CANCELED: Napalm Death + Aborted

Fri Apr 24 2020

6:00 PM

Reggies Rock Club

2109 South State Street Chicago, IL 60616

$20 cover

Ages 17+

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The concert featuring Napalm Death and Aborted is CANCELED. All purchased tickets will be refunded at original point of purchase. 

Reggies Rock Cub 
6pm doors / 17+ / $20 

Empire Productions presents: 
Napalm Death + Aborted co-headline
Inner Decay

CANCELED: Empire Productions presents
CANCELED: Napalm Death + Aborted

  • Event Cancelled.
  • Napalm Death

    Napalm Death


    What makes NAPALM DEATH so special? Well, let’s think back 30 years: Would you have thought that a grindcore band from Birmingham would ever make it into the official album charts with some of the most infernal noise ever put on tape, enter the Guinness book for the shortest song ever recorded or appear in a prominent UK TV series named “Skins”? That it would be part of an Alice Cooper hosted episode of BBC’s Never Mind the Buzzcocks to guess from a couple of look-alikes who is the singer in NAPALM DEATH? Could you have ever imagined a down-to-earth lad named Mark “Barney” Greenway, a soccer fan (Aston Villa F.C.), vegetarian, prog metal freak and one of music history’s most renowned representatives of “cookie monster” style vocals would become a personality within the extreme music realm that is not about beer-drinking and hell-raising but synonymous with sounding hard while being smart? Well, that is where we are at now. From filthy, sweaty rehearsal rooms and tiny clubs and pubs NAPALM DEATH has conquered every music festival you can think of and toured through corners of the world a lot of bands would not even dare to tour while becoming famous for combining brutal music with political engagement and ethical values beyond the usual cliché of sex, drugs & rock n roll. And, as most fans will be delighted to hear, this remarkable story is far from being over…

    Fourteen albums in (not counting the cover-platter “Leaders…Part 2”) three decades and NAPALM DEATH remain the leaders of the grindcore / death metal world, once again showing the upstarts how it's done. Not content to simply wear the term “legendary,” the band has once again raised the bar on what it takes to remain at the top of the heap with its highly anticipated new album “Utilitarian”. While their past roster reads like a who's who of extreme metal royalty, including Lee Dorrian (Cathedral), Bill Steer (Carcass), Justin Broadrick (Godflesh) and the late Jesse Pintado (Terrorizer) to name a few, it's the current line-up of Mark "Barney" Greenway (vocals), Mitch Harris (guitars), Shane Embury (bass), and Danny Herrera (drums) that has kept the legend alive and seething. “Utilitarian” is the follow-up to the band’s much lauded 2009 album, “Time Waits For No Slave”, and sees the quartet return in expected raw and uncompromising fashion.

    In the wake of a gruelling international tour schedule for “Time Waits For No Slave”, NAPALM DEATH finally got down to writing for “Utilitarian” in early 2011. It was recorded over the course of the year at Parlour Studios in Northamptonshire, UK with producer Russ Russell monitoring the mayhem, finally mixed and mastered in November. The end result is vicious and chaotic, but Greenway notes that “the ever-present darker, more ambient side of Napalm (references: Swans, My Bloody Valentine, Birthday Party et al) has now gotten faster, too – or at least the tempo of it varies so it’s not just exclusively slow and mournful. This gives it an extra, obtuse dimension. And hopefully people get lost in the frantic thickness of it.”
    “Utilitarian” runs the gamut from straight-ahead violence and force to pure, undiluted NAPALM DEATH-induced chaos that overall provides a well-rounded bloodletting that's not for the weak and also confronts the listener with such surprising moments as the sax passages by none other than John Zorn on ‘Everyday Pox’ or choral-like clean sections in ‘Fall On Their Swords’ or ‘Blank Look About Face’. The latter is a perfect bridge to the album’s outspoken lyrical content as it viciously attacks politicians’ opportunistic talk that according to Greenway only knows one goal: “Say anything to tame a crowd - whether it is sycophantic praise, bullshit morality or rabble-rousing power-speak - as long as they can cling on to their place in the hierarchy.”
    True to the band’s tradition of spitting gallons of verbal venom, “Utilitarian” is an in-your-face razor-edged platter of social, cultural and political commentary. Far from being a placard-waving “cause” band, the quartet offer up personal views on the degeneration of society ('Everyday Pox'), the arms trade ('Fall On Their Swords'), sexual and gender expression (‘Gag Reflex’), the environment ('Order Of Magnitude') and aspects of everyday life for the common man ('Collision Course', 'Think Tank Trials') revealing Barney’s understanding of what to do with your life: “We have a finite period of existence that is all too easy to waste, and ultimately we all deserve happiness and contentment.” The bottom line is: Think for yourself, liberate yourself and don’t end up feeding the machine that all too willingly eats you up.

    Ultimately, NAPALM DEATH are special because they never sacrificed their ideals for anything mundane, will continue pleasing their fans with a stunning record named “Utilitarian” and ceaseless touring activities in support of its release while provoking world leaders with all the rage and criticism you can squeeze into a song. Extreme music’s raised fist is back!
  • Aborted



    There are many ways to die but even more to kill as sonic mass murderers ABORTED elaborately explain since their forming back in 1995 and once again explicitly underline on their newest, eighth studio album “The Necrotic Manifesto”. Founding member and vocalist Sven "Svencho" de Caluwé reveals that conceptually “the album is our own take on the sordid tales of the Necronomicon, the “book of the dead”, of corpse drowned in a sauce of gore and fun covered with a good old 80’s slasher vibe.” This idea was congenially transformed into excellent artwork by Par Olofsson, who already created stunning visuals for acts like The Faceless, Exodus, Immolation, Pathology, Immortal and more.

    Delicious gory fun aside, musically ABORTED mean dead serious death metal business since day one, delivering their aural blows with a maximum of versatility and hard-hitting brutality successfully melting the technical US school of Suffocation, Cannibal Corpse with the melodic incisions of European flavor obviously inspired by recently returned UK gods Carcass or even Entombed. ABORTED hack, slash, cut, grind, blast, groove, crush, rip, tear, destroy, kill in every way humanely possible and this multi-faceted approach has earned them a dedicated fanbase over the past years.

    “The Necrotic Manifesto” – also produced by Jacob Hansen (who already worked with the band e.g. on 2003’s “Goremageddon” and 2011’s “Global Flatline”) – makes no exception and continues in the tradition of its much acclaimed predecessor guaranteeing you maximum gore metal pleasure. Intensity – check, brutality – check, technicality – check, inhuman savage vocals – check, keyboards – nope, bittersweet melodies – hell no, folk elements – get outta here?!?! While remaining true to themselves,

    ABORTED still have a couple of macabre surprises in store spicing their renowned and respected killing spree with some bonus-carnage: First up, are guest vocalists Vincent Benett (The Acacia Strain) on “Your Entitlement Means Nothing” and Phlegeton (Wormed) on “Excremental Veracity”, sweet as rot cover versions of the incredible “Funeral Inception” (Suffocation) and “Arise” (Sepultura) as well as an entire card came (!) invented and designed by the band accompanying the album’s limited edition as Svencho details: “The card game starts off with my humble self finding the “Necrotic Manifesto” at a truck stop while taking a dump on tour, reading out passages and unleashing hell on earth. Through the card game players take on the role of a band member or crew member and have to defeat the legions of hell with their maniacal leader: the doctor! All presented with a good dose of dark humor, horror and tons of internal jokes which will get players to know the members of the band a bit better and more personal.”

    Ready to shed blood and spread gallons of guts across the globe, the live Armageddon known as ABORTED will first tour the US with Kataklysm in April, followed by European release shows in May before selected mass executions during the upcoming festival season. So, better believe the self appointed “Gurgloroth” Sven de Caluwé when he says “get ready mankind, ABORTED is coming right at ya!”
  • Tombs



    There’s a line from Mike Hill’s audiobook/tour diary of Anodyne’s 2004 European tour in which the gravel-throated frontman affirms, “I will always outwork you.” In that case, Hill was referring to an incident in Germany early on during a six-week long overseas jaunt with his previous band. In actuality, however, he could have been talking about any instance between when he first picked up a guitar as a teen and the present. Whether it’s his history dating back to previous bands Otis, Anodyne, King Generator or Versoma, his ongoing solo work in Vasilek, the more recent Scorpion Throne project or his twelve year-long reign as the driving force and nerve center of post-black metal institution Tombs, hard work is second nature and nothing will keep the guitarist/vocalist from creative endeavour and expression. And it’s not just music in which his propulsive work ethic has gleaned results: Hill also is the CEO and roast master at Savage Gold Coffee (a labelling nod to Tombs’ 2014 album of the same name), the host/producer/creator of the Everything Went Black podcast, host and producer of Gimme Radio’s Metal Matters flagship podcast, the creator and co-host of horror podcast Necromaniacs as well as a stalwart in the print and online journalism world covering music and MMA fighting. His is, has been and always will be a life steeped in dedication and with unassailable drive in the cross hairs, and 2020 sees Hill shining the spotlight of focus on his first love: Tombs. Giving in to his innate determination and ongoing tenacity, Tombs has emerged with the next chapter in the band’s impressive catalog and growing legacy, Monarchy of Shadows.

    “The week Versoma broke up in 2007, I started Tombs,” he says, recalling how, characteristically, the band started before any dust was permitted to settle. “The initial rehearsals ended up being the bulk of material that showed up on the first [self-titled] EP. The intent from the beginning was to get back to playing music I wanted to hear and to not be so concerned with genre or satisfying anyone else’s desires. It was to do music on a personal level and be a reflection of the darkness I’ve felt throughout my life.”

    Formed in the gritty corners of pre-gentrified Brooklyn, NY, Tombs’ early mandate was steeped in the harshness and atonality of black metal but dosed with trace amounts of the varied influences and inspirations ingrained in Hill’s musical muscle memory by previous bands.

    “The canon of music Tombs has created has spanned several different genres, but I’ve always had it my intent for there to always be a certain amount of violence and hardness lurking the background.”

    Those early years delivered splits and singles, the highly revered Winter Hours debut in 2009 and Decibel’s 2011 Album of the Year, Path of Totality. Never one to sit still, Path of Totality was followed by appreciable and impressive amounts of touring in accordance with the lauding afforded by critics and fans and the braying of foes, which only served as fuel for Hill’s perseverance. Savage Gold came three years later after which a restless Hill began nudging Tombs’ black metal base into territories populated by gothic and death rock artists like Fields of the Nephilim and Sisters of Mercy as well as avant-garde purveyors Caspar Brotzmann and Live Skull while never forgetting – or being able to – scrape the grime of NYC from under his fingernails. The addition of a second guitar and live keyboards/samples brought a fuller sound and allowed noise sequences and soundscapes to be brought to the live show. It was around the time of 2016 All Empires Fall EP that Tombs punctuated its iconoclastic spirit and thought process. Despite then-being part of the Relapse Records family, the band struck out with the intent of self-releasing the EP in order to retain as much independence as contractual obligations would allow – retaining the digital and publishing rights while eventually licensing the record back to Relapse. A one album stint in 2017 under the Metal Blade banner birthed The Grand Annihilation into the world where Tombs took broader and more daring steps into buffering black metal with morose melody, sullen death rock and classic Metallica chugging.
    “I’ve never thought too far ahead about any of those changes,” ponders Hill. “When I meet people or hear new sounds, I think about how they might fit into the ideology of the band, what they’d bring and what they’re role might play in the band.”

    For Monarchy of Shadows, Hill has been joined by 3/4ths of New Jersey death metal crew Kalopsia - drummer Justin Spaeth, guitarist Matt Medeiros and bassist Drew Murphy - for a further twisting of black metal’s DNA around dank emotional corners, psychological turmoil and the urban underbelly.

    “If it were up to me I’d have unlimited numbers of people in the band; strings, keyboards, three guitar players and so on, but that can’t happen. However, for the first time in the history of Tombs there has been a collaboration between band members. It’s not just me writing everything. It’s a big difference from The Grand Annihilation which was basically a solo record.”

    The title track commences with an elegant, studded glove to the chops as guitars scream and wail in rapid fire agony with corpse paint doused in your favourite flammable liquid and ignited by tensile tremolo picking. All this before a denouement wrapped in post-punk forays, elegiac crawls and spine tingling vocals.

    “That’s my favourite track on the record!” he exclaims. “I think it really flexes all the muscles and demonstrates everything we can do. There’s fast drumming, black metal riffing, a Celtic Frost beatdown in there, there are synthesizers and electronics and a death rock thing at the end. It’s a thumbnail of what the band is about.”

    The riffing in “Once Fall the Guillotine” rips like an icy pick axe through complacency and orthodoxy before a melodic excursion that’s equal parts face planting off a sticky bar room floor and a liberating soaring through chilled mountain air, while “Necro Alchemy” blazes with a neck-snapping ferocity and anthemic charm.

    As Monarchy of Shadows continues, it becomes evident that Tombs is bristling with a combination of ages-old anger and newfound energy. “Man Behind the Sun” included obvious nods to Andrew Eldritch and Carl McCoy in its closing sections, while “Dark Rift” is awash with ambitious hanging chords and keyboard swells with those detours, as inspiring as they are, being understated, insidious and never detracting from the band’s blackened, monolithic mission.

    “That one is very much a collaborative track,” Hill says of the latter piece. “Justin wrote the first half, guitar parts and all, and I wrote the second half and lyrics then everyone layered in their own interesting parts that added a lot of dimension and atmosphere to the song.”

    After spending his entire adult life navigating the pitfalls and pratfalls of the industry for expressive and creative opportunity, Hill has amassed an impressive legacy, one that Monarchy of Shadows contributes to admirably. With his status as underground lifer and veteran, one might expect Hill to approach another new lineup and, in Season of Mist, another new record label with a cautious, if not irascibly jaded shoulder shrug. However, there’s a palpable excitement in his voice when he talks about the future; his view being that of Tombs heading towards a bright horizon with all the necessary components in place and all guns firing.

    “I’m playing with excellent players who are on the same creative page and have introduced elements that weren’t obvious to me which ended up expanding the band’s sound. I feel like the music and this incarnation of the band is a lot more powerful because there’s a personal investment from all the members. We have a label behind us that understands what we’re about aesthetically and is used to working with bands like ours. There’s a new, more thoughtful and collaborative approach to song writing and I feel that this EP is the strongest record of the band’s history. It’s another growth period for Tombs.”

    - Kevin Stewart-Panko
  • WVRM



    South Carolina’s only grind band, WVRM, are preparing to release Colony Collapse , their debut
    release under the Prosthetic Records banner.
    An uncompromising collection of 14 short, sharp shocks, Colony Collapse is a product of its
    surroundings, an anthology of its environment, and a detailed record of the lives of the people
    who made it. Over the course of their preceding three splits, four EPs and two full lengths,
    WVRM have experimented with pushing their personal and musical boundaries; Colony
    Collapse captures the evolution of their sound and politics in one relentless and violent release.
    Far from being a leading light in a burgeoning local scene, WVRM are the only light in a
    miniscule scene in Greenville, South Carolina. Whilst the city is also home to death metal
    stalwarts, Nile, there is no flourishing hotbed of musical activity to be found. This creative
    isolation is just one of the driving forces behind the forceful aggression of WVRM.
    WVRM’s music is political in nature, but far from a broad rage against the machine, their lyrics
    take a micro-look at the effects of socio-political entrenchment on everyday lives. Proudly
    working class, they explore both the psychological and physical meaning of being so. WVRM
    trace the lineage of their ancestral progress, and what it means to participate in a community
    that lacks upward momentum.
    Recording between April and August 2019 with the band’s own guitarist, Derick, in the
    producer’s chair, the band felt free to experiment. They made use of noise pedals, violin, a
    Chinese prayer bowl, cello and Tibetan prayer bells alongside their more traditional
    instruments. The resulting cacophony is a more textured kind of grind than is the norm.
    Stating that their music sounds as it does - nihilistic, vicious, caustic - because of where they’re
    from, because of who they are - WVRM are striking out to redefine what extreme music from
    South Carolina can be. Whilst there’s no doubting that they are definitively a grind band,
    WVRM take inspiration from the development of a rich variety of ever-evolving sounds coming
    out of the Southern states over the past several decades; traces of a sludge-doom sound echo
    through the album, as it has done in previous releases.
    The artwork depicts a bee crawling over a human skull, created by a local artist by Wes Brooks.
    The image represents the titular colony collapse - a phenomenon that occurs when worker bees
    leave behind the queen bee and collapse the colony. Imbued in the one image are multiple
    concepts including the extinction of humankind, as well as the idea of workers taking control of
    the life and death of society.
    Colony Collapse is WVRM at their abrasive, vitriolic best.
  • Inner Decay

    Inner Decay


    Inner Decay is a local Chicago metal band that has its roots in Death Metal. Combine elements of Melodic Death Metal, catchy upbeat Thrash riffs, and crushing Brutal Death Metal vocals, and you get Inner Decay.This band draws its inspiration from the founders of Death Metal. Inner Decay keeps it real and plays the brutal shit that makes you bang your head and fuck shit up. This band loves playing Metal as much as they love supporting their friends in other local Metal bands.
CANCELED: Empire Productions presents

CANCELED: Napalm Death + Aborted

Fri Apr 24 2020 6:00 PM

Reggies Rock Club Chicago IL
CANCELED: Napalm Death + Aborted
  • Event Cancelled.

$20 cover Ages 17+

The concert featuring Napalm Death and Aborted is CANCELED. All purchased tickets will be refunded at original point of purchase. 

Reggies Rock Cub 
6pm doors / 17+ / $20 

Empire Productions presents: 
Napalm Death + Aborted co-headline
Inner Decay