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0 Thank you so much CJSW Radio 90.9FM (Calgary, AB) for the airplay love! 2023 Top 20 Loud Charts! Vortex, Red Cain, The Wring, Black Pestilence
0 Early Bird Tickets For Canada’s Mountain Mosh Pit ARMSTRONG METALFEST On Sale Now!
NEWS RELEASE
Montreal, QC – January 8, 2024
Early Bird Tickets For Canada’s Mountain Mosh Pit ARMSTRONG METALFEST On Sale Now!
July 12-13 – Armstrong, BC, Canada
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Watch the official video recap of AMF 2019 here.
(video created by Mayne Brand Productions)
Armstrong MetalFest 2023 Spotify playlist Here.
Western Canada’s largest mountain mosh pit Armstrong MetalFest has launched early bird weekend passes for their 2024 lineup being held on July 12th and 13th at the Hassen Arena in Armstrong, BC with the beautiful backdrop of the Okanagan Valley. The 14th annual gathering of metalheads will once again witness a pilgrimage of extreme metal music fans for two days of unforgettable moshing, headbanging, and camping. From iconic headliners to promising newcomers, the upcoming 2024 lineup is set to showcase the best of diverse metal genres, ensuring an electrifying experience for all.
“It’s one of the premier festivals of its kind in Canada, showcasing the biggest names in local, national, and international heavy metal music.” – Vancouver Sun
Early bird weekend passes are on sale now at the following link until Feb 29th: https://armstrongmetalfest.ca
(All tickets provide General Admission and grant access to the festival grounds, camping area, and arena from 9:00 AM on Friday, July 12, 2023, until 12:00 PM on Sunday, July 14, 2022. Free camping is included.)
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Breaking attendance records again, the 2023 edition of Armstrong MetalFest was an eclectic earth-shaking lineup that featured 28 bands performing on the two-day festival that included headliners LA thrashers WARBRINGER, San Francisco tech-death giants FALLUJAH, festival alumni Spokane, WA’s ENTERPRISE EARTH, and Los Angeles’ THE ZENITH PASSAGE, along with Denver’s H.P. Lovecraft extreme metallers VALE OF PNATH, and Edmonton’s Juno award-winning heavy metal champions STRIKER.
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Since 2009 (minus pause years 2020 and 2021 due to the Covid pandemic), West Metal Entertainment and Armstrong Metalfest have not only fostered the talent of hundreds of local bands, but have imported well-known, international acts to the quiet, little Canadian town of Armstrong, British Columbia.
Each year hundreds of metalheads from Canada and the USA descend into the picturesque Okanagan Valley and under the blistering sun, they spend three days camping, taking in as much metal over two days, participating in wrestling events, scavenger hunts, and catching up with their metal family.
The festival has seen such renowned headliners as Kataklysm, Cattle Decapitation, Archspire, Nekrogoblikon, Origin, Rivers of Nihil, and Beyond Creation as well as emerging artists from across North America. At the end of the revelry, the festival disappears without a trace, leaving the landscape as pristine as it has always been.
West Metal Entertainment is a non-profit society that not only puts on the Armstrong Metal Festival every year in Armstrong, B.C., it gives bands opportunities to play at different venues throughout the region including all-ages shows, to encourage musical passion in kids as well as adults.
Partners:
WCMFA
Vox and Hops
Rancho Vignola
Creative BC
Province of BC
Shepherds Hardware
Askews Foods
Armstrong Coop
ACE Containers
Asher Media Relations
Armadillo Trailers
Staggs Head
Nor-Val
Exclaim!
Bravewords
Absolute Underground Mag
Broken Neck Radio
V13
Metal-Rules
Trash Talk w/ Nate
Ghost Cult Magazine
Valstar Electric
Voets
For more info:
Armstrongmetalfest.ca
Facebook
Instagram
Twitter
Festival Press Materials HERE.
What the press is saying:
“Armstrong Metalfest brings aggressive music to the North Okanagan” – Global BC News
Kelowna Now: Armstrong Metal Festival Co-founder reflects on a decade of metal – Video Interview here.
CHBC – Global Okanagan: Metalheads celebrate a decade of gathering in Armstrong – Video Interview here.
Global Okanagan – Armstrong Metalfest brings aggressive music to the North Okanagan – Video here.
“In the past, metalheads had to travel to Germany to experience the rush of a big festival, such as Wacken Open Air. But local headbangers decided to bring that feeling home with Armstrong Metalfest.” – Vernon Morning Star
“Go Big or Stay at Home: Armstrong has that welcoming feeling for a rock show.” – The Valley Voice
“To witness such a gathering of talent is an absolute privilege, and for that fact alone, I will certainly be returning to Armstrong Metal Fest.” – Beatroute BC
“This festival is now going to be my yearly must-go-to event and if you’re a metal head that hasn’t attended or a curious metal voyeur, do yourself a favour and check it out, you will not regret it.” – Abort Mag
“The Armstrong Metalfest is one such event and has grown from its initial, humble beginnings seven years ago to be a regular mainstay, with its south-central BC location making for a popular summertime destination for fans and bands alike.” – Decibel Mag
Named one of the out-of-town music festivals worth the trip by The Vancouver Sun
“For metalheads, this is a great vacation where groups of all sizes can enjoy their favourite musical genre in a fun, energized environment. Not to mention, the camping!” – The Permanent Rain Press
“From farm to stadium: Armstrong Metal Fest’s humble beginnings” – Info News
– 30 –
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
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0 Gore House Prod. – FOETAL JUICE Pummels The Masses w/ New Drum Playthrough “Gore Mountain” + UK Tour Dates For New Album “Grotesque”
NEWS RELEASE
Montreal, QC – January 8, 2024
Gore House Prod. – FOETAL JUICE Pummels The Masses w/ New Drum Playthrough “Gore Mountain”
+ UK Tour Dates For New Album “Grotesque”
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(L-R): Lewis Bridges (Bass), Derek Carley (Vocals), Ryan Whittaker (Guitar), Rob Harris (Drums)
Photo Credit – Karen Carley
Unleashing their latest album “Grotesque” on Gore House Productions this past November, UK death grinders Foetal Juice have a new drum playthrough to brutalize the masses with. The second track on their latest full-length, “Mountain of Gore” features groovy drums over a simple riff. The band’s style for this one is more Exhumed and Impaled influenced with rabid drum fills everywhere.
“We wanted to change a few things up on this album and include some slower, groovier sections than we have before. The intro to the song is a result of that. We think this one includes one of the fastest bomb blasts on the album too. It is a really groovy bouncy song throughout to keep a crowd energized at live performances.” adds the band.
Watch the drum playthrough for “Mountain of Gore” via its premiere on TechnicalMusicReview HERE.
Foetal Juice’s sound is a melting pot of influences, ranging from death metal and grindcore to black metal, gore, groove, thrash, and even Enya. Their evolution as a band has brought new dimensions to their music, incorporating diverse elements while staying true to their death metal roots.
Notorious for their catalogue of unpleasantries and musical vulgarities, this album promises to be heavier, catchier, faster, and more aggressive than anything they’ve ever done before. It’s a relentless assault on the senses, and Foetal Juice is ready to claim its place in the annals of brutal death metal.
A relentless barrage of blast beats, horror and gore that will have you questioning your sanity, “Grotesque” is recommended for fans of Cannibal Corpse, Deicide, and Vomitory.
They comment on the new album:
“Everything seems to have worked amazingly on “Grotesque.” It turned out far better than we ever imagined it would. Everyone has brought their A-game to the table with this one. Then Chris Fielding (Producer) put the cherry on the top with the outstanding mixing/mastering. He really has made this album sound incredible. Due to the lockdowns during Covid, Ryan, who is the main songwriter/Guitarist, has churned out hundreds of riffs and song ideas, which has meant we could be a lot more selective with choosing the final ideas than we would normally be able to. This has really helped us to find the best riffs and ideas to use on this album.
We always write the next song as if it has to be better than the last song we wrote. This really pushes us to impress one another when it comes to our individual parts. When we recorded the last album, Lewis had only been in the band for 2 months and pretty much had to copy the guitar parts with his bass lines. On Grotesque, he has really come into his own. The bass lines have added so much to each song as it’s not just the same as the guitar riffs.
With Foetal Juice, we push each other as far as we can to get the best out of each member. This is mainly because individually, we are all really difficult to impress, so when we have to impress one another, it really takes you to the next level of performance/writing.
We are so proud of everything about this album, from the artwork and songwriting to the performance, recording, and mastering. Even if no one likes it like we do, we can all hold our heads up high with this one.” – Foetal Juice
“Grotesque” was released on November 17th, 2023 via Gore House Productions and was produced, mixed and mastered by Chris Fielding with the album artwork done by Misanthropic Art.
Album order (Cassette/ CD)/digital) at https://orcd.co/grotesque.
Lyric Video – Legion of the Grotesque – https://youtu.be/NSoU2PuPZHo
Music Video – Ghoul Amongst the Mouldering Dead” – https://youtu.be/3aGbvw-cQL4
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Foetal Juice “Grotesque” UK Release Shows:
Feb 2 – Manchester – Aatma
Feb 3 – London – The Underworld Camden
Feb 17 – Glasgow – Audio Glasgow
Feb 23 – York – The Fulford Arms
Feb 24 – Birmingham – TBA
Events Info can be found here.
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Track Listings:
1. Human Beach Master (3:50)
2. Mountain of Gore (3:10)
3.: Legion of the Grotesque (4:45)
4. Ghoul Amongst the Mouldering Dead (3:37)
5. Two Bongs Don’t Make a Right (1:26)
6. Cunt of the Litter (3:19)
7. Cemetery Leachate (4:39)
8. The Walking Groin (3:35)
9. Torn Apart (3:30)
10. F. K. E. O (3:59)
11. Gruesome (5:10)
Album Length: 41:06
More Info:
Gorehouseproductions.com | Facebook.com/GoreHouseProductionsOfficial | Instagram.com/gorehouseproductions
Facebook.com/foetaljuice | Twitter.com/FoetalJuice | Instagram.com/foetaljuice
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“Grotesque is an absolute maelstrom of sound that is satisfyingly punchy, chugging and impactful. It makes you want to hear more.” – Metal Talk
“The main impact of the album is to shoot terrific amounts of voltage straight into your brainstorm, to pump hearts, to convulse muscles, and to suck the wind from your lungs. See for yourselves.” – NoCleanSinging
““Grotesque” by name and definitely by nature this is 40 minutes of joyously twisted groovy Death Metal with hooks for days… in a year of excellent Death Metal it can still go toe to toe with the best of the bunch. This Christmas give someone you love the gift of gore. 8.5/10” – Ever-Metal
“Foetal Juice are recognized for their twisted and brutal amplification of virtuosic and violent musical assault. The album continues, said callous, promising a cataclysmic symphony of ferocity… The track (“Legion of the Grotesque”) moves more like a macabre exploration of the consequences of excessive cosmetic surgery. Despite the grim themes, Foetal Juice’s technical skillset is evident, which enhances the grotesque subjects, similar to writing a horror film. Their music, a relentless blend of grind and death metal, is unapologetic sonic devastation, recommended fans of Vomitory, Napalm Death, and Terrorizer.” – Metal Insider
“In the 3 years since the release of Gluttony, and I must say you have really seen a huge growth from the band and Grotesque is an absolute monster record, well deserving of anyone who has an interest in the genre. It has enough of the hooks and grooves which will be of interest to your more casual death metal fan whilst remaining absolutely mean with a viscous twist for those with a more hardened ear towards the underground.” – The Razor’s Edge
“Grotesque is a stonker of a record, completely worth your time and a strong contender for album of the year. Foetal Juice have made a rod for their own back now, having to try and top this with their next record, which I already look forward to. For now, another few listens to Grotesque will more than tide me over. 10/10” – Musipedia Metal
“with their intense, careening style of chaos hitting the spot time after time. Like a bludgeoning mace to your consciousness, ‘Grotesque’ is one of the more distatefully straightforward pieces of extreme music you’ll hear this year, and it’s all the better for it. A killer effort.” – The Killchain
“Your eyes will water, your ears will bleed, your muscles will ache, your sphincter will tighten, your guts will churn, and you may even vomit. It’s fucking Foetal Juice and it’s fucking Grotesque. Never change you lovable noise-mongers.” – Games, Brrraiiins & A Headgbanging Life
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
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0 Canada’s DEADWOLFF Announces First American Tour of 2024 w/ Texas’ TINY “NO REST IN THE THE WEST TOUR”; In Support of Debut Album Out Now! On Golden Robot Records
NEWS RELEASE
Montreal, QC – January 4, 2023
Canada’s DEADWOLFF Announces First American Tour of 2024 w/ Texas’ TINY
“NO REST IN THE WEST TOUR”
Deadwolff’s Debut Album Out Now! On Golden Robot Records
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L-R: Angus Pike (Drums), Tommy Wolffe (Bass. Vocals), Bobby Deuce (Guitar)
Kicking off their first tour of 2024, Toronto, Canada’s DEADWOLFF announces they will be hitting the road this coming February and March for American show dates with support from Austin, TX’s TINY. Entitled the “NO REST IN THE WEST TOUR”, the two heavy rock n’ roll bands will be tearing their way across the lower west coast of the USA for two weeks with their headbanging, beer-drinking, no-holds-barred tunes.
“For those that have been waiting, and those who will come to find out! Our combined rocking sounds are here to hunt you down from Austin to LA,” adds the bands.
About:
A blend of hard rock, punk, and metal, Deadwolff set itself apart from other bands with its take on the New Wave of Heavy Rock and Roll. Recommended for fans of Judas Priest, Motorhead, and W.A.S.P, Deadwolff‘s is a revival of foot-tapping, beer-drinking, headbanging tunes, and more. The band is touring in support of their debut full-length “Heavy Rock N’ Roll” released on March 31st, 2023 via Golden Robot Records.
Music Video – Heavy Rock n’ Roll – https://youtu.be/kAiNlEmDkZk
Music Video – Homeward Bound – https://youtu.be/iPC0z5J3Xnc
Album – https://linktr.ee/deadwolff
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TINY is a 4 piece Heavy Rock n Roll band based out of Austin Texas USA. Composed of Brine Stewart on Vocals, Eric Plouffe on Guitar, Mikey Carrillo on Bass, and Ian Smyser on Drums. Started in the middle of 2021 they sought to bring authentic early Heavy Metal back to the world. Since they began the group has been quickly making a name for itself playing all over Texas as well as festivals in Atlanta, Pittsburgh, and New York City. In 2023, TINY released the “Lost Gold E.P.” demo independently on cassette, and is now on its second pressing of it. In anticipation of releasing their debut L.P. “Sacrifice at Hand,” they will be embarking on a 13-date tour across the American Southwest with Canadian rockers Deadwolff.
EP – Lost Gold – https://tinyrocknroll.bandcamp.com/album/lost-gold
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NO REST IN THE WEST DATES
Feb 23 – Houston, TX – Trip Six
Feb 24 – Austin, TX – Lost Well
Feb 25 – San Antonio, TX – Hi-Tones
Feb 27- Albuquerque, NM – El Rey Mezzanine
Feb 28 – Glendale, AZ – Starlite Lounge
Feb 29 – Las Vegas, NV – Dive Bar
March 1 – San Diego, CA – Tower Bar
March 2 – Los Angeles, CA – Universal Bar and Grill
March 4 – Tucson, AZ – The Rock
March 5 – El Paso, TX – The Living Room
March 7 – Dallas, TX – Three Links
March 8 – Oklahoma City, OK – Grand Royale
March 9 – Tulsa, OK – The Whittier
For more info:
Deadwolff – http://www.linktr.ee/deadwolff
Tiny – http://www.linktr.ee/tinyrocknroll
– 30 –
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia
0 MASSIVE SCAR ERA’s “Color Blind” Brings Arabic Egyptian Metal Into The Spotlight; New EP “Metal Goes Egyptian” Out Now!
NEWS RELEASE
Montreal, QC – January 3, 2024
MASSIVE SCAR ERA’s “Color Blind” Brings Arabic Egyptian Metal Into The Spotlight
New EP “Metal Goes Egyptian” Out Now!
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Massive Scar Era is the brainchild of the visionary artist Cherine Amr, who leads a collaborative journey with diverse musicians in every EP, bringing her unique vision to life. Originating from Alexandria, Egypt, and currently based in Montreal, Canada, Massive Scar Era defies genre boundaries, weaving together a captivating tapestry of progressive rock, post-grunge, Egyptian music, and metal, resonating deeply with audiences across the globe. They just released their seventh recording “Metal Goes Egyptian” this past November and have a video out now for the single “Color Blind”, which Amr comments on:
“We decided to rearrange this previously released song for inclusion in this project primarily because of its numerous delicate vocal ornaments. These ornaments provided an opportunity for an Arabic arrangement. Once the Arabic arrangement was introduced, these subtle elements became much more pronounced compared to the original arrangement. I wrote this song after I was denied entry to the USA to play at SXSW with MSE due to the Muslim ban implemented by Trump. Although Egypt wasn’t on the banned list, the border officer was cautious about bands from our region participating, fearing it could add to the ongoing protests at the festival. Fortunately, that’s all in the past now, and I’ve been able to perform many shows smoothly in the USA since the situation has improved.”
Watch the video for “Color Blind” at https://youtu.be/T5ymMOGtK9A
The process of selecting the songs for the EP was a collaborative effort between Weka Soliman and Cherine Amr. Soliman, as the Arabic music arranger, played a crucial role in this decision-making process. His expertise and understanding of Arabic music were invaluable in choosing songs that would provide a suitable canvas for the integration of Arabic music elements. To accommodate the range of Arabic instruments and create an authentic and cohesive sound, project consultant, Katia Makdissi-Warren suggested transposing some of the songs. This adjustment allowed them to maintain the integrity of both the original compositions and the Arabic music elements, ensuring a seamless fusion between the two.
Since its inception in 2004, Massive Scar Era has been at the forefront of musical innovation, pioneering a remarkable fusion of fierce vocals, intricate violin melodies, distorted guitars, and the pulsating rhythms of Egyptian percussion. Amr’s music reflects the cosmopolitan allure of Alexandria intertwined with the raw essence of Cairo’s urban landscape. “Metal Goes Egyptian” is recommended for fans of metal and Middle Eastern influences.
“Metal Goes Egyptian” was recorded and filmed with a traditional Egyptian Arabic music orchestra in Studio Mix Art in Montreal, Canada. The EP was released on November 3, 2023, and is available on Bandcamp, Spotify, and Apple Music at the following link: https://distrokid.com/hyperfollow/massivescarera/metal-goes-egyptian-2
Previous Music Videos at https://www.youtube.com/@MassiveScarEra
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Track Listing:
1. Between Waves – 3:22
2. 30 Years – 4:43
3. Oblivious – 3:46
4. Back to the Sun – 3:41
5. Color Blind – 3:14
6. Endorphins – 2:37
EP Length: 21:26
More info: Facebook.com/massivescarera | Instagram.com/massivescarera
-30-
“Steeped in Metal, but bridging the gap to Egyptian music, Massive Scar Era is a Metal band you need to know about in 2023. The brainchild of visionary artist Cherine Amr, their new EP Metal Goes Egyptian, the seventh release in her career, is coming out in November. Not only does the band creative a ground-breaking mix of Metal and world music, Cherine had to flee her country where “the devil’s music” is forbidden to create, let alone defying gender norms that could lead to punishment, or worse. With its unique fusion of Prog Rock, post-Grunge, Egyptian music, and Heavy Metal, the group just released a new single “Between Waves!”” – Ghost Cult Magazine
” When you’re a metal act, you either go big or you go home, and going big is what Massive Scar Era does extremely well. Today, the metal ensemble unveiled the video for their new single, “Oblivious,” off of their Metal Goes Egyptian EP. As an in-studio performance video, it’s simple but effective. It’s particularly effective due to the level of precision with which the band plays. Then you add in the orchestral elements, and you have essentially what amounts to a symphony. Beyond band founder and leader Cherine Amr, there are many minds and parties at play to bring this vision to life. Amr collaborates closely with musicians, producers, and video creators. Her goal is to combine heavy metal’s power with traditional Arabic music’s beauty and charisma. You’ll hear it all come together in perfect harmony upon Metal Goes Egyptian’s official release on November 3rd.” – V13
“As the title indicates, it’s metal with a middle eastern tone and style… mostly melodic death with clean and harsh vox.” – The Moshpit – WORT 89.9 FM (Madison, WI)
“the Egyptian-Western music cocktail has an almost hypnotic effect” – PowerMetal.de
“Through “Metal Goes Egypt”, their new EP, Canadian band Massive Scar Era invites open-minded heavy music fans to embark on a musical journey that transcends borders and creates a unique fusion of metal energy and the melodic beauty and cultural nuances of traditional Egyptian Arabic music.” – YoZone.fr
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
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jon[@]ashermediarelations[.]com
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0 EPK – Omnivide – A Tale of Fire (2024)
EPK – Omnivide – A Tale of Fire (2024)
Publicist – Jon Asher – jon[@ashermediarelations[.]com
“We think people who either have heard us live or are discovering us for the first time will at the very least view the album as something original, and often not following common metal tropes. It’s not to say that we don’t have some more typical riffs or that we are reinventing the wheel, but our song structures are very progressive with less straightforward repetition, as we instead focus on evolving musical motifs and concepts throughout the songs in a way that binds them together. We think people who enjoy prog will enjoy that form of songwriting.
With this album, we are trying to provide a musical journey that people can listen through from start to finish while remaining engaged. The highs and lows in intensity and the various emotional tones of the songs, which range from dark and brutal to emotional and beautiful, provide contrasts that keep things interesting and moving. We are trying to cover lots of grounds musically, as we are all fans of progressive music, ranging from the 70s until today, in which a common element is this feeling that a complete story is told in each album. We want listeners to feel the pure excitement and energy of our heavier sections, and moments later vibe to a beautiful clean section, and have the compounding effect of those contrasting parts result in a unique experience that is deeply satisfying and rewarding musically.” – Omnivide
For fans of Obscura, Black Daliah Murder, Opeth, Alkaloid, Devin Townsend
Band: Omnivide
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid
Omnivide.ca | Facebook.com/OmnivideBand | Instagram.com/omnivide_band | YouTube
Linktr.ee/omnivide | Omnivide.bandcamp.com | Distrokid.com/hyperfollow/omnivide/holy-killer
Omnivide – A Tour of Fire
March 29th – Moncton, NB @ Xeroz Arcade/Bar *
March 30th – Fredericton, NB @ The Cap *
April 5th – Saint John, NB @ The Panic Room *
April 6th – Halifax, NS @ Gus’ Pub
April 10 – Edmundston, NB @ Microbrasserie Ateepic
April 11 – Trois-Rivières, QC @ La Taverne Royale
April 12 – Montreal, QC @ Traxide
April 13 – Quebec City, QC @ Source de la Martinière
April 14 – Sherbrooke, QC @ Le Murdoch
April 15 – Oshawa, ON @ The Atria #
April 16 – Guelph, ON @ Red Papaya #
April 17 – Ottawa, ON @ Dominion Tavern #
April 18 – Toronto, ON @ Hard Luck #
April 19 – Waterloo, ON @ Dive Bar #
April 20 – Newmarket, ON @ The Spot #
* With BLEVK
# With Sentiment Dissolve
“The compositions on the album are as tenacious and imposing as the angles in the band’s logo. Each song packs a list of surprises that are like colorful candy being fed to you just when you are beginning to get hungry. Obviously talented, the quartet never lets their talent outshine their songwriting, although the flashes they do show will leave you speechless. How is this band not signed to a major record label?” 9/10 – Metal-Temple
“The vast swirling and shimmering sounds that open the new song (Csomic Convergence) quickly encompass the expanse and wonder of the cosmos, but the heavy punching throb of the bass and electrifying percussive acrobatics presage something different on the way — and the change arrives in a sudden flurry of rapidly darting notes, furiously hammering drums, and scalding snarls — which suddenly trade places with sky-high singing. It’s a head-spinning experience, with many moving parts that spin and shift with thrilling speed, eventually overlaid with keys that resemble a glorious heavenly choir whose tones contrast with the ravenous growls and manic instrumental intensity beneath them. Although the rhythm section continue to kick up a storm, the music seems to become even more magnificent and sweeping — until the intensity erupts in blistering blast-beats, unhinged screams, synths that sear, and a thoroughly mind-bending guitar solo at the finale. It’s the kind of closing spectacle that will put your heart in your throat.” – No Clean Singing
“Canadian quintet Omnivide started life as an Opeth tribute band before changing lanes and writing their own music. A Tale Of Fire is the band’s debut album, promising to deliver engaging progressive metal that fans of Alkaloid, Obscura, and, yes, Opeth will enjoy. There are a lot of styles and influences at play here, and Omnivide aim to keep the listener engaged throughout. The band succeeds wonderfully – and no, despite their history they do not come off merely as old Opeth imitators. The symphonic element present is tastefully done, the arrangements are all what one would expect from a more established band, and the performances are all outstanding. Overall, A Tale Of Fire is an excellent debut, and Omnivide are firmly on my radar going forward. In fact, if it wasn’t for Big Big Train this would have been our pick of the month. 4/5” – The Progress Report – Heavy Music Headquarters
“With “A Tale of Fire”, Omnivide have crafted a bold, layered and compelling debut album marking themselves as a worthy addition to the Heavy Metal ‘Omni’ bands/albums and to the thriving Death Metal scene in Canada. Through clever songwriting and outstanding musicianship (seriously, check out the band’s ‘Opulence’ playthrough), they combine elements familiar to the genre in an engrossing way that rewards repeat listens. It may still be early in the year, but OMNIVIDE have put forth a very strong entry for Tech/Prog Death in 2024.” – Mostly Metal
“I enjoyed A Tale of Fire, as it was lively, cerebral, and still intense to-boot with the wailing guitar leads, proggy synth section, and harsh death metal vocals. I think that people who enjoy melodic synth death metal will flip for this album. It’s got the harsher elements of Obscura and Black Daliah Murder with the musical eccentricities of Haken and Devin Townsend, something that makes for an enjoyable listen.” – Metal Epidemic
“Throughout A Tale of Fire, Omnivide showcases their musical diversity and storytelling prowess, providing one with a deeply satisfying and rewarding listening experience. From the highs of intense heaviness to the lows of emotional introspection, A Tale of Fire invites one to immerse themselves in its intricacies and complexities.” – Amplify The Noise
[Download Album Cover | Download Album Lyrics]
Band: Omnivide
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid
Track Listing:
1. Clarity – 6:44
2. Opulence – 4.48
3. Desolate – 7:35
4. A Tale of Fire – 5:05
5. Cosmic Convergence – 5:04
6. Holy Killer – 5:06
7. Death Be Not Proud – 6:32
8. Stoned Dragon – 7:45
Album Length: 48:44
Album Recording Credits:
• All songs performed by:
Samuel Frenette (Lead & Rhythm Guitar, Vocals, Bass)
Nicolas Pierre Boudreau (Lead & Rhythm Guitar, Bass)
Marc-André Richard (Drums)
Samuel Lavoie (Keyboards)
• All songs written by: Samuel Frenette and Nicolas Pierre Boudreau
• Produced by: Samuel Frenette and Nicolas Pierre Boudreau
• Mixed and Mastered by: François Fortin – La Boîte Noire (Facebook.com/studiolaboitenoire)
• Album Artwork by: Marcel Leblanc (Facebook.com/MarcelLeblancart)
• Member of SOCAN
• Canadian Content (MAPL)
Album and Live Band Line Up:
Samuel Frenette – Guitar/Vocals
Nicolas Pierre Boudreau – Guitar
Alex Cormier – Bass
Samuel Lavoie – Keyboards
Marc-André Richard – Drums
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About The Album Artwork
The album artwork is a representation of the overarching themes of the album. At first glance, it’s quite obvious that it’s a fantasy-inspired art piece, and as mentioned we do use fantasy as a vehicle to tell some of the stories in our songs. On a deeper level, the fire-breathing dragon and the general abundance of fire in the artwork represent death in all its brutality, as well as its cleansing power and the potential for rebirth that it also brings. The cloaked wizard in the lower center and the burning planet in the middle of the artwork represent the channeling of the hardship and pain that death brings into growth, showing that we can become better, wiser, and more powerful beings by harnessing the lessons from the harshest realities of life. As a whole, the artwork represents the constantly moving process of death, rebirth, and growth.
About the album as a whole (LYRICALLY & MUSICALLY):
Musically, the album is a blend of our favorite elements from progressive metal, technical death metal, death metal, and symphonic/power metal. There are some very heavy/dark riffs, some very grandiose/more epic sections with lots of orchestral instruments, as well as lighter/cleaner sections with clean vocals. From these various elements, the pacing of the album is that of a rollercoaster ride in terms of intensity, but we definitely lean much more toward the heavier side than the lighter side overall. The song structures are very progressive, with fewer repeating parts, though we do use repetition, and if we don’t we bring back similar melodic or rhythmic ideas throughout songs to make them feel more like complete pieces of music. Our goal with the songs is to make listeners feel an overwhelming urge to headbang to the heavier sections, feel the strong emotions of the more grandiose/epic sections, and feel the mysterious energy of the cleaner/more laid-back sections.
Lyrically, the songs on the album are broadly about us trying to understand death, both as a tragedy and a natural part of life, the pain it brings, and the resilience that can be born from it. This can mean the physical death of an individual, our planet, the universe, or a person’s internal fire and lust for life. We use storytelling in some songs as a vehicle for this, and since we love fantasy media, the content of these stories has fantasy elements, while also weaving in deeper concepts of death, hardship, regret, and growth. Other songs revolve around historical figures, while others are mostly metaphorical, but all are linked together by this exploration of all aspects of death.
Track by Track (LYRICALLY & MUSICALLY):
1. Clarity
This song was written by Sam Frenette. Musically, Clarity has more of a melodic aspect to it, starting with a clean intro that evolves into a grandiose opening to the album with the full band and orchestral instruments. The song then descends into progressive death metal madness, oscillating between dark/evil sections and more melodic and epic sections. There is a haunting clean section before the final outro of the song, and is composed first by a blackened death metal riff, followed by a melodic outro and an epic, heavily punchy ending. Generally, the riffs of this song are heavy yet melodic, with heavy orchestral and synthesizer layers complimenting the interactions between the guitar, bass, and drums.
Lyrically, the song is about the disillusionment one experiences when growing up regarding the harsh realities of life, and the suffering that the difficulty of accepting these realities can bring. It’s written from the perspective of an individual, and from these realizations come the awareness that they have not led a perfect life themselves, and the pain of knowing how they might have hurt others adds to this suffering, ultimately leading them to refuse to continue living, with the last lyrics being
“Tearing my own flesh down to the bone
Such pain to erase all I’ve ever known
Nothing left of me but a longing for home
I will return by shedding this form”
2. Opulence
This song was written by Sam Frenette. Musically, Opulence is a more straightforward death metal song orchestration-wise, with fewer orchestral instruments and synthesizers than most songs on the album. It is a more brutal song with lots of groovy riffs and no clean sections. It maintains the progressive approach to songwriting, however. It starts with an in-your-face fast alternate picking lead melody, and transitions into groovy death metal with a progressive edge to the riffs, culminating in a chorus that is the same progression and melody as the intro of the song. Then comes a riff that starts at an increased tempo with drum punches only, embracing the classic old-school death/thrash metal trope, which transitions through chaotic riffs with vocals, into a final, groovy ending with a dissonant guitar solo.
Lyrically, the song is about our planet, and how humans were born from it, yet have reached a point where they are essentially consuming it to death. Hence the name “Opulence”, which alludes to the fact that humanity is living in the best, richest conditions in history, at the cost of consuming our planet’s resources in a way that can only be described as gluttony. The last lyrics of the song illustrate this sentiment:
“Will we stop gouging our dying mother?
Or be gluttons with her flesh and blood?”
3. Desolate
This is a song that Nicolas started when he was 19, and the intention was to write a heavy/fast song any young metalhead would mosh and thrash to. The goal was to write a theme that you hear in the intro and have it come back in different writing styles throughout the song. The theme appears in the intro, the clean sections, and at the end. The goal was to write a song that kept evolving within its own ideas whether it be through the orchestral arrangement or the guitars. Eventually, all the riffs were arranged together to make it flow as if it were one gigantic riff.
Lyrically, Nicolas drew inspiration from Marcus Aurelius along with historical figures that became too powerful, something most people can’t relate to in modern times. There are a lot of hints of stoic ideas in the lyrics that can be relatable to anyone striving for self-improvement during chaotic times.
4. A Tale of Fire
This song was written by Nicolas and begins with a choir and orchestral intro that slowly builds into developing melodies in a manner similar to classical music. The intro makes the listener anticipate the arrival of the rest of the band, and when the full band does kick in, there is a sense that the song is going to metaphorically explode. There are a lot of old classical music techniques like counterpoint and dual melodies that make this song very tech-death until it slows down in the middle to make it more thrash sounding. The goal was to write more melodies with the keyboards and orchestral instruments to have the song be less guitar-oriented compared to the other songs on the album even though the guitar definitely has a lot going on. This song starts and ends with an orchestral arrangement only, almost like a storm passing by.
Lyrically, this song is a metaphor for someone or something who has completely lost control of themselves, being completely overwhelmed by their emotions, like a fire destroying everything in its path.
5. Cosmic Convergence
This song was written by Sam Frenette and begins in a relatively tame manner with a sweep-picked arpeggio melody accompanied by guitar, bass, and a choir/strings, with a drum buildup that transitions into a polyrhythmic riff over the same melody. From there, the song is composed of some fast/technical riffs, some more straightforward, but all very melodic with heavy layers of orchestration, and a lot of clean vocals compared to most songs on the album. This song is extremely high-octane in a melancholic and epic way, that tries to communicate the sense of desperation and urgency of the lyrics, with the song being about the end of the universe. It culminates in a final chorus before going into a dark melodic outro, built up with the band doing groovy punches over a distorted arpeggiated chord progression, and finally transitioning into an all-out ending section with tremolo picked guitars, blast-beating drums, an epic choir, and string arrangement, screaming vocals, and a melodic guitar solo to top it all off.
Lyrically, this song is about the Big Crunch, the opposite of the Big Bang, when astrophysicists predict that the universe will stop expanding and instead collapse on itself back to a single, infinitely small and dense point of matter. The lyrics describe this process in a poetic way in the first section of the song, with the final chorus shifting perspectives from that of the universe itself to a single human witnessing this process, with the lines “One final cry / Begging not to die / As all we are is swallowed by stars”. The last part of the song focuses on this human perspective, and the pain/anguish of realizing that not only their own life, but the universe and existence itself is coming to an end.
6. Holy Killer
The song begins with a dark orchestral intro that was inspired by anything that is kept away in the dark, like the bottom of the deepest oceans. It is followed by relatively a simple chord progression with brutal screaming vocals, that then goes into a soft clean guitar interlude accompanied by a Mellotron, after which the song goes into full death metal mode. It’s the only song where we have dual solos between guitars and keyboards, almost like a conversation between the two of them. The song then ends with an outro that repeats a few times but builds up in terms of the vocals and orchestral layers.
Lyrically, this song is about someone who dies and is in limbo or in search of the afterlife he was promised by the gods he worships, but is instead brought to hell to atone for the evil deeds he performed throughout his life in the name of the very religion he worshipped.
7. Death Be Not Proud
This is a song written by Nicolas, who wrote most of the guitar on a classical guitar and wanted to write a prog metal song influenced by all the classical music he’s studied over the years. A lot of the guitar is influenced by a musician named Augustin Barrios Mangore, which is why a big portion of the song cannot be played with a guitar pick and must be finger-picked. This song is mainly composed of death metal with a lengthy clean section in the middle, which features Nicolas’ fingerpicking and some clean vocals.
Lyrically, this song is about a person meeting the Grim Reaper and begging the ghostly figure to kill the person they’ve become, so that they can be reborn and given another chance at a good life, avoiding the mistakes of their previous lifetime.
8. Stoned Dragon
This song was written by Sam Frenette and is the slowest song on the album. The first half of the song is overall dark and haunting, beginning with an ethereal choir intro that then goes into a slow, hypnotic riff with growling vocals. The chorus that follows is dark and melodic, increasing the energy a bit before going back through the verse and chorus. There is then a transition riff that ups the aggression quite a bit, leading to a double-time riff that starts with one guitar accompanied by full band punches. This section builds up for a few repetitions before ending in a very heavy and aggressive breakdown. The end of the song is then a long buildup sprinkled with guitar solos and synthesizers, culminating in a final epic section with rhythmically intricate guitars and a grandiose choir to give a big dramatic ending to the album.
Lyrically, the song is a story about a dragon whose duty is to protect a village. He used to be human and the leader of that village but had to sacrifice himself and become a dragon to protect his people. Centuries have passed since then, and the villagers have forgotten that the dragon is their ancient leader and meant to be their protector, and instead fear him and view him as a monster. This angers the dragon over years and years until he loses control and burns down the village in anger, ending his own life at the end in deep regret at his loss of control that led him to murder the people he was meant to protect.
There are a couple of lines in the song about the dragon smoking weed in an attempt to calm himself:
“Inner fire restrained, herbs burning”
“Herb no longer soothing, he will hurt his kind”
Hence the name “Stoned Dragon” but the title can also be interpreted as the dragon being stoned to death by the villagers (by throwing actual stones at him) or even the dragon turning to stone when he dies.
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FUN FACTS – STORY ANGLES:
1. All recording was done in the band members’ home studios, save for drums which were recorded by François Fortin at Studio La Boîte Noire. François also mixed and mastered the album.
2. The band was born from the ashes of an Opeth Tribute band called Sunbird which three of Omnivide’s members were a part of (Samuel Frenette, Samuel Lavoie, and Nicolas Pierre Boudreau). After a year of playing shows with this band, the three members wanted to write their own music that combined their biggest influences in metal, one of those bands, of course, being Opeth alongside others like Obscura, Black Daliah Murder, Alkaloid, and many bands blending orchestral elements and synthesizers into their music like Wintersun and Devin Townsend.
3. Omnivide once played a show that was so badly promoted that only 5 people were present at the beginning of their set. However, a few more people arrived up and stayed during the show, and they explained afterward that they were a country band who’d just finished playing a show in a venue close by. They heard the band playing as they were walking past the bar and apparently enjoyed it enough to stay for the rest of the set! This made the evening feel meaningful even though the band had not played in front of many people.
4. The symbolism of fire on the album cover and album title relates to the central theme of death & rebirth in the lyrics throughout the album, as the destruction that fire brings leaves a clean slate for new things to take place.
5. The members of the band all knew each other and collaborated together on various levels before the band was first put together. Three members went to high school together, and there were multiple musical projects that had some combination of Omnivide’s members before this project. The members therefore know each other very well and have learned to collaborate efficiently together over the course of many years, sharing similar musical intuitions and tastes that make the writing process smooth and exciting.
L-R – Alex Cormier (Bass), Nicolas Pierre Boudreau (Guitar), Samuel Frenette (Guitar & Vocals), Samuel Lavoie (Keyboards), Marc-André Richard (Drums)
Photo Credit – Deepti Suddul – DeeptiSuddul.com
Formed in 2020, Omnivide was formed by the members of a previous Opeth Tribute project called Sunbird. The members wanted to move on from paying homage to one of their greatest influences and to begin writing music of their own. They had in mind to write progressive metal that combined the sound of all their favorite groups such as Obscura, Opeth, Alkaloid, Devin Townsend and more into a sound of their own. After a few early line-up changes, the current lineup was formed, save for bassist Alex Cormier who replaced Alex Olmstead in 2023.
The band spent the years 2020 and 2021 writing the songs for their first album, sculpting their sound down to the fine details, while also sharpening their audio engineering skills that would enable them to achieve their sonic vision. They worked to strike a balance between heavy, technical, progressive and symphonic elements, in the hopes of delivering a unique sound that would stand out amongst the ocean of bands that populate the music industry.
2022 and early 2023 were spent recording the songs for their debut album, which were all done in their home studios save for the drums which were recorded by François Fortin at Studio La Boîte Noire. The band also started playing live shows that year, performing all over Atlantic Canada in staple venues such as Xeroz and Broken Record, and remain active today, expanding their fanbase with every show they play.
The band is now preparing for the release of their debut album “A Tale of Fire”, which is set for March 2024.
Shared Stage with:
– E-Force
– Carrion Vael (Indiana)
– Deadwood (QC)
– Aepoch (Ontario)
Local bands:
– Mistwalker (QC)
– Obelisk (QC)
– Dischord (NB)
– Tactus (NB)
– Zach Leger (NB)
– Ibex (NB)
– Elevate The Virus (NB)
– Yhorm (NB)
– Anthesis (NB)
– Ancient Thrones (NS)
– Pale Ache (NS)
0 \m/ \m/ Merci Metallian FOETAL JUICE Gore House Productions Deorbit Cabrakaän Pessimystic
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0 EPK – Backstabber – Patterns of Domination (2024)
EPK – Backstabber – Patterns of Domination (2024)
Publicist – Jon Asher – jon[@]ashermediarelations[.]com
“Loosely based on James Redfield’s The Celestine Prophecy, Patterns of Domination delves into the 4 patterns that serve as means to canalize someone else’s attention and energy. Together, they form an endless cycle of consumption that completely breaks down the victim from the inside out. Like fresh air. These are the first songs with the new members of the band and they contributed a lot to this album.” – Backstabber
For fans of Revocation, Hypocrisy, Kataklysm, Lamb of God, Mors Principium Est
Band: Backstabber
EP Title: Patterns of Domination
Release Date: March 15, 2024
Label: Self-Release
Facebook.com/BackStabberMetal | Instagram.com/backstabbermetal | Youtube.com/@Backstabber
Backstabbermetal.bandcamp.com | Spotify
The lead single is Harvesting the Weak which the band has a new music video for.
“We chose Harvesting the Weak as the main single because it is the most brutal pattern; Intimidation. It hits you right in the face while teabagging your knocked-out sack of bones in front of your friends. We’re talking Death metal from old-school riffs to slamming brutal death.” – Backstabber
“the entire EP is spectacular — a forward-rushing union of bone-smashing belligerence, vicious but technically impressive riffing, moving and jaw-dropping solos, monstrous and unhinged vocal rage, and melodic accents that give all the songs their own distinctive character.” – No Clean Singing
“Patterns of Domination is a relentless and catchy four-track EP. The musical style and lyrical content will appeal to fans of Hypocrisy.” – WRUV 90.1 FM – Burlington, VT
“From the beginning of the song (Snitches Get Stiches), you can hear the more technical side of the group. I would say it’s the fastest and most technical song in terms of guitars. It is also a piece in which there is orchestration. This is very present and brings a rather sordid dimension. What literally threw me off was the ending of the song. There is really crazy progress. A fast guitar riff, drumming that transitions from blastbeat to a more relaxed upper body beat with basedrums that are in “the carpet”. All with a beautiful orchestration which gradually takes over the instruments. Really, to finish an EP, it’s just perfect. 8.5/10″
“From sharp riffs, which are influenced by old school death metal, developed and mixed with contemporary. Blistering rhythms and the very good production ties and highlights the diversity and uniqueness of the compositions. It’s worth listening to and I’m sure you’ll stick around!” – Metal War
“A fat bridge between Death Metal and its modern siblings! 8/10” – PowerMetal.de
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What the press has said about Backstabber’s 2019 album “Conspiracy Theorist”:
“Powered by drumwork that resembles a ferocious mix of machine-gun and mortar fire, Backstabber mount the attack with flurries of vicious, seething riffery and nail-gunning jab-fests, with the lyrics voiced in heartless, imperious roars. The devastation is pushed to further heights of frenzy with a shrill, eerily spiraling solo, and concludes with a hint of off-planet mystery.” – No Clean Singing
“Out of northern Quebec comes the Men In Black, melodic death metal band Backstabber. Last year, these guys dropped their debut album Conspiracy Theorist and it still stands as one of the best albums of the year. Full of tinges of Hypocrisy from style and sound, to the obvious connection of alien themed lyrics. A little over a year later now, Backstabber are dropping a music video for their song “My Disclosure” and it’s essentially nothing you would expect from a small independent band only on their first album.” – Metal Injection
“Fast, frantic, politically minded and heavy” – Exclaim!
“Backstabber’s death metal is more of the modern variety (in a good way) with a very clean yet brutal sound and speed aplenty. The playing is insanely tight at times and it’s often hard to believe that this is only the first album of a relatively young band, their first demo having been released in 2016. Some passages are a little on the thrash side but for the most part, this is heavy, pounding, fast death metal driven by a drummer who is really asking for a speeding ticket. ” – 4/5 – The Metal Crypt
“The songs are heavy, and the death and thrash influences make for some fairly easy to get into head bobbing as each track progresses… Conspiracy Theorist is a solid beginning for Backstabber… Solid for those that want some new, well-rounded death metal.” – Dead Rhetoric
“Backstabber’s Conspiracy Theorist is a self-released album that makes one wonder how they haven’t been signed to any label yet… Backstabber have on their hands the first essential death metal release of 2019.” – 4/5 – Heavy Music HQ
“BACKSTABBER deliver aggressively systematic silver lining lacerations of rip-roaring screams of vengefully vicious old-school Death ‘N’ Thrash Metal professionalism – simply put – recommended.” – Metal-Temple
“The tracks that attracted my attention the most were ‘Ink Spill’, ‘My Disclosure’ and ‘Banksters’: continuing the old-school texture, these tracks, as well as the entire full-length, include no clean vocals nor breakdowns; all that is contained is substantial and complete death-thrash metal led on by a superb stream of undeniable thinking and design. Backstabber’s music can definitely be cherished over time by fans of Decapitated, At The Gates, Deicide and Hypocrisy as the band grows in following. This release shows glory in blending their musical layout with dynamic and spirited riffs.” – Metal-Rules
“Conspiracy Theorist has a real face crushing, devastatingly great death/thrash metal feel to it…” – Crannk
“This album is hard as nails. They do not care for making the music too melodic. It is hard-driving, grooving-thrashing pounding metal. The vocals are super aggressive and abrasive on the ears. The guitars, bass and drums work in marching unison with the purpose of making you form a moshpit or to jump into one or to make you think that you are going to bench press 500 pounds today and do 100 pull-ups at the gym… No melodic singing. No sweet whispers in your ears, just aggro-angry metal to rile you up even more about politics, the government and the extraterrestrials.” – Metal Bulletin Zine
““Conspiracy Theorist” is a very refreshing listen, I’ve no favourite track, each stands solidly alone on its own individual merits, and should appeal to fans of the likes of Kataklysm, Hypocrisy, Decapitated, Deicide, and At The Gates.” – The Metal Wanderlust
[Download Album Cover | Download EP Lyrics]
Band: Backstabber
EP Title: Patterns of Domination
Release Date: March 15, 2024
Label: Self-Release
Track Listing:
1. Harvesting The Weak (4:06)
2. Langues Sales (4:34)
3. Crawling Through Your Bones (5:03)
4. Snitches Get Stitches (5:46)
EP Length: 19:29
EP Recording Credits:
• All songs performed by: Backstabber
• All songs written by: Backstabber
• Produced by: Christian M. Thériault
• Mixed by: Christian Donaldson
• Mastered by: Christian Donaldson
• Canadian Content (MAPL)
EP and Live Band Lineup:
Christian M. Thériault: Guitar/Vocals
Philippe B. St-Jacques: Guitar
Eric Séguin: Bass/Back Vocals
Keven L.-Hull : Drums
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About The Album Artwork:
A single soul surrounded by the destruction of the world hoping for better days.
About the album as a whole (LYRICALLY & MUSICALLY):
Lyrics are loosely based on James Redfield’s The Celestine Prophecy as we explore the four patterns meant to consume someone’s attention and energy. Each track digs into a specific pattern giving for a wide array of emotions throughout the EP. It can also be felt musically as each song has a very distinct style while the production makes a good wrap up keeping it as a whole.
Track by track (LYRICALLY & MUSICALLY):
1. Harvesting the Weak: it is the most brutal pattern; Intimidation. It hits you right in the face while teabagging your knocked-out sack of bones in front of your friends. We’re talking Death Metal from old-school riffs to slamming brutal death.
2. Langues Sales: French for dirty tongues, it represents a vicious pattern, the poor me. These people are always complaining about everything, every day, every time. It’s like they don’t really get to live, life is inflicted upon them. It’s trash, thrash, and breakdowns.
3. Crawling through your bones: This is the most vicious one of all, interrogation. Everything you say can and will be used against you, and we will make you say everything and anything. That’s Melodeath, because it hooks you right in without you noticing.
4. Snitches get Stitches: Describing this pattern shouldn’t be allowed. Indifference didn’t call for this! That’s why we went blindfolded in the mist musically ending up in places we might never have gone to otherwise.
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Hailing from Rouyn-Noranda in northern Quebec, Canada, Backstabber is a formidable death/thrash band inspired by conspiracies, new technologies, philosophy, and history. Covering a vast number of themes throughout their aggressive music, Backstabber can be likened to a ‘loose cannon’ with no foreshadowing of what direction they will take next, musically and lyrically.
Starting with themes and gradually adding riffs, drums, bass and finally vocals, they pride themselves on complimenting their compositions with energetic and interactive live shows, the entire reason for them writing their songs.
Eager to bring raw and fierce metal to the ears of listeners, Backstabber has recorded their next EP “Patterns of Domination” produced by Christan Donaldson (Cryptopsy) for release in 2024.
Discography:
2024 – Patterns of Domination – EP
2019 – Conspiracy Theorist – Album
2016 – Revenge – EP
Shared Stage with:
Cattle Decapitation, Kataklysm, Depths of Hatred, Augury, Introtyl, Burning the Oppressor, Unbreakable Hatred, First Fragment, Get the Shot, Blinded By Faith, Insurrection, Abitabyss, Anonymus, Nova Spei, Spirit of Rebellion, The Flaying, Your Last WishTours and Festivals:
2023 – AlienFest – La Sarre
2019 – FRIMAT – Val-d’Or
2018 – FME – Rouyn-Noranda
2018 – FGMAT – Rouyn-Noranda
Cattle Decapitation, Kataklysm, Depths of Hatred, Augury, Introtyl, Burning the Oppressor, Unbreakable Hatred, First Fragment, Get the Shot, Blinded By Faith, Insurrection, Abitabyss, Anonymus, Nova Spei, Spirit of Rebellion, The Flaying, Your Last WishTours and Festivals:
2023 – AlienFest – La Sarre
2019 – FRIMAT – Val-d’Or
2018 – FME – Rouyn-Noranda
2018 – FGMAT – Rouyn-Noranda
0 Gore House Prod. – STAGES OF DECOMPOSITION Release Brutal, Horrific New Single “What Lies Within” Off New Album “Raptures of Psychopathy” Out Feb 2024
NEWS RELEASE
Montreal, QC – December 29, 2023
STAGES OF DECOMPOSITION Release Brutal, Horrific New Single “What Lies Within”
New Album “Raptures of Psychopathy” Out Feb 2024 From Gore House Productions
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Since the band’s inception, Stages of Decomposition has become a formidable force in the extreme music scene. From gracing stages at renowned festivals like Bay Area Death Fest, Bogota Grind Death Fest, and SLAM FEST, to a coast-to-coast U.S. tour in under 10 days, the band has left an indelible mark on the global Death Grind circuit. Their second album “Raptures of Psychopathy” threatens to burrow into your brain like a death metal worm and liquefy it with brutal riffs, chaotic blast beats and adrenaline-invoking time signatures that convey the terror and psychological aspects of the stories told. The next single “What Lies Within” is not for the faint of heart, as the band explains:
“What Lies Within is a song about someone struggling with inner hate for humans where they don’t hold anything back to demoralize them and degrade them in such a way that he gains absolute control and advantage over them. In a way, this really digs into the album name of Raptures of Psychopathy. This song offers a glimpse into a mind harrowed by demons and the need for power/control through forced sex.“
Watch and listen to the lyric video for “What Lies Within” at https://youtu.be/mwF6mWnWrnc
Stages of Decomposition is known for its massive and impactful delivery of extreme brutality and invokes raw primitive energy from the crowd. From heart-splitting blast beats and corpulent riffage to sickening gutturals – fans can expect nothing less than a destructive performance.
Each song on “Raptures of Psychopathy” embodies a concept relative to the overall theme of the album. Stages of Decomposition like to explore all facets of the general horror theme – from movies to serial killers, events, etc. Due out on February 2, 2024, by Gore House Productions, it is recommended for fans of Dying Fetus, Devourment, and Suffocation.
Album pre-order – https://orcd.co/raptures-of-psychopathy
Music Video – “Skid Row Slasher” – https://youtu.be/w9j3s54NwhM
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Track Listing:
1. Drilling of the Cerebellum – 4:59
2. What Lies Within – 3:10
3. Beast of Jersey 2:42
4. Killing Under Possession – 3:36
5. Murder by Proxy – 3:26
6. Skid Row Slasher – 3:36
7. Carve out the Eyes – 2:37
8. Fetal Devourment – 3:04
9. Crawl Space Burial – 3:12
10. Human Extermination – 3:46
11. Mass Psychosis – 2:09
Album Length: 36:19
More info:
Gorehouseproductions.com | Facebook.com/StagesofDecomposition | Instagram.com/stagesofdecomposition_official
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“On their new album Raptures of Psychopathy, Stages of Decomposition lean into the most violent and punishing aspects of their sound, and we have a prime example in the new album track we’re presenting today, along with a blood-spraying video… The song’s name is “Skid Row Slasher”. It’s based on true stories of serial killers, both of whom preyed on the homeless population of L.A…. The music is itself undeniably, and viciously, psychotic. The riffing is fast and frenzied, corrosive and cutting, and utterly crazed. The drums clatter at high speed, like automatic weaponry with a groove. The bass slugs like a heavyweight high on adrenaline. Equally rabid, the vocals expel raw guttural roars, crazed screams, and strangled gagging and gurgling excretions. It’s all macabre, and it’s all viscerally electrifying. But the band also make room for pulverizing slams capable of splitting concrete. It’s a kick to watch the band cut loose in the video, too, and of course there will be blood….” – No Clean Singing
“This is pure bang your head ‘till it pulps music. From growling guitars to smash the kit into pieces drumming, then snarling vocals, and a horror tinge (as we’ll see). It’s only right that they’re signed to Gorehouse Productions… Stages of Decomposition are tight, they can be felt as well as heard. The album (Piles of Rotting Flesh) is consistent with no weak moments. You will bleed, this will hurt. For proof check the official video below.” – Severed-Cinema
“It’s a brutal assault on your ears in the same style as bands like Cannibal Corpse.” – Games, Brrraaains & A Head-Banging Life (EP – Crawl Space Burial)
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
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