhythms, and lush basslines gather into a cold, nearly solid wall of sound, pulling the track toward something disembodied and otherworldly.

    The song sits outside any single darkwave, EBM, or coldwave designation, though every pressure point bears Kontravoid’s signature. It is a different kind of Kontravoid track, and a clear example of Findlay operating at the top of his game: widening the project’s vocabulary while keeping its identity intact.

     Listen to “Without” below and pre-order Sound of the Void here.

    Sound of the Void was produced by Findlay and mixed and mastered by Ewan A. Kay. Dylan Frankland contributed live drums to “Without” and closing track “Phantom,” with Daryl Dee handling the live-drum engineering. Jean Lorenzo designed the cover, while Los Angeles photographer Corinne Schiavone, also known as Perpetual Mobile, supplied the original insert photograph.

    The ten-track album will be available digitally, on CD, and on clear vinyl. A limited black-vinyl test pressing with white labels is also available. The digital edition and CD arrive October 2, while the first vinyl pressing is expected to ship around November 20. Digital preorders include immediate downloads of “Without” and “Mortal.” The album received funding support from FACTOR, the Government of Canada, and Canadian private radio broadcasters.

    Sound of the Void Tracklist

    1. Sound of the Void
    2. Without
    3. Mortal
    4. Subject
    5. Chances
    6. Dimension
    7. Forever
    8. Abandon
    9. Returning
    10. Phantom

    The album announcement precedes Kontravoid’s 27-date North American co-headlining tour with Australian electronic artist Buzz Kull. The run begins September 10 at Elysium in Austin and concludes October 24 at the SUBSTANCE festival in Los Angeles. The October 2 album release falls on the tour’s Kansas City stop.

    Spike Hellis and Normal Bias will join the bill in Spokane, Vancouver, Seattle, Portland, and Sacramento. Tickets and further information are available through Kontravoid’s official website.

    Kontravoid and Buzz Kull 2026 Tour Dates

    • September 10 — Elysium — Austin, TX
    • September 11 — Barbarella — Houston, TX
    • September 12 — Santos — New Orleans, LA
    • September 13 — The Earl — Atlanta, GA
    • September 15 — The Orpheum — Tampa, FL
    • September 16 — Will’s Pub — Orlando, FL
    • September 18 — Metro Gallery — Baltimore, MD
    • September 19 — Nikki Lopez — Philadelphia, PA
    • September 20 — Saint Vitus — Brooklyn, NY
    • September 22 — Foufounes Électriques — Montreal, QC
    • September 24 — Cafeteria — Toronto, ON
    • September 25 — Funhouse at Mr. Smalls — Pittsburgh, PA
    • September 26 — Anodyne Coffee Roasting Co. — Milwaukee, WI
    • September 28 — Icehouse — Minneapolis, MN
    • October 1 — The 808 — Indianapolis, IN
    • October 2 — Encore at Uptown Theater — Kansas City, MO
    • October 3 — HQ — Denver, CO
    • October 4 — Metro Music Hall — Salt Lake City, UT
    • October 6 — Big Dipper — Spokane, WA*
    • October 8 — Biltmore Cabaret — Vancouver, BC*
    • October 9 — El Corazon — Seattle, WA*
    • October 10 — Star Theater — Portland, OR*
    • October 13 — Holland Project — Reno, NV
    • October 15 — Starlet Room — Sacramento, CA*
    • October 16 — Backstage Bar — Las Vegas, NV
    • October 23 — SUBSTANCE at Great American Music Hall — San Francisco, CA
    • October 24 — SUBSTANCE at Belasco Theatre — Los Angeles, CA

    *With Spike Hellis and Normal Bias.

    Follow Kontravoid:

    Kontravoid — Sound of the Void album artwork

    The post Kontravoid Announces New Album “Sound of the Void — Listen to New Track “Without” appeared first on Post-Punk.com.