***FRIDAY ONLY*** Feat. MORBID ANGEL

20th ANNUAL NEW ENGLAND METAL AND HARDCORE FESTIVAL

***FRIDAY ONLY*** Feat. MORBID ANGEL

Dying Fetus, Thy Art Is Murder, Carnifex, Nile, Soulfly, Oceano, Fit For An Autopsy, Winds Of Plague, Misery Index, Enterprise Earth, Rivers Of Nihil, Shadow Of Intent, Archspire, Spite, Great American Ghost, Sanction, Bodysnatcher, I Am, Church Tongue, Revenge Season, Buried Above Ground, Distingusher, Pains, Yashira, Begat The Nephilim, Kingsmen, The Last King

Fri, April 20, 2018

Doors: 1:00 pm / Show: 1:30 pm

Palladium

$45.00 - $50.00

This event is all ages

CLICK HERE To Purchase NEMHF ***2-DAY PASS**

NOTE: Bands subject to change at any time

Morbid Angel
Morbid Angel
Death metal band based in Tampa, Florida.

Formative genetic material of death metal, this band formed in 1984 in Charlotte, North Carolina, and recorded its first album "Abominations Of Desolation" in 1986 (albeit not released until 1991), being inspired by Slayer but eventually moving on to more progressive works with the genre-definitive "Blessed Are the Sick" in 1991. Progressive, rhythmic, complex and evil death metal with lyrics well-crafted from Sumerian and Lovecraftian domains. Not surprisingly, "Covenant" (1993) was the first death metal album released on a major label as even musicians outside the genre found the band technically and artistically impressive.
Dying Fetus
Dying Fetus
Since John Gallagher and Jason Netherton first formed the band during 'the popular days of Death Metal' in 1991, Dying Fetus have progressed, gained it's unique style and become one of the most acclaimed and popular Death Metal/Grindcore acts in the metal underground.

The band's members combine technical brutality with catchy song structures which make each single track they have released so far innovative and memorable.

After touring with bands such as The Berzerker, Hate Eternal, Gorguts, Skinless and other modern Death Metal acts and releasing five full-lenghts; Jason left the band while Sparky Voyles and Kevin Talley were asked to leave because of various internal conflicts.

Everyone was obviously expecting Dying Fetus' imminent death, but it never happened.

In 2003, Dying Fetus re-appeared with a new album, "Stop At Nothing", and a completely new line-up (only John Gallagher remained). Incredibly enough, even though basically a totally different band, all of the elements that made Dying Fetus such a great group were present in the new release and for someone that didn't know the facts, it would seem that nothing ever changed in the line-up.
Thy Art Is Murder
Thy Art Is Murder
Australia's incendiary extreme musical export THY ART IS MURDER, return with one of the most anticipated releases of the year. Produced and mixed by Will Putney (SUICIDE SILENCE, EXHUMED, THE ACACIA STRAIN), "Holy War" is the band's second release for Nuclear Blast Entertainment and third full-length album overall.

"Late last year, we entered the studio in secret to create our follow up to 'Hate', free of expectation and public pressure," explains guitarist Andy Marsh. "What we came out with was a reaction to things going on around the world that crawl under our skin, that make us feel sick to be alive. Musically it is darker, faster and more technical than anything we've done in the past and it hits hard lyrically. We wrote about concerns of ours, real issues, hardships that people are facing around the world today. Of course it wouldn't be a THY ART record if a lot of those affairs weren't rooted in religion somehow, and what better way to sum up the state of all things than by entitling our album 'Holy War'. This is our war on racism, homophobia, child abuse, animal cruelty and all evil born of religious immunity, indoctrination, and ignorance. It is ultimately a push for secularism and humanism. Without it, we will be left in the hands of mad men."

"Holy War" will be available in various formats (digital; limited digi-pak + bonus track; assorted color vinyl; exclusive mail-order picture disc) and unleashed in North America on June 30th, in Europe & Australia on June 26th, and in the U.K. on June 29th.

Rising from the unhallowed wastes of Western Sydney, THY ART IS MURDER successfully cleaved a trail of blood & mayhem since their inception in 2006. With the acclaimed Infinite Death EP (2008) and their debut album The Adversary (2010) firmly establishing their name in the global metal music scene, the band has traversed highways & autobahns all around the world, playing 342 tour dates alone in support of their Nuclear Blast Entertainment debut, Hate (2012), which debuted at #35 on the Top 40 Aria chart - the highest chart debut of any Australian extreme metal band.

Known for their tireless work ethic, THY ART IS MURDER performed at Summer Slaughter 2014 & 2013, headlined their own "Hate Across America" tour in 2013, and supported both EMMURE and BORN OF OSIRIS in 2014, playing throughout the U.S. more times in a two-year period than any other Australian band in any genre of music.
Carnifex
Carnifex
Carnifex is an American Deathcore band from California formed in 2005.
Nile
Nile
Founded by Karl Sanders (guitars, vocals), Chief Spires (bass, vocals) and Pete Hammoura (drums) in 1993, NILE released their first EP »Festivals Of Atonement« (1995) through their own label, Anubis Records. The band’s second EP »Ramses Bringer Of War« was released via Visceral Productions. Dallas Toler-Wade (guitars) joined the band in time to support the release of their first album »Amongst The Catacombs Of Nephren-Ka« (1998), with NILE touring the US as support of the famous MORBID ANGEL, and Europe as support for VADER and SIX FEET UNDER. The debut was followed up by two other blasting records - »Black Seeds Of Vengeance« (2000) and »In Their Darkened Shrines« (2002). Drummer George Kollias joined the band in 2004, becoming the 4th legendary drummer to occupy the drum throne of NILE. Several long months of intense songwriting and pre-production by the band culminated with the release of their paramount album »Annihilation of The Wicked« (2005). NILE’s continuing success led the band to signing with the record label par excellence Nuclear Blast; releasing NILE’s NB label debut finally in 2007, called »Ithyphallic«. A two month long blitzkrieg tour as support on Ozzfest in the USA brought the band to the attention of a much wider, diverse audience; gaining new NILE fans across a wide demographic and expanding the band into new touring opportunities worldwide.

After releasing their remarkable follow-up albums »Those Whom The Gods Detest« (2009) and »At The Gate Of Sethu« (2012), NILE are ready to unleash their new, eighth bone-crushing masterpiece to the masses now - »What Should Not Be Unearthed«.

The band had only one goal for their new record: “The goal for the new record was sheer epic brutality,” guitarist Karl Sanders jokes, but then he answers seriously: “Really though, the focus this time around is on brutal Heavy Metal riffing and songwriting; kind of like of an »Annihilation Of The Wicked« approach but very streamlined to achieve maximum destructive impact. So we believe that we have a truly crushing disc to bring to metal fans. Although »Unearthed« is still full of the kind of undeniable musicianship people have come to expect from us over the years, it’s the songs themselves that will hit listeners over the head this time around.”

The production of »What Should Not Be Unearthed« was handled by the band at Sanders‘ own Serpent Headed Studios. All the tracking was done there too, except for the initial drum tracking, which was done with Bob Moore at Soundlab in Columbia. “It all went fairly smooth, although as we all know, no record is without its share of challenges,“ the guitarist tells. “Overall, though, I can say that this time around the recording/composing/rehearsing was a rewarding and enjoyable experience, and the band worked together as a team with a level of consistence and confidence in a way I’ve not seen since the golden early years of working with original NILE drummer Pete Hammoura.“ After all recordings were done, Neil Kernon in Chicago did the final mix of »What Should Not Be Unearthed«.

The artwork was created by Michal “Xaay” Loranc. “I excavated the theories of an elder ancient civilization which could give the origin to ancient Egypt,” Xaay starts to tell about the background of the cover. “That's why you can find a new ingredient in the band imagery, pointing at some higher obscure intelligence, eroding and covered with time. That trace of a dismal legacy is resembled in the outer structure which radiates from the block, sealing the unknown, and it's only an adumbration of what we will meet, once it is removed. The pyramid-shaped seal in the center doesn't contain a recipe for some camel stew or a pharaoh's dining menu. An experienced eye will notice hieroglyphs taken from the 'Book Of The Dead', or the Seven Islands of Amentet glyph - depicting the ancient underworld, and describing the elder reign of God-kings, which had ended circa 9850 B.C. (perhaps some similarity with that of Atlantis?).” But the main thing of the artwork is a winged scarab sign in the exact center: “We all know this most common Egyptian artifact giving protection... so the message is pretty clear... I hope it may become another fine element in band's repository for the NILE themed tattoos. To sum it up: This album is definitely not a box of candies. Keep in mind that opening the package means you will deal with the deadliest essence…”

Once again, the title and the lyrical themes of NILE’s album are heavily inspired by old Egypt and archaeology: “'What Should Not Be Unearthed' is somewhat like the idea that what if archaeologists accidentally dug up something, so old and unimaginable in its implications of the origin of humanity that it rocked the foundations of modern civilization,” explains guitarist Karl Sanders and continues: “As if everything we all believed to be true about humans, our history, and our place in the universe were shown to be so horribly wrong by these new discoveries that it drove the general population to madness and despair. It‘s a classic Lovecraftian sort of idea. Basically, this song grew out of the concept - of the many recent excavations in Egypt containing fantastical discoveries.

In the track 'The Rape Of The Black Earth,' there is a line referring to looters (both recent and in ancient days): “Unearthing What Should Not Be Unearthed”; in other words, digging up stuff that would have best been left undisturbed, unviolated, left for eternity to rest in peace”. Sanders asked himself: “What would be if they were to dig up something so awful and unbelievable that completely fucked up everything we thought we knew about history, science and mankind?” But he realized that this has already happened: “By the end of the 1800’s and the turn of the century into the 1900’s, the minds of our public consciousness had already been raped by the first discoveries of dinosaurs; with the obvious implication that the earth was ruled by other than man LONG before any Adam and Eve were around . Charles Darwin had given us his theory of evolution - which pretty much forever fucked up the idea that God had created humanity. This was also the time of the great Egyptologists - many unbelievable ancient things were being unearthed and in the news every day.

The work of English archaeologist Howard Carter provided the concept of the “Curse of the Mummy’s Tomb”. The discoveries of the remains of early humans caused an explosion of the field of paleontological anthropology. Around the globe, modern warfare brought about a scale of mass death and destruction heretofore undreamed of. The miracle of electricity was spreading through all the cities of the modern world, and advances in science and medicine were granted god-like powers to mortal doctors. Even the questioning of the very existence of God was spreading like a mind-blowing cancer throughout the civilized world.”

“In 2015, even little kids watch dinosaurs on Saturday morning cartoons. School kids are taught evolution at a young age now. We use electricity as easily as water,“ Sanders states. But these things weren’t that normal a century ago. The guitarist and vocalist adds: ʺIn the early 1900’s, this shit was fucking up people‘s minds left and right. The concept that man evolved from monkeys was sheer blasphemy that shook the foundations of people’s beliefs in a catastrophic way that we just don’t get anymore with our modern perspective. In the 1930’s, the public consciousness was reeling, in a way we just don’t appreciate now that these ideas have become commonplace. So that's more or less the framework for »What Should Not Be Unearthed«.“

Altogether, Karl Sanders says: “Sethu and Ithyphallic - while full of incredible musicianship and unique songwriting approaches - were not ever intended to be definitive NILE records. They were representative of where we were and how we felt as a band and as musicians at those points in our careers.”
“Unearthed is somewhat reactionary in that aspect; it‘s a record that we are confident NILE fans will love,” the guitarist promises and closes: “In that respect, some of these tracks will be instant NILE classics and fan favorites: If someone can listen to tracks like 'Call To Destruction' or 'Evil To Cast Out Evil' and somehow NOT feel that intoxicating, empowering rush of metal adrenaline and feel compelled to raise the horns in metal, I would be genuinely shocked.”

Karl Sanders | guitars, vocals
Dallas Toler-Wade | guitars, vocals
George Kollias | drums
Soulfly
Soulfly
Metal band formed in 1997 by Max Cavalera after he quit Sepultura. The band is based in Phoenix, Arizona.
Oceano
Oceano
Deathcore band from Chicago (Illinois) formed 2006.

Current line-up
Adam Warren: Vocals [since 2007]
Chris Wagner: Bass [since 2014]
Scott Smith: Guitar [since 2014]
Andrew Holzbauer: Drums [since 2015]

Former/Past members
Tristan McCann: Guitar, Bass [2009]
Kevin Colabuono: Bass [2007-2008]
Jeremy Carroll: Guitar [2006-2009]
Andrew Mikhail: Guitar
Daniel Terchin: Drums [2007-2013]
Devin Shidaker: Guitar [2010-2013]
Nick Conser: Guitar [2010-2014]
Jason Jones: Bass [2008-2014]
Michael Kasper: Guitar [2014-2015]
Fit For An Autopsy
Fit For An Autopsy
It seems there’s a new catastrophe hitting the headlines everyday, from corrupt politicians and crooked business people, to criminal mischief and the oppressive renegades within the ranks of those entrusted to protect the people from crime; extreme divides between rich and poor, ideological battles, shrinking resources, the constant threat of war, terror, famine, disease. The problems of the world are every bit as grim, perhaps more so, than during the Cold War, when protest, counterculture, and music from punk to thrash helped give voice to the voiceless.

The crushing music of Fit For An Autopsy is for any fan of extreme metal, as it’s devoid of preachy politics or grandstanding soapboxing, but its sound and fury is absolutely unflinching in purpose. The band expertly blends excessive-force fueled death metal with atmospheric groove and impassioned personal diatribes, reflecting back the dark state of current events. Their fourth album, The Great Collapse, doesn’t waste time with fantasy bullshit or cliché gore horror. Fit For An Autopsy are metal guys, to be certain, but they grew up in the hardcore scene. They embrace the responsibility to put as much devoted purpose into their lyrics and message as they do into their dense, heady, songs, forging a magnificently powerful new post-deathcore.

“When I write a song, I’m trying to feel emotionally connected to it. I really don’t like saying things that don’t matter over music that I want to matter,” says Will Putney, guitarist, principal songwriter and cofounder. “We’ve always addressed serious topics going back to our first album. We aren’t a politically charged band up on a podium yelling at people – anybody can relate to the aggression, anger, frustration, and sadness often communicated in our music. But we absolutely raise important questions in the lyrics. Those themes are there to discover.”

Putney’s fellow guitarist/cofounder, Patrick Sheridan, strongly agrees. He emphasizes that while the music of Fit For An Autopsy may evolve it will always be aggressive and will always have purpose. “We think it’s important to carry that torch. Somebody’s got to say something about the shit that’s going on. If you’re not using your music, which is a great platform, for something meaningful that you care about on some level, then you’re kind of wasting it.”

The six-men of the New Jersey based group – which includes vocalist Joe Badolato, bassist Peter Spinazola, third guitarist Tim Howley, and drummer Josean Orta – put maximum intentionality into everything they do. They are constantly challenging themselves as musicians, adding to the band’s overall creative arsenal, connecting with audiences around the world, and supporting one another in the band as individual people.

Fit For An Autopsy first summoned one of the most crushing takes on the then-burgeoning deathcore genre with their 2008 demo and the following year’s self-released Hell on Earth EP, which led to a deal with The Red Chord vocalist Guy Kozowyk’s Black Market Activities label.

The Process of Human Extermination earned them a place among the genre’s giants, cementing them as energizing leaders rather than stale followers. As MetalSucks observed: “The band’s brutal, glowering take on [deathcore] reminded [us] of the squandered potential of the genre. Hardcore grooves and swagger, when incorporated correctly, blend quite well with death metal.” Fit For An Autopsy’s determined drive, work ethic, and devilishly unmistakable talent next elicited the attention of Good Fight/eOne, the group’s home since their sophomore album.

On Hellbound, Fit For An Autopsy expanded their commanding approach to death metal with hints of metalcore by absorbing increasingly diverse elements, from the rhythmic experimentalism of Gojira to the aggressive post-Noisecore of Converge, with a dose of the New Wave Of Swedish Death Metal, and a touch of groove unique to the New Jersey six-piece.

The group toured with The Acacia Strain and Within The Ruins on the No Way Out Tour, followed by Hate Across America with Thy Art Is Murder. In 2014, they hit the road with Chimaira, Iwrestledabearonce, and Oceano; with Whitechapel, DevilDriver, Carnifex, and Revocation; with Crowbar; and with Suicide Silence and Thy Art Is Murder. Toward the end of the excitingly productive Hellbound cycle, original frontman Nate Johnson split from the band.

The band’s third album served as the recorded introduction of powerhouse vocalist Badolato, whose impressive range (from guttural growls to pitch screaming and beyond) helped destroy all remaining self-imposed boundaries. It’s something the group’s instrumental members had yearned to do as even as they prepared the material prior to enlisting their new singer.

Absolute Hope Absolute Hell cracked the Top 20 on the Hard Rock Albums chart and hit #3 on Billboard’s Heatseekers chart. As Putney often noted in interviews, the record stood defiantly apart from those that offered little more than thirty minutes of blast beats and breakdowns.

Sure, that kind of nonstop pummeling has its place, but Fit For An Autopsy concentrated their focus less on crazy tempo changes and more on atmosphere and vibe, keeping one foot in the crushingly heavy while drawing more deeply from traditional metal influences, post-rock, and esoteric nuance. In 2015, the same year as Metal Injection and other tastemakers hailed the group’s progression, Fit For An Autopsy joined the Stronger Than Faith Tour with Suicide Silence, Emmure, and Within The Ruins, followed by a co-headlining tour with Aborted, a trek with Old Wounds, and the Tune Low Die Slow Tour with Acacia Strain and Counterparts.

“Being out there touring, I can say that our fans have been very accepting of each change and progression,” Sheridan notes proudly. “I’m very grateful, as oftentimes bands are scrutinized heavily as they evolve. We definitely took a step in a direction that people were stoked about.”

Putney points to Absolute Hope Absolute Hell as a definitive moment in the band’s career when they truly came into their own. “I like the earlier records a lot but we were definitely lumped in with a lot of similar-sounding bands at the time. I was happy that we were able carve our own path a little bit more on the last album, which we carried into this new album.”

Between Absolute Hope Absolute Hell and The Great Collapse, the group’s members were able to broaden their creative horizons even further with what became known as The Depression Sessions, a uniquely collaborative project that combined Fit For An Autopsy with their friends in Thy Art Is Murder and The Acacia Strain. Jettisoning the cutthroat competitiveness that often gets between bands, the trio of extreme metal acts joined forces for experimental sessions more akin in spirit to the jazz greats and hip-hop artists, but within the context of heavy music.
All of that collaboration and experimentation, to say nothing of Putney’s accomplishments as an in-demand genre producer whose credits include work with both of the bands who joined them in The Depression Sessions, among others, led to an all new focus on The Great Collapse.
“Iron Moon” is an aggressive shot across the bow of the status quo, railing against the mundane servitude of the 9-to-5 grind, yearning for a life of meaning and purpose. It’s as anti-establishment in tone as the album is in sound. Fit For An Autopsy break with genre convention even as they reshape and redefine their chosen sonic landscape. “Heads Will Hang” confronts the worldwide refugee problem, demanding empathy, placing the listener in the shoes of someone displaced from their home, hungry to escape into a safer life. “When the Bulbs Burn Out” expresses the group’s deep concerns about conservation and sustainability. “Black Mammoth” was inspired by the conscientious activism of the Dakota Access Pipeline protesters. Other tracks are more abstract lyrically, but no song on The Great Collapse is without intensity.
The album’s underlying death metal foundation serves as strong support for its more adventurous forays into chaotic hardcore, bits of deathcore, and a meditative, almost droning rumination not unlike the best of shoegaze and desert rock, like a hazy collision between Queens Of The Stone Age and Russian Circles. The omnipresence of rock titans Tool weaves in and out in powerful doses, with The Great Collapse inviting ever more favorable comparisons to Gojira, a band whose evolutionary trajectory is not dissimilar from Fit For An Autopsy’s path.
“It’s definitely easier to make a living as a band by growing your fanbase within one specific style,” notes Putney. “But it’s more rewarding to go this route. There’s a certain struggle you face when you’re constantly evolving, obstacles you have to face, but we’re happy to do it.”
Sheridan concurs. “I don’t want to sound like any one band or do any one thing. I always want to figure out ways to incorporate new elements that inspire us into what we already do.
“We made a promise when we released our first record, which is that we will never do what somebody else wants us to do as a band. We will always carve our own way.”
Winds Of Plague
Winds Of Plague
Symphonic deathcore band from California, US.
Active since 2005 (was known as Bleak December before).
Misery Index
Misery Index
Misery Index is an American death metal/deathgrind band formed in 2001 in Baltimore, Maryland, United States, by Jason Netherton (vocals and bass guitar), Mike Harrison (vocals and guitar), and Kevin Talley (drums). From 2006–2010, its line-up consisted of Netherton on vocals and bass guitar, Sparky Voyles on guitar, Mark Kloeppel on vocals and guitar, and Adam Jarvis on drums. In 2010, Voyles left the band and was replaced by Darin Morris.
Rivers Of Nihil
Rivers Of Nihil
Death metal band from Reading, Pennsylvania, US.
Formed in 2009.
Shadow Of Intent
Shadow Of Intent
Symphonic Deathcore band from Connecticut/Rhode Island
Spite
Spite
Short-lived hardcore punk band from Weston-Super-Mare / Bristol featuring (ex-) members of Ripcord, Chaos U.K. and Icons Of Filth.
Great American Ghost
Great American Ghost
Hardcore band from Boston, Massachusetts.
Bodysnatcher
Bodysnatcher
Down-Tempo Beatdown Hardcore from Melbourne, Florida, USA
Church Tongue
Hardcore/metalcore band from Indianapolis, Indiana, USA signed to Blood & Ink Records.
Yashira
Yashira
Yashira is an American Metal band from Jacksonville, Florida.
Begat The Nephilim
The Last King
Venue Information:
Palladium
261 Main Street
Worcester, MA, 01608