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« on: June 04, 2008, 09:52:34 AM »

Zandra Productions Proudly Presents

AUGUST 20th, 2008

The only stop in Saskatchewan

All Ages Event

The Riddell Centre  @ The University of Regina

Advance tickets available today @
CBO Outlets
Charge by phone: 525-9999


« Last Edit: July 02, 2008, 10:08:13 PM by zandra » Logged

Cheers and Fuck!!!

Support the a tshirt, buy a cd, BUY A TICKET and attend a show!


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« Reply #1 on: June 04, 2008, 09:53:14 AM »




NECROPHAGIST was founded in early 1992 to integrate the fury of grinding, fast death metal with progressive music. Shortly after the band formed they entered the studio and recorded their first demo tape entitled 'Requiems of Festered Gore.' 'Requiems of Festered Gore' was never released to the masses as it was sent out solely for promotional reasons in an attempt to help the band secure gigs.

In 1995, NECROPHAGIST re-entered the studio and recorded a self-titled, follow-up demo. The demo’s impact sent shock waves through the European underground death metal scene, which helped NECROPHAGIST not only establish their gruesome name, but allowed the band to play numerous shows all over Europe. Soon NECROPHAGIST was recognized as one of the leading bands in the growing underground progressive/technical death metal scene.

In 1999, NECROPHAGIST recorded their self-released, full-length debut 'Onset of Putrefaction.' Despite the limited number of copies that were made, 'Onset of Putrefaction' only solidified the growing reputation that NECROPHAGIST had started with their self-titled demo. Soon, NECROPHAGIST became the standard for progressive death metal. Uniting influences from different styles, including classical music, 'Onset of Putrefaction' showcased NECROPHAGIST’s demanding dexterity, inhuman brutality and fury.

With 'Onset of Putrefaction' NECROPHAGIST reanimated the brutal death metal genre that many had left for dead. 'Onset of Putrefaction' actually became an influence for hordes of young musicians and fledgling European death metal bands. The overwhelming response to 'Onset of Putrefaction' helped NECROPHAGIST secure highly sought after support slots with such extreme music luminaries as CANNIBAL CORPSE, NAPALM DEATH and SINISTER. This attention further blossomed into NECROPHAGIST’s appearance at numerous festivals, including the Fuck The Commerce in Germany, the legendary Brutal Assault in the Czech Republic and the Maryland Deathfest in the United States.

Now in 2004, NECROPHAGIST have signed to Relapse Records and are prepared to unleash the crushing 'Epitaph' on a pitiful and unsuspecting world. Once again NECROPHAGIST have pushed the boundaries of technical and progressive Death Metal to new heights, setting an extreme standard by which others will follow. NECROPHAGIST have quite literally gone where no band has gone before...


"Not only does this band pulse with grim fury, they maintain it with stellar musicianship."

Self-reliance and musical integrity are the two principles to which Dying Fetus have always lived by. Formed in 1991, during the height of the death metal explosion, Dying Fetus have matured into one of the premiere extreme death metal/grind-core acts to emerge from the massive global metal underground. The band is recognized worldwide as a prime example of songwriting perfection, combining an innovative mix of technical virtuosity and catchy song structures to create the ultimate blend of death metal, hard core, and grind.

In 1995, Dying Fetus self-released, promoted and distributed their first album, Infatuation With Malevolence . In support of the album, the band toured the Eastern U.S.. This tour included a high-profile performance at the CMJ Music Convention at New York's Lincoln Center. Dying Fetus also represented death metal as a genre on a panel at the convention.

1996. Dying Fetus's second album, Purification Through Violence is released simultaneously in America on Pulverized Records and in Europe on Diehard Music Worldwide. Dying Fetus immediately embarks on their first full North American tour, hitting 25 cities with Canada's Kataklysm and Florida's Monstrosity. The response to the band's unreal live show is astounding and the Dying Fetus name takes residence in the minds of metal heads everywhere.

1998. Dying Fetus's third album, Killing on Adrenaline is released simultaneously worldwide on both Germany's Morbid Records and in the USA through the band's own label, Blunt Force Records. Dying Fetus embarks on unprecedented 9 week, 52 date North American/European tour, hitting 12 countries in the process- from Denmark to Spain and Belgium to Poland. The band performed at dozens of festivals, including co-headlining shows on the Morbid Metalfest, as well as the Superbowl of Hardcore. During this time, Dying Fetus continued to make a name for themselves, appearing in national and international magazines, placing tracks on dozens of compilation CDs, and consistently doing radio and internet promotional activities. All on their own accord.

1999. Dying Fetus reissues the out of print Infatuation with Malevolence CD (their 93-94 demo collection) with extra tracks via their own label, Blunt Force Records. The new version contained 3 live songs recorded on the 1998 European tour, as well as one demo track not included on the previous edition of the disc.

2000. Looking to expand their scope even further, Dying Fetus sign to Relapse Records and immediately hit the road for a U.S. tour with DESTRUCTION and KATAKLYSM. The band re-issues their Grotesque Impalement EP, a collection of old material and covers issued to hold their rabid fan base over until the new album arrives. Never a band to rest on their laurels, Dying Fetus then completes work on what is easily their finest album (and first for Relapse Records) to date, Destroy The Opposition in July, 2000. A musical mugging aimed directly at the corporate "rock" world, Destroy The Opposition is a brutal response to the everyday stress and pressures of reality in today's age, providing a natural outlet for the alienation and frustration that such a pathetically consumer-oriented and greed-dominated society creates. The record was an immediate success and the band hit the road, touring internationally in support of the album for the next 16 months.

2003. After almost three years DYING FETUS have returned with their brand new full -length Stop At Nothing. Symbolically representative of the greater alliance of anti-mainstream death metal /grindcore / hardcore-punk scenes, DYING FETUS stand in direct opposition to what is considered "normal" in the overwhelmingly conformist American arena. Retaining the vicious, dual-vocal attack and slamming grooves that have become their trademark, DYING FETUS' Stop at Nothing is a savage return-to-form by one of the most influential bands in death metal. Intensity unparalleled, and musical power unrivaled, DYING FETUS are the leaders of the new generation in extreme music.


Coming from a rich, albeit relatively modern heritage of brutal Canadian death metal, BENEATH THE MASSACRE is perhaps the band most apt to take the title for the heaviest and most technical band from its northern forefathers. Mixing voracious, grinding double bass alongside stop-start guitar work and unhallowed death metal growls with a helpful does of destructive breakdowns and unparalleled technicality, the handful of new tracks that make up BENEATH THE MASSACRE's debut full-length are a welcome addition to the heavy metal world. After building buzz in Canada and abroad behind the band's forceful 5-track EP in 2005, the band signed with Prosthetic Records in early 2006, with Mechanics of Dysfunction unleashed to the public in early 2007, a time when metal fans worldwide are craving more extremes in a musical genre already known for being extreme.

Be it extreme brutality, intense musicianship, or sheer musical destruction, though, and BENEATH THE MASSACRE has all the bases covered. Not only is the band unrelenting, but it remains intelligent as well. Evident in the band's name – equating to knowingly living in a sick and twisted world, but still fighting for change – BENEATH THE MASSACRE, employs intellect hand in hand with aural devastation, not only in the band's vocal approach, but also in its instrumentation and outlook on its very existence.

Leaving audiences worldwide salivating for more than 5 titillating tracks(Evidence of Inequity), Mechanics of Dysfunction's 10 tracks surely come to the party to play, combining the brutality of Suffocation, the brutal skillfulness of Origin, cacophonous melody of The Dillinger Escape Plan, and the sheer technicality of fellow Canadians Cryptopsy. Again meeting up with producer Yannick St-Amand (Despised Icon, Ion Dissonance), St-Amand's skillful production and the mastering job from Alan Douches (Shadows Fall, Unearth) – he too returning to work with the band for a second time – BENEATH THE MASSACRE's music is showcased polished and heavy, and poised to raise some noise in an already noisy genre.

After a quiet 2005 with a line-up change, vocalist Elliot Desgagnés' stint in surgery, and only a handful of dates showcasing the band's technical chops to the live crowds, 2007 promises to be a busy, raucous affair for BENEATH THE MASSACRE. With the release of Mechanics of Dysfunction and travel visas in hand, BENEATH THE MASSACRE is set to hit the road for much of the year, finally feeding the masses its brand of bile-infested metal the crowds that have, especially Stateside, been yearning for just that over the last two years.


The band is back home now in Canada (Steve lives in Boston) after another couple of successful tours. The Symphony X/Epica/Into Eternity US Tour was one of the best we have ever had. The US crowds are killer and we love playing south of our border! After the tour was over, we played a headlining gig and then a sold out show in Pittsburgh with Children Of Bodom. I have never seen such a brutal pit and stage diving! It was an insane crowd, so thanks to COB for letting us play the show with them. They are a great band.

Next up was a 25 hour plane ride to Osaka, Japan. A big hello to all of the crew and bands we played with on the Extreme The Dojo Vol.20! Also thank you to Toys Factory and Smash West for bringing us to Japan for the very first time. Some people were saying that the Japanese crowd would be more quiet than we were used to. The crowds we played for were great! They were chanting, starting pits and clapping before we even entered the stage. This is a tour that we will never forget. I could not believe how cool all the fans were. They would be waiting at the hotel lobby for pictures and autographs and some were at the bullet train as well! The band got treated like real professionals on that tour and we hope to come back for our new album "The Incurable Tragedy". The Osaka show was great. I had no idea that the fans would know the words to our songs in every city, but I guess that is the power of the internet nowadays. In Nagoya we played in a shopping mall and at the top was a cool rock venue called Club Quattro. Playing Tokoyo was also a dream come true. We got there a day early, so half of the band went sightseeing, but Stu and I went to Toys Factory and did some interviews with some big Japan mags like Burrn, Eat and my favorite, Young Guitar! I remember as a kid ordering the Young Guitar Yngwie Malmsteen instructional VHS tapes. They changed my playing style from that day forward. Yngwie is my favorite guitar player of all time. I'm glad to see him on the cover of the new Guitar World as well. Shred guitar is finally back in!!

Thanks to all the fans who came out on all of our recent shows. Next up is Summer Slaughter in Canada. We'll be back out soon. Keep it metal!!!


NEURAXIS was formed in 1994 in Montreal, Canada and since their inception, NEURAXIS has forged a unique identity combining sheer brutality with a melodic and progressive edge.

The 1997 debut "Imagery" showcased the band's early death/grind approach. 2001 brought "A Passage Into Forlorn", successfully introducing a more melodic and progressive side of extreme metal in the NEURAXIS arsenal. With 2002's "Truth Beyond...", NEURAXIS raised the bar with a dizzying amount of brutality, melody and technicality. All three albums were released in Canada (Galy Records), the US (Willowtip Records) and Europe (Earache Records) and several tours throughout North America and Europe were completed and established NEURAXIS as a jaw-dropping live act.

With 2005's "Trilateral Progression", the band's songwriting displayed a maturity and complexity while maintaining a triumphant melodic edge that both baffled and laid waste to many contemporaries. "Trilateral Progression" was hailed as an articulate model for challenging technical death metal that rejects commercial trends and successfully balances a majestic sense of melody with go-for-the-throat aggression. 2005 to 2007 was a very busy two years for the band, having performed over 150 live shows. To celebrate these events, "Live Progression" was released on Galy Records, the band's first ever live album, in 2007. "Live Progression" captures NEURAXIS' neck-breaking live show after a logging tour experience throughout North America, Europe and Japan. NEURAXIS will unleash a new monument of extremity through Prosthetic Records come 2008.


Started in February of 2006 the band quickly gained the attention of the underground scene in the US and Europe with relentless touring and face-melting, neck-snapping tunes. Ever since their inception Whitechapel have been turning heads, whether it be by word of mouth, online, or through their devastating live show. With the line up of the band at its strongest and best it has ever been, the release of their highly anticipated full length album entitled The Somatic Defilement (Siege Of Amida Records/Candlelight USA), and their freshly inked deal with Metal Blade Records, there is nothing that can stop them now. Look for Whitechapel on tour throughout the rest of 2007 in support of their latest album The Somatic Defilement (Siege Of Amida Records/Candlelight USA). Whitechapel’s Metal Blade Records debut will be out in stores and online everywhere in 2008.


No bio available


It’s said that given the right conditions, ANYTHING can happen. It’s no wonder that seemingly small coincidences coalesced within a very specific time window at a very specific geographical location in western Canada to give rise to the sonic phenomenon known as DIVINITY.

While singer/guitarist Sean Jenkins was still in high school jamming in a basement with friends in Edmonton, Alberta, his life path crossed with guitarist James Duncan, creating the solid foundation DIVINITY would later come to rest on. Leaving the comforts of their rehearsal space to test their skills in a live setting, the Canadian natives made their on-stage debut by playing live “Battle of the Bands” shows in Calgary. Several years and several line-up changes later, the chemistry created by the addition of drummer Brett Duncan prompted the band to record their five-song Intensify EP. Deciding on a dual guitar approach, Sacha Laskow was recruited into the band’s ranks, and when Nick Foster was enlisted to handle bass duties, DIVINITY had at last found their missing fifth element.

Brought together by serendipity and gifted with the sight to see the necessity of and place for variety, a surging creativity has always fueled these talented, similarly-minded musicians. Armed with his own arsenal of growls, high-pitched screams, and melodic clean vocals, founding DIVINITY member and lead singer Sean Jenkins has successfully overseen the amalgamation of multiple genres: a crushing thrash attitude with complex progressive metal arrangements and brutal death metal overtones. The resulting compositions are devastating. The poise of each song’s shifting time signatures and their unpredictable rhythmic insanities alone will easily qualify DIVINITY’s debut album as one of the more memorable aural assaults of 2008.

Mixed and mastered by the pristine touch of Tue Madsen (The Haunted, Dark Tranquillity, Aborted), showcasing artwork by Mattias Noren (Into Eternity, Evergrey), and featuring guest death & harmony vocals by Greg Muscrave & Jerrod Maxwell, Allegory ’s intricate riffs, plunging grooves, and melodic passages can carry you through the expansive landscape of the soul. Lyrically tackling the themes of substance abuse, the turmoil of relationships, survival in the midst of adversity, the chaos of existence and humanity’s battle against technology, Jenkins explores the parameters of the human voice while capable shredders J. Duncan & Laskow weave their unyielding riffs & solos throughout as the rhythm section of B. Duncan & Foster aptly demonstrates a very feral meticulousness. “Induce,” “Methodic,” and “Modern Prophecy” all exhibit DIVINITY’s dynamic and ferocious range.

A damned-with-talent band sure to please fans of Into Eternity, Strapping Young Lad, and Soilwork, keep DIVINITY on your radar. With a long & healthy future ahead of them, the auditory diversity on DIVINITY’s Allegory makes it a serious contender for one of the most solid debut releases in a mixed genre and will surely propel these musicians out of their native homeland and into the rest of the metal world.


Founded in 1999, “Common Grave” don’t waste any time and issue their demo CD “MDK” 2001. The band soon gets a reputation as an aggressive and intense live act. But their aim to play as many gigs as possible leads to numerous line-up changes. In 2004 they can finally re-establish a steady line-up.
In November 2006 their debut album “Dehumanized” opens a new chapter in the band’s history. Recorded at the Aexxys Art studios by Necrophagist’s Stephan Fimmers and Muhammed Suicmez, the album gets the band a record deal with Twiligh Distribution who also distributes “Dehumanized” worldwide. The press praises the album as an outstanding release of Germany’s Death Metal underground scene:

“Dehumanized is a cool debut!” - Volkmar Weber, Rock Hard, 7/10
„The next big killer thing” - Mattaru, Metal News
“Mandatory Must-Have!” - Leo, Fatal Underground
“An album that will pave the way to international success!” - Jochen Strubl, FFM Rock
„This band is the future!” - LH, Metal Inside
With a now steady line-up (Ferenc Horvath - Vocals, Georg Maier – Bass, Tobias Köppl & Ralf Schröppel – Guitars and Florian Puchert – Drums)
the band impresses on “Dehumanized” in 9 catchy yet brutal songs, with skullcrushing riffs, brute drumming, energizing bass-lines and devastating vocals. A real treat for friends of Suffocation, Misery Index and all fans of US Death Metal blended with of Grind- and Hardcore elements.
Short Summary:
- Founded in 1999
- “M.D.K.” Demo 2001
- „Deathophobia“, contribution to sampler Earth A.D. Records
- “Rebirth the Metal”, contribution to sampler
- “Dehumanized”, Album 2006 Twilight Distribution   


Cheers and Fuck!!!

Support the a tshirt, buy a cd, BUY A TICKET and attend a show!

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