Cradle of Filth ( CANCELLED ) – Tickets – 9:30 Club – Washington, DC – February 26th, 2013

Cradle of Filth ( CANCELLED )

Cradle of Filth ( CANCELLED )

The Faceless, Decapitated, The Agonist

Tue 2/26/13

7:00 pm



Refunds available at place of purchase through 2/26/13.

Cradle of Filth ( CANCELLED )
Cradle of Filth ( CANCELLED )
Malevolent kings of British metal. Masters of the darkest arts and crafts. Cradle Of Filth have been firmly ensconced at the forefront of the extreme music scene for the last two decades. Ever since they emerged from the lengthening Suffolk shadows in 1991, Dani Filth and his fiendish cohorts have blazed a grotesque trail across the globe, spreading their fetid gospel of obscene theatricality, pitch-black horror and exquisite musical madness, earning themselves a formidable reputation as one of the most important metal bands ever.
After unleashing three nefarious demo recordings, Cradle Of Filth began their campaign of dastardly destruction in earnest with the release of 1994’s ferocious debut album The Principle Of Evil Made Flesh, laying down a blackprint for everything that would follow, as Mr. Filth’s unhinged vocal versatility and gloriously twisted literary skills collided with a grandiose barrage of scything riffs, macabre atmospherics and bone-wrenching brutality. Upping the abominable ante for 1996’s Vempire EP and its full-length follow-up, Dusk…And Her Embrace, Cradle Of Filth rapidly established themselves as standard bearers for the UK’s dark metallic underground, consolidating that status with increasingly extravagant and dramatic live shows that put the meager efforts of their contemporaries to shame. By the time 1998’s grand concept piece Cruelty And The Beast was unveiled, Cradle had already started to prod the mainstream’s vulnerable ribcage with their scathing wit and self-deprecation, making a notorious appearance on BBC2 documentary Living With The Enemy that enabled them to scare the merry hell out of startled viewers across the length and breadth of Britain. After Dani set his stalwart songwriting partnership with guitarist Paul Allender (who had returned for a second tenure with the band), 1999’s From The Cradle To Enslave even managed to scale the battlements of the mainstream pop charts, hastening the band’s growing stature as hated household names and music press anti-heroes.

As the new millennium dawned, Cradle Of Filth tapped a new vein of rich creativity with their fourth studio album Midian; a dizzying eruption of cinematic grimoire and razor-sharp sonic viscera that paved the way for a steady stream of similarly monstrous releases, including their own horror movie (2000's underground success Cradle Of Fear). With an ever-growing penchant for augmenting their gruesome sound with ornate orchestration and all manner of disparate aural mischief, the band bestrode the decade with supreme confidence. Damnation And A Day, the Grammy-nominated Nymphetamine and Thornography all cast their sickly shadow on an otherwise impoverished music world, and countless world tours and festival triumphs duly followed on the whims of major label status.

Clicking into a higher and more hideous gear, Cradle displayed their contempt for taking the easy route with 2008’s Godspeed On The Devil’s Thunder, another labyrinthine concept work that told the vile saga of legendary knight and serial killer Gilles de Rais via some of the band’s most aggressive and intense material to date. Sustaining that sickening momentum with 2010’s similarly brutish and melodramatic Darkly Darkly Venus Aversa, our beloved filthmongers have showed no signs of slowing the pace of their creative flow, and have entered the second decade of this new century in the rudest and most rampant of health.

And now, it is time for the well-oiled gates of Midian to swing violently open once more as Cradle Of Filth prepare to release their tenth studio album, the all-powerful and undeniably terrifying The Manticore And Other Horrors. Recorded in eight to ten weeks at Springvale and Grindstone studios (where revered engineer Scott Atkins weaves his monstrous gloss), the new album comprises a collection of chilling tales of “personal demons, Chimeras, literary fiends and world-enslaving entities…” while showcasing the ongoing redefining and remorseless mutation of the classic Cradle sound, with an ever-more vicious underbelly of punk-fuelled black metal carnage driving the likes of monumental title track Manticore, the obnoxiously infectious For Your Vulgar Delectation and towering slabs of spew-drenched steel like The Abhorrent and Siding With The Titans breathlessly and brutally forward. With tentative plans for a release on Hallowe’en 2012, this is the ultimate Cradle Of Filth experience to date, complete with horrific live show come November and December, the band headline-touring in Europe.

'This is our tenth commandment in metal,” proclaims Dani Filth. “We have diversified and kept alive the spirit of this band and breathed into it something that, I can proudly say, slays like an absolute motherf**ker. The Manticore is coming…Long live the filth!'
Decapitated is a technical death metal band from Poland. They formed in 1996 in Krosno in southern Poland, when all the members were still attending music school.

They released their first demo Cemeterial Gardens in 1997 and their second demo, The Eye of Horus in 1998. After these releases, the band was considered as genuine contenders of the underground metal community, and eventually signed with Wicked World/Earache Records for the release of the debut album, Winds of Creation.

With Vitek (1984-2007) and Vogg (being aged 23) they are one of the youngest bands in the genre to have had success. Martin and Vogg conjointly hold gigs with the Polish experimental symphonic/technical black metal band Lux Occulta.

Decapitated released their first demo entitled Cemeterial Gardens in 1997 and released their debut album, called Winds of Creation, three years later. Nihility was the follow-up of Winds of Creation.

Their 2004 album, The Negation, along with their latest effort Organic Hallucinosis both have a fuller, more classical death metal tone. In summer 2005, the band's vocalist Sauron quit the band. According to Sauron, the reason was due to "health complications". Sauron's replacement was Covan, a previous member of Atrophia Red Sun. The group is currently signed to Earache Records.

Organic Hallucinosis was released on the 13th of February 2006. Martin rejoined Decapitated after the army wanted him for conscription in Poland and nearly faced going to court despite the rumours of problems concerning the label, which were proven to be untrue.
The Agonist
The Agonist
THE AGONIST, strikes back with their second full-length offering, Lullabies For The Dormant Mind, which combines shredding leads with pure technicality, topped off with the glamorous Alissa White-Gluz's brutal growls, as well as dramatically melodic clean vocals, that take THE AGONIST to a new level of musical grandeur. It is extremely rare to find an up-and-coming metal band taking strong political stands, much less one that's led by a dominating, beautiful, edgy female. This quartet delivers introspective, scathing lyrics, and their debut album, Once Only Imagined, definitely caught people's attention.

THE AGONIST, born in 2004, covers a wide range of styles from classical to black metal. Their debut album, Once Only Imagined (2007), caught the eyes and ears of many musicians and music fans alike, and their sophomore album, Lullabies for the Dormant Mind, will once again prove the diverse talents of these young musicians. The a cappella version of Tchaikovsky's "Swan Lake" is only one example of the band's musical abilities as it impressively exhibits White-Gluz's mind blowing wide range of vocal skills and professionalism as a singer.

Produced by Christian Donaldson (Cryptopsy, Mythosis), Lullabies for the Dormant Mind exposes new facets of the band and touches upon classical, jazz, opera, grindcore, thrash and black metal influences in a complete metal opus. Following a dark, twisted yet beautiful, surrealist visual concept from Natalie Shau once again, THE AGONIST have created an uncomfortable yet addictive setting for their metal. Lullabies For The Dormant Mind promises to turn heads with its daring mix of moods and styles, a challenging album well ahead of its time.

White-Gluz's vegan roots fuel her need to promote the protection of the planet and its inhabitants, and she does so through this outlet. Along with guitarist Danny Marino, bassist Chris Kells and drummer Simon McKay, each member brings their own rich musical backgrounds to the table, creating the perfect expression of melody and madness. Make no mistake, this is a straight-up metal band that holds nothing back with one goal in mind: to make music that is as catchy as it is heavy; as sweet as it is loud; and as angry as it is melancholy.

THE AGONIST, known as being road warriors, toured relentlessly in support of Once Only Imagined with a very diverse group of artists including Overkill, Sonata Arctica, Enslaved, Arsis and The Faceless. This further proved that their commanding and intense live performance can win over any crowd. White-Gluz's uncompromising vision, intelligence and thought-provoking lyrics has also helped garner some positive attention. Once Only Imagined tackled some of society's biggest issues, including animal testing, drug abuse, eating disorders, environmental protection and man's inhumanity towards animals and each other. The band's ultimate goal, though, is simply to encourage people to think for themselves.
Venue Information:
9:30 Club
815 V St. NW
Washington, DC, 20001