August 12th, 2025
The Invisible Orange presents
Vulvodynia
The Last Ten Seconds of Life, Organectomy, Wormhole
+19 (with 2 pieces of govt issued ID)
Also available in-store at: Red Cat Records, Matterhorn Records, Neptoon Records
RSVP to the event on Facebook
DOOORS: 6:00pm
Crushing South African deathcore group, Vulvodynia bring their ‘Mangled & Maimed’ tour to the Rickshaw this Summer! Joined by The Last Ten Seconds of Life, Organectomy and Wormhole this is gonna be off the chain so don’t miss out!
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.”
Organectomy
Hailing from Christchurch City, New Zealand, ‘Organectomy’ have been at the forefront of New Zealand’s Slam and Death Metal scenes since first hitting the stage back in 2010. Organectomy’s unique brand of ‘Slamming Death Metal’ incorporates aspects of Old School Death Metal, Melodic Death Metal, Brutal Death Metal, Atmospheric Death Metal, Technical Death Metal, and Slam into a twisted amalgamation of pure, sickening brutality.
With a couple of demos, an EP, and shows all over New Zealand under their belt, the band released their debut full length album, Domain of the Wretched, on December 17th, 2017. The album was re-released with Unique Leader Records at the beginning of 2018. Following this release, Organectomy quickly saw an overwhelmingly large amount of positive feedback and reviews globally. Soon after, the band signed to American Extreme Metal label, Unique Leader Records.
Having gained a lot of traction online and within the local New Zealand metal scene, Organectomy found themselves being given the opportunity to support larger local and international metal acts, such as: Fleshgod Apocalypse, Cattle Decapitation, Archspire, Aborted, Rivers of Nihil, Beyond Creation, Vulvodynia, and Depths.
Organectomy released their sophomore album, Existential Disconnect, in June 2019 through Unique Leader Records, with the addition of Matthew Bolch and Levi Sheehan as new band members. Soon after this release, Organectomy embarked on a 28-day North American tour with several other international and US-based bands. This tour took the band to many new markets, including New York, Toronto, Atlanta, San Diego, Chicago, among many others.
Following their North American tour, Organectomy have partaken in several festivals and multiple hometown live shows. During the start of 2021, Organectomy began work on their 3rd album. With new members and fresh ideas, they hoped to bring about a new era for the band. Organectomy released their third album, Nail Below Nail, on July 8th, 2022 through Unique Leader Records. To support the album’s release, the band is embarking on multiple tours globally, including a headlining album release tour of New Zealand and an ambitious EU tour packed with festival appearances.
Wormhole
https://www.season-of-mist.com/bands/wormhole/
When you invent your own genre, you can make the rules, and in space, no one can correct your math. If Wormhole’s excellent The Weakest Among Us was 50% tech death and 50% slamming brutal death metal, their Season of Mist debut is a veritable leveling up of the Baltimore-based act’s trademark “tech slam.” It’s the kind of record that can scramble your brain and give your neck a nice chiropractic workout; Almost Human feels like the future of extreme metal, dropped down from either outer space or delivered by Nintendo cartridge (more on that later).
So, what the hell exactly is “tech slam?” Well, the gleefully amorphous and unholy term comes from an ethos that guitarists Sanil “Noni” Kumar and Sanjay Kumar discovered and perfected over (probably) thousands of hours of Metroid and Doom games, as well as, you know, actual musical mastery. Almost Human, out September 22, 2023, is more powerful, more agile, and more confounding for pie-chart-enthusiasts than anything else that came before it. The sequel is always bigger, darker, and in this case, covered in much more pixelated space horror viscera. My Wormholio calculator puts their sound at 91% tech and 89% slam, with an increase in awesome stats somewhere in the 420% range. There’s also a clear emphasis on amplifying their dissonant death influence, the kind of eerie melodies that feel like being stomped on by Samus.
There’s a clear balance to everything on Almost Human: the songs are more adventurous while also being instantly memorable. No two songs sound alike, and that diversity in songcraft (level design?) sees Wormhole pushing and pulling along their tech and slam dials to figure out what’s best for the song; spoiler, it’s always riffs. What also becomes evident after repeated listens is how carefully the Kumar brothers understand a sense of place, humor, and a consistent vibe. This is still the same band that’s known for throwing on Saturday morning cartoons, and Almost Human continues to hammer home that Wormhole the musical entity is deadly serious, but the guys that make tech slam are not stoic creatures. There’s a warmth and sense of joy when chatting with them that only gets brighter when you ask their favorite Metroid game (that’s a question for a live show). So, what is this vibe they are chasing? Sanjay shares:
“The tech slam imagery is based on Metroid lore, Doom lore, and we haven’t written a song about it yet, but Alien as well. Those three things are brutal sci-fi universes, so we’re trying to embody that sound. The slam riffs, you can connect the brutal killing of stuff with the brutal chunky riffs; that’s been a match that’s existed since the nineties. So that’s the slam part, and then the tech part was harder to fit that vibe, so we kind of do it differently. I lean into very dissonance-vibe stuff, like Artificial Brain and Dysrhythmia. I think disso-death and heavy, they aren’t usually paired together, even though they should be.”
“And then as far as chasing the vibe,” Noni adds, “I kind of go about it two ways. With the Metroid soundtrack or universe, that vibe, there’s some dark and gloomy atmosphere, but there’s a lot of pretty imagery as well. We wanted to find a way to match that very pretty, kind of out-there sound cohesively in songs with a very aggressive and guttural approach.”
Like another famous sci-fi horror masterpiece of a different media, Wormhole’s shifting, amorphous style is perfectly suited to blend in and amaze just about any fan of heavy music. That’s The Thing: they can pull off whatever they want, but it’s always boiled down to that tech slam vibe. Do you like tech, melody, breakdowns, atmosphere, or dissonance? Tech slam can fill whatever void you seek.
If previous albums were early generation, lower-resolution visions of tech slam, Almost Human is the 4K reboot, where you can see every pixel of terror and awe. Wormhole are absolutely ready for their closeup. Prepare your worms and your holes, tech slam is here to stay.