Hailing from Kent and London, Galley Beggar are a band of six musicians – Paul Dadswell, David Ellis, Mat Fowler, Bill Lynn, Celine Marshall & Maria O’Donnell – that grew up obsessed with an old sound. Influenced by the likes of Led Zeppelin, Pink Floyd, Nick Drake, Jethro Tull, Fotheringay, Fairport Convention, Steeleye Span, Bert Jansch, Circulus and Pentanglehe, the bands’ name derives from an old English ghost, often reported in the North of England and mentioned as far back as 1584, in Reginald Scot’s The Discovery of Witchcraft. This fearsome ghost is described as being almost without flesh and bearing its head under its arm and emitting a deathly scream. The name is derived from the word ‘Gallery’, meaning to terrify. This ghost is likely to be encountered on country roads and deserted lanes.
To reduce Galley Beggar’s allure down to a simple matter of folk rock revivalism would be foolish. With a sound that incorporates all manner of unexpected elements while always celebrating the mischievous spirit of folk music across the centuries, these Kentish chameleons have been steadily earning a formidable reputation since forming back in 2009. Over the course of three acclaimed albums – Reformation House (2010), Galley Beggar (2012) and Silence & Tears (2014), the band’s first for Rise Above Records – Galley Beggar have pulled off the neat trick of simultaneously honouring and upgrading the psychedelic folk rock template, both revelling in the simple magic of acoustic instrumentation and joyfully harnessing the lysergic power of the electric too. And now they are poised to release their fourth and finest album, Heathen Hymns. A dizzying blend of the traditional and the untried, it’s a record full of absorbing musical stories that showcase a newfound lust for experimentation.
Cover Artwork by Burning Moon
Although already firmly established in folk rock circles, Galley Beggar’s greatest achievement to date is arguably their ongoing assimilation into the world of heavy music. Aided by their association with Rise Above, the band are picking up fans from both the metal and the prog worlds, their reliably idiosyncratic flair ensuring that all but the most cynical punters will eventually be drawn towards the GB web. 2016 was a relatively quiet year for Galley Beggar but as Heathen Hymns begins to cast its spell on the psychedelic (and not so psychedelic) hordes, it seems that Maria and her comrades are ready, willing and eager to hit the road and share these new bursts of dazzling sonic light with the masses.
Heathen Hymns was released on April 28 2017 via Rise Above Records. Head over to Noisey to stream the album in its entirety.
Rumors have been spreading since the end of last year and the first public post, that Purson, the fancy five-piece from Britain called it quits has been posted in December 2016 by the Great Southern Brain Fart. The band has always been as vibrant as troublesome, single shows and entire tours would be cancelled, they left Lee Dorrians prestigious Rise Above Records for Finish label Spinefarm after just one full-length album and also Facebook featured some revealing posts on the members private profiles recently.
Now the band‘s leading lady, guitarist and vocalist Rosalie Cunningham announced the following statement: “The past five years have been an unforgettable whirlwind, for which I have to thank our wonderful fans around the world, the band and all the people who have contributed to Purson’s success over the years. Their support has been overwhelming, but the Purson framework has gone as far as it could go, and now it’s simply time to move on. I feel strongly drawn to a more DIY approach to my career in music, and look forward to the freedom to explore many avenues as a solo artist.”
To mark the end of the band, Purson have released one final track titled Chocolate Money featuring Comus’ Jon Seagroatt on saxophone and Vodun singer Chantelle Brown on backing vocals.
Cunningham adds: “Chocolate Money is a snapshot of the ostentatious decadence of the 70s. The mythical rock star character with his double-entendre and self-centred hedonism. The industry has become a very different world since then, which is something I will expand on lyrically with my next album. It has inspired my desire to go back to basics and remember what music is supposed to be about.”
Hailing from the coastal Southwest of the United Kingdom, Electric Wizard have consistently redefined the preconceived thresholds of a detuned guitar chord with their peerless doom metal achievements. Formed by vocalist/guitarist Justin Oborn (previously with Lords of Putrefaction), bassist Tim Bagshaw, and drummer Mark Greening, and initially known as Thy Grief Eternal (briefer still, simply Eternal), the band made their debut with 1993’s; “Demon Lung” single – a split release with Our Haunted Kingdom (who later evolved into Orange Goblin). Released by Lee Dorrian’s very own Rise Above Records, the single paved the way for Electric Wizard’s eponymous first full-length a year later. Almost a quarter of a century later, Electric Wizard has seen numerous lineup changes and released seven more studio albums, the most recent, “Time To Die”, in September of 2014.
Please insert name of band, album & song here!
Kicking off today, Electric Wizard will return to European soil and “there is a constant Electric Wizard line-up. Me and Liz, ” to quote the master himself and just to clarify this upfront. Joining in the Dorset Doomsters for all dates except for the Stockholm show tonight, will be fellow legends Angel Witch. Formed, originally under the name of Lucifer, and was initially composed of guitarist and vocalist Kevin Heybourne, guitarist Rob Downing, drummer Steve Jones, and bassist Barry Clements. The band has regrouped and split up several times and has been going strong ever since getting back together at the dawn of the 2000s. Besides fronter Heybourne, the current incarnation features sticksman Andrew Prestidge and lowrider Will Palmer. With their self-titled debut, Angel Witch is considered as one of the most important bands from the NWOBHM-era. After missing their performance at the “Hunting Across Europe” tour in 2013, I will finally be catching up with them twice this month!
Upon the anticipation of their upcoming new album, which is due out on March 25th via London’s cult record label Rise Above Records, Toronto’s finest export item in the art of Occult, Blood Ceremony have released a first impression on what to conceive with “Lord Of Misrule”. The namesake of their fourth full-length attempt is to be found on “Coven Tree”, a most hypnotic tune of Blood Ceremony’s sophomore album “Living With The Ancients”.
The single track “Old Fires” displays an established band with vocals that stick out as a leading instrument much more than it’s been the case on previous releases. Please check out the video below to dive into this new magical journey.
Additionally, the band with their enchanting fronting witch, Alia O’Brien, the rhythm section consisting of bassplayer Lucas Gadke and sticksman Michael Carrillo as well as stringslayer Sean Kennedy, recently announced that Fresno, California’s Beastmaker will be joining them on their European tour. As chance has it, the doomy three-piece is not only on the same label, but will simultaneously unleash their debut “Lusus Naturae” through Rise Above Records.
Imagine the original Alice Cooper band jamming in a cell with early BLACK SABBATH and the STOOGES, whilst sitting on murder charges and you may get a glimpse into their fuzzed up world of exploding tube amps and cymbal smashing mayhem. However, this enticing act of musical manipulation is merely the icing upon a very sick cake. From humble beginnings in the witchy flat lands of Cambridgeshire, England, UNCLE ACID & THE DEADBEATS have devolved into an international band of street creeps, burnouts and draft dodgers. Since unleashing the monumental, internationally feared and revered set of blood-curdling chainsaw anthems known as “Blood Lust”, they have been locked away in the barn ignoring all the ensuing hype and publicity, whilst preparing to deliver their own new nightmare message of madness.
Now the British four-piece has announced a new studio encounter, called “The Night Creeper” which will released on September 4th via Rise Above records. The celebratory THE NIGHT CREEPER TOUR will kick off with the following shows in North America before the band heads back to Europer later this year. Please check out here for all confirmed European tour dates.
Quite some months have passed since the announcement of a new sonic offering from one of the most hailed and yet quarrelsome bands around: Over two decades into their outstanding carrier, Dorset Doomsters ELECTRIC WIZARD have recently stepped away from their long-term label and partner, London-based Rise Above Records – founded and run by former CATHEDRAL mastermind Lee Dorrian, just in case someone didn’t know that – to release their latest attempt, entitled “Time To Die…” through Satyr IX Productions / Witchfinder Records on September 29, 2014. To dive into the depths of the bands’ upcoming Riff-o-Rama, Occult Rock Magazine had a little chat with the Wizard – centered around guitarist & vocalist Jus Oborn and his spouse, axegrinder Liz Buckingham.
“There is a constant ELECTRIC WIZARD line-up. Me and Liz.” Jus Oborn
Picture by Steve Gullick
When did you begin recording ‘Time to Die’ and when was it completed?
We started it in the summer of 2013 and finished it around April 2014. It took a while, but mainly because it wasn’t recorded in one go and there was a bit of a problem getting back into the studio in the middle, if that makes sense…
Not to get into details, as there has been enough talk and what not online and printed these days, is the fact that you’re releasing the new record under different terms a whole new chapter for the band or just a tiny part of the puzzle?
It can be viewed both ways. I hope it’s a new chapter for the band, but in terms of the bigger picture, it’s probably just another step on our hideous journey into hell…
It’s not a secret that the band is basically the creative outlet of Jus and Liz – the question on everyone’s lips might be: Will there ever be a constant ELECTRIC WIZARD lineup again?
There is a constant ELECTRIC WIZARD line-up. Me and Liz.
Talking about the album or rather its concept, if there is any to speak of, I noted the rather (colour) reduced cover art work: How important is the visual concept of the ongoing promotion or overall work with the band?
I always think we’ve been a very visual band, and of course the artwork is very important to the album / LP format. I mean, we’re not a singles band, we don’t release 3 minute songs, we release long, epic tunes that cover one whole side of an LP. So we always conceive the artwork to go with that concept, and we’ve almost always done it ourselves. I think it’s become almost half of what ELECTRIC WIZARD is… the visual element and the ideology and everything else that goes with the band, that’s part of the attraction, really. Something deeper than just music…
Has censorship ever been an issue for you (For example the EW/REVEREND BIZARRE Split 12” cover artwork…)?
That was censored by our label back then – I think they were worried about it getting into the shops. But, no, we haven’t had as much trouble as you might imagine really, although of course we’ve had the odd Puritan soul who complains about us. Actually, one gig we played was pulled mid-song because the town council didn’t like the video we were showing – that’s happened once or twice, more than with most bands, I guess. We’ve shown some pretty hard-core porn on stage and people being burnt alive, all sorts of horrible shit, you know, just to destroy peoples’ psyches, really. I think if you come to see ELECTRIC WIZARD you already know what you’re in for…
The most current step on the Wizard’s march of global conquest is the video for the second single “Sadio Witch“, which holds a certain resemblance towards the timeless “Black Mass” – would you like to tell us something about this certain song, why it has been chosen and how you got engaged with underground film maker Shazzula Vultura?
Obviously, we’d been meaning to put out a promo video for a long time, it just wasn’t possible with our previous label. So when the opportunity came to do it, we approached Shazzula because we liked a film she’d made a year or so ago, ‘Black Mass Rising’. She’s very influenced by Kenneth Anger and Jess Franco as well, so we very much met on the same page artistically, and it was just a case of us allowing someone else to do something for us and work with us instead of us doing everything ourselves.
The song was chosen because it was written as a single – it’s bloody 4 minutes long! But I don’t think there’s any shame in that. I am really surprised by the rules that some people put on music. A single is supposed to represent your band in usually 3 minutes, so I think we actually went too far in making it 4 minutes, haha. I think the song is perfect as a 7”, which of course it now is.
You’ve just played Desert Fest Antwerp. What are the international touring plans for ‘Time to Die’ ?
Well, the album is meant to be played live. I think that’s pretty obvious from the way it sounds, which is raw and brutal. To be honest, we are probably going to end up touring the fucking world by the end of this album’s life… I’d like to get to South America eventually, and the US tour is coming into play around April 2015, and then we’ll be back to playing in Europe, so hopefully a world tour by the end of the cycle…
Doom Metal went through several stages of development and might now be enjoying its highest point of popularity. Do you consider this to be connected to the cultural/social/political climate of the post-millennium? Is it maybe even a kind of musical/artistic counter concept to neoliberalism?
Well, I think it’s doomy times now. The world sort of feels like it’s entering the doom, and doom metal is the music for it. I think BLACK SABBATH had that period of popularity when people felt a lot of doom and gloom at the beginning of the ’70s, with the Vietnam war and the fuel crisis coming in, and there wasn’t a lot of money around in that period, it was kind of brutal. So when times are hard, people do listen to heavier styles of music… So I think the time is perfect for Electric Wizard. We are a pop band, as far as I’m concerned… we just don’t sell enough records, haha!
Hastings’ very own self-confessed “grease rock bastards” ADMIRAL SIR CLOUDESLEY SHOVELL will be heading out on a mini UK tour in October.
Earlier this year The Admiral released their second album on Rise Above Records, “Check ’em Before You Wreck ’em” receiving excellent plaudits, as did their subsequent UK tour as support to UNCLE ACID AND THE DEADBEATS.
In recent times THE SHOVELL have also gone out as support to the likes of ORANGE GOBLIN, and will soon share a stage with the legendary PENTAGEAM. Furthermore the band played their German debut at this years Freak Valley Festival alongside labelmated BLOOD CEREMONY.
Tickets for the Cardiff date, at which the supporting cast will be DEAD SHED JOKERS and LACERTILIA, will be on sale from Monday August 11th at http://www.wegottickets.com
ADMIRAL SIR CLOUDESLEY SHOVELL tour dates:
Friday October 3rd – Union Bar, Hastings
Saturday October 4th – PJ McGinty & Sons, Ipswich
Sunday October 5th – The Asylum, Birmingham (Fearfest 2014)
Monday October 6th – The Moon Club, Cardiff (with Dead Shed Jokers & Lacertilia)
Tuesday October 7th – Kraak, Manchester (with Ten Foot Wizard and Pist)
Just to make it quick, Freak Valley Festival wasn’t all just mud, rain and rather low temperatures – but if you’ve been there right from the start, you’ve seen it all. And Psychorizon for one did.
Arriving in the rain covered outer part of Siegerland, Northrhine-Wesphalia, building up stages and setting up entrance fences is still an ongoing process, as my arrival from Donzdorf happens a lot earlier than expected. The other half of this years’ two person Festival coverage team shows up about two hours later and wouldn’t you know: It’s still raining by then. After a quick journey on sight, figuring out where to get our passes at and how to walk to the campground, we end up driving – with both cars – to the destined grounds uphill some 20 to 40 minutes walking distance from the actual Festival, depending on what corner your tent is and how bad your level of alcoholic consumption will slow your speed down. Anywho, plans of actually putting up a tent are out the door due to the severe condition and muddy state of ground, besides a car is at least a bit warmer at night, or so we thought.
Tent, Sweet Tent
With the set up entrance awaiting and rain finally disappearing we find ourselves on a surprisingly long and crowded cue to get in. Having moved the cars once to our final temporary home with part of the Cologne/Bonn crew, we’re right in time for doors and the opening act of Freak Valley Festival 2014.
After a first intense check of the Festival sight and the welcome discovery of flushable toilettes, we decide to return and hang out on top of that hill where we spend most of this first day after a big disappointment of the highly acclaimed BLOODY HAMMERS who turn out to be highly overrated – at least as far as our opinions are concerned and agreeing upon RADIO MOSCOW not being worth hiking all the way down again. (kp) After the disappointing HAMMERS, I anticipated PAPIR from Denmark. The three musicians made a great start, but after a while, the strictly instrumental jam-tracks seemed to repeat themselves over and over. In my opinion, the show would be much more intense at a club rather than an open air stage. The same applies to the first headliner of the festival: RADIO MOSCOW. However, I’m quite on my own with my opinion, as the band is very well received by the rest of the audience. The blues-influenced music set aside, I have to admit that the background projections are quite impressive on a stage of such dimensions. After the encore, the mediocre first festival day ends and a long and hard ascend to the camp site opens up…(ys)
Inventors of the “Selfie-Booth”
Day two starts off pretty much the same day one ended: Its way to cold to be outdoors all the time and this time the entire gang is late for the first band of the day. After a half way decent breakfast/lunch or whatsoever, everyone is in a good mood and finally I find myself walking down again to the place where all the magic happens this extended weekend.Between a first inspection of the merch offerings, STUBB and THE MIDNIGHT GHOST TRAIN the sun also joins in. As of some serious busyness we miss both MOTHER OF GOD and most of MOTHERSHIP since we conducted an Interview with BLOOD CEREMONY bassplayer Lucas Gadke. The Canadian Doom masters are one of the first bands, Psychorizon met along the way and its a great feeling to be catching up at this uprising annual event. One private signing session and a few sips of booze later, we find ourselves witnessing this first true highlight of FVF ’14, which is of course BLOOD CEREMONY in all their enchanting appearance. The setlist covers songs from all three full-length releases: Their eponymous debut from 2008 (‘I’m Coming With You’), “Living With The Ancients” (‘My Demon Brother’) (2011) as well as the most current one “The Eldritch Dark” (‘Goodbye Gemini’) which was released last year via UK’s cult label Rise Above Record.
The Good Witch of the North-West
Though some of the magic of the Toronto-based foursome is hard to touch when delivered on brought daylight, the audience is turned into one celebrating ritual gathering by the songs, mainly focusing on Witchcraft, other realms and Horror. Not to mention vocalist, flutist, organist and frontlady Alia O’Brien is just one bewitching entity all herself and has everyone in front of the stage and her fellow band members, guitarist Sean Kennedy, the aforementioned bassist and newest addition to this sonic coven, drummer Michael Carrillo, under her spell. While the day is fading, I find myself slightly drunk and not fully capable of watching either WO FAT or SÓLSTAFIR in full and get a necessary break before the Saturday headliner gives a most amazing conclusion for the day. (kp) Iceland’s best kept secret, SÓLSTAFIR, were given the honour to perform at Friday’s sundown. The band’s ingredients cover Post-, Black and Doom Metal as well as atmospheric soundscapes. These Metal Dudes looked a bit out-of-place among all the other bands, but charismatic band leader Aðalbjörn managed to infatuate the audience right away. Definitely one of my personal highlights this year!
Coolness Incorporated – SÓLSTAFIR
Damdamdamdamdamdamdamdam dadadaadaadaaa dadadaada: One of the most recognisable riffs in recent years heralds the coming of today’s co-headliner, TRUCKFIGHTERS from Sweden. These guys never seem to run out of fuel and deliver an energetic performance. Their blend of riff-driven Stoner Rock and psychedelic parts fits a festival stage quite well, something other bands seem to have more trouble with. The set is well received by the audience, but the aforementioned song Desert Cruiser still remains their very own „Ace of Spades“, no matter how much more acclaimed their recent albums are. (ys) Aspiring Blues Rock act BLUES PILLS might seem to be a little young to fill in the position, but not only do they prove to be worthy but are fully blowing away all doubts about this being the rightful place for the Sweden-based band with multi cultural origins. Furthermore they are putting aside the worn-out argument of age for all nay-sayers as they sound more mature than many so-called established acts. Elin Larsson with her dark and soulful voice in the vain of the great Janis Joplin, French guitarist Dorian Sorriaux is handling his fretboard like an elderly Rockgod while Zack Anderson becomes all one with his bass and the new sticksman is hitting his kit as if there is no tomorrow. And while the world is still waiting for BLUES PILLS to finally put out their debut album they easily manage to give a full set, including everyone’s favourite ‘Devil Man’ and the new mandatory sing-along tune ‘Highclass Woman’.
BLUES PILLS heating up a cold night
Not to make this a habit, but also on the final Festival day do we miss out on the opening bands – 11:30 on a Saturday just ain’t right! Mobilising forces takes even longer and the first act we get to see is the ØRESUND SPACE COLLECTIVE. (kp) After taking an exhausting trip through the quiet woods of the freakish valley in order to find a cash machine, I arrived just in time for ØRESUND SPACE COLLECTIVE. The group is famous for its completely improvised shows and manages to take off into the midday sun with yet another trippy performance, led by the one and only Dr. Space. (ys)
With yet another promising act on sight, Rise Above Records got Hastings trio THE ADMIRAL SIR CLOUDESLEY SHOVELL or simply THE SHOVELL with their first ever show on German ground well-placed at FVF ’14, that also presented the first ever Germany show of labelmates and fellow countrymen UNCLE ACID AND THE DEADBEATS in 2013. Not only does THE SHOVELL clearly deserve the award for best style but also for the coolest sideburns of the entire event. Playing songs from their two albums “Don’t Hear It…Fear It” and “Check ‘Em Before You Wreck ‘Em”, guitarist Johnny, drummer Billy and bassplayer Louis become my secret headliner for the day. This clearly calls for more or to say it with the giant pin they’re selling at there merch stand: “You’ve Been Shovelled”! (kp)
Johnny & Louis – “Best Bell-Bottoms” and “Best Sideburns”
SAMSARA BLUES EXPERIMENT were up next. Reduced to a three-piece due to personal reasons since April 2014, the German band put on a rock-solid show. Singer and guitar player Christian Peters seemed to be frantic about the fact that he had to play a JCM 800, the otherwise relaxed singer/guitar player even showed some real Rockstar attitude by kicking the full stack some time during the show. From my point of view (or should I say hearing?), the issues were not that dramatic, as the sound in front of the stage still kicked ass. SBE were followed by yet another promising trio: ELDER. Hailing from Boston, the band convinced with a heavy, Doom-laden approach to the Stoner genre: Sabbathian riffs clashing with psychedelic jams reminiscent of COLOUR HAZE, also featuring lots of headbanging action by guitar player/singer Nick DiSalvo. So far, the Saturday turned out to feature the strongest line-up, with the two major acts still to come!
„MOTORPSYCHO records are always something very special“ was my very first introduction to the co-headlining band of this year’s edition of Freak Valley. Ever since MTV host Markus Kavka spoke these words around 2001, I somehow missed each and every opportunity to see this band live. So my first encounter would be a two-hour headlining show with their very own stage set. Well, if Mr. Kavka would have talked about shows rather than records, he wouldn’t have lied either! A massive wall of sound, combined with an awesome light show carried me away right from the start and 120 minutes seemed to be over in a blink of an eye. (ys)
Purple Light Special featuring Lupus Lindemann
Featuring a German band on headlining position does not happen too often at German events, maybe cause people seem to shot off the greatness of their own country and the artists it provides. With Berlin-based Psychedelic Rockers KADAVAR the 2014 edition of Freak Valley festival not only has one hell of a headliner closing the final day with an extraordinary show, but also one of the most talked about and relentlessly touring acts we currently have at our fair scene. It only takes three men, subtle lights and two full-length records to create a kick-ass set and KADAVAR got it all. Proving to hold the title as a hardworking bunch that spends about every day en route, the trio just put out their first ever live record with the suitable title “Live In Antwerp”. A perfect blend of visual and acoustic live capture can be found at the lyric video for one of Psychorizon’s faves, ‘Goddess Of Dawn” – as seen below, enjoy! (kp)
Setlist KADAVAR
Liquid Dream
Living In Your Head
Doomsday Machine
Black Sun
Broken Wings
(Aqua Nebula Oscillator cover)
Eye Of The Storm
All Our Thoughts
Come Back Life
Goddess Of Dawn
Creature Of The Demon
After the highly successful European headlining tour alongside Dutch Stoner Rockers YAMA and labelmates & fellow Rise Above Records contract holders, BLACK MOTH, UK’s UNCLE ACID AND THE DEADBEATS have just announced a full run of North America live shenanigans on their Facebook page. Check out the band’s statement as well as all confirmed tourdates below!
The Acid Coven – Picture by Ester Segarra
NORTH AMERICAN TOUR: Deadbeats of North America! We’re very pleased to announce our first tour of the U.S. and Canada. It’s been a long time coming but we’re looking forward to finally destroying your minds! Spread the word boppers…
9/24: Philadelphia, PA- Underground Arts
9/25: New York, NY- Bowery Ballroom
9/26: Cambridge, MA- Middle East
9/27: Montreal, QC- Il Motore
9/28: Toronto, ON- Lee’s Palace
9/30: Chicago, IL- Subterranean
10/1: Minneapolis, MN- Triple Rock Social Club
10/3: Denver, CO- Marquis Theater
10/4: Salt Lake City, UT- Urban Lounge
10/6: Seattle, WA- Neumos
10/7: Vancouver, BC- Rickshaw
10/8: Portland, OR- Hawthorne Theatre
10/10: San Francisco, CA- Slim’s
10/11: Los Angeles, CA- The Roxy Theater
DEATH PENALTY, the new band formed by ex-CATHEDRAL guitarist Garry “Gaz” Jennings, featuring Belgian female vocalist Michelle Nocon (ex-SERPENTCULT) is currently working on their eponymous debut record at Orgone Studios in London. The bands’ bdebut single ‘Sign Of Times’ will be up for pre-order soon (after Rog & Pip LP orders have been shipped).
by Ester Segarra 2014
‘Sign Of Times’ will be out on July 21st, followed by the crushing debut album in August. ‘Sign Of Times’ and its b-side, ‘Seven Flames’, will not appear on the album – both releases will be handled by ex-CATHEDRAL vocals Lee Dorrian’s very own Rise Above Records.
‘Sign Of Times’ is more of a melodic/catchy tune compared to the overall much heavier sound and vibe of tracks which will appear on the album – check out the official video below.
DEATH PENALTY is:
Gaz Jennings (ex-CATHEDRAL)
Michelle Nocon (ex-SERPENTCULT)
Frederick Cosemans (ex-SERPENTCULT)
Raf Meukens (ex-GORATH)
