Now let me break it down with what goodies they brought to the table.

1. 15th Anniversary Imperial Black IPA aged in Scotch Barrels

A hefty imperial IPA with tremendous hop characteristic and a refined imperial finish. 

2. Mixtape Volume 4

This is a behemoth. This is a blend of some of the best Stone has to offer. Within this 11.2% bombshell is a blend of some incredible beers: 2012 Stone Imperial Russian Stout aged in Bourbon Barrels, 2012 Imperial Russian Stout aged in Red Wine Barrels, 2012 SOld Guardian Barley Wine aged in Red Wine Barrels and an unreleased Belgian Brown Ale aged in Red Wine Barrels. This one is black as night and is balanced out by hints of cherries to add a sense of  finesse. 

3. Stone Imperial Russian Stout 2013

A black Russian Stout with a nice roasty finish and a strong coffee backbone that can literally break your back at a whopping 10.6%. It is remarkably smooth and for its high gravity presents a very low sense of alchohol heat ending with bitter, floral hops to give it its 60 IBU’s. Its odd-yeared brother was also here: the espresso mix which not only is smooth as butter but has the bitterness of the floral hopes juxtaposed with the strong coffee addition.

4. Sublimely Self-Righteous with Espresso Beans

Take one of the best Imperial IPA’s in existence and add in some espresso. Its a coffee-laden, hop filled, beast of a beer that is like a Starbucks coffee in an ideal world.

5. Dayman Coffee IPA

This is one of the best beers I have had, bottled or draft. Take an IPA, throw the hops in the face of the drinker and finish with that bitter kick of coffee. Its one of a kind. 

6. Double Dry-Hopped Levitation Ale

The most sessionable of Stone’s catalog gets a bit meaner with a double dry hop that gives the normally rather tame beer a voracious bite.

7. Double Dry Hopped Ruination

Ruination is notorious for being one of the hoppiest monsters on the market. Take that monster and hop it up even more and you get this twisted creation.

 Overall, a few of these beers are still on tap over at Limerick’s in Upland, California. I would love to sit back and write hundreds of words describing each beer to its most minute detail and break apart each beer, but I wanted to give you an idea of this fantastic event hosted by our friends at Limerick’s Tavern. Perhaps next time I sit down to enjoy a fine beer, I will detail each little nuance and provide an in depth tasting. 

The post Beer! Bier! | Getting Stone’d on 4.20 appeared first on Der Metal Krieger.

Band: Arkona
Album: Decade of Glory
Genre: Folk/Pagan Metal
Label: Napalm Records
Release: February 22nd, 2013

Well this album was the exact opposite of anything else. Decade of Glory, is IMMENSE with 31 live songs spanning the entire  career of Arkona. You have classics such as ”Slav’sja, Rus’” and live favorites such as “Yarilo” and “Goi Rode Goi”. The impressive part, however, is the sound itself. Not only are the sounds crisp and near studio quality, but very seldom can you hear the wonderful live vocals in harmony with the crowd singing the hooks to the catchy bounce of ”Stenka na Stenku” and many other songs.

“If you love folk, if you love Arkona, if you love vodka, you will love this album, and you will mark your calendar for when these Russian pagans storm your city next. “

There isn’t much to else to say besides that this is a compilation of some of Arkona’s best works intertwined with the energy they bring live. This is the only live album I have heard that can bring some of that tangible energy of the live event into the ears of headphones walking between classes. If you love folk, if you love Arkona, if you love vodka, you will love this album, and you will mark your calendar for when these Russian pagans storm your city next. 

Rating

Track Listing:

CD I

1. Az’
2. Arkaim
3. Ot Serdca K Nebu
4. Goi, Rode, Goi!
5. Leshiy
6. Zakliatie
7. Marena
8. Liki Bessmertnykh Bogov
9. Nevidal
10. Kolo Navi
11. Slav’sja, Rus’
12. Kupala i Kostroma
13. Odna
14. Sva
15. Kupalets
16. Katitsja Kolo

CD II

1. Kolyada
2. Skvoz’ Tuman Vekov
3. Maslenitsa
4. V Tsepiakh Drevney Tainy
5. Slovo
6. Bol’no mne
7. Pamiat
8. Arkona
9. Po Syroi Zemle
10. Oj, Pechal’-Toska
11. Yarilo
12. Stenka na Stenku
13. Vyjdu Ja Na Voljushku
14. Rus’
15. Zov Predkov

Personnel:

• Maria “Masha Scream” Arkhipova – Vocals/Keyboard
• Sergei “Lazar” Atrashkevich – Guitars
• Ruslan “Kniaz” Rosomaherov – Bass
• Vlad “Artist” Lyovushkin Sokolov –  Drums
• Vladimir “Volk” Reshetnikov – Wind instruments

Follow Arkona on Facebook!

Pre-Order the Album:

Limited Edtion Double Digipack. First Orders will receive a FREE EXCLUSIVE A2 ARKONA Poster.

The post Review | Arkona’s Decade of Glory – Live and Dangerous appeared first on Der Metal Krieger.

Band: Stratovarius
Album: Nemesis
Genre: Power Metal
Label: Armoury
Release Date: February 26, 2013

Anyone familiar with the history of Stratovarius knows of their huge anthology of work, including 13 albums spanning an illustrious career. Even with a fairly tumultuous line up change the last few years, saying goodbye to many a lifelong member, the band has produced a new sound that not only is more mature and modern, but gives flashbacks to the past sound that created a new genre.

Each of the 11 tracks are as “primary” as it gets, no filler, no let down. It can be titled as a best of album and unreleased tracks compilation simultaneously. “Abandon” sets out the pace as blisteringly catchy. “Unbreakable“, “Out of the Fog“, and each subsequent song adds another catchy hook, blistering speed, all time great choruses and precise musicianship.

“It has a darker more modern sound. We, as a band, have gone through a lot and have matured as songwriters. Making the album this time was easier because we gave it as much time as it needed. We have worked our asses off to make this and we hope the fans will like it.” – Timo Kotipelto

Comparable to other power metal releases as of late, Stratovarius has really incorporated a magnificent amount of keyboard melodies to their work. Johansson, who is famous for his active key work, raises the bar in this album, adding a backing level of intricacies and upbeat riffs that any fan of power metal can enjoy.

Another beauty of this album, however, is its approachability. I, myself, am a longtime power metal fan, and this album isn’t lacking. The sound isn’t “softer” nor does this album put the discography of Stratovarius to shame. For a new listener, this album is very enjoyable, upbeat, and most of all fun and a great entry to a legendary genre. This album follows suit with Elysium‘s approachability and without Jorg Michael, the band is as strong as ever.

Rating

Track Listing

1. Abandon
2. Unbreakable
3. Stand My Ground
4. Halcyon Days
5. Fantasy
6. Out Of The Fog
7. Castles In The Air
8. Dragons
9. One Must Fall
10. If The Story Is Over
11. Nemesis

Personnel

Timo Kotipelto – vocals
Matias Kupiainen – guitar
Jens Johansson – keyboard
Rolf Pilve – drums
Lauri Porra – bass

The post Review | Stratovarius brings us a Nemesis! appeared first on Der Metal Krieger.

Artist: The Faceless
Genre: Technical Death Metal
Album: Autotheism
Label: Sumerian Records
Release: August 14, 2012

Except this time, The Faceless, are here to play. Autotheism is here, and it is every bit we have come to love from this superstar  band with quite a knack for the galaxy. Into the album, the first thing you notice is the style. It is far from the technical death metal they have been labeled as. In fact this is practically its own fusion of progressive elements with impeccable tech-death. The band is not afraid to add in clean vocals to further accentuate the growls nor are they afraid to slow down the song for a smooth guitar solo which cuts between a calming jazz session and vicious shredding. The band transitions countless times in each song, showing elements of progressive metal if not for a flash before being thrown back into the technical style we have grown attached to.

Each song on the album is differing to their own extent. Of the albums, this is probably the most varied but most creative to date. It is hard to single one song out since they all are excellent in their own way. Easily, the best part of the album is the interaction between the strings work of Michael Keene and Wes Hauch, the bass work of Evan Brewer, the crisp vocals of Geoffrey Ficco, and the surgical precision by the drummer Lyle Cooper. The interplay is so intimate you feel a sort of connection to the music and are entranced.

This is a beautiful mix of prog and technical death brought together in the most elegant and mind-blowing way. This is album is far from any other album I have heard in a good while. Due to its incredible underlying sound and its surgically precise group of musicians behind this album, it is fair to say it was worth the wait. Even longer and I would be still as satisfied, if not for the riffs of Keene alone.

Depending on the metalhead, the diversity of the album may be a turn off. Those who are expecting 30 minutes of shredding and guttural growls look elsewhere. This album has plenty of clean vocals, electronic sounds and vocals, and slow jazz-esque breakdowns. For that, many will think this album has lost its metal image as instilled by Akeldama. The way I look at it is progression. As the band matured, they acquired a mature and unique sound. This album will undoubtedly be recognized as the Faceless and that is a wonderful image to preserve. The progressive elements really allow you to appreciate the musicianship and the talent of the artist you normally would not hear and for that element of musicianship, I felt that they were ready to sacrifice a sense of raw brutality and speed for a show of grace and ability.

The production quality of course is great. The blending between the music was hard at times where the band was slightly overshadowed by the usually contrasting transitions. Besides these minor blending issues, the only issue I can see is that the album is far tamer then Akeldama. Granted Planetary Duality was a show of the unique styles, but some still hoped and expected a brutal, pure tech-death song in the album and unfortunately there is none. But in my opinion, it was replaced with something better in terms of their unique style. However, if you come with a tabula rasa, you will have no issue getting into the new styles.

This album is near perfection.  This is not narcissism, it’s autotheism.  

Rating:

Track Listing:

1. Autotheist Movement I: Create
2. Autotheist Movement II: Emancipate
3. Autotheist Movement III: Deconsecrate
4. Accelerated Evolution
5. The Eidolon Reality
6. Ten Billion Years
7. Hail Science
8. Hymn of Sanity
9. In Solitude

Personnel

Geoggrey Ficco – lead vocals
Michael Keene – lead guitar, clean vocals
Wes Hauch – rhythm guitar
Evan Brewer – bass guitar
Lyle Cooper – drums

Guest Musicians
Sergio “Sexy Sax Man” Flores – Sax on “Desconsecrate”
Tara Keene – backing vocals on “Emancipate”

The post Begin the Autotheism: A Review of The Latest Album from The Faceless appeared first on Der Metal Krieger.

This show was at one of the best venues in Southern California, The Grove of Anaheim, CA. It’s a classically designed venue with a keen eye for art-deco styles and for acoustic quality. Overall, the venue was perfect despite the odd terracing which made it nigh impossible to get a massive festival type mosh pit open. However, for many of us, the acoustics alone were enough, providing ample sound and spectacular views on a well-lit and open stage. 

We got a chance to see many bands today. However, since there were nearly forty in total, thirty of which were local, we sadly could not see them all. A Skylit Drive, Dance Gavin Dance, The Word Alive, Winds of Plague, Suicide Silence were all the bands of which we managed to get some photographs of, capturing each bands unique stage presence but keeping the same unbridled sense of enthusiasm for the music.

Click here to view all of the photos.

However, of those two, we had two bands who were really of note: Suicide Silence, and Winds of Plague. For those unaware, both bands hail from California. Suicide Silence hails from Riverside primarily, and Winds of Plague from my small albeit boring town, Upland. This was the hometown show for these two giants, and they delivered. Thankfully, before these titans stepped on stage, we managed to sit down and have a word with each of them. We spoke with Mitch, frontman for Suicide Silence and Johnny Plague, frontman for Winds of Plague. Each artist expressed great joy in this bill and were clearly anxious to see what this sold out hometown show had to offer amongst other intriguing topics.

Of the two bands, the artists’ families were all present. On the side of the primary stage, where we watched Johnny Plague rip through a set as he jumped off high speaker towers and leaped into the crowd, I was flanked by his family: his brother, mother, and his father to name a few. With Suicide Silence, Mitch brought the pain into the crowd, causing a huge frenzy of heavy metal revelers who danced and moshed to their heart’s content. From the floor, in clear sight was his family, including his daughter who came out to see her father tear it up. It wasn’t just a concert, it was a family affair, and this was no high school recital. The bands made no exemption, they put on one incredible show with probably the highest energy of any two bands you can ever see in concert. The acoustics were flawless, the instrumentation was perfect, and the bands were absolutely enveloped into the crowd. It really gets no better than this in terms of raw metal. 

The talent on this bill was remarkable, the two bands alone were well worth the admission cost, but the extra  bands we got to experience were just an added bonus. Whatever your preference on music is, this tour has you covered. It is well worth you check out the dates, but check quickly: if the dates that passed already were already an indiction, it may already be sold out. 

The post The All Stars Tour: Where the Stars Came to Play appeared first on Der Metal Krieger.

Are you a fan of tongue twisters? So are we. In fact, we are so keen on them, we are giving you enthusiasts out there a review of Nile’s latest, tongue twisting antics.

Band: Nile
Album: At the Gate of Sethu
Genre: Death Metal
Label: Nuclear Blast
Release Date: June 29th, 2012

The theme is still there, Egypt. The song titles are still there, long and confusing. The brutality is as always still there. If you were ever a fan of Nile’s past work, you will understand the absolute brutality of the two of the deepest and most brutal vocal duos out there of Karl Sanders and Wade. This can be looked at the album which is the pinnacle of their musicianship. It is less “brutal” in some aspects compared to their flawless past works but it does not rule out the absolute dark and menacing ambiance.

If you were to look at the albums set forth from Nile, you can consider this their most mature work. The band seems immensely comfortable and play a more signature and technically sound album. The blast beats are there as always, and that riff is still there. You know that riff, the one that always catches you off guard. Also; the egyptian laden transitions and intros are strong as always giving some ambiance to the music. The vocals are still the centerpiece, with the rasping voices of a desert dweller. The drums are laser precise, and the guitar is always spot on.

The album itself is very strong, something we have all come to enjoy. Production quality is higher then past work, though at times you long for the crispness that we have come to take advantage of with modern death metal. The only gripe other than production was really the lack of creativity. Although, once you reach max level you generally stop leveling up, the signature sound is there, and that is all they need and that is what they use. Regardless, the album is technically sound and is a very good addendum to their experienced repertoire of mind melting metal.

Rating:

Track Listing

1. Enduring The Eternal Molestation Of Flame
2. The Fiends Who Come To Steal The Magick Of The Deceased
3. The Inevitable Degradation Of Flesh
4. When My Wrath Is Done
5. Slaves Of Xul
6. The Gods Who Light Up The Sky At The Gate Of Sethu
7. Natural Liberation Of Fear Through The Ritual Deception Of Death
8. Ethno-Musicological Cannibalisms
9. Tribunal Of The Dead
10. Supreme Humanism Of Megalomania
11. The Chaining Of The Iniquitous

Personnel

Karl Sanders – guitars, vocals, bass
Dallas Toler-Wade – guitars, vocals
George Kollias – drums

The post A Review of Nile’s “At the Gate of Sethu” appeared first on Der Metal Krieger.

Band: Ex Deo
Album: Caligvla
Genre: Death Metal
Label: Napalm Records
Release Date: August 31, 2012

The album itself is heavy as only the Romans can muster. They had the most brutal and destructive armies in existence, and this album serves as an homage. The first song is the album is much like that of their previous album, Romulus. It opens with a song dedicated to the name sake of the album, “I, Caligvla”. As with “Romulus” from the prior album , “I, Caligvla” is the most brutal the most memorable track on the album.

[youtube=http://www.youtube.com/watch?v=NSW01sWSPQY]

Additionally, the album often dips into history, and each of the song titles alludes to a monumental event in Roman history: everything from Caligvla asserting himself as the Emperor, to the allusion to the Battle of the Teutoburg Forest and the ambush of Varus. The history checks out, these gents know their Romans. Iacono grew learning about his Roman heritage, especially from his father.  His work in Ex Deo shows his passion for the immense history of the Roman people.

Musically this album is unique. Half of the time it sounds as if we are watching a classic cinema epic regarding the Roman Empire, the other half we are being blasted by textbook death metal. It’s beautiful. Musically as far as guitars go, Barbe and Daganais follow the story well, often cutting killer riffs with the blasting drums in the background of an ancient wartime environment. Drums by Duhamel are clean cut and provide a wonderful pair with the war drums. Keyboards and bass again add another element, providing more depth and complexity to the sound.

In my opinion, the highlight of the album are the vocals. In some songs, Maurizio acts as emperor Caligvla, barking commands at his officers. In other times he is the Maurizio we know, throwing down perfect death metal vocals. Adding them all together, it holds together as a unique experience and a nice dip into the wonderful tumultuous history of the Romans and the insanity of the Caesar.

The shortcomings are few. Sometimes the songs shifts into a vocal transition, which at times, can drag on.  I figured this style to be the extent of the potential that “metal spoken word” has. But considering the story behind each song and event, it is immersive once you get a listen to what is actually happening. However, considering this is prevalent in most songs, the first few listens can meld together but it does sort itself out as you learn to appreciate the little musical nuances between the tracks.  While the orchestral pieces add a heightening dramatic atmosphere over each track, the synthesized choirs don’t parallel the sound.  A studio choir would have added to the feelings of fear and utter power that Ex Deo can deliver.

Overall this album is the perfect excuse to dust off of your childhood legionnaire costume and go parading to your nearby concert hall. Just hope that this album doesn’t bring you to the edge of insanity and assumptions of divinity that Caligvla himself experienced.

Rating:

Track Listing:

1. I, Caligvla
2. The Tiberius Cliff (Exile To Capri)
3. Per Oculus Aquila
4. Divide Et Impera
5. Pollice Verso (Damnatio Ad Bestia)
6. Burned To Serve As Nocturnal Light (Bonus Track)
7. Teutoburg (Ambush of Varus)
8. Along the Appian Way
9. Once Were Romans
10. Evocatio – The Temple of Castor & Pollux

The post When in Rome, a Review of CALIGVLA by Ex Deo appeared first on Der Metal Krieger.

There were even more openers, however, they like much of the tour were rotating depending on region. Regardless, the talent for this event was impressive. If not the larger bands, there was smaller bands that clearly proved they had the metal and meddle to become a largely successful band. The venue we visited was The Fox Theater Pomona, which was one of two (the other being the Glass House), which was required to hold the sheer volume of the bands. The venue itself was good as always, great acoustics and a very clean environment despite the hoards of metal fans rushing throughout. The only detriment, however, was I can only see half the bands on bill because of the scale and the logistics of the event. As a result, I missed some killer performances by Oceano and the Acacia Strain.

Finally is the talent . Metalcore is quite the fast paced style of music. It is loud, it hits hard, and it hits fast. But one thing that these metalcore bands have that few other genres of metal can even compare is stage presence. The entire set the band members were jumping, twirling, singing directly into the crowd. In fact, sitting in the photo pit getting photos I was greeted by the clean singer of We Came As Romans jumping over my head in the opening song to crowd surf. Then in true metal fashion, in the clutches of his fans, he belted out the lyrics seeming unphased by the 10 fans supporting and the hundreds more clamoring to get to him. This wasn’t exclusive just to We Came as Romans however. All the bands were engaging. Woe, Is Me was running around the entire stage making themselves seen. Even Attack Attack! covered a band member in silly string to celebrate his birthday on stage. It is nearly impossible to exclude any band from their awesome stage presence, since they were all so compelling in their own sense.

This stage presence makes for one of the most fun metal shows you can attend. It was definitely a good way to celebrate metal in the summer time and it holds its own against tours such as Mayhem Fest or even Summer Slaughter. 

The post Scream It! But This Time Like You Mean It. appeared first on Der Metal Krieger.

Band: Dying Fetus
Album: Reign Supreme
Genre: Death Metal
Label: Relapse Records
Release Date: June 19th, 2012

The first track to the album is “Invert the Idols,” a song so brutal, a song so rough and abrasive that you are willing to step outside your car on the drive home from work and try to start a pit amongst those stuck in rush hour traffic. The song itself can be considered a “greatest hits” within two minutes. It features everything we have come to love about Dying Fetus, the growls of  John Gallagher that are so deep they make other death metal bands appear to be growling in falsetto. The drums of Trey Williams are borderline bionic because of how precise and how damn quick the double bass is. The bass is fantastic as always, Sean Beasley, never fails to bring the groove.  And the brutality ceases to end, as the entire album is pure perfection in terms of musicianship.

Now these traits are a good indicator as to why Dying Fetus is the band that defines the tech death scene. Even more, each song encompasses the sheer brutality that this trio is able to craft seamlessly. Some other songs of note are “Subjected to a Beating”, which immediately and flawlessly follows in the footsteps of “Invert the Idols”. The song itself, much like that of such songs such as “Devout Atrocity” and ”Revisionist Past,” features a good deal of the groove guitars that show the musical prowess of the band not only behind the axe, but in production and composition. They are true ambassadors of the metal genre and can singlehandedly silence those naysayers who claim this is just noise, and also laughably refer to this as screamo.

[youtube=http://www.youtube.com/watch?v=OZ0_AEvv5PY]

There isn’t much else to say that hasn’t already been said. Dying Fetus indeed holds the throne as the kings of death metal, and it’s only fitting that the finest work they have produced is named Reign Supreme. Very rarely is there an album that is so absolutely brutal that you cannot help but attempt to coerce those around you to open up a pit, even in the middle of a classroom or even Planned Parenthood, where undoubtedly they use this album to perform the procedures that are destined to end up with many fetus deaths. They don’t call themselves Dying Fetus for nothing. This is brutality in a musical form. Sheer fucking brutality. 

Rating:

Check out Dying Fetus on Facebook

Pre-Order REIGN SUPREME:
http://www.relapse.com/dying-fetus-preorder

Currently on tour with Six Feet Under and Revocation:
https://www.facebook.com/DyingFetus/app_123966167614127?ref=ts

The post Dying Fetus Really Does Reign Supreme appeared first on Der Metal Krieger.

Band: 3 Inches of Blood
Album: Long Live Heavy Metal 
Genre: Heavy Metal 
Label: Century Media
Release Date: March 26, 2012

Fans of the band pin their success to a few key characteristics, falsetto vocals, over the top themes, and awesome music to thrash around to. This new album picks up where they all left off, remaining as brutal as ever, and even doing what the past albums have failed to manage. Normally in past works, the albums found their way onto my iPhone, not as a whole album, but in pieces, as I felt many parts were rather hum drum. This new album is consistently quality, and uses many more musical elements to keep things interesting. Most songs are reminiscent of Iron Maiden with the drums, the guitar shredding and the falsetto vocals. Quickly you go from Bruce Dickinson to the newfound realm of 3 Inches of Blood, where you have falsetto vocals mixed with insane guitar solos and rifts, such as throughout “Leather Lord”.  

The composition of many of these songs are flawless, giving a good amount of instrumental precision in between the banshee-eque howls of Cam Pipes and the growls produced by the same incredible musician. Justin Hagberg and Shane Clark, are the duo behind the shredding, and often produce immensely catchy riffs and thumb severing quick solos. The drums are as precise as they can be, courtesy of Ash Pearson, who maintains a great beat and sets the pace for all of the songs and ties it all together.

From first listen you will realize that this band has evolved. Long gone are the songs that focus on simple rhythm and constant vocalization, and in are the breaks, the speed playing and guitar riffs reminiscent to the legendary Iron Maiden. Yet, as much as you can compare a band to one of incredible prowess, they still carve their own path, proving to be versatile and all-around talented in every aspect of the music creating realm.

As for the theme, it is very much like the works of past, carrying on their realm of over the top badassery. All in all, you are fortunate to make it through the entire album sitting down, because even alone, you resist the urge to throw your fists in the air, grab your battle coat, and thrash around with a drinking horn in your hand that isn’t balled up into a fist. It is a great album even though it is nothing new to listeners of 3 Inches of Blood. This is a strong addendum to their already accomplished portfolio of metal, and is worth every listen you are willing to give it.

While it is in fact a glorious experience, it isn’t anything groundbreaking–HOWEVER don’t let that deter you because it’s solid and it delivers the searing hot metal that we expect from any band that tries to sail under the heavy metal flag.

Long live heavy metal? Long live heavy metal indeed, and let these men guide us.

Rating:

Out on March 26, 2012!

The best place to grab Long Live Heavy Metal is over at CMDistro, Century Media Record’s main shop.  They have some excellent pre-order packages so get it as soon as you can!

Click the image to see all of the pre-order options.

Metal Alliance Tour 2012
3/15/2012 – Austin, TX @ Scoot Inn
3/16/2012 – New Orleans, LA @ The Hangar
3/17/2012 – St. Petersburg, FL @ State Theater
3/18/2012 – Charlotte, NC @ Amos
3/20/2012 – Baltimore, MD @ Sonar
3/21/2012 – New York, NY @ Gramercy Theater
3/22/2012 – Worcester, MA @ The Palladium
3/23/2012 – Montreal, QC, Canada @ Le National
3/24/2012 – Toronto, ON, Canada @ Opera House
3/25/2012 – Columbus, OH @ Alrosa Villa
3/26/2012 – Joliet, IL @ Mojoe’s
3/27/2012 – St. Paul, MN @ Station-4
3/28/2012 – Winnipeg, MB, Canada @ Garrick Centre
3/29/2012 – Regina, SK, Canada @ Riddell Centre
3/30/2012 – Edmonton, AB, Canada @ Edmonton Events Centre
3/31/2012 – Vancouver, BC, Canada @ Rickshaw Theater
4/1/2012 – Seattle, WA @ Studio Seven
4/2/2012 – Portland, OR @ Hawthorne Theater
4/5/2012 – Oakland, CA @ The Pound
4/6/2012 – Hollywood, CA @ House of Blues
4/7/2012 – Tempe, AZ @ Marquee Theater
4/8/2012 – Albuquerque, NM @ El Rey Theater
4/9/2012 – Denver, CO @ The Summit Music Hall
4/10/2012 – Omaha, NE @ Sokol Auditorium
4/11/2012 – Des Moines, IA @ 7 Flags Event Center
4/13/2012 – Memphis, TN @ New Daisy Theater
4/15/2012 – Lawrence, KS @ Granada Theater
4/16/2012 – Tulsa, OK @ Cain’s Ballroom
4/19/2012 – Dallas, TX @ House of Blues
4/20/2012 – Austin, TX @ Emo’s East
4/21/2012 – Houston, TX @ House of Blues

The post Long Live Heavy Metal! appeared first on Der Metal Krieger.