SLAM CITY METAL FEST II 2024 MARCH 15-16

Apr 122024

(Our Hanoi-based contributor Vizzah Harri prepared the following extensive report on the Slam City II Metal Fest, which took place last month over two days in Siem Reap and Phnom Penh, Cambodia.)

SLAM CITY II METAL FEST 2024 officially featured 11 bands from three South East Asian countries. Sadly, Lilith from the Philippines were unable to make it this time due to what the author can confirm as exorbitant flight prices this year. My Chemical Bromance, a metallic-dubstep act stood in for the Siem Reap leg. It was set and executed to occur over two days in Siem Reap and Phnom Penh. And again, this scribe can verify that it was a weekend that will go down in the history of Asian metal as what the underground is all about. Grit, grunge, punk-values, inclusion, and mighty riffage.

A little history about the festival, which had its inaugural event last year: Formed by Chihiro Amatsu, the owner of the place people flock to for metal in Siem Reap, Atlantis Metal Bar (small, intimate, ideal for that underground feel) and 7th Street Tattoo’s Paolo. The idea was to jumpstart more live metal shows in their home city. 2023 also had 2 legs with both occurring in Siem Reap. Mia from Get in the Penh joined the team this year, and with their networking powers conjoined they were able to organize it for 2 different cities. Phnom Penh, being the capital, allowed the festival to be open to a broader audience. Having a metal show in the resort town of Siem Reap is significant for it being the gateway to the greatest Hindu-Buddhist – and also overall largest – religious monument on this here third rock from the sun… the seat of papal pederasty is puny in comparison.

Slam City Asia’s goal of the festival is to “expand the metal music scene in Cambodia” and for it to grow annually so that in the future perhaps some even bigger bands would be able to join. According to Mia Priest, metal in Cambodia (just like other nations with small scenes) is struggling to get a real foothold and this festival is something that attempts to be the light in the darkness as far as discontent, lineup hemorrhages and general resistance towards extreme music are concerned. If a growing festival like this can become even bigger, her and Chihiro’s thoughts are that it could inspire the younger Khmer generation to be more interested in the music industry and therefore to form bands and make original metal, rock and punk music.

PSA though: The world needs more drummers. If this article gets as much love as Darkside’s new Deathdreamer playthrough, then perhaps Alain Ou sharing percussive flair and at times vocal duties for 3 different bands on the night would nudge a few people in that direction. Inspire the young? I say the day I’m too old for inspiration is the day my one and only unplugged performance would take place.

In a year where we have been graced by new material from the inimitable Judas Priest, it was my pleasure and fortune to have met another entity similarly monikered. Name-dropping seems to be par for the course when it comes to metal writing and this essay is fully aware of what scoffs can be received from making such a loose comparison. There are sonic impressions as well as chronological relevance however. Could one add ‘High’ to pre-empt a collocation denoting Mia Priest’s import in the Cambodian scene? She might laugh at that, but there were certainly very few laughs to be had on the morning of the 16th of March 2024. It was slated to be the second leg of the 2nd Slam City Metal Fest and the day started the opposite of serendipitously for the organizers. (on top of them having an apartment infested by a colony of marching fire ants).

Time gets referenced a lot and not just here, it seems to be a topic and a theme that seeps into conversations all the… uhm… time of late. And so, just like the hourglass in Nightmare A.D.’s cover art to their 2018 album Phantoms of our Ruin professed, the 16th of March in the year 2024 BCE turned out to be a race against time.

The second installment of this Cambodian festival’s 2nd leg started with a collective sigh. With a smaller turnout than last year because of only 4 bands playing in Siem Reap, organizers Mia and Chihiro were hoping (a relativistic term) that the show occurring in the capital would have a bigger turnout. It did, eventually, but not without 11/22/64 levels – from Stephen King’s novel – of time-fvckery.

Just like the word ‘sinister’ having origins in Latin and having attained its meaning from traditionalist perspectives, which both at the time and still today persist – sinister comes from labeling those that are left-handed as such for being abnormal and therefore evil – so too does the word ‘sophomore’. Most of us have become used to this term from American media. Coming from the Latin word ‘sophism’ and loosely translated as ‘wise fool’ for learners in their sophomore year thinking they know more than they actually do, wise fools as such. There was nothing unfledged, guileless or unsophisticated about Slam City Metal Fest though. In fact, it took a lot of sweat, stress and cunning to get the show in the city of the hill of Penh going.

It nearly added to the infant mortality rate of roughly 1.9% (in Cambodia, slightly worse than neighbors Vietnam and quite a bit better than Laos to the North), for the festival was about that much underway in percentiles when outside forces attempted to shut it down. Noisy Chili Tap House started setting up equipment and lights the day before, not all the bands had arrived yet, and so when 11am came around on the morning of that fateful Saturday, it was time for soundcheck. The authorities were well aware of the festival, gave approval, and so there was a sinking feeling of Xiaozhai Tiankeng-proportions spreading faster than a communicable disease in all who gathered, stumped, as the district chief stomped in shrieking (perhaps Andre Antunes could do a metal cover if there remains any footage of it) with their phone recording. Of course, the police were called prior to his deflating arrival and they promptly shut down what was not to be anymore, with spatial-temporal reservations.

The weekend of the 16th of March, which is traditionally celebrated by the Irish diaspora as St. Paddy’s Day, was nothing other than a charge against the alluvial grit of time spilling from the sandglass. Performing extreme music in some parts of the world can be like the proverb says “people in glass houses… should not throw stones.” Our house is made of glass and filled with sand. We don’t throw stones, we can perhaps be seen as entities that question, harry and stir the pot of cultural suffusion and thát – together with the volume and flavors of the sounds produced from dancing with extremity – is sometimes interpreted as boulders rolled down mountains. The glass got cracked, but the Asian metal tribe stood strong, forming a human wall of resistance. This tribe refused to have the best underground Cambodian festival’s occurrence be dictated by antipathy.

Carnivola, the headliners from Thailand, released an album named Asian Tribe in 2011, and this metal community knew that only a regroup, differentiation of tactics and use of a fortitude and constitution usually only attributed to the great generals of yore could save the day. So, to liberally quote from none other than Mr. Blythe himself: as “the hour of wreckoning [drew] near…” with much forbearance, inhuman patience and project management skills, the women of Slam City Fest’s crew, and especially the Priest herself, drew the metal community into their arms and marked a day to remember by still getting everyone “jacked up on the taste of [cathartic] self-destruction.”

Mia Priest wanted to ordain a fvcking metal show. Calls were made, a venue was found, the race was on. With her supernatural abilities together with Chihiro Amatsu, Andy from Noisy Chili, the bands and a few die-hard supporters (Đăng who came all the way from Saigon on his Honda Cub! and Bianba/Jimmy, the Tibetan sage) all scrambled under astute direction from the Priest to get the equipment shipped in several tuk-tuks to the new venue.

Taken by DieNarr

Having the show a mere 66.6 meters from the Genocide Museum on Saint 113 street might have seemed metal enough on the surface, but it was not to be. The new venue was Cloud, closer to the Mekong River and 2 kilometers away (just over a mile for US-ian readers); a venue with a downstairs bar, outside chill area and upstairs music room. It was not planned, and people did lose more than hair and dollars on the day, but Cloud turned out to be a spongiform-tastic venue thanks to Pierre and Alain for hosting the Phnom Penh addition at literally the 11th hour.

New venue up and running, what would be more rock ‘n’ roll than having each band play their bleeding hearts out with minimal sound issues and a great turnout? Phnom Penh instead gifted the uninitiated with what blurs the lines between what we understand as light and dark, thus spectrums of binary proclivities adjacent. What would be more punk than being told “no, you can’t play” and responding with “no, we will play.” And what is more metal AF than taking all the rocks thrown in your direction with intent to maim and kill, than to then pick them all up and alchemize an amalgamation of finite metal-mildewed dreams?

Image courtesy of Vizzah Harri

Road Crew (Cambodia)

Road Crew initiated this vesperal séance with pseudomorphic libations on this sacrosanct Sabbath. These guys seem to do this as a side project apart from their other regular bands. The Cambodian scene is tiny according to the not-so-accurate-since-I-moved-to-Asia encyclopedia of all things ‘elitist’ metal: it lists 5 bands, but as has been noted by Mia Priest and lamented by Slam City Fest’s founder Chihiro, the scene does need a new influx. Road Crew, After God, Doch Chkae and Reign in Slumber all share members; so do Radioactive Deathmonkey, Nightmare A.D. and Winsum Losesum. As incessantly as your brain wants to read a different adverb for the synonym of persistence, unrelenting sonic fury was the order of the day.

Many people have strong opinions about doing covers in general, but ellipse was something this listener was aware of. As in, the event went full circle from what can be seen as a ‘Beginner’s guide to metal’ sonically, from these Cambodians covering what for some was the gateway drugs to metal, Nirvana and Motörhead, and ending with Carnivola cover-entendre-ing the selfsame speed freaks through Sepultura to finish it all off. Road Crew might have kicked things off with cover songs, but we’re talking seasoned musicians here, and they pulled off the live karaoke session in style.

Road Crew are:
Mourin Terry and friends

Rêvasseur (Vietnam)

The metal-starved did not have to wait long for being smacked into a strabismus-like stigmata of the lightshorn. Casting a visegrip of Zambezi rapids-riding insomnolence onto twilit Phnom Penh, this nationally diverse act (Vietnamese, Japanese, American and Kiwi) offers up what could be circumflexed into a few different death-metal-adjacent boxes. At times of a flavor reminiscent of Black Dahlia, with melodic overtones that just as easily and smoothly shift into a thrashing groove style with thick bass rumblings and a percussive section that does way more than merely lay foundations.

With a new time schedule beholden to noise ordinances in the area, most of the bands had to cut some songs off their setlist. This Hanoian death metal act chose to play 2 songs from their debut EP from 2021, In Doubtless Memory, and three from their 2023 LP Talisman. And it is verily with the 2 songs ending the first half of said LP that they closed off their set. Abide with me and the title track, Talisman. These compressed sets had the effect of intensifying not only the performances but of opening a chiaroscuro of a pinhole EP experience into a band’s discography. Pushing their sudden as a gullet punch ’23 album closer to patty for their 2 older songs was a nuanced decision, for as a closer it leaves the listener wondering where the next track is (currently in production?).

Collage courtesy of Vizzah Harri

By opting for what cannot be described other than the mephitically infectious title track, Talisman, to close off their set, which, just like the show having inadvertently played ouroboros, referenced back to Non timebo malum which was played first. Without giving away any spoilers, it is important to note how apophenia can have us spot vague causal links and then tie them into a narrative for ourselves.

And it is noteworthy that Talisman mentions a cracked hourglass; something that might spring forth from Liam W.’s lyrics are the periapt and mascot of the consummation of what Gemmell, Cook and Lovecraft in a blender would turn into – a character from Steven Erikson’s Malazan Book of the Fallen that had a shattered glass prison tattoo (and Liam alludes to them all in the featured song, which makes one wonder about how Dune – which we can pick up from in the ‘kris-knives’ adorning the verses – was a massive reference towards the inevitability of the shattering of all of time, or perhaps just the entropic nature of the universe).

Compressions and time-references abated; these daydreamers were proclaiming to time as a construct that it was in for an unredacted cranium violation. And as an easter-egg of GURPS-level proportions, Rêvasseur for sure did not go unwitnessed.

Revasseur are:
Liam W. – Vox
Satoshi – Guitars
Anthony – Drums (Phu from Saigon stood in for the Phnom Penh show)
Trunk – Rhythm guitar (Nguyen Hai Long also did guest guitars)
Minh – Bass

<a href="https://revasseur.bandcamp.com/album/talisman">Talisman by Rêvasseur</a>

https://revasseur.bandcamp.com/album/talisman
https://www.facebook.com/revasseurband
revasseurband@gmail.com
https://open.spotify.com/artist/25JWuOZ3xf9VipwHucLTBV

Radioactive Deathmonkey (Cambodia)

Fest-goers begging for more did not have to wait long with the irradiated anti-dirge diapason from the next band up. The trio, consisting of Ramsey Judson on bass, Kimmo Hakala on drums, and Mia Priest on guitar and vox duties, kept the fire burning with zero to no soundcheck and a shadow-show of netherworld neurosis by neolithic sonic parallax.

Images courtesy of Vizzah Harri

Playing a grungy alt-rock saturated in distortion, but with a refinement for spacing splendorous solos tactically throughout the driving riffage and graceful, absorbing bass-lines. If people were here to see Nightmare A.D., then witnessing the Priest in action fronting Radioactive Deathmonkey was a sign of good things to come. There is but a demo of their music available online as of this writing, and it does not do the fullness of their sound justice.

<a href="https://radioactivedeathmonkey.bandcamp.com/album/live-demo">Live Demo by Radioactive Deathmonkey</a>

https://radioactivedeathmonkey.bandcamp.com/album/live-demo
https://www.facebook.com/radioactivedeathmonkey

Pics by WIllekraai Bruusk

Winsum Losesum (Cambodia)

It’s apt that the next rock band’s first song was titled ‘Must be something higher’, not for what came before, but for the fervency of support and ardor in delivery that each band one after the other – for the lack of a better word – snowballed into an avalanche of intensity.

Was the heat mentioned as of yet? It can be said with some sway that this particular holiday in Cambodia was hot as all hell. Even with a few AC-units and some industrial fans blowing, the insipid heat of over a hundred people together with Phnom Penh in Spring meant that those of heat-intolerant constitutions were positively slathered in sweat. Or perhaps it was the fact that bands like Winsum Losesum came with a zero-sum game of defenestrating, wall-shattering oomph. Winsum provided a skeltering spelaean swaggering stridence. The (hiking) metal punks had arrived. Energetic on the verge of having ‘fren’ as a prefix ensured that many a friend of their interpretation of rock and roll was made. Buffering two electric covers of none other than Depeche Mode’s Personal Jesus as well as a Queens of the Stone Age number.

While taking a smoke break, I heard the drumbeat and unmistakable guitar lick following THAT original sample going “K.L.O.N, Los Angeles, kay-el-oh-en, K.L.O.N radio, we play the songs that sound more like everyone else, than anyone else.” Confused, half asking – half proclaiming that “that’s Songs for the fucking Deaf mate!” I had some confused stares as I ran up the staircase to witness what was a pitch perfect rendition. And isn’t it suitable then, to do a cover song of one of your favorite bands that references the cloning of it? What’s better than being Drunk on the beach? Listening to Winsum Losesum close out their show with an original song titled as such.

Winsum Losesum are (they don’t have any social media as of yet):
Jack -Vox
Gary Parker – bass
Kimmo Hakala – drums
Dmitry Knertser – guitar

Elcrost (Vietnam)

Hailing from Hanoi, or as I like to call it, the city between rivers, and at other times, the city of dust. In dust we certainly did trust, for it had no time to settle. It was time for more metal. Commencing their set with the somber tones of opener Derelict… Elcrost quickly ensured everyone was earthbound again as the black fire of tremolo-picked glory, thrumming bass tones and thundering drums made it apparent that the change of venue might have been serendipitous indeed. The acoustics were perfect for a metal show.

According to their BC page they play music in the style of Opeth, Agalloch, Ulver and Alcest and having seen them live before, years ago when they just released their Foregone Fables EP, it’s fair to say that their sound has evolved into a production of more clarity but retaining all the fire and obsidian-whelked incandescence of Nattens Madrigal era Ulver.

Images courtesy of Vragenenzien

“Pathos and Dolor, let open your way
Thee wayfarer, what’s left to say?”

I mean, Wayfarer had a shitload to say last year, but this Tonkin-based act gave us a taste of some new material anchoring their 5-song set. (I’m using the chugging rowboats definition of an anchor which means it’s the person at the end of the table that downs two pints in a row – and with that in mind if you ever do find yourself in Phnom Penh, The Chug lab is the place to be.) It might be a banner year for the House of Ygra label, its founders being 2 members of the band (more of that coming soon!). I’m posting Funeral for Spring as the embedded track because Hanoi did not in fact have a Spring this year, there was also no time to add this to the setlist for the ongoing sprint against the sundial.

The crowd got so into this melodic black metal act that Rogdan the vocalist’s pedal board nearly got crowd-defunded and his mic-stand clotheslined. Alas, the only injury sustained throughout this night of auditory resplendence ended up being a broken toe from one concertgoer showing a bit too much ardor in their set. Infernal transcendence skulled back into the vulvate.

Elcrost are:
Rogdan – vox, guitars
Axe – bass (this was his last show with the band)
Imperial Cult – guitars
David Nguyen – live drums

<a href="https://elcrost.bandcamp.com/album/foregone-fables">Foregone Fables by Elcrost</a>

https://elcrost.bandcamp.com/
https://open.spotify.com/artist/6QA513IBQrcc4PXZWwri64
https://www.instagram.com/elcrost_blackmetal/
elcrostblackmetal@gmail.com
https://www.facebook.com/elcrostblackmetal

After God (Cambodia)

Any Ideations of obsequiousness was let go as these thaumaturges unleashed virulent rancorous tones fit for an autopsy. After God doesn’t have any music released as of yet, but their mix of metalcore, djent and deathcore with a focus on groove certainly did not allow the crowd to take a breather at all. With each band coming on it felt like the mercury was rising together with the electric potency which was more than palpable at this point.

Photo by Vizzah Harri

Everyone loves to see a drummer singing and Alain Ou and his band (1 of 3, he also provided drums for Reign in Slumber and Doch Chkae) certainly seem to be a group that is on the verge of releasing content for having pages with photos some established artists might be jealous of.

After God are:
អាឡែន អ៊ូ(Alain) : Drummer/Vocalist
Vichey Sok : Bassist
Mourin Terry : Guitarist

https://aftergod6.bandcamp.com/
https://www.facebook.com/aftergod987
https://www.youtube.com/@aftergod666/about

Images courtesy of Peterson Khim Rattanak

Reign In Slumber (Cambodia)

Next up were the blackened crust project also based in Phnom Penh, Reign in Slumber. Is it possible for 11 bands to each build on the previous band’s fervor? For anyone that was able to stand through each set without a break it might have seemed so, but this band from Phnom’s Mountain certainly needed no prompting for the furious ferocity delivered in serrated serenity. Their live show is not for the epileptic as the whole set was inundated with throbbing strobic sheet-lightning running at the rate of a third of Phnom Penh’s drummers’ double bass pedal. The vocalist, however, stole the show by pure force of vitriolic ire, pulverizing the very spectra of genre. Few frontmen can muster ferociousness of the caliber that the entity that is Reign in Slumber’s frontwoman offered up. Imagine a sanguinivorous wraith of wounded wretchedness unleashing unhinged undulations.

Reign in Slumber are:
Alain Ou – Drums
Nara – Bass
Ronan – Guitars
Nel Briones – Vox

<a href="https://reigninslumber.bandcamp.com/album/it-never-left">It Never Left by REIGN IN SLUMBER</a>

https://reigninslumber.bandcamp.com/album/it-never-left
https://www.facebook.com/reigninslumber

Nightmare A.D. (Cambodia)

Next up was organizer Mia Priest’s main band. A wrenching windlass of the unchurched and unchastened. They play a thrashy crust that at times hits AFI levels of punk with oozing synth tones. From the embers left after the previous performance, Nightmare A.D. effected a spodomantic conjuration, a kind of slithering spell that left the prurient slack-jawed.

Images by Vizzah Harri

Nightmare A.D. don’t believe in adding unnecessary fat to their tunes, which not only adds to the aforementioned punk aesthetic, it leaves listeners craving more of its sudatory sedation. Other than being a night of casting spells on the sands of finitude, it was also very obvious that Phnom Penh had some exceptionally good vocalists, and South East Asia for that matter (Mia hailing from Singapore, Nel from Reign in Slumber – Filipino, and Carnivola’s Chonnipa from Thailand). Mia Priest and co. gave us much needed novocaine for the soul, a vitreous metamorphosis of procrustean ideals of remonstrance.

Nightmare A.D. had to also keep their set to a mere 5 songs, but they were certainly one of the highlights of the whole day. Pain may be the master theme displayed here, yet immured in a palette of implacable translucence of joie de vivre underneath. If people were to dissociate then anhedonia would only be attainable upon exiting the building (allusions to songs from their upcoming album).

Nightmare A.D. are:
Mia Priest – Guitars, vocals
Vivian Chaizemartin – Drums
Jon Banules – Keys
Ned Kelly – Bass

<a href="https://nightmaread.bandcamp.com/album/corruptors">Corruptors by Nightmare A.D.</a>

https://nightmaread.bandcamp.com/
https://www.facebook.com/nightmaread/timeline
https://soundcloud.com/nightmaread

Image courtesy of a Pikachu fan

Cút Lộn (Vietnam)

These thrashed-up crossover punkers from Saigon (originally from Hanoi, most of the members have moved south) needed little introduction, having played the previous year when they were still known as the Pikachu band for their penchant of wearing the anime jumpsuit. It would have been understandable that they skipped the donning of said costumes for the sweltering Spring inferno (it’s hotter now, March was mild apparently), but it was because of the addition of their new more hardcore-influenced vocalist.

Known for their spirited and at times chaotic live shows, Cút Lộn – which could mean a confused slur with a rudimentary understanding of Vietnamese, ‘get lost’, or ‘quail’ (their debut album Xào Ke is a play on words of stir-fried quail with tamarind a la ‘cút lộn xào me’) – did not in fact shy away from anything at all.

Images courtesy of Vizzah Harri

Whom-ever-the-fuck thought THESE scapegraces would not provide a rhythmic rictus reticence irrevocably got their incredulity blazed in a performance redolent of aural reefer-madness. Their live shows are ankle-snappingly animated and their music videos are the kind of harmless fun that remind us all to not take life too seriously.

Cút Lộn are:
Sergey Bochenkov – Drums
Quang sọt – Guitars, backing vocals
Nguyên Lê – Bass
Vui Quá -Vox

https://cutlon.bandcamp.com/
https://www.facebook.com/cutlonband
https://www.instagram.com/cutlonband/
https://www.youtube.com/channel/UCWSpf1EtpNiGqqI1a4v1igQ
https://open.spotify.com/artist/09dPNgJWi8ch7mKJoMsVg9

DOCH CHKAE (Cambodia)

Crowd favorites of long-standing Phnom Penh institution Doch Chkae have quite the storied history. They shouldn’t need any introduction for having made headlines in 2018 regarding their hopes being shattered by customs en route to the Wacken Open Air festival. A year later with a lot of global support they were able to enter that sanguine disposition of the triumphant coup gaining a spot at Wacken 2019. And they fvckin ripped. One would think their beginnings would make for a documentary paling any underdog story sprouting from the occident, and well, there are two on the tube.

Infected Photos by HJV

Photo by VizzHarr

No-one needs to be boxed in or known for just their past, so you can go read about their Wacken saga here if you’re not into documentaries, but let’s get back to the music. Opting for metalcore of the death variety with wrathful, scalding vox reminiscent of a scalping you witnessed in your dreams. The EP shared below does not at all times do justice to the parabellumnate drumming and dulcet-interspersed havoc wreaked by the duo on strings. Doch Chkae made sure that the crowd – past the point of foaming at the mouth – got one final bite of rabidity before the Thai maestros of Carnivola entered the fray.

Doch Chkae are:
Theara Ouch – Vocals
Vichey Sok – Guitars
Sochetra Pich Bass
Alain Ou – Drums

<a href="https://dochchkae.bandcamp.com/album/worse-than-dogs">worse than dogs by Doch Chkae</a>

https://dochchkae.bandcamp.com/
https://www.facebook.com/dochchkaecambodia/
https://www.instagram.com/dochchkaedoggod/
https://open.spotify.com/artist/7tSqLdaiu1kwVNXgC2ZZBR?si=8p9Vr5kGTe6YFNSBmTzBKg&nd=1&dlsi=b4b8d8f9874846ce
https://www.youtube.com/channel/UCMKBmiw3EqUEvHgygztW3Wg/featured

Carnivola (Thailand)

How do you finish off a ritual of such magnitude? You invite the venerable Thai death-thrashers Carnivola to close off the literal sundering of the eighth cranial nerve with attention-subjugating phonic splendor. These metal veterans have been around for decades, two to be exact. And how to better ingrain a day and night of sensory overload than to have it vulcanized into the mind by the ipso-fucking-facto kings of Thai death-thrash and succor-swaying rhythms? As they played song after song from their two full-lengths it became apparent that this ritual had to end at some point, the noise-ordinance deadline was looming.

Collage by VizzHarr

The superlative Lakfah, frontman and guitarist, got the nod from Mia Priest that there was still time and he in turn beckoned over Chonnipa Tepmanee to fill vocal duties for their not one, but three encores! Mentioned in the long intro, Carnivola brought the circle to a close by bestowing on the fortunate crowd one more original song and finishing off with Sepultura’s Slave New World and Orgasmatron (hence the double-entendre inference earlier, seeing as they did Sepultura’s version, not that of Motörhead). It was another perfect day for rock ‘n’ roll, [mosh]ing ör dying, sacrifice and overnight sensation. Hammered by the inferno of a kiss of death from the aftershock of the [best kind of] magic.

Carnivola are:
Lakfah Sarsakul – Guitars, Vocals
Rangsan Wongsak – Bass
Ratchapong Supranantraset – Drums
Chonnipa Tepmanee – Additional vocals