Cannibal Corpse


Einlass 18:00 | Beginn 19:00


Violence Unimagined. The title tells you everything you need to know about Cannibal Corpse’s fifteenth hellish opus. Comprised of eleven tracks, it is state of the art death metal played with passion and breathless precision, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up. „It really follows the path we’ve been going down for a few years now,“ states bassist and founding member Alex Webster. „I think we approach the writing in a similar way most every time: each of us try to write the heaviest, most memorable songs we can. We want each song to have its own identifiable character. Showing my age, I like to say you can ‚drop the needle‘ on any point of one of our albums and quickly tell which song you’re listening to.“

Ever improving on the genre they helped define, 2017’s Red Before Black stands as one of the highlights of their career. Following it up wasn’t exactly easy, but Cannibal Corpse have somehow managed to raise the bar yet again. The opening „Murderous Rampage“ lives up to its title while the uglier than hell „Condemnation Contagion“ practically falls over itself in its hurry to draw blood, and alternately, the lurching, catchy and gloriously chaotic „Ritual Annihilation“ is pulverizing. While they continue to do what they do with aplomb, the one substantial change to Cannibal Corpse in 2020 is the addition of guitarist Erik Rutan to their ranks, joining Webster, founding drummer Paul Mazurkiewicz, guitarist Rob Barrett and vocalist George „Corpsegrinder“ Fisher. Known for his roles in Morbid Angel, Ripping Corpse and most notably fronting the mighty Hate Eternal, Rutan has long established himself as one of the most dynamic forces in contemporary death metal. Simultaneously, he has built up a reputation as one of the most in demand producers in metal, having previously produced four Cannibal Corpse albums, alongside the likes of Goatwhore, Soilent Green and Belphegor. Filling in live on guitar since 2019, in 2020 he became a full member, contributing to the writing process. always be working to improve and trying to make whatever they’re currently doing the best thing they’ve done, so that’s what we’ll do.“

„I think the most noticeable difference on this record will be the addition of Erik to the band. He wrote three full songs for the record, music and lyrics, and his song writing and guitar playing have added something new, and I think his musical style integrated into ours very well,“ Webster enthuses. This is not all that he brings to the band. „He’s a great friend of ours, so on a personal level, he’s been a perfect fit, as we knew he would be. Beyond that, he’s one of the hardest working people I know, in music or otherwise, and he maintains a high energy, positive demeanor in challenging situations where other people might go in a negative direction. This energy and great attitude rubs off on the rest of us as well. That’s really a perfect situation to have when you add someone to a band, or any kind of team: someone who’s great at what they do, and also inspires the people around them.“ Already well known for the level of extreme technicality they bring to every record, on Violence Unimagined, Cannibal Corpse have further upped their game, particularly in Mazurkiewicz’s drumming. „I think we all pushed ourselves a bit technically on this one, with Paul probably pushing the hardest. This album is probably the most drum-intense album we’ve done yet. Part of that could be a result of Erik joining the band. His song writing style often features technically challenging drumming, probably owing to his years of experience in high speed death metal.“ And with typically dark and warped lyrical content, Mazurkiewicz came up with the fitting title of the record, „summing up what the band is about in every facet, and taking violence to another level of extremity.“

With Rutan in the band, having him produce the record was a no-brainer at Mana Recording in St. Petersburg, FL – his central base of operation.Using the studio for pre-production, rather than their rehearsal space as usual, was a great benefit early on, allowing them to come into the actual recording process better prepared than ever before. However, their plans to record the album entirely together were interrupted by the Covid-19 pandemic, with Webster forced to record his bass tracks in his home studio. „I live on the other side of the country now, and that hadn’t been an issue prior to the pandemic, I was still able to go to Florida whenever I needed to. So, I was scheduled to fly down for the recording in early April 2020, and of course that was at the very beginning of all of the lockdowns and travel restrictions in the USA, so I didn’t go. Fortunately I have a lot of experience recording bass tracks at home, so it didn’t affect the sound of the album at all. I stayed in close contact with Erik and the other guys throughout the process, and it actually wound up being quite smooth. Of course I’m looking forward to tracking in the big studio with the guys for the next album, but I’m glad this option worked well for us.“ And it would not be a Cannibal Corpse album without striking artwork from Vince Locke, and Violence Unimagined is no different – this time, the cover featuring a mother eating her own baby, though Webster concedes that for censorship reasons, they have had Locke do a complimentary piece that will be more widely released.

Now in their thirty-second year of existence, Webster still has the same hunger to tour, and though unable to do so while the Covid-19 crisis continues, the bassist hopes that not too much more time passes before they are able to get back on the road. Regardless, he is looking ahead and not to the band’s past. „We’re very excited to continue this new chapter of the band with Erik on board. I think that a band should always be working to improve and trying to make whatever they’re currently doing the best thing they’ve done, so that’s what we’ll do.“


“We Are The Apocalypse”

Swedish Black Metal pioneers DARK FUNERAL have blazed a path of Satanic ritualism and anti-religion that has endured for nearly three decades. Now, on the band’s seventh studio album, ‘We Are The Apocalypse’, they find themselves reaching for their most immersive and unrepenting journey to date. Led by the songwriting and technical ferocity of founding guitarist Lord Ahriman, Dark Funeral takes aim to surpass the new foundation they laid forth on 2016’s ‘Where Shadows Forever Reign’ – their first release with current lead vocalist Heljarmadr.

Recorded at Fredrik Thordendal’s (Meshuggah) Studio 33, ‘We Are The Apocalypse’ sees the band once again partnering with legendary producer Daniel Bergstrand.

For Ahriman, the creative challenges presented by this newest offering can be broken down into a few core objectives: forging new ground by creating bigger soundscapes through rhythmic components, and finding symbiosis between the vocal passages and melodic sections. “A lot of death/black metal, it’s kind of stiff and straightforward – I find that boring. I feel like the vocals need to follow the melodies, and on this record, I think Heljarmadr fucking nailed it.”

‘We Are The Apocalypse’ starts things off with the decimation and unforgiving brutality of “Nightfall”, one of Dark Funeral’s heaviest and fast-paced tracks to date. Drawing influence from a lesser-known mythos and a forewarning of the sheer darkness to come, the song brims with a cohesive hellfire that echoes from Heljarmadr’s blood-curdling howls, reverberates through Ahriman’s pummeling guitar chords, and thuds with dread via Jalomaah´s skull-crushing drum rattle. Throughout these opening salvos, be it the unforgiving darkness of “Let The Devil In’ or the defiant visceral offensive of “When Our Vengeance Is Done”, the band stays true to their promise of delivering Dark Funeral’s most epic and engrossing hellscapes yet.

Approaching the midway point of Apocalypse, Ahriman & Heljarmadr reach deeper into the dark energy which defines them. This comes to the forefront on tracks like “Nosferatu” and “When I’m Gone”, with the latter of the two drawing back the veil on the band’s songwriting process while also exploring untraveled territory. “It’s a first, but we used some clean guitars on this record (on “When I’m Gone” and “Leviathan”) because it just fit so well with what the music was doing. I’m not sure if people have picked up on it yet, but I write pretty much all the riffs acoustically. I do that because I need to hear the tones as they are in order to find the harmonies that I had in my head. It’s only after doing this that I can transform these harmonies into my own Satanic symphonies.”

On “Nosferatu”, Heljarmadr would find inspiration for his lyrics after revisiting the preeminent forefather of the horror film genre. “I revisited a bunch of Dracula themed films. What I came to find is how the whole genre has been corrupted by romantic crap over time, yet the very first film, Nosferatu, is so fucking dark and evil. It’s magnificent. I wanted to resurrect that evil and this is my homage to the good old blood sucker.”

Throughout the new album, certain themes and priorities begin to make themselves apparent. Chief among them that a title as urgent as ‘We Are The Apocalypse’ is not taken lightly, and that Dark Funeral intend to make this otherworldly undoing as tangible for their audience as a great film or a gripping piece of literature. The watery grave invoked on “Leviathan” builds menacing from its early haunting notes into an utter cacophony thanks to rhythm guitarist Chaq Mol and bassist Adra Melek, while the sociopathic fervor explored on “A Beast To Praise” prowls and bludgeons with bloodlust. The record closes with a deafening cataclysm brought to life on its title track, “We Are The Apocalypse” – unwavering in its intention to draw listeners into a realm of true evil and lament. That is where Dark Funeral are, and have always been, their strongest.


Founded in 2006 by Sean Hynes, Sam Yates, Jason Evans, Brad Fuller & Lyn Jeffs INGESTED made their debut into the underground metal scene via Grindethic Records split CD release “North-West Slam Fest” featuring fellow British death metal bands Crepitation & Kastrated. Influenced by incarnations of brutal death metal from the ‘90s and early ‘00s and inspired by the works of Devourment, Suffocation & Dying Fetus, the band’s music was resplendent in its raw & aggressive gutturals, groove-laden guitar work, blistering drums, and slamming hooks.

In 2009, the band recorded their full-length debut, “Surpassing The Boundaries Of Human Suffering” released via British label Siege Of Amida Records (SOAR) to enthusiastic acclaim in the underground brutal death metal scene.  With cover art created by Japanese artist Toshihiro Egawa it became an iconic visual piece as well as an important album sonically within the slam death metal and deathcore scenes. While the band’s reputation gained momentum throughout the United Kingdom, INGESTED focused their energies on beginning their touring career opening on the Bonecrusher Fest European Tour with The Black Dahlia Murder, 3 Inches Of Blood, Necrophobic, Carnifex, The Faceless and Obscura. 2 years later the quintet began recording their sophomore album “The Surreption” released via Siege Of Amida/Candlelight Records USA and featuring a guest appearance from Alex Erian of Despised Icon. After a pause in the bands touring cycle, INGESTED returned in 2013 with the self-released EP “Revered By No-one Feared By All”, hand numbered and limited to 500 physical copies, it re-ignited the flame amongst the underground death metal community and became one of the most sought after and essential releases in their catalogue.

Their third full-length album (released by Century Media Records after their acquisition of SOAR), “The Architect Of Extinction” was mixed and mastered by Christian Donaldson of Cryptopsy at Canadian studio The Grid in Montreal, Quebec. After its release, it marked the bands significant international breakthrough by securing two North American tours in the space of 12 months, the first in 2015 on the Devastation On The Nation Tour supporting Origin, Krisiun, Aeon, Alterbeast & Soreption, followed by arguably the greatest death metal line up of all time when INGESTED embarked on Summer Slaughter Tour in 2016 with Cannibal Corpse, Nile, After The Burial, Suffocation, Carnifex, Revocation, Krisiun, Slaughter To Prevail & Enterprise Earth. This breakthrough year also cemented the band as British death metal heavyweights becoming one of the very few successful extreme metal exports from the island in recent memory.

As INGESTED moved through a decade since its inception with their original line-up still intact, it was becoming apparent that the self-proclaimed Kings of Slam were here to stay.

Towards the end of 2017, INGESTED entered the studio to record their 4th full length and critically acclaimed album “The Level Above Human” which was released in Spring 2018 via Unique Leader Records and debuted at #5 on Billboard’s Heatseekers chart, #30 on the Independent Albums chart, #16 on the Hard Rock Albums chart, and #135 on Billboard’s Top 200 Albums chart. The release coincided with the bands most intense touring schedule to date playing 157 shows during the year across the UK, Europe, North America & Central America landing support slots with Crowbar, The Black Dahlia Murder, Aborted, Psycroptic, Cryptopsy, Origin & Misery Index, among many headline shows and spots on festivals such as Metal Days in Slovenia, Brutal Assault in Czech Republic, Rockstadt in Romania, Bloodstock Festival in England, Motocultor Festival in France & Deathfeast Open Air in Germany.

During their busy touring cycle of 2018, INGESTED continued to write new material and followed up “The Level Above Human” with 4-track EP “Call Of The Void” which was recorded in January 2019 at Kimera Recordings with engineer & producer Nico Beninato of Kimera Recordings in Palma De Mallorca, Spain and mixed and mastered by now good friend Christian Donaldson. The five piece continued to promote both releases touring throughout 2019 in the UK with The Black Dahlia Murder, in Europe with Cryptopsy and in North America with Despised Icon & Suffocation along with playing summer festivals such as Summer Breeze Open Air in Germany.

2019 commemorated the 10-year Anniversary of debut album “Surpassing The Boundaries Of Human Suffering” where INGESTED reinforced their title as the Kings of Slam by playing the album in its entirety, selling out shows across Europe and the UK with support from Unique Leader comrades Within Destruction, Signs Of The Swarm and Distant, making the “Decade Of Human Suffering Tour” the most successful Slam Death Metal tour of all time.

2020 followed positively with Parts II & III of the “Decade Of Human Suffering” tours across Eastern Europe & Russia and North America in January & February before embarking on the Faces of Death European Tour in March with Decapitated, Beyond Creation, Lorna Shore & Viscera. A week into the tour and the world in freefall due to the outbreak of the Covid-19 pandemic, the tour was cancelled after the 7th show in London, England.

Fortunately for INGESTED they had already recorded their 5th studio album in December 2019 at Foel Studios, Wales, engineered by Nico Beninato and had mixed and mastered the record with Christian Donaldson in January 2020.

During the time the globe was put on hold due to the pandemic, INGESTED took the difficult decision to delay the release of their next offering to August 2020, giving the world time to wake up again before delivering their career defining 5th album Where Only Gods May Tread. Featuring artwork from legend of the Death Metal visual world, Dan Seagrave and guest appearances from Kirk Windstein of Crowbar, Vincent Bennett of The Acacia Strain & Matt Honeycutt of Kublai Khan, INGESTED once again hit the Billboard charts debuting at #4 on Current Hard Music Albums, #10 Top New Artist Albums, #26 Current Rock Albums & #139 on Billboards Top Albums while also charting at #15 on UK Rock & Metal Albums & #50 UK Independent Albums.

With no touring in sight to promote the album, INGESTED took the opportunity to deliver a one-off Live Stream Event performing an hour long set of material across their catalogue at the prestigious Manchester Academy on Halloween 31st October 2020 which was broadcast globally to critical acclaim.

Using the downtime to their advantage and with their 15-year anniversary looming in 2021, INGESTED decided to acquire the talents of Nico Beninato to remix and remaster their very first recordings from 2006 that were featured on the “North-West Slam Fest” split CD and release the EP entitled “Stinking Cesspool of Liquefied Human Remants” exclusively on 10” vinyl with modernized artwork from Shindy Design (Call of the Void).

That wasn’t the only anniversary they were celebrating in 2021 though, it was also the 10-year anniversary of their sophomore album “The Surreption” originally released in 2011, after the band tried for many months to obtain the original recordings for a remix, multiple studios from the time of recording had lost the files. Instead of giving up on the idea, INGESTED made the bold move to completely re-record the album and catapult it into the modern era of their ever-expanding catalogue. Recorded, mixed & mastered by Nico Beninato, and artwork handled by original Surreption artist Colin Marks, the album came with its first ever music video (Manifesting Obscenity) and its first pressing on phonograph. Released in July 2021, this became the bands final release on Unique Leader Records after 3 full-length albums, 2 remasters and 1 EP since signing in 2016, it was time for INGESTED to embark on an exciting new era.

Now 15 years into their career, with original members Sean Hynes, Jason Evans & Lyn Jeffs, INGESTED made the exciting move to sign a new long-term deal with METAL BLADE RECORDS. Vocalist Jason Evans adds: “Metal Blade Records is a legendary label, with a roster of legendary artists and we are very proud to say that INGESTED will now stand amongst them. We’re super excited about this next step in our journey and can’t wait to bring you more music, more videos and more shows, worldwide. Here comes the Metal Blade era of Ingested!”


„The St. Louis based two-man project – featuring the dark lyrical genius and deft skill of guitarist/vocalist Jason Asberry and drummer Jesse Schobel – had built a noteworthy subterranean following since their conception only a year ago, shortly just after self-releasing their debut record, Under The Burning Eclipse. Thus the band signed a worldwide record deal with Napalm Records, re-releasing their debut album in a proper fashion. 

Stormruler combines an unrelenting black metal attack with atmosphere and vision from varying genres with a brutal, modernized twist on high-fantasy, and historical accounts of war and myth. Stormruler, on the frontlines of war, bare the banners of black metal legacies that came before them with pride, while remaining true to themselves and their abilities to push the genre forward.“ 


Die Eintrittskarte gilt ab 3 Stunden vor Veranstaltungsbeginn bis 5 Uhr des Folgetages als Fahrkarte für alle öffentlichen Verkehrsmittel (2. Wagenklasse) im gesamten GVH-Tarifgebiet (Zonen ABC). Nicht übertragbar.

Cannibal Corpse

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