SEPTICFLESH, KRISIUN, MELECHESH, EX DEO and INQUISITION will joined forces for the “Conquerors Of The World” North American tour in October.
Confirmed dates so far are as follows:
Oct. 12 – Toronto, ON – Wreck Room
Oct. 13 – Trois-Rivières, QC – Trois-Rivières Metalfest
Oct. 14 – Montreal, QC – Cafe Campus
Oct. 15 – Cambridge, MA – Middle East Downstairs
Oct. 16 – New York, NY – Gramercy Theatre
Oct. 17 – Cleveland, OH – Peabody’s
Oct. 18 – Chicago, IL – Reggie’s Rock Club
Oct. 19 – Saint Paul, MN – Station 4
Oct. 20 – Winnipeg, MB – Park Theatre
Oct. 21 – Regina, SK – The Exchange
Oct. 22 – Edmonton, AB – Pawn Shop
Oct. 23 – Kelowna, BC – Sapphire Night Club
Oct. 24 – Vancouver, BC – Rickshaw Theatre
More shows will be announced soon.
SEPTICFLESH recently inked a deal with Prosthetic Records.
SEPTICFLESH‘s latest album, the critically acclaimed “The Great Mass”, was released in April 2011 by the French label Season Of Mist and was produced by Peter Tägtgren (IMMORTAL, HYPOCRISY). The CD, which featured a full orchestra and choir, captured the band much attention, including placement on several “Album Of The Year” lists from notable publications worldwide.
SEPTICFLESH‘s current lineup consists of Seth Siro Anton (bass, vocals), Sotiris Anunnaki V (guitar, clean vocals), Christos Antoniou (guitar, orchestral), and Fotis Benardo (drums).
KRISIUN‘s new album, “The Great Execution”, was released on October 31, 2011 in Europe and November 1, 2011 in North America via Century Media Records. The band’s eighth studio CD “musically expands KRISIUN trademark high-speed death metal violence with a heavily increased amount of diversity ranging from extreme tempo variations over distinct rhythm patterns to clean guitars and even Flamenco parts!” according to a press release.
KRISIUN only used analog gear and instruments this time to avoid the compressed sound that so many musicians produce today. This wise decision resulted in a more organic sound, with the songs on “The Great Execution” possessing both warmth and rawness, which are so often lost through digital production. The low end is deeper, with drums that pound instead of bounce and guitar tones that sear rather than hiss.