Killtown Bookings



18th January 2018Execration (n) + Slægt (dk) + Reptilian (n)PumpehusetDeath metal / blackened NWOBHM
1st March 2018Profanatica (us) + Rites of thy Degrinklade (can) + Auroch (can)LoppenBlack/death

Killtown Bookings & Pumpehuset presents:

-Norways finest experimental death metal quartet hits Denmark as first stop on their forthcoming European tour promoting their new album “Return to the Void”!
SLÆGT (dk)
-blackened heavy metal. Caution: extremely catchy!
-ripping norwegian death metal!

Thursday 18th January 2018
Studiestrædet 52, 1554 København K
Doors: 20.00
Music start: 21.00
At door: 150 kr + gebyr
Facebook event:

Show up early and support the bands!

More info:
EXECRATION – Metal Blade Records
Formed in 2004, Execration – a two-piece, at the time – recorded their first demo in 2005: six heavily thrash-inspired songs and a cover of Celtic Frost‘s “Into The Crypts of Rays”. In 2006, original member Jorgen Maristuen returned to the band, and the focus shifted towards death metal. They wrote and recorded their first 5 song EP, Language of the Dead. The EP was released in early 2007 through Entartete Musik, the now defunct label of Espen Hangaard (Noplacetohide, Killl, She Said Destroy, Diskord).

Immediately after recording the EP, bass player Jonas Helgemo joined to complete the line-up, which has remained stable since then. A year later, the band recorded their debut album, Syndicate of Lethargy. The album pretty much followed the same path as the EP: death metal inspired by the original American death metal scene – but with something twisted added to the mix. Around the same time, Execration started playing live, mainly performing smaller shows around Norway.

In 2011, the band released their second album, their first to be widely recognized: Odes of the Occult. Released through Vendlus Records and Duplicate Records (Einar Sjursø/Virus), this album was written in a conscious effort to make something different from the previous releases. Odes of the Occult incorporates a wider set of influences, as well as opting for an even more obscure sound, with more open strung riffs and a general focus on atmosphere over brutality. The album received very good reviews, and took Execration to bigger stages, including the Inferno Festival, Beyond the Gates, Killtown Deathfest and a tour of southern Europe with Diskord in 2012.

In 2013, the quartet returned to the drawing board, fully set on writing another album that would sound decidedly different from their previous efforts. Execration replaced the B-tuned guitars with regular E-tuning, which opened up a whole new sound. This sparked the creative period that resulted in Morbid Dimensions, the band’s third album, released in September 2014. Morbid Dimensions received even stronger reviews across the board than their previous effort, and landed them even a Spellemannspris (Norwegian Grammy) in January 2015. Following this album, Execration played gigs over most of Norway, appeared at the country’s biggest festivals (Inferno, Blastfest), as well as festival gigs in Germany (Chaos Descends) and the UK (Live Evil), plus briefly toured with Cannibal Corpse.

In 2016, Execration played more gigs, while working on new material. Unlike the previous two albums, the new album, Return To The Void, doesn’t mark a dramatic stylistic shift. The band comments: “It is our most compact album to-date, shorter and with tighter compositions. It’s catchy, complex, prog-infused and intense all at the same time. Coming off of two double 12″ vinyl albums, the first clear goal for writing ‘Return to the Void’ was to deliver the same kind of dynamic and shifting song-writing in a more condensed to-the-point package. Stripping songs down to their essential core has been a driving force while writing, and it shows – there is not a wasted moment on the album. Ticking it at 42 minutes – a perfect fit for the vinyl format – the album takes the listener through a whirlwind of thrash, death, black, and even heavy metal, fast and slow parts, and the trademark Execration shifts in mood, tempo, and atmosphere. As with the previous two albums, we wanted to capture the feel of a live performance, so all the basic tracks (drums, guitars, bass) were recorded live in our rehearsal studio in Oslo over the course of a weekend. Vocals, synths, and various effects where recorded the following weeks with assistance from Andreas Tylden (One Tail, One Head / Altaar). The album was then mixed and mastered by Tom Kvalsvoll of Kvalsonic Labs.

SLÆGT (dk) – Ván Records
Slægt started as a solo-project of Oskar J. Frederiksen (lead vocals & guitars) in 2011. The beginning saw Slægt delve in raw and primitive black metal aggression. Over time the band has developed into having a full line-up now including Anders M. Jørgensen (guitars), Olle Bergholz (bass guitar) and Adam ”CCsquele” Nielsen (drums). Although the current version of Slægt seems to have progressed a lot since its early days, the essence still remains untouched. Stylistically influences are now drawn from a broader spectrum from such diverse movements as the NWOBHM and the black metal scene(s) of the 80’s and 90’s. Slægt delivers what can be best described as an epic blackened heavy metal with lots of catchy moments, played fast but without the usual blastbeats, exploring sound patterns that seem familiar, but always making them sound fresh. The darkness within the riffs and lyrics flows with dark blasts of energy.

Step into the church of the night with the beautiful and damned sons of Copenhagen.

REPTILIAN – Edged Circle Productions
Formed in the remote corner of Fusa, Norway, Reptilian came gushing out like a stream of fresh blood onto the scene with its split 7″EP with fellow Death Thrashing warriors Inculter through Unborn Productions in 2012. After countless concerts and festival appearances, they promptly established themselves as a band not to be reckoned with. Through ancient Aztec mythology to transcending death mysticism, they leave no stone unturned on their path proving that there is still a few breaths left in the old corpse.

Much as they’ve done with Sepulcher and Inculter, Edged Circle Productions is proud to present the debut album of a Norwegian newcomer who’ll soon be spoken of far and wide: Reptilian‘s Perennial Void Traverse. In some ways like national contemporaries Obliteration and Execration – and, of course, grandaddies Cadaver – the still-young Reptilian whip forth a whirlwind of utterly twisted, fever-dreaming death metal. Across its six sidewinding tracks, Perennial Void Traverse indeed draws the listener into a void of ghastly contours that continually shapeshift. Lumbering ‘n’ lurking down-tempos instill an atmosphere of dread and impending doom, all before explosions of filth-banging thrash burst forth and hammer onward, only for the momentum to be up-ended by further lurking and creeping death, and a whole host of maneuvers that defy easy comprehension: the tools at Reptilian‘s disposal are many, and with an enviously fluid sense of mastery, they weave together a rich, red-eyed tapestry of hysteria and unease. And yet, despite all the frequently labyrinthine constructions, Perennial Void Traverse is a highly dynamic listen, its thorny ‘n’ treacherous landscape nevertheless dotted with hellishly memorable hooks – but as ever, laced with a diabolical sense of mischief, for what is a sonic experience if it’s too comfortable? Of course, Reptilian execute all this death metal magick with a tightness and confidence that are blanching to behold; chaos may threaten to creep in across the album, but the band fully harness its powers and make it their servant. Perennial Void Traverse is likewise recorded with just the right balance between rawness and clarity, composure and decomposure, and rendered in warm, totally human analog tones. Pay witness to the beginning of greatness and step deep inside Reptilian‘s Perennial Void Traverse.