Tuesday 30 September 2014

Witchrider - Unmountable Stairs (Album Review)

Album Type: Full Length
Date Released: 17/10/2014
Label: Fuzzorama Records

‘Unmountable Stairs’ CD/DD/LP track listing:

1. OCD
2. One For Five
3. Black (album version)
4. I'm Outta Breath
5. Far From You
6. SP
7. The Cabin
8. The Fog
9. Unmountable Stairs
10. Witch-Hunt
11. Styx

The Band:

Daniel Dorninger
Hans-Peter Leitner
Michael Hirschmugl
Bernhard Weigl


There are not enough bands like Witchrider. ‘Unmountable Stair’s is a beautiful amalgamation of straight laced, good time fuzz n’ roll with darker, doom-tinted flavours haunting each and every one of these songs like the ghost of a restless soul. Instantly accessible and gratifyingly groovy yet understated and uncluttered, it doesn’t try to be anything it isn’t. Rather, this is unabashed fuzz heaven streamlined for success.

Their first full-length record, with a self-titled EP and split EP with Truckfighters – whom they have the honour of supporting on their forthcoming UK tour – already to their name, it is a rock solid effort. It has a really graciously uplifting atmosphere to it, the choruses and crackling fuzz harmonies sound like they could turn grey drizzle-sodden skies blue, and put a smile on even the most miserable bastard’s face.

From ‘Black’s moving chord progressions and addictive licks, to ‘1 for 5’’s ingenious harmonics riff, via the demented ‘The Fog’.  There is plenty of stoner rock musicality and atmospherics to immerse yourself in. But there is an added alternative rock styled edge protruding from the mix. Think of the melodicism of QOTSA and Foo Fighters with added weed, heaviness and darkness and you’ll find yourself traipsing through the kind of murky, mercurial territory that Witchrider have so brilliantly established for themselves.

‘I’m Outta Breath’ gives their shadowy aesthetics a more prominent role, taking on an occult like musical texture before ‘Far From You’, pleasingly redolent ode to the crunching, as-much-fun-as-you-can-have-with-your-pants-on riffology of Fu Manchu. ‘The Cabin’ meanwhile was born to be blared out in a smoky room full of sweaty rockers, all just the wrong side of stoned, to headbang in any form of co-ordinated manner – but having the time of their lives nevertheless.  Come to think of it, the song was probably conceived in an environment remarkably similar. The apple hasn’t fallen from the tree you could say.

Their slot as main support to Truckfighters on their jaunt across our fine island next month is an ideal opportunity to further increase their fan base. A legion of Truckfighters fans, a band with whom this Austrian quartet bear many a resemblance to, await to be hypnotised by their narcotic mysticism. For this is the kind of record that doesn’t merely play out of your speakers or headphones in the hope that someone may listen up and take note. This is the kind of record that wraps its sweet yet sullen self around you; it absorbs you.  

Moreover, it is one of those records impossible to pick a definitive single from. Not because it lacks commercial viability – it has oodles of that – but because every track is equally as persistent and ultimately successful at drilling itself into your head.  Like a devil on your shoulder tempting you to take another filthy gulp.

‘Witch-Hunt’ evokes Lullabies… era QOTSA with its burrowing riff and sassy composure while album-closer ‘Styx’ is a simply irresistible long goodbye. With the fuzz temporarily toned back, its bouncing rhythm and well-scattered intricacies – vocal ‘ooh aahs,’ and bittersweet, crying harmonies – it climaxes like fireworks at the chiming of midnight on a new year: Bright, colourful, breath-taking and commodious, it lights up the skyline with a innate sense of hope and promise for the future. 

Words by: Phil Weller

You can pick up a copy here

For more information:

WITCHRIDER LIVE (as main support to Truckfighters):

Nov 10 – Brudenell LEEDS
Nov 11 – Sound Control MANCHESTER
Nov 12 – King Tuts Wah Wah Hut GLASGOW
Nov 13 – The Basement NOTTINGHAM
Nov 14 – O2 Academy Islington LONDON
Nov 15 Hard Rock Hell – PWLLHELI
Nov 16 – Oobleck BIRMINGHAM

Madrost - Into the Aquatic Sector (Album Review)

Album Type: Full Length
Date Releaed: 23/9/2014
Label: Self Release

‘Into the Aquatic Sector’ CD track listing:

1). The Unknown (01:11)
2). From Beneath the Snow (05:02)
3). Universal Energy (03:13)
4). Operation: Xenomorphic Protocol (04:05)
5). The Oceanic Prelude (00:42)
6). Subterranean Nightmare (03:46)
7). Into the Aquatic Centre (03:59)
8). Depravity (05:05)

The Band:

Tanner Poppitt | Vocals/Guitar
Alejandro Pelaez | Guitar
Richard Orellana | Bass
Cesar Escobar | Drums


Among the bands in the LA metal scene few work and play harder than DIY band Madrost. They begin their latest record with a nice ambient track that plays to the science fiction aspect of the record, making for a eerie intro, giving you the feeling that evil things lurk where the journey is about to take place. The next track ‘Frozen Beneath the Snow’ starts with some straight up serious heavy riffig and power metal screams, inspired by the likes of Kai Hansen or John Cyriis open up the track. Frontman Tanner Poppitt returns to employ his raspy bark vocal style which fits the music quite well. Different elements of metal appear right from the beginning to the end of this record, blast beats, tremolo picking and thrash inspired riffs are all over the place as the band explores where it can take its sound.

The most immediately noticeable element is the development of style on behalf of the band which has resulted in a mature sound. Their last release ‘Maleficent’, featured a different line up but front man Tanner Poppitt returns and seems to have worked hard with this line up as both live and on record they are making waves.  Drumming overall on the album is fitting and confident, it can be said that the addition of Cesar Escobar behind the kit was an excellent choice for Madrost, his powerful presence and consistency speaks for itself and It seems has found the sweet spot in which his beats demand attention on every track.  Ror me his drumming was impeccable on this record.

The third track ‘Universal Energy’ features straight to the point riffing fury that Madrost listeners will be used to by now, but with an added twist, including a memorable chorus that you may find yourself singing along to. The following track ‘Operation Xenomorphic Protocol’ is my personal favorite on the record, filled with tempo changes and heavy riffs and even harmonies, this track simply just kills. The track is more on the death metal side of things and you will hear no complaints from me, however towards the end of the track I feel the record reaches its climax, a solo delivered by guitarist Alejandro Pelaez comes in, amazingly tasteful and melodic solo, joined in harmony by Frontman Tanner Poppitt's guitar which makes for an epic moment on this record. I found myself hitting rewind at least 7 or 8 times to hear it again over and over again as for that moment everything came together perfectly.

Come out of the solo and you are hit with a very Dark Angel-esque style riff, which is very awesome to hear, followed up with some Death inspired riffs too. ‘The Oceanic Prelude’ follows with a very nice soothing classical style guitar, reminiscent of Lord Belial's work in the past, which serves as an introduction to the next track ‘Subterranean Nightmare’. Again when the band is playing together and is hitting the listener with these bone crushing riffs everything is taken to a higher level of heaviness by the solid and consistent drumming of Cesar Escobar, whose double pedal work is intense and some of the best I have heard in a while from an underground band.

The end of ‘Subterranean Nightmare’ includes some very nice bass fills by Richard Orellana who's on live stage presence is top notch, Madrost brings this same intensity that you hear on record to the stage as well.

Closing out the album withInto the Aquatic Sector’, whose chorus is going to be sticking in your head for some time, it may even have you joining in with the band. The end of the track has a very Death inspired moment that is very progressive and very fitting for the moment, as the next track ‘Depravity’ starts again, with in your face death metal style riffing and blast beats which makes for a solid song to wrap up the album.

Overall ‘Into the Aquatic Sector’ is a very promising and solid album which is more proof that DIY projects are reaching a point where they are just as good as record label funded records which deserves much applause as DIY bands. Madrost is playing shows left and right in the LA metal scene and have made quite a name for themselves. On stage they are killer and will have you headbanging right along with them. Something tells me that we have not heard the best of Madrost yet, which makes me excited for what is to come.  This Line up seems to be one that has plenty of promise and talent and already delivering great material such as this latest release. Madrost have deliveredInto the Aquatic Sector’, who knows where they will take us next? I know I will be eagerly waiting for the answer. If Madrost come to a town near you, be there, you will not be disappointed.

Words by: Frank Heredia

You can pick up a copy here

For more information:

Monday 29 September 2014

Live Review: Anathema, Academy 3, Manchester, Uk. 23/9/2014

Long gone are the days of Anathema taking the form of a death/doom metal band, to the extent where debut album ‘Serenades’ could easily be mistaken as a wholly different band. However, a significant portion of their heavy metal fan base has remained loyal throughout their progressive evolution. It’s immediately clear when walking into Manchester Academy 3 just how popular Anathema are, as the packed crowd draped in Anathema t-shirts from all eras eagerly await their arrival to the stage.

The set list is predominantly taken from the last four albums, with latest release ‘Distant Satellites’ being  the dominant focus, which perhaps may have left some fans disappointed. Requests for earlier material are shouted out intermittently provoking the response of “It’s going to be one of those nights is it” from Danny Cavanagh, who makes the remark in a purely light hearted manner. Danny shows his real charismatic side this evening, interacting with the crowd throughout the duration of the set.

As aforementioned, ‘Distant Satellites’ takes precedence over the set list, kicking off with ‘The Lost Song Part One and Two’ followed by the spine tingling ‘Untouchable Part One and Two’, bringing elation from the crowd as Vinny Cavanagh and Lee Douglas pour their hearts and souls into the vocals. However, it’s 'Anathema' from ‘Distant Satellites’ that steals the show for me, the fragility of the beginning followed by the crushing impact of the guitar solo makes for a memorable moment and set highlight.

Vinny utilizes the vocoder for the amazing ‘Closer’, before the sound cuts out and engineers frantically run through the crowd towards the stage. Sound problems are always an annoyance yet between the comedy of a guy shouting out ‘Who has got 50p for the meter?’ and Danny breaking into Pink Floyds 'Wish You Were Here' inviting the crowd to sing along, it was the best handled technical problem I’ve ever witnessed at a gig. Vinny returns to the vocoder and the crowd return to having a wonderful time as if nothing ever happened.

‘A Natural Disaster’ shows off the incredible vocal ability of Lee Douglas, who sings each lyric with utter precision. To the delight of everyone Anathema concludes with ‘Fragile Dreams’ from ‘Alternative 4’ a song that is undoubtedly their biggest hit. What really comes across when Anathema play live, is how massively talented each member is musically; furthermore they play with such outstanding accuracy resulting in an impressively flawless set. Seeing Anathema live is almost an experience rather than just a gig, their music is so beautifully constructed and emotive you become absorbed into the soundscape. A strong contender for best gig of 2014.

Words by: Heather Blewett. 

Ophis - Abhorrence in Opulence (Album Review)

Album Type: Full Length
Date Released: 5/9/2014
Label: Cyclone Empire

‘Abhorrence in Opulence’ CD/LP track listing:

1. Disquisition Of The Burning (14:54)
2. Among The Falling Stones (12:53)
3. A Waltz Perverse (09:16)
4. Somnolent Despondency (11:52)
5. Resurrectum (11:49)


OPHIS [greek: serpent] was founded in the German harbour city of Hamburg in late 2001, as an outlet for its members very own darker sides: an abyssic immersion of slow monolithic Doom Metal and raw, nihilistic and staggering old school Death Metal.

The band steadily became a solid institution among Doom-fans worldwide, collecting a loyal following by constantly playing live all over Europe. After the release of their debut album “Stream of Misery” in 2007, OPHIS toured with Pantheist and Skepticism. Their sophomore record “Withered Shades” (2010)
was praised by the press as one of the best Death/Doom records of the past decade and even won the 2nd place in Metalstorm’s “best extreme Doom album award”, and followed by a tour alongside Ahab and Esoteric.

Recently, Cyclone Empire re-released the debut album and the first EP as a compilation entitled “Effigies of Desolation”, which was accompanied by yet another European tour, this time with Evoken.

OPHIS is musically rooted in the early 90s, yet NOT a retro band, as they push their musical progress onward with every release. This tension grants OPHIS their own niche in a scene dominated by trends, which the band always refused to follow. Lyrically OPHIS are – unusual for a Doom band – observers of society, sometimes even with political undertones. But also personal lyrics dealing with the inner struggles of the members can be found.

The Band:

Phil | guitar, vocals
Martin | guitar
Olly | bass
Nils | drums


Doom/death straight out of the den of iniquity that is Hamburg, Ophis bring the noise from the off. Having been around for well over a decade, these boys know their business. ‘Disquisition of The Burning’ is slow moving and all distorted bass and sludgy guitar work. The vocals are of the Hooded Menace doom school- low and slow. Some nice double tracking with a higher screech can be heard too and this adds to the expansive sound. The track is nearly fifteen minutes long and this sets the standard for what follows.

‘Among The Falling Stones’ is mournful and melancholy as well as being hate filled to the brim. The album is starting to develop into a real misanthropic delight at this point. At nearly thirteen minutes, there is a lot of room for some chugging riff play along with discordant melodies and crawling despair.

‘A Waltz Perverse’ has a clean guitar intro before things get really filthy over its nine minutes plus length. The track has some faster sections and pinch harmonics here and there to ring the changes. This is positively speedy compared to the earlier tracks. The feel of Dragged Into Sunlight springs (or crawls or slithers) to mind- horrifying stuff for sure!

‘Somnolent Despondency’ sounds just like the title- eerie and mournful while being panoramic in sound and scope. Good solo, too. Listening through this track is an endurance test in itself. It is relentlessly bleak and hostile. Bravo, Ophis, bravo...

‘Resurrectum’ delivers the coup de grace of this aural execution. It is a slow burner (no surprise, there) and builds up nicely with some glowering guitar work that gets heavier and then heavier again. The bass sound is a joy (in a way) throughout- low and dirty with the right amount of distortion. There are some cool rhythmical motifs on display here and double bass drums where they need to be.

No doubt about it, Ophis are masters of their craft. Veteran misanthropes serving up a cold main course of hatred. A fine and bleak album; perfect for the slide towards winter.

Words by: Richard Maw

You can get it here

For more information:

Nightbringer - Ego Dominus Tuus’ (Album Review)

Album Type: Full Length
Date Released: 26/9/2014
Label: SOM - Underground Activists

‘Ego Dominus Tuus’ CD/DD track listing:

1). Prayer Of Naphal (02:00)
2). Et Nox Illuminatio Mea In Deliciis Meis (09:00)
3). Lantern Of Eden’s Night (09:30)
4). Things Which Are Naught (05:36)
5). I Am The Gateway (07:33)
6). Call Of The Exile (04:26)
7). Where Fire Never Dreamt Of Man (06:41)
8). The Witchfires Of Tubal-Qayin (07:43)
9). Salvation Is The Son Of Leviathan (Alabas in Memoriam) (06:08)
10). The Otherness Of Being (12:43)


Ego Dominus Tuus" comes as a huge surprise. With their previous release "Hierophany Of The Open Grave" (2011) NIGHTBRINGERsucceeded to raise an eyebrow or two in Europe, but the old world was rather busy with sufficient orthodox Black Metal of its own. This is about to change. Sure, the elements that "Ego Dominus Tuus" is made of are well known. There are obvious traces of EMPEROR, DARK FUNERAL and DIMMU BORGIR among other black classics to be found on the American's fourth full-length. Yet NIGHTBRINGER have created dark and gripping music that is clearly bigger than the sum of its parts. Their songwriting is flawlessly elegant and easily carries even through songs of epic duration without a single second wasted.

When NIGHTBRINGER were founded, the band was created as a conduit for contemplations on the mysteries of death as it is understood in the tradition of the magical arts. Formed in the year 1999 by Naas Alcameth (guitars and vocals) and former member Nox Corvus (guitars, percussion and vocals), the band from Colorado in the United States chose Nordic Black Metal as the foundation of their artistic expression. NIGHTBRINGER are still holding up the traditions of second generation Black Metal, while adding their own unique sinister sound. After unleashing several demos and split releases between 2001 and 2006, their debut album "Death and the Black Work" darkened the light of the world in 2008. A second album followed two years later with "Apocalypse Sun". Rising from the US underground,NIGHTBRINGER found themselves opening for major acts of the scene such as WATAIN, KRIEG and PROFANATICA and in 2014 crossed the Atlantic for a small tour reaping strong praise from the initiated.

Now it is time to listen to NIGHTBRINGER again without prejudice and discover the remarkable strength of "Ego Dominus Tuus" that will lead them to the elite circle of American black metal!

The Band:

Naas Alcameth | guitars, bass, vocals, scripts and ambience
Ophis | guitars, bass, vocals and scripts
VJS | guitars, bass, backing vocals
Ar-Ra’d al-Iblis | vocals, scripts
Menthor | percussions


‘Ego Dominus Tuus’, the third album from Colorado black metal band Nightbringer marks a slight tonal shift, which some might cite as a negative. Do not count me among them, as I think the album adds new elements that work well and move the band along nicely. Change is often necessary, and as long as a band makes logical choices when evolving their sound; it’s the only way to avoid stagnating.

The first two albums were built around a lot on dissonant, clashing chords, which you might equate with a band like Deathspell Omega. They weren’t quite as jarring as Deathspell Omega, as things tended to be a bit more open and flowing from a rhythmic standpoint, whereas DSO is jagged and stabbing with harsh tempo changes from out of nowhere. The shift on ‘Ego Dominus Tuus’ takes Nightbringer into territory more synonymous with a Dark Funeral, Setherial or maybe Funeral Mist. That isn’t to say they’ve completely abandoned what’s worked for them in the past. “I Am the Gateway” features a slower, warping section that would have fit in quite nicely on ‘Hierophany of the Open Grave’. But those moments represent a smaller part of this album than on either of the previous two.

One change that should strike you right away is an increased focus on borderline-ridiculous blasting tempos. It’s very often every bit as fast as the fastest of Dark Funeral songs, which is no doubt thanks to new drummer Menthor who also played drums on the newest Enthroned album. The bulk of this much faster material is concentrated at the front of the album, only showing up occasionally in the later stages. Many of these super-fast sections also tend to include the Dark Funeral/Setherial-style wall of inverted power chords, which is what drives my constant comparisons to those bands.

While the album is very often compelling and even enthralling; it’s simply too fucking long. There is no need for an album of this style to be 70 minutes long. Rather than giving the album a sense of grandeur; it brings the the whole thing down a notch for feeling bloated and over-stretched at a time when no one is really making demands of album length.‘Ego Dominus Tuus’ would likely be a fantastic 45-50 minute album, rather than a very good 70 minute album. Really, the easiest cuts would be “Call of the Exile” and “Salvation is the Son of Leviathan”. They’re pretty unnecessary as they’re largely just atmospheric, tension-building tracks and Nightbringer already does an excellent job of building tension within their sound, so instrumental tracks like these feel like filler.

With the album’s only major flaw out of the way, the greater positives still remain. Very few in American black metal can craft an engrossing atmosphere the way Nightbringer can. They know how to build to a huge, climactic moment. They know how to conjure up a huge production too, and they make excellent use of it, as this is certainly their best-sounding album so far. They just need to learn when to say enough is enough.

Words by: Daniel Jackson

You can pick up a copy here and in the USA here

For more information:

"Bible of Butchery" CANNIBAL CORPSE by Joel McIver (Book Review)

In addition to releasing their thirteenth full-length album, "A Skeletal Domain," the death metal icons will also be releasing their official autobiography on September 16th. "Bible of Butchery: The Official Biography" was written by Joel McIver, the author of Justice For All: The Truth About Metallica and biographies on Black Sabbath, Slayer, Slipknot, and Queens Of The Stone Age. The book spans 150 pages, includes a forward written by drum legend Gene Hoglan, and is loaded with photos from throughout the Cannibal Corpse and Metal Blade Records archives. The book is available now for $19.99 plus shipping at indiemerch.com/metalbladerecords.

Excerpts from "Bible of Butchery: The Official Biography":

"Together with the band name that I came up with, and all the crazy cannibal films that we liked, we thought that should be the focus. Cannibal Corpse was a reanimated body which consumes other humans: the theme of the band was spelled out for us right there." - Alex Webster
"I've always been a smartass on stage. A lot of people who came to see me in Corpsegrinder were my friends, and they would be constantly breaking my balls when I was on stage, so I used to have to give shit back to them, which in hindsight probably helped with what I do now." - George "Corpsegrinder" Fisher

"When Rob Barrett quit Cannibal Corpse in 1997, the slot came up for a guitarist. I went down there and learned the songs and played them with the band, but it was funny: they didn't tell me if I'd got the gig or not. I kept learning the songs and playing them with them, but they wouldn't tell me for the longest time if I was in or not! They were like "We're not sure" and then finally I said, "Have I got the gig or not?" and they told me I had." - Pat O'Brien

"I wanted to know how music was made: I'd be glued to the guitar players and watch how they played. Then a friend of my brother sold me his guitar, a Gibson L6S which I bought for $12. I used to pretend I was playing it. Even when I was a little kid I used to play air guitar on tennis rackets. Then I tried a guitar that belonged to a friend of mine in a band, and played along note for note with the song they were playing. The guys in the band freaked out and told me I had to get a guitar. Then in 1985 I begged my mom for a guitar—"Please mom, I'll never ask you for anything again!"—and I got a Cort Flying V and a practice amp." - Rob Barrett


I have always taken an active interest in finding out a little more about the music I like- not just listening to it. For those of a similar mindset, this book is perfect for you. This is no “Hammer of The Gods”-esque lurid account, and nor is it a boredom inducing compendium of tour itineraries and release dates. It sits somewhere in between those two music biography extremes. At 170 pages with plenty of photos, it is fairly slim. Indeed, reading it on a commute or in the privacy of your own home is a task that is achievable in a few hours total. As a companion to the back catalogue of Cannibal Corpse it works very well.
You get a kind of profile of each band member, a history of the band, a few tour stories and pages of lyrics with song-writing explanations and inspiration from the relevant band members regarding the lyrical themes.  Throughout, Joel McIver keeps pushing the point that the members of Cannibal Corpse are just “normal” blokes in their forties and not serial killers. This is, of course, true and is also blindingly obvious. Simply put: if the members of Cannibal Corpse committed the acts described in their songs they would not be touring internationally or anywhere at all. They would be in prison. McIver and the band do point out, more sensibly, that Cannibal Corpse’s songs are horror stories set to music- nobody censors books and even film censorship has dropped off considerably in recent years, so why does music still come in for so much scrutiny?

It is interesting that Cannibal Corpse have come in for so much intrusive censorship and scrutiny over the years. The fact that they were banned from playing songs from the first three albums in Germany for well over a decade is both ridiculous and incomprehensible. They are currently having problems over in Russia (I am more scared of the Russian state than Cannibal Corpse, for sure). No one is claiming that the band are bastions of free speech and/or political activists- least of all the band themselves- but the mirror that this holds up to the rest of society does not flatter. As the band point out, the things they write about as extreme and macabre horror really do happen and the media and the public are rabidly interested when it does.
The revelations contained within this tome are a worthy read- the pounding intro to Hammer Smashed Face brought to mind the impact and rhythm of a hammer; hence the title- while the band members do come across as well adjusted and nice people and family men. Pat O’Brien, we learn, likes to go to the gym and will not drink before a show; Alex Webster practiced Brazilian Jiu Jitsu for a few years, various members are either outgoing and sociable or more reclusive and mellow. Indeed, the everyman angle pushed by the author seems wholly accurate. The members of Cannibal Corpse are regular guys- huge metal fans from their teens (like most reading this), they took up playing instruments as they felt compelled to do so and then forged ahead into a full blown career.
The tour stories are along the lines of drinking and fighting- which is exactly what you would expect- but are not plentiful. You get the feeling that being on the road with Cannibal Corpse is like an enjoyable work road trip rather than a non-stop whirlwind of going on nights out with Tommy Lee.  This isn’t Metallica; no private jets or drug habits here; you get a band that lives either in the studio or on the road. Webster’s remarks about specificity when writing lyrics are interesting, as are the band’s view on themselves and their position in the metal world. They are down to earth and know exactly what they are all about and how they are perceived. Did I know more after reading this than I did before? Absolutely. Is this book a must read? If you are a fan, then yes. In terms of information, I have seen the 3hr Centuries of Torment documentary disc and found it a comprehensive mine of information on the band’s evolution- more in depth on history than what is on offer here in print, definitely.  It’s also worth noting that only current members contribute here- unlike the aforementioned DVD doc, which limits insight. 

Yes, there are a fair few photos and if you own the albums physically then you most likely own all the lyrics too. That aside, this is perfect reading to go with their new record “A Skeletal Domain.” If you wanted to know more about how the band operates, how the songs are written and what inspires the musicians, then this is for you. Personally, I enjoyed it hugely and will most likely refer to it again when something in their back catalogue piques my interest. All in all.... a bloody good read (ha!).
Words by: Richard Maw

You can pick up a copy here
For more information:
Tour w/Hour of Penance
09/07   Perth, AU                      Capitol
09/08   Fowlers, AU                   Adelaide
09/09   Melbourne, AU               Billboard
09/10   Sydney, AU                     The Metro
09/11   Brisbane, AU                  HiFi
End Tour
09/17   Tokyo, JP                      Liquid Room
09/18   Nagoya, JP                    ELL
09/19   Osaka, JP                      Club Quattro
09/20   Hiroshima, JP                Club Quattro

w/ Revocation, Aeon
10/14   Jyvaskyla, FI                  Lutakko
10/15   Helsinki, FI                   Nosturi
10/17   Stockholm, SE                Debaser Strand
10/18   Oslo, NO                       Vulkan Arena
10/19   Gothenburg, SE              Sticky Fingers
10/21   Zwolle, NL                    Hedon
10/22   Saarbrücken, DE            Garage
10/23   Lyon, FR                        Ninksi Kao
10/24   Barcelona, ES                Razzmatazz 2
10/25   Madrid, ES                     Arena
10/27   Toulouse, FR                  Le Bikini
10/28   Paris, FR                       Trabendo
10/29   Strasbourg, FR               La Laiterie
10/30   Antwerp, BE                  Trix
10/31   London, GB                   Forum
11/01   Leeds, GB                      Damnation Festival *No Revocation, Aeon
11/02   Lille, FR                                    Splendid
11/04   Frankfurt, DE                Batschkapp
11/05   Ludwigsburg, DE            Rockfabrik
11/06   Osnabrück, DE               Rosenhof
11/07   Hamburg, DE                 Klubsen
11/08   Aalborg, DK                   Metal Festival
11/09   Copenhagen, DK            Amager Bio
11/11   Berlin, DE                      C-Club
11/12   Prague, CZ                    Club Roxy
11/13   München, DE                 Backstage
11/14   Glauchau, DE                 AlteSpinnerei
11/15   Brno, CZ                        Fleda
11/16   Cracow, PL                    Fabryka
11/17   Warsaw, PL                    Progresja
11/19   Graz, AT                       Explosiv
11/20   Budapest, HU                 Club 202
11/21   Zilina, SK                      KlubSmer
11/22   Wien, AT                       Szene
11/23   Nova Gorica, SI              Mostovna Club
11/25   Treviso, IT                     New Age
11/26   Milan, IT                       Alcatrazz
11/27   Lausanne, CH                Les Docks
11/28   Pratteln, CH                  Z7
11/29   Bochum, DE                   Matrix
11/30   Uden, NL                       De Pul

70000 Tons of Metal Cruise
01/22-01/26     Ft. Lauderdale, FL         Info/tickets at 70000tons.com