Brief Introduction Liturgy Practical assumption of the misanthropy and nihilism inherent to the genesis of the second wave of Black Metal, the horde of solitary creators within the genre, postulated by Burzum or Ildjarn, still remains today a considerable part and a path for deeply personal visions around its foundations and pioneering. In the United States, it had special significance at the beginning of this century around a series of West Coast projects such as Xasthur, Draugar or Leviathan, entities whose work reflects that same deeply personal quest, creator of its own myth. Without a common ideological and aesthetic fixation. Far from the more trivial self-destructive impulses and scorched-earth politics, Haela Ravenna Hunter-Hendrix also gave first manifestation to her 'Transcendental Black Metal' in a regime of self-sufficiency and self-determination with 'Immortal Life', before that same manifestation became, literally, a manifesto and transcended - bad pun intended #1 - truly the most trve intentions of the genre with the colossal 'Renihilation' in 2009 already in band format. An ambitious crossing that has been continued since then, questioning at every step the designs of Black Metal in a process of constant reinvention that has earned it some...vague, quite a lot of scorn from the most conservative and staunch faction. Unperturbed before that tribunal, Hunter-Hendrix has been operating metamorphoses of personal revelation that throughout albums like 'The Ark Work', 'Origin of Alimonies' or '93969' has always been unveiling new perspectives beyond blast beats, vokills and tremolo picking, entangling electronic skeins, minimalism, choral music and unexpected rhythmic and timbral approaches into a complex tapestry. Without that implying a return to initiatory rituals, Hunter-Hendrix takes herself, in this year of grace 2026, on a solo liturgy - bad pun intended #2 - that unites acoustic contemplation and electric intemperance in a new work that is also a new level of this constant discovery. Of her own music. Of herself. BS ~
SAD is the new project by Francisco Couto, an inescapable name in Portuguese alternative music in recent years, both through his solo project HIFA and as bassist in bbb hairdryer, nëss, or in the composition of Maria Reis's live trio. As HIFA, he has already passed through ambient, techno and other 4/4 rhythms, and recently textures more linked to gabber and footwork, but now, in a cathartic way, he dispenses with rhythms and explores the connection between the electronic language he has been building since 2018 and the distorted bass he has lately preferred. The search between the bridges that connect songs, noise, and what soothes. An attempt to seek and expose the emotional side he hides behind the dance. Doors Open 20:30 Prices Entry - 15€