Forst, a city lost deep in the german hinterland on the border with Poland, lays heavily infested with heroin, crystal meth and the living dead. It’s hardly suprising that Tom, Jules & William wanted to leave the dark prospects of no future behind once the local music scene started to die. They started to hone their Punk Rock roots, developing their skills, taking inspiration from the likes of Iron Maiden, Slayer, Wintersun, Children of Bodom and Darkest Hour. As their ambitions grew, so did their ability to master their instruments and to reach people with their music. Separated through studies, but united by minds, the guys met again in 2014 and recruited Robert and Niklas as their perfect diamonds in the rough, on Drums & Bass respectively. Kai joined the Band in late 2015 as a new Vocalist. The result: extremely pissed Melodic Death Metal; a demonic vortex of raging Swedish riffs – rapid, technical leads, ruthless, impulsive drumming, groovy basslines & hateful scolding…
Not wanting to sound like another soulless copy, Burn Down Eden recorded their first EP “Memoirs of Human Error” at the bearded motherfucker and studio-prodigy, Jan’s HIDDEN PLANET STUDIO in Berlin in November 2014.
Contrary to the modern metal production overkill and in order to keep their DIY roots, BDE decided to keep their drums untriggered, not to overlay 10 guitar-tracks and not to filter the voice beyond recognition. The album is no perfection in terms of production, but palpable emotion will convince the listener. The conclusion is an unexpected kick to the groin. Not with the newest Nike Air but with a mud-blurred no-Name Heavy Boot. Several shows were played during the following period and the songwriting for their debut LP ran on full speed.
In September 2016 the band released their first full length LP called “Ruins of Oblivion” via Sliptrick Records and 7 Hard. “Ruins of Oblivion” marks are strong technical and compositional progress and is more focused and “on point” but the sound still stayed raw and authentic. Burn Down Eden cements their own style with lots of heavy and complex riffing, beautiful, yet twisted melodies, pushing drums and even some jazzy and classical nuances. The lyrics remain very methaporic and feature topics like criticism about society over to depression and the drug abuse coming along with it to handle the pain up to hanging out with the guys and drinking tons of beer. „Ruins Of Oblivion“ received good reviews in the International Music Media and even renowned German Magazines like Rock Hard and Legacy gave the record good ratings.
In early 2017 Marco joined the Band on Bass and enriches the live performance with backing growls and a tight playing.
In June 2017 the band absolved the “Ruins of Oblivion Tour” through Germany, Slovakia and Czech Rebublic.
A new Album will be released in 2018. With Pether as the new singer, who joined in early 2018, „Liberticidal“ gets more technical, faster and deeper than ever before.
On the 30th of August 2019 Robat had his last gig with Burn Down Eden at Cassiopeia Berlin because of the coming birth of his child. Concurrently Christian „Kri“ Grabenbauer takes his place.
It seems to be common for the guys of Burn Down Eden, to release a new album every two years. While lots of bands take a break for creativity after their second release, Burn Down Eden is just beginning.
With their third self-titled album the guys pick up where they left off with their second album „Liberticidal“ and even put a shovel on it again. The band continues to focus on the catchy choruses and melodies, brute, fiddly riffs and modulations, as well as rapid solos and classical elements typical for Burn Down Eden. Nevertheless, all in all the third album seems to be more mature. And yet they also like to leave the genre and play happily with all elements from Black to Prog Metal.
With „Burn Down Eden“ the guys make it crystal clear, that they are THE next big thing in the matter of Melo-Death from Germany. Kernkraftritter Records is convinced, that we will welcome Burn Down Eden to lots of festival stages in the „Post-Corona Times“.