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Kataklysm

September 4 @ 7:30 pm - 11:30 pm

$22
Kataklysm coming to the Forge on September 4, 2019

Rebel Show

Kataklysm, w/:

  • Exhorder
  • Krisiun
  • Hatchet

@The Forge
Wednesday, September 4
doors = 6:30 pm
Show = 7:30 pm
All Ages
Tickets’ starting price = $22

Kataklysm

Led by vocalist Maurizio Iacono and guitarist/producer Jean-François Dagenais, Canadian death metal outfit Kataklysm emerged in the late ’90s with a punishing and chaotic sound matched in extremity only by their reputation for being one of the genre’s most fan-friendly acts. The band’s style has evolved over the years from the tempestuous weight of early releases like Sorcery and Victims of This Fallen World to a more melodic approach to death metal that began with 2002’s career highlight, Shadows & Dust. Prolific and remarkably consistent, Kataklysm have maintained a global presence through decades of hard touring and quality releases, eventually earning widespread public recognition in their home country with their 12th album, 2015’s Juno Award-winning Of Ghosts and Gods.

Formed in Montreal in 1991, Kataklysm’s original quartet of vocalist Sylvain Houde, guitarist Jean-François Dagenais, bassist Maurizio Iacono, and drummer Max Duhamelreleased their debut album, Sorcery, in 1995 on the Nuclear Blast label, followed a year later by a second album, Temple of Knowledge. Early on, Kataklysm termed their heavy rhythmic style as “northern hyperblast,” nicking the hyperblast description from a M.E.A.T. Magazine review of L.A. band,Fear Factory. A subsequent lineup shift led to bassist Iacono replacing Houde on vocals for 1998’s Victims of This Fallen World, which also saw the arrival of incoming bassist Stephane Barbe. With a few exceptions, this lineup would remain active throughout the 2000s, with Duhamel sitting out only 2004’s Serenity in Fire due to injuries. After a pair of releases that followed in the style of Kataklysm’s early days, they made a concerted shift on 2002’s Shadows & Dust toward a more melodic, though still heavy, sound. It proved to be a career standout for Kataklysm in terms of critical and commercial response, and informed their approach on subsequent albums like 2006’s In the Arms of Devastation, 2008’s Prevail, and 2010’s Heaven’s Venom.

The new decade brought a new drummer in Oli Beaudoin, who had previously played with Iacono in his side project Ex Deo. Two decades into their career, Kataklysm found hard-won worldwide success in 2013 with their 11th album, Waiting for the End to Come. While tours of Japan, Brazil, and South Africa expanded their reach internationally, they achieved unprecedented acclaim back home, winning Metal Band of the Year at the Canadian Independent Music Awards and earning their first Juno Award nomination. They built on this success with 2015’s Of Ghosts and Gods, which netted them the Juno for Metal Album of the Year in 2016. Returning in 2018, Kataklysm delivered their 13th studio release, Meditations, for longtime label Nuclear Blast. (Source)

Exhorder

Formed in the late ’80s out of a common interest in speed and doom metal, Exhorder helped shape the “Louisiana sound,” a common sound shared between many metal bands from the state. By crafting chugging, tight riffs with a rigid structure, Exhorder made quite the local impression with 1990’s Slaughter in the Vatican. Although dismissed by some because of the title and front cover, the album paved the way for Pantera’s Cowboys From Hell and helped turn the thrash genre into a new direction. 1992’s The Law did not have the same effect, and the band eventually split because of the direction vocalist Kyle Thomas wanted to take the music. He went on to form Floodgate with his brother, while guitarist Jay Ceravolo formed Fall From Grace. (Source)

Krisiun

An uncompromising extreme metal trio from Brazil, Krisiun’s savage lyrics, punishing riffs, and unmitigated velocity helped make them one of the more punitive metal ensembles to emerge in the 1990s. Heavily influenced by bands like Slayer, Sodom, and Morbid Angel, the band employ a vicious, straight-ahead death metal style that was crystallized into pure fury on career-making outings like Apocalyptic Revelation (1998), Conquerors of Armageddon (2000), and The Great Execution (2011).

Hailing from Porto Alegre and taking their name from the lunar basin Mare Crisium (“sea of crisis”), the band was founded in 1990 by brothers Alex Camargo(bass, vocals), Moyses Kolesne (guitars), and Max Kolesne(drums) — Camargo uses his mother’s maiden name. A pair of demos (1991’s Evil Age and 1992’s Curse of the Evil One) and a self-released mini-album (1993’s Unmerciful Order) helped the band build a strong local following, resulting in a deal with small Brazilian label Dynamo, which put out the group’s merciless debut long player, Black Force Domain, in 1996. It was picked up for wider distribution by Gun Records, which also issued the group’s acclaimed sophomore effort, 1998’s Apocalyptic Revolution, the latter of which turned heads at major metal player Century Media, who scooped the band up and put out album number three, Conquerors of Armageddon, in early 2000. The label proved to be a loving home for the group, who were now taking their sonic onslaught across the globe, sharing stages with contemporaries like Vader, Belphegor, and Rotting Christ, and releasing a string of workmanlike, but undeniably brutal albums like Ageless Venomous (2001), Works of Carnage (2003), Bloodshed (2004), Assassination (2006), and Southern Storm (2008), the latter of which included a fiery cover of fellow countrymen Sepultura’s “Refuse/Resist.” 2011 saw the band issue their eight studio long player, the massively potent Great Execution, which garnered heavy praise from the extreme metal community, as did 2015’s more doom-leaden Forged in Fury. Clocking in at a taut 38 minutes, 2018’s Scourge of the Enthroned marked a return to the Gatling gun riffage and visceral attack of their debut. (Source)

Hatchet

An uncompromising thrash metal outfit based out of San Francisco, Hatchet emerged at a time when classic Bay Area thrash was being eclipsed by technical death metal and post-hardcore. Citing influences like Megadeth, Slayer, and Overkill, the group forged a fiery sonic path that paired caustic riffs and relentless beats with the D.I.Y. punk ethic of their heroes, resulting in a record deal with Metal Blade. Debuting in 2008 with Awaiting Evil, the band went on to issue a string of well-received LPs like Dawn of the End(2013) and Dying to Exist (2018), cementing their reputation as leading lights in the New Wave of Bay Area Thrash movement.

Formed in the mid-2000s around the talents of Eric Lundgren(vocals), Julz Ramos (guitar), Sterling Bailey (guitar), Ryan King (bass), and Alex Perez (drums), Hatchet first made a name for themselves with some high-profile shows in 2006 and 2007. An appearance on the Thrash Metal Warriors compilation led to a pair of big events, the first being an opening slot for the Possessed, and secondly a record deal with Metal Blade in 2008. Their acclaimed debut full-length, Awaiting Evil, followed shortly thereafter. They moved to the End for their sophomore effort, 2013’s Dawn of the End, which showed some New Wave of British Heavy metal influence. 2015’s Fear Beyond Lunacy, also released via the End, debuted a new lineup which featured co-founder Julz Ramos on guitar and vocals, guitarist Clayton Cagle, drummer Ben Smith, and bassist Devin Reiche. The band signed with Combat Records, a relaunched imprint operated by David Ellefson’s EMP Label Group, in 2018 for their fourth studio long player, Dying to Exist. (Source)