VULVODYNIA
Vulvodynia is a South African slamming Deathcore juggernaut designed with one purpose: to make the craziest, most absurdly heavy music possible, while attempting to define themselves as more than just “another slam band.” If their mission was over-the-top heaviness, then consider it accomplished—from their debut release, Lord of Plagues, Vulvodynia’s penchant for skull-splitting technicality and eviscerating heaviness has been obvious. Rapidly gaining popularity and recognition for their prodigal slam prowess, Lord of Plagues saw the band reach ears not just in their local scene, but around the world as well. In August 2014 the band signed a two album contract with Australian Label Vicious Instinct Records, releasing their debut full-length album, Cognizant Castigation. Featuring Acrania’s Luke Griffin and Ingested’s Jason Evans (among many others). If 2014 was the year the band finally grew into their potential, 2015 was the year they shattered their own mould, evolving into an even more aggressive and creative display of no-holds-barred heaviness. The band released a lengthy-but-lurid eight-track EP titled Finis Omnium Ignoratium, completing their contact with Vicious Instinct Records. No longer satisfied with their status as a terrifying trio, the band sought to expand—searching South Africa for more like-minded musicians willing to bring forth brutality. Vulvodynia’s search was not in vain; with the completion of a full lineup, the band joined with Czech-based label Lacerated Enemy Records, releasing their sophomore full-length Psychosadistic Design shortly thereafter. The time that followed was a blur of tours and festivals including Deathfeast Open Air (DE),Fall In The Brawl (UK) and 2018 tours with Despised Icon, Malevolence and Archspire. It wouldn’t be too much longer before 2019 would dawn on the band and see them release Mob Justice, a record that takes a step back from the band’s lore established on Finis or the outright brutality of Psychosadistic Design to focus on music surrounding the social strife and societal tensions surrounding living in South Africa. Widely hailed as their strongest work to date, Mob Justice hurled the band into 2020 with what seemed to be unstoppable momentum—until 2020 was complicated by a global pandemic. Determined not to let COVID-19 slow their unstoppable onslaught, Vulvodynia pushed on, releasing Societal Lobotomization, a split EP with slamming deathcore legends Acrania. The “Vulvocrania” project was a landmark success, catapulting the band into heavy music’s uppermost echelon—complete with their recent signing to Unique Leader Records and the imminent release of Praenuntius Infiniti, a lore-laden, slam-riddled, riff-driven monstrosity that transcends the borders between brutal death metal, technical death metal and deathcore. Vulvodynia are proud to announce their latest offering, ‘Entabeni’, a sonic journey through the rich and mystical realms of African folklore. Drawing inspiration from the continent’s ancient stories and myths, Vulvodynia weaves a tapestry of brutal riffs, pummeling drums, and haunting vocals, conjuring the spirits of the land. ‘Entabeni’ is a testament to the band’s South African roots and a celebration of the dark beauty that lies at the heart of African mythology. Prepare to embark on a thrilling adventure through the realms of the unknown, as Vulvodynia unleashes a maelstrom of fury and folklore upon the world.”
BARONESS RED & BLUE TOUR
Baroness recently surprised Philadelphia-area fans with two performances of the Red Album and Blue Record in their entirety, with both shows sold-out within minutes. The band now brings “The Red & Blue Tour” to The Waiting Room on May 24th. The trek sees the GRAMMY-nominated Baroness revisiting the monumental tracks that established them as one of the most innovative bands of their generation. From the psychedelic-laden “Isak” to the ethereal melodies of “The Sweetest Curse,” the special evenings with the Savannah-born outfit promise to be one of the most captivating tours of the year. The tour will feature a variety of exclusive tour-only vinyl with newly crafted John Baizley artwork, as well as a selection of Red and Blue themed merchandise. “In December, for our annual Philly pre-holiday show, we performed our first two full length albums: Red and Blue,” John Baizley shares. “It was a great experience, unearthing the deeper cuts from those records that had faded from our setlist and it offered a rare opportunity to play some of those songs for the first time ever outside the studio. While I’ve personally never been overly interested in the pure nostalgia of past records, we’ve always found it illuminating to bridge the gap between present and past Baroness by learning and updating/rearranging our earliest material. After the overwhelming and positive response from the Philadelphia shows (and while we’re busy writing our next record) we’re looking forward to taking Red and Blue on the road and sharing the experience with old and new friends alike.” The Red Album (2007) and Blue Record (2009) laid the foundation for what was to come over Baroness’ 20-year-plus career. These two albums introduced the band’s distinctive style, combining crushing heaviness with melodic intricacy, and paved the way for the ambitious scope of Yellow & Green, the GRAMMY-nominated Purple, the grandeur of Gold & Grey, and the expansive creativity of STONE. About Baroness Founded in 2003, Baroness is John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums). The Philadelphia-meets-Brooklyn foursome have released six full-length albums: STONE (2023), Gold & Grey (2019), Purple (2015), Yellow & Green (2012), Blue Record (2009), and the Red Album (2007). Throughout their career, they’ve garnered widespread acclaim, with the band’s albums regularly featured on year-end best of lists, and 2017 seeing their first GRAMMY® nomination. On their most recent album, STONE, Pitchfork said they “remain one of the most remarkable and capable bands at the intersection of heavy metal, hard rock, and psychedelia.” Brooklyn Vegan described the 10-song collection as “Baroness at their most alive and direct,” while Revolver added: “STONE… is a wild ride, full of triumphant sludge metal, and soaring, shoegazing progressive rock.”
Snowball Showdown 2025

The battle set mayhem lives on, this time in Omaha, NE at the Waiting Room Lounge, Friday January 31st!! We have 4 matchups that will pit similar bands against each other where they will go head-to-head on stage for battle set supremacy!!! Traffic Death VS. Disrepair (crust punk/hardcore battle set) https://trafficdeath.bandcamp.com/ vs. https://disrepairpunk.bandcamp.com/ MAN VS. Prolapse (noise/grindcore battle set) https://mantheband.bandcamp.com/ vs https://prolapse402.bandcamp.com/ Blowing Chunks VS. the Shidiots (punk rock battle set) https://www.youtube.com/@blowingchunksband vs https://theshidiots.bandcamp.com/ Ex-Nihilo VS. Jiblets (metal/metalcore battle set) https://www.facebook.com/profile.php?id=61566541991592 vs https://open.spotify.com/artist/0Ekmgclavbdyhu1M5fPSx7
Metal Pajama Party

Aborted

Since their unholy inception in 1995, death metal miscreants ABORTED have been one of the pioneers of the genre and have annihilated friend and foe with relentless intensity and an uncompromising mix of flawless technicality and raw emotion. Having carved a niche for themselves in the extreme metal realm, the multi-national combo around Svende Caluwé initially gained notoriety by offering up ruthlessly fast death-grind with groovy breakdowns on their early works (‘The Purity of Perversion’, ‘Goremageddon: The Saw And The Carnage Done’). By meticulously crafting and introducing more technical elements on more recent releases such as “TerrorVision”, “Retrogore” and “Mania Cult”, ABORTED has consistently sharpened their lethal blend of furious death metal. Thereby firmly cementing their status as one of the most menacing and envelope-pushing metal acts of the 21st century.
BLOOD INCANTATION

with Midwife. All ages. 7pm Doors/8pm Show Blood Incantation’s Absolute Elsewhere is unlike anything you’ve ever heard before. Yes, that’s an audacious, possibly hyperbolic claim, but few can claim a sonic watershed as readily as this Denver, Colorado quartet. Hovering at nearly 45 minutes, their longest recording thus far, the two sprawling-yetexacting compositions that make up this album are as confounding as they are engaging. It’s an architecture of music at odds with itself: an acceleration through a Kubrickian stargate into a realm of aural ideas in harmonious opposition, uniting unlikely binaries of aural heavens and hells. For inspiration, the group looked to the mid-70’s progressive rock collective, Absolute Elsewhere (best known as a celestial stopover for King Crimson drummer, Bill Bruford) as the album’s namesake. For the uninitiated, Absolute Elsewhere’s landmark 1976 album, In Search of Ancient Gods, was constructed as a musical accompaniment to the works of Chariots of the Gods author, Erich Von Daniken, and his theories of non-terrestrial humanoid prompts towards mankind’s evolution. The subject matter of which should serve as no surprise to anyone familiar with Blood Incantation’s prior LPs and cosmically philosophical leanings. But make no mistake, the our musicians working under the BI banner for the past decade – guitarist and vocalist Paul Riedl, drummer Isaac Faulk, guitarist Morris Kolontyrsky and bassist Jeff Barrett – have successfully left the microgravity of genre behind and are re-writing the Rosetta Stone of extreme music with a new language entirely.
Viscerous

Viscerous: Eviscerate CD Release Show with Inkognita, Ungoliant, and Molten
High Vis

Though the band were all alumni of some of the UK hardcore scene’s most celebrated groups, High Vis’s 2019 debut, No Sense No Feeling, was a record that opened its viewfinder beyond the parameters of any genre or scene. Sure, the intensity and passion of hardcore were stoking the fires, but in its intense post-punk […]
Paleface Swiss

Faster Pussycat

with Evil Shadows and My Juliet