EPK – Without Mercy – Infinite Loss (2026)
Publicist – Jon Asher – jon[@]ashermediarelations[.]com
“This was the first time we left home to make a record. We crossed borders, uprooted our routines, and committed fully to the process by living inside it for ten days. There was no comfort, no distance, and no way to step away. It forced us to be present with each other and with the music in a way we had never experienced before. That isolation mattered. Being away from everything familiar stripped the process down to what was essential and made the work unavoidable.
We built this release around three songs that genuinely excited us. Not as singles or checkpoints, but as statements. Planning an EP with that level of focus made us more deliberate. Every choice had to justify its place. The result is something we are proud of, not because it represents a
direction we chased, but because it reflects who we were in that moment and what we were willing to commit to.
For the first time, we brought in outside counsel at this level. Working with a producer meant learning when to listen and when to push back. We trusted the process without surrendering our identity. Some ideas challenged us. Others were rejected outright. That tension was necessary. Growth came from understanding why a suggestion worked or why it didn’t, and having the conviction to stand by those decisions together.
This record exists because we chose to be uncomfortable, to argue honestly, and to stay in the room until it felt right. What came out of that is not perfect and it was never meant to be. It is focused, intentional, and real. These songs document a short, intense window of our lives where commitment mattered more than convenience and honesty mattered more than expectation.” – DJ Temple – Without Mercy
For fans of Meshuggah, Alluvial, Decapitated, Fit For An Autopsy, Gojira
Band: Without Mercy
EP Title: Infinite Loss
Release Date: May 8, 2026
Label: Self-Release
Genre: Metal
Location of Band: Vancouver, BC, Canada
Withoutmercyband.com | Facebook.com/withoutmercyband | Instagram.com/withoutmercyband | Youtube.com/c/withoutmercyband
EP Digital pre-save – https://ffm.to/infiniteloss
““The Saint” is somehow both maniacal and controlled. In its opening couple of minutes it seems to be a carefully calibrated convulsion, discharging its myriad sensations in quick stop-start bursts of seemingly off-kilter but tightly executed mayhem. Those sensations include sledgehammer rhythmic brutishness, shrill and spidery fretwork-delirium, and napalm-strength vocals. The grooves are there — grooves of differing kinds — but they quickly jackhammer listeners in the midst of harrowing howls, scorching screams, and a multitude of fleet-fingered but berserk and discordant string contortions. Moreover, at the 2:18 mark the song suddenly and dramatically changes — indeed, it’s difficult to overstate just how dramatic the change is. In place of all the frenetically bursting frequencies the lead guitar gently rings and seductively warps above gravel-toned bass-lines and steady beats, an interlude that brings hints of jazz fusion to mind. That’s just a quick breather before the song’s intensity blazes again, and yet the segue back into the finale of bludgeoning grooves and squirming guitars is a smooth and near-seamless one.” – No Clean Singing
“Without Mercy’s New Album Is A Whirlwind of Sonic Punishment” – The Pit (Seismic – 2020)
“Right from the start (Uprooted), Without Mercy set the bar high for their extremity, aiming for something far more chaotic. The opening is a mix between the pure grind-death akin to that of Cattle Decapitation, and the math metal sound of Protest the Hero.”- Metal Injection (Seismic – 2020)
“pay witness (I Break The Chain) to their thrashy death metal a la Cattle Decapitation, Meshuggah and Decapitated and watch as they adorn the blast beats and breakdowns with beer guts and brogues.” – Decibel Magazine (Seismic – 2020)
“…To put it simply: the band does an incredible job of blending their grooves with their growls. Between segments of death, doom, and shreddy guitar solos that absolutely slay, there are moments of satisfying melodic breakdowns, and cutting riffs to die for… Seismic is full of lyrics that hold true and poignant meaning while using powerful imagery to evoke epic scenes of turbulent life and painful decay in the minds eye… ground-shaking album. 4/5” – Metal-Rules (Seismic – 2020)
“Overall, two elements really struck me here…one was the level of intensity, and the other the level of musicianship from the band. How they can remain unsigned is a mystery to me. They play with such a tight synergy that it’s almost like they can finish each other’s sentences before they even open their mouth.” – Metal Temple (Seismic – 2020)
“While the heavy metal name generator might have had something to do with what this meaty metal unit called themselves, you can’t say it doesn’t fit. Without Mercy are pretty damn *ahem* merciless and to cap that off, their new album is so aptly titled. Seismic…a relentless powerhouse that is akin to tectonic plates smashing into each other. There is no fucking mercy and it’s fucking glorious. Excuse the swearing but that’s how this album makes you feel. It makes you feel like a beast. It makes you feel capable of taking on the world. It’s chunky, it’s thick, it’s chokingly devastating and undoubtedly one to be remembered.” – Games, Brrraaains & A Head-Banging Life (Seismic – 2020)
“The intensity of this album never falters. The instrumental tones work fantastically together, the energy is clearly there, and the overall effect is wonderfully intense. Without Mercy have certainly achieved the ‘wall of sound’ effect through ‘Seismic’.” – Madness To Creation (Seismic – 2020)
“A merciless Vancouver-based Death and Thrash Metal unity is ready to strike us all once again with their newest opus, representing four years of solid work ethic and unwillingness to compromise even in the slightest.” – The Headbanging Moose (Seismic – 2020)
“Without Mercy’s music is made for a wide audience. Seismic will please as much to pure violence lovers, as a crowd that fight following the catchy groove.” – Acta Infernalis (Seismic – 2020)
“The thrash-stomp modes on “Worthless” ring like a head-on collision between DECAPITATED and BIOHAZARD with a dash of power metal thrown into the solo section. Alex Friis wrings his throat to huge extremes, hopefully leaving tissue intact as he hits agonizing squeals while throwing indictments against former band members — guess on your own who that might entail. DJ Temple’s guitar work on “Worthless” is terrific..” (Mouchido EP 2016) – Blabbermouth
“Vancouver’s Without Mercy is a prime example of how putting in a little bit of elbow grease can result in advantageous outcomes. The quartet play their brand of melodic, groove-laden death metal independently, but refuse to remain held back by a lack in the promotional and money machine backing departments. Over the course of a decade or so, the band has experienced the same highs and lows as most others, but their successes – which include a small handful of recordings, a bigger handful of tours, and appearances in video games – have been felt at a deeper clip because they’ve essentially managed everything themselves.” (Mouchido EP 2016) – Decibel Magazine
“In a word, the music rips. And it also thunders, and punches so fast and hard that it’s like a jackhammer-sized nail gun ramming bolts into concrete at high speed while the operator howls and shrieks for all he’s worth, segmented by a start-stop breakdown that will give your skull a good rattling and lit up by swarming guitar flurries that are as fiery as the torches in the video (Burn).” (Mouchido EP 2016) – No Clean Singing
” the band live up to their name with each song on this 4 track EP going for straight for the throat; merciless aural violence and tight, technical proficiency melded with some serious might!” (Mouchido EP 2016) – Worship Metal
“Mouichido might only be a brief four songs and nineteen minutes long but, by the end of it, the Canadian death metal wrecking machine have left you in no doubt as to what they’re about.” (Mouchido EP 2016) – PureGrainAudio
“Right from the beginning you feel the weight and the immensity of Mouichido and one listen just doesn’t do it justice. This is a re-release of previously recorded material with a new vocalist and even so, Without Mercy comes out swinging again and knocks it clear out of the park.” (Mouchido EP 2016) – Cadaver Garden
[Download EP Cover | Download EP Lyrics]
Band: Without Mercy
EP Title: Infinite Loss
Release Date: May 8, 2026
Label: Self-Release
Genre: Metal
Location of Band: Vancouver, BC, Canada
Track Listing:
1. Infinite Loss – (4:15)
2. The Saint – (3:39)
3. Glass – (3:16)
EP Length: 11:11
EP Recording Credits:
All songs performed by: Without Mercy
All songs written by: Without Mercy
Produced by: John Douglass
Mixed by: John Douglass
Mastered by: John Douglass
Album Artwork by: Diego Gedoz de Souza
Member of SOCAN
EP and Live Band Line Up:
Alex Friis – Vocals
DJ Temple – Guitars
Ryan Loewen – Bass
Matt Helie – Drums
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About the EP Artwork:
The artwork for Infinite Loss came together through collaboration and trust. After several early concepts failed to capture what we were expressing lyrically, our good friend Diego stepped in and helped bring clarity to the vision. His role was not just execution, but guidance.
The imagery reflects the emotional core of the EP. A desolate forest, stripped of comfort, with a massive void carved into the ground. It represents loss, inevitability, and the feeling of being pulled toward something you cannot escape. The stillness above contrasts with the violence implied below, mirroring the tension present throughout the music.
The final piece feels honest to the record. It does not explain the songs, but it exists in the same emotional space and allows the listener to enter that world before hearing a single note.
About the EP (LYRICALLY & MUSICALLY):
Lyrically, the record is about being hunted. Not once, but repeatedly. It reflects the feeling of constant pressure in modern life. Economic strain, social expectations, identity, time, and survival are all closing in at once. There is no single antagonist. The threat shifts, but it never disappears. In that sense, the record speaks to every person living in the modern-day Americas. It is not about victimhood. It is about endurance under relentless pursuit.
Musically, that tension is mirrored through weight and restraint. The songs rely on repetition, density, and patience rather than speed or excess. Riffs are allowed to sit and suffocate. Rhythms feel deliberate and physical, creating a sense of inevitability rather than chaos. The aggression is controlled, not explosive, and the dynamics are used to reinforce pressure rather than release it.
As a whole, the EP is confrontational without being theatrical. It does not offer resolution or escape. It documents a state of being. One where the chase never stops, and survival becomes the defining act.
Track by Track (LYRICALLY & MUSICALLY):
1. Infinite Loss: Lyrically, Infinite Loss centers on the feeling of being hunted repeatedly. There is no escalation or resolution, only the realization that the pursuit never ends. Each cycle feels heavier than the last, creating a sense of inevitability rather than panic.
Musically, the track is intense and unrelenting by design. It relies on repetition, density, and deliberate pacing to create a sense of suffocation. Riffs return heavier each time, rhythms stay locked and physical, and there is little space for relief. The aggression is controlled but relentless, reflecting the exhaustion and inevitability at the core of the song.
2. The Saint: It’s about being enslaved by the land. All the different whips, and all the different backs.
Musically, The Saint represents the band’s biggest departure on the record. It was the last song written for the EP and came together after most of the direction had already been established. Because of that, its inclusion was debated. It challenged what we thought the record should be.
The arrangement leans into space, tension, and unfamiliar structure rather than immediacy or force. The dynamics are more patient, and the movement is less predictable, allowing discomfort to sit longer than usual. In the end, the song earned its place by doing something the others could not. It broadened the emotional scope of the EP without breaking its core identity.
3. Glass: It’s about eyes, mirrors, and souls. It’s about translation.
Musically, Glass is built around a series of interconnected riffs inspired by Meshuggah and Alluvial, filtered intentionally through our own voice. Those ideas lock together early and establish the song’s weight, pacing, and direction. Everything else in the arrangement exists to support and reinforce that foundation.
The groove is physical and controlled, balancing precision with restraint. Instead of expanding outward, the song tightens inward, increasing pressure with each section. That tension is finally released in the closing passage, where the outro opens up and lands with scale and finality.
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BAND STORY ANGLES / FUN FACTS:
1. Without Mercy’s first international buzz came from an unexpected place: video games.
During the press cycle of a previous release, guitarist DJ Temple reached out to one of his favourite video game voice actors as a fan. The two connected and became friends. Later that year, while attending an event in Australia, the actor found himself among metal fans and began telling them about a heavy band from Canada called Without Mercy. That moment marked one of the earliest times the band’s name started spreading organically outside North America.
2. Without Mercy once rebuilt their tour van in a Northern Alberta parking lot and still made the show.
While touring Northern Alberta, Without Mercy’s van broke down late at night while racing to make a deadline. Stranded in a small town, the next morning, bassist Ryan was in the hotel parking lot hand-mapping gasket repairs. After sourcing a new pump and belt, the band got the van running just in time to hit their call time and still play the show.
3. A single decision to improve quietly shaped most of the band.
Without Mercy started with a simple goal. DJ Temple wanted to become a better guitarist. Instead of chasing shortcuts, he committed to understanding the instrument at a deeper level by studying theory, structure, and how music actually works. Improvement was the only objective, not visibility or career advancement.
As that understanding grew, teaching became a natural extension of learning rather than a planned profession. Over time, that teaching evolved into a music academy, which became a space for long-term collaboration and shared standards. Through that environment, three of the four members of Without Mercy came together through study, work, and trust. What began as a quiet commitment to improvement eventually formed a band built on a common language, discipline, and mutual investment.
4. Without Mercy previously appeared as downloadable content in Rock Band 3, an early crossover point between the band, gaming culture, and heavy music.
5. Built from collapse, finished with intent.
In the post-COVID period, Without Mercy found themselves at a standstill, unsure of how or where to move forward. Within the span of a single month, the band lost three separate jam spaces as buildings were sold out from under them. Each time, there was just enough time to move in, set up, and begin working before being forced out again. Momentum stalled, and stability felt impossible.
Rather than wait for conditions to improve, DJ Temple made the decision to build a solution. Using contacts through the academy and the generous donation of time and labour from a high-level electrical company, the band constructed a new headquarters from scratch. A private, purpose-built space in a quiet location where they could work without interruption. It became the place where the band could reset and start moving again.
With the space secured, the band set a clear goal to record new material, even though none of it existed yet. A deadline was chosen first. From there, they contacted a producer they respected, narrowed from a list of producers whose work they genuinely admired, and committed to the one with the strongest body of work.
Once the recording dates were locked, the writing began in earnest.
For months, the band focused solely on writing, refining, and committing to the material. When the time came, they uprooted their lives and flew to another country to record the EP. The entire record was completed in eight days.
The project was entirely self-funded, self-organized, and independently released. What began in a place of uncertainty and frustration ultimately became a focused statement of intent. The EP stands as a document of persistence, built from instability and finished through discipline.
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L -R – Ryan Loewen – Bass, Alex Friis – Vocals, DJ Temple – Guitars, Matt Helie – Drums
Photo Credit: Shimon Photo – http://www.shimonphoto.com
Without Mercy Bio Beginnings
Having imagined a style of extreme metal that no one was playing, Alex Friis (Vocals), DJ Temple (Guitars), Ryan Loewen (Bass), and Matt Helie (Drums) formed Without Mercy in 2007 to compose and perform a new sort of music. This music fused the head-banging rhythms of groove with the intensity of extreme metal. For thirteen years, Without Mercy and its growing fanbase waited for critics to write what they had known all along: “It’s a remarkable achievement to be so heavy and insightful at the same time,” as the notable online music critic JVB@screenblastrepeat put it.
Global Recognition.
Best known for their performances on the Canadian extreme metal music scene, Without Mercy has shared the stage with legendary bands. They have opened for Cattle Decapitation, Aborted, and Death Angel. Musical experts celebrate what Without Mercy’s energy, precision, and emotional openness brought to the concerts by performing original and technically scintillating music that is viscerally experienced. Because of these qualities, people around the world stream Without Mercy’s music and clamor for their merchandise. And given their popularity, it’s no surprise that Without Mercy has been invited to several international music festivals.
Discography
Without Mercy came together to make a new sort of music. And their discography makes that dedication apparent.
All Else Fails (2007)
Self-produced, Without Mercy’s All Else Fails captures the band’s raw talent and emotional intensity.
The album’s songs take musical and lyrical inspiration from the band members’ lived experiences, including the common feeling of being alone in a crowd in the song “Isolation.” Grounded in these authentic moments, All Else Fails presents uncompromisingly precise and genre-bending music that invites its audience to consider the truth of what the song says and the possibilities of the genre.
This approach reveals the band’s defining quality – dedication not to a genre but to their music.
Without Mercy (2009)
Without Mercy represents the band’s first time recording in a well-known, professional studio and marks the beginning of a three-album relationship with recording engineer Sheldon Zaharko, a three-time Juno nominee. Without Mercy establishes the band’s aggressive sounds paired with its technical proficiency. In the album, the band pushes against the conventions of extreme metal, a pattern that reaches its fullest expression in Seismic (2020). Without Mercy invites its audience to head-bob to a 20-second scream, and to experience music that fuses groove with death metal.
The album also marks the band’s maturing outlook on members’ personal experiences as well as commentary on Canadian events.
Reborn EP (2014) Rereleased as Mouichido EP (2016)
Occasioned in part by a change in band members, Without Mercy seized the opportunity to revise Reborn into a tighter and even more technically proficient performance, benefiting from the band’s experience on tour. In Mouichido, Without Mercy clarifies its songwriting ethos of pairing unexpected compositional choices with dazzling technique.
Seismic (2020)
Without Mercy’s Seismic builds upon the foundations the band laid in Mouichido. The album presents Without Mercy’s evolving sound and the musical growth of its individual members. Rewarding its audience with songs that continue to push the genre boundaries of extreme metal, Seismic demonstrates the innovations possible more than a decade after the release of All Else Fails. The album explores the possibilities of blending Ojibwe mythology, including the Thunderbird and the Wendigo, with the horrors of the indigenous schools.
Discography:
2026 – Infinite Loss – EP
2020 – Seismic – Album
2016 – Mouichido – EP
2009 – Self Titled – Album
2007 – All Else Fails – EP
Shared Stage with: Cattle Decapitation, Death Angel, Unleash The Archers, Angelmaker, Anciients, Protest the Hero, 3 Inches of Blood, Satyricon
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