Enslaved, Pallbearer and Ancient Vvisdom Live Bowery Ballroom, NYC February 22nd, 2013




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Norwegian progressive extreme metallers ENSLAVED on their last date of their “Winter Rite 2013” Tour. Their 20-date headlining tour provided support from U.S. doom metallers PALLBEARER and occult rockers ANCIENT VVISDOM.

Commented ENSLAVED rhythm guitarist/songwriter/lyricist Ivar Bjørnson: “North America has become like a second home-shore to us; the rising support we’ve been getting for the last albums and tours has been amazing!

ENSLAVED‘s twelfth studio album, “RIITIIR”, sold around 2,300 copies in the United States in its first week of release. The CD landed at position No. 8 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

Pallbearer is a metal band from Central Arkansas, formed in 2008 after spending time playing in various bands around the Little Rock underground metal scene. Paying homage to doom metal of old while still looking wholly forward, the band built upon the underground success of their initial demo offering in 2010 and their debut full length “Sorrow and Extinction” was released in February, 2012 to virtually universal critical acclaim. Now the band slowly marches onward to deliver its progressively-tinged beautiful gloom on a global scale.

From the dark corners of Austin, Texas, singer/songwriter Nathan Opposition, his brother Michael Jochum (electric guitar) and acoustic guitarist Justin “Ribs” Mason have been annihilating the underground rock scene under the moniker of ANCIENT VVISDOM.

Utilizing unusual instrumentation including a bowed stand-up bass, synths, and machete/bamboo percussion over their acoustic guitars, the band set out to develop an enticing yet macabre sound — which Opposition describes as “the root of rock n’ roll and blues” — on their 2011 debut release “A Godlike Inferno,” which garnered the band a strong cult following. Classic Rock called the album a “dark and brooding beast,” comparing it to “the dirty glam swagger of Ziggy-era Bowie,” while Kerrang! praised its “hypnotic tone and rich soundscapes.”



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