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Posts By Asher

0 STELLVRIS Unleashes Ferocious Single “Silence After Violence” from Upcoming EP “Shatter and Bloom” Out Nov 2025

  • September 19, 2025
  • by Asher
  • · Music News · Stellvris

NEWS RELEASE

Montreal, QC – September 19, 2025​

STELLVRIS Unleashes Ferocious Single “Silence After Violence”

New EP “Shatter and Bloom” Out Nov 7th, 2025

L-R – Libor Hřebík (Bass), Andreas Polášek (Guitar), Nicol Hofman (Vocals), Hanz Polášek (Drums)

Photo Credit – Julia Ramm

European (Prague, CZ) modern metal band Stellvris has dropped their latest single, “Silence After Violence,” a searing anthem from their upcoming EP “Shatter and Bloom,” set to release on November 7. Produced by Christoph Wieczorek (Annisokay, Caskets) at Sawdust Recordings, the track delivers a visceral punch, confronting the rising aggression in society and channeling it into a cathartic, high-voltage experience.
​​
“We see violence and frustration creeping into younger generations, and it’s terrifying. This song is a wake-up call — a cry for awareness and action,” 
says vocalist Nicol Hofman.
​
Founded in 2019, Stellvris has built a reputation for turning pain into power. Their music speaks directly to those battling anxiety, toxic relationships, bullying, and the weight of everyday struggles. With past releases “Upside Down” (2022) and “Persistence” (2023), the band carved out a sound that’s crushingly heavy yet hauntingly melodic, winning fans across Europe and the UK.
​
But Stellvris is more than just a band; they’re an experience. Known for electrifying live shows that include circle pits, walls of death, and stage dives, they’ve shared stages with Megadeth, Jinjer, The Ghost Inside, and more, and have lit up festivals like Summer Breeze, Brutal Assault, and Basinfirefest.
​
​“Silence After Violence” is the fourth single from “Shatter and Bloom,” a five-track EP that explores destruction, rebirth, and the emotional chaos of modern life. Each song is rooted in real stories, from the scars of toxic relationships to the emptiness of digital escapism, and crafted to empower listeners who need it most.
​
​“Our lyrics come from personal experiences and stories our fans share with us. We want people to feel seen, heard, and stronger after listening,” Hofman explains.
​
Musically, Stellvris blends metalcore, nu-metal, pop, and electronic elements into a sound that’s as catchy as it is brutal, drawing in even non-metal listeners with melodic choruses and bone-crushing breakdowns. During the recording of the EP, the band even captured a viral studio moment when their guitarist used phone vibrations to create a unique sound, leading to the now-infamous “WAKE UP MOTHERF***ER” breakdown.
​
With “Shatter and Bloom,” Stellvris continues to push boundaries, both musically and emotionally. The EP closes with a metal reimagining of Nicki Minaj’s “Starships,” proving that even amidst heavy themes, there’s room for joy, release, and celebration.
​
​“It’s never just about the sound. It’s about creating a safe space where pain turns into resilience, and where the silence after violence is shattered by music,” says Hofman.

Recommended for fans of Jinjer, Spiritbox, Holy Wars, Arch Enemy, and I Prevail, listen to “Silence After Violence” at the following links:

Visualizer – https://youtu.be/zJK1Ch9WbuA

​

Add to your Spotify playlist – https://open.spotify.com/track/2cnmO3deE3ZCcgfH3gCHZx​

Previous Videos:

Starhips (Nicki Minaj) – https://youtu.be/NB60FdC6B1Q

​Monster – https://youtu.be/JsamTLqtLAs

​

Track Listing:​
1. Shatter and Bloom – 3:18
2. Silence After Violence – 3:14
3. Monster – 4:16
4. Time’s Up – 3:32
5. Starships (Nicki Minaj Cover)
EP Length: 18:27
​
​EP Credits:
​
• All songs performed by: STELLVRIS
• All songs written by: STELLVRIS
• Produced by: Christoph Wieczorek of Sawdust Recordings
• Mixed by: Christoph Wieczorek of Sawdust Recordings
• Mastered by: Christoph Wieczorek of Sawdust Recordings
• EP Artwork by: František Jelen
​
​Band Line Up:
​
Nicol Hofman (vocalist)
Libor Hřebík (bassist)
Andreas Polášek (guitarist)
Hanz Polášek (drummer)

More info: https://linktr.ee/stellvris.band​

-30-

“Ready-made for fans of Spiritbox and Holy Wars, STELLVRIS’ latest takes on the theme of a toxic relationship, whether romantic, platonic or professional, and urges the listener to push back and escape. As for the video, it captures the band in action, with vocalist Nicol adopting distinct personas, including a red-cast demonic one.” – Revolver Magazine​

“Stellvris work best because they are able to balance the more melodic aspects of modern metal with a scorching amount of heaviness. There’s an overall adrenaline injection and flow to Persistence that makes it incredibly digestible, with the need to listen to it over again to get that same rush once it finishes. What’s great is that the aggression sticks around on repeated listens, without giving you a case of diminishing returns. Expect big things from this act in their near future for sure, but Persistence already establishes them as a modern metal force to be reckoned with.” – Dead Rhetoric (2023 – Persistence)

“The latest single “Scorpio” was a perfect song to sum up STELLVRIS’s musical identity as a band. The energetic riff and beats with Nicol switching between clean vocals and harsh vocals and even harsher vocals have been a common denominator for almost every song by STELLVRIS. “Scorpio”, however, took that electrifying awesomeness and multiplied it by a thousand! The song is three minutes of pure energy that even my conservative grandmother would headbang to (going to test this theory next family dinner). It’s a song that would be perfect when performed live! Of course, the song was released with a music video that matches the quality of the audio with visual Metal brilliance.” – FemMetal (2023 – Single – Scorpio)

—
ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
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0 EPK – Human Missile Crisis – Waste Away (2025)

  • September 19, 2025
  • by Asher
  • · EPKs · Human Missile Crisis

EPK – Human Missile Crisis – Waste Away (2025)

Publicist – Jon Asher – jon[@]ashermediarelations[.]com

For fans of Idles, Fucked Up, Pup, Ty Segall, Queens of the Stone Age, Single Mothers, Cloud Nothings, Solids, The Dirty Nil, Propagandhi

All Links: https://linktr.ee/humanmissilecrisis

Digital Pre-Save- https://distrokid.com/hyperfollow/humanmissilecrisis/snake-in-the-grass

Instagram.com/humanmissilecrisis | Facebook.com/missilecrisis | Youtube.com/@humanmissilecrisis

Humanmissilecrisis.bandcamp.com | Spotify | Youtube Music | Apple Music | Deezer

“When it comes to partying and being young, there are many “highs” and lows, as Human Missile Crisis draws our attention to in their new single “Too Long.”… The clip gives you a good look at these Dartmouth rockers in action. With fuzzed-out guitars and a garage rock spirit, these three young men know how to command a stage. The video captures what they do best: play live. The band members pride themselves on being a high-octane live act. That’s what the video is meant to emphasize: guys who can rock a stage like they rocked their parents’ garage growing up.” – V13

“With it’s thundering and infectious bassline, crunchy guitars, thrashing drums, and gritty heartfelt vocals, Human Missile Crisis easily achieved the powerful and memorable with “Blackwater”.” – Amplify The Noise

“Three friends and a long-standing passion for punk rock and garage, understood in their most jaunty and enjoyable expressions: they are human missile crisis, here grappling with their recording debut. What is striking right from the start is the light-heartedness that expert frequenters of the reference scene such as DJ VATERS, JUSTIN BOUTILIER and MATTHEW MACISAAC have been able to pour into the nine, lightning-fast moments that make up the album; the verve is ironic and semi-serious, the aim is fun, sarcasm and provocation: all elements which, mixed properly with direct and immediate sounds, come to compose a picture that is nothing short of caustic and full of sparkling ideas. The creativity released by the band is contagious: Liquor Store Stories echoes that kind of spontaneity traditionally inherent in the reference genres. And it offers half an hour of healthy entertainment in the name of bombastic pieces in which technique gives way to the desire to play together, to a sense of friendship that emerges with vigor from the grooves of the work and to a spontaneous and genuine approach. A debut that follows the dictates of tradition, proudly claiming its brilliant originality” – Rock Hard Italy

“I had a weird sensation while listening to the massive punch and swagger of “Liquor Store Stories” by Dartmouth, Nova Scotia based Human Missile Crisis. Not only is the title amazing and sounds like an anthology series on Hulu, the crunchy assaulting guitars, the nimble hyper bass lines, atomic drumming and strident vocal scowling aesthetic had me thinking of a 70’s Mod revival rock band instead of a punk outfit, namely, the iconic JAM. Maybe it is the major 7th and miner chords I think I am hearing, maybe it is the vocal countenance that does have a heavier sort of iteration of Weller, and maybe it is the fury of the bass and drums, of everything really. And it also might be the sense of talking about the inner workings of hometowns. By the way, sonically, I also thought of an amalgam of early punk like the Buzzcocks and more current bangers like Prince Daddy & The Hyena.” -Robb Donker Curtius / American Pancake

“Merging elements of Garage Rock and Post-Punk, they end up delivering an exciting song to the listener, with great melodies and which stands out mainly for its great rhythmic work, with its striking bass line and vocals with great melodies.” -Leandro Vianna / Roadie Metal

“Maybe “Blackwater” from Dartmouth, Nova Scotia based Human Missile Crisis is about wishing those who disappeared from your life well, maybe not. Maybe it is all about the glorious noise, the throttling bass bottom heaviness that kicks you in the gut, maybe not. Maybe it is about finding what you are searching for and not dive deep into the blackness to find it, maybe not. In the end, maybe Human Missile Crisis feels like Black Sabbath, The Dead Kennedys, Coachwhips, Bass Drum of Death atom smashed together into something else entirely, something visceral and impactful.” -Robb Donker Curtius / American Pancake

“”Liquor Store Stories” is a single recently dropped by Nova Scotia-based band, Human Missile Crisis. Boasting an infectious energy equipped with melodic vocal flows and anthemic instrumental work, this is a powerful new tune that delivers a unique blend of styles. Elements of punk, garage rock, indie, and emo are all present here, and the band shines brightly by creatively blending all the influences into one full sound.” -Havoc Underground

“”Too Long” is a melody that will really provoke something powerful and luminous in you with its most violent and rhythmic rhythms, capable of awakening the monster that you keep inside of you, this band will shake you with this crazy song bathed in the best alternative sounds and aggressive sounds of punk fused with the darkness of a more balanced rock.” -End Sessions

“‘Too Long’ by Human Missile Crisis is an energetic, aggressive and dark punk and rock whose instruments provide an auditory explosion in the best of the senses, causing a piece of music full of rhythm to be manufactured. While listening to the song I couldn’t stop moving my head back and forth because of how catchy it is, it’s one of those songs that you fall in love with in a second. I loved the song from start to finish and I hope you do too.” -Javier Alfonso / La Caverna

“The album begins with “Do you Remember”, a song that has a powerful guitar in its intro and remains that way, but from the beginning you say this album is not going to stop, it is going to maintain that hard and aggressive rhythm, although They also have California punk songs like “The Spark”, and of course they also have songs like “Distant Memory”, with a slower rhythm, but with the same strength in the voice. This album really has 9 incredible tracks for those who like garage and punk, and also get into slam.” -Miguel Castillo/ La Caverna

“Opening the record is ‘Do You Remember’, a three-minute romp that must be powered by Jack Daniels because the vocals have that tinge of Lemmy about them. The track ebbs and flows for those 180 seconds but always comes back to the punchy punk-rock vibe that is at the core of Liquor Store Stories.” -Dan Hemming / Hard Beat Magazine

Band: Human Missile Crisis
EP Title: Waste Away
Release Date: Nov 14, 2025
Label: Self-Release

Single Title: Snake in the Grass
Single Length: Snake in The Grass – 4:22
Release Date: September 19, 2025

Single Title: Mona Lisa
Single Length: Mona Lisa – 5:23
Release Date: Nov 14, 2025

Track Listing:
1. Snake in the Grass – 4:22
2. Mona Lisa – 5:23
EP Length: 9:46

Singles Credits:
Recorded at Sound Park Studios by Jamie Foulds on June 1st, 2025
Mixed by Jamie Foulds
Mastered at Audiosiege in Portland, Oregon by Brad Boatright.
All songs written and performed by Human Missile Crisis.
DJ Vaters (Guitar/Vocals)
Justin Boutilier (Bass/Backups)
Matthew MacIsaac (Drums)

About the single:

=====================================================

EP Art Description:

The album art was designed by @sourrgrrrl designs. A local up-and-coming artist in our scene. After seeing a sticker of hers on a telephone pole, I loved the art style, so I reached out. I sent her the two unmastered tracks and basically just said Have a listen to these and see what you come up with. When working with artists, I prefer not to give too much instruction and just let them work their magic, and that’s how this one came to be.

About the singles, lyrically and musically:

This was our first time working together with Jamie in over 20 years. We originally worked with Jamie back in 2005 after our old band (Violent Theory) won an East Coast Music Awards battle of the bands that awarded us studio time with him.

These two songs are very different from each other, but overall convey the dynamic sound of Human Missile Crisis. Snake In the Grass is more on the upbeat, dancy side with some fun slidey guitars accompanied by lyrics about being on the lookout for those horrible people in life who are nice to your face but will turn around and stab you in the back at any chance they get.

Mona Lisa is a little more of a traditional rock song with a singer-songwriter vibe mixed with our style of loud, powerful, punk rock choruses. The words speak about things a lot of shift workers or traveling musicians can relate to, being gone for long periods of time and up and about during weird hours of the night for work when you could be home resting in bed next to your loved one. It speaks of a world where we’re all living, struggling to get through it to get back home to our loved ones. It’s something I think we all can relate to.

Track by Track. Lyrically and musically:

Overall, I like to keep my lyrics vague in a sense so that the listener can ultimately come to their own conclusions on what these songs mean, but here’s some insight.

Snake in the Grass has multiple themes within it and is the more dancey, upbeat song of the two. At first, when writing it, memories returned to me of a time when I found myself in the desert of Canada. A place called Osoyoos, British Columbia. When walking through a vineyard, I noticed “Danger rattlesnake crossing” signs posted around, and you could see their slithering trails in the sand. A friend said to me, “Look out for snakes in the grass,” and it always stuck with me. This phrase, used for hundreds of years, describes a treacherous person, a person you think is your friend, or even lover, who could turn around and stab you in the back at any moment. We all have encountered them in our lives and have stories to tell regarding how they hurt us or attempted to hurt us. This one is part of my story.

Mona Lisa is a more traditional rock song with a heavier punk rock chorus. Written about my own life and vampire-like schedule, working late-night shifts, and being away from loved ones who work the regular day shift. It’s a song I think a lot of people can relate to, especially touring musicians and any shift worker. Having to be away for long periods of time when you just want to be home in bed with your loved one is a tough thing to work through, but it’s something a lot of us do experience.

=========================================================

Band story angles / Fun facts

-Worked with award-winning engineer Jamie Foulds for the first time in over 20 years on these two new singles

-Both songs recorded and mixed in one single 10-hour day at Soundpark Studios in Sydney, Cape Breton

-Our album release show in Sydney was double-booked by the promoter. We advertised a 9PM start time for a month leading into the show, and upon arrival, we came to find out that the venue double-booked a sold-out stand-up comedy show that started at 8pm and ran until 930… They also refused to let anybody into the venue at 9pm who arrived for the normal start time of our show.

-The debut album was mostly recorded over two days back-to-back. 10 hours a day, live off the floor.

-The very first song we released back in 2021, “Humble Creatures,” was also recorded by Braden Kamermans. I first met him when booking his band into our shared rehearsal spac,e and he mentioned he was looking for a band to record for his music recording program at the Nova Scotia Community College. I liked what he did so much that once he graduated, I approached him to do the full album with us.

-We have been friends going back as far as 1991 and playing together in bands in one form or another since 2003. We’ve also all lived together as roommates for extended periods of time.

-DJ has a tattoo of Hank Hill that says, “She’s alright, she’s alright, she’s alight… Propane. He also has a tattoo of a goat. Wearing a bandana, with braids… a willy goat if you will. You know? Like Willy Nelson. Willy, Billy… Willy goat… get it?

-Matt and Justin once played in a dinner theater together, and this is where Matt started to play drums. He was always the lead guitarist prior to this in our old band, and DJ was the drummer. In the dinner theater group, nobody could play the drums, so Matt stepped up and basically just learned as the dinner theater went along. Matt and Justin also once played in a one-night-only “The Band” tribute band… called “Crazy Chester” Take the load off fanny, take the load for free…

============================================================

L-R – Matthew MacIsaac – Drums, DJ Vaters – Guitar/Vocals, Justin Boutilier – Bass

Human Missile Crisis is the sound of chaos finding catharsis. Born from the grit of Cape Breton Island and now rooted in Dartmouth, Nova Scotia, this trio blends punk urgency with garage rock swagger to create music that’s raw, real, and relentlessly honest. Their songs are a lifeline for anyone teetering on the edge of their thirties, still trying to make sense of relationships, addiction, depression, and the absurdity of modern life.

Frontman DJ Vaters has been crafting music since his teenage years, first thrashing through punk sets with his best friends, then diving into electronic experimentation in solitude. But when the digital world lost its spark, DJ turned inward, writing songs that reflected the heavier truths of his life. That introspection laid the groundwork for Human Missile Crisis.

Reuniting with longtime friends and former Violent Theory bandmates Justin Boutilier and Matt MacIsaac—also known for their work in Halifax’s garage rock duo Elk Lodge—the band found its pulse. Together, they transformed DJ’s raw sketches into fully realized sonic explosions. Their sound is a collision of fuzzed-out guitars, bouncing basslines, and unpredictable rhythms, channeling influences like Idles, Fucked Up, The Hives, and Television. Think punk with a post-rock brain and a bluesy heart.

Their 2023 full-length release, “Liquor Store Stories showcased the band’s dynamic range. Now, in 2025, the band returns with two follow-up singles to create the EP “Waste Away”. From the danceable paranoia of “Snake in the Grass” to the aching, nocturnal longing of “Mona Lisa,” Human Missile Crisis proves they can swing between moods without losing their edge. Every lyric is pulled from the DJ’s lived experience, and every riff is shaped by the trio’s collaborative fire. Whether it’s a fast punk beat or a mid-tempo groove, the band lets the music lead—and the result is always electric.

Live, Human Missile Crisis is a celebration of connection. They treat every show like a house party with friends, loud, sweaty, and full of laughter. They don’t want fans; they want family. And whether you’re screaming along or just soaking it in, you’ll leave knowing you weren’t alone in the chaos.

For fans of PUP, Ty Segall, The Dirty Nil, and Cloud Nothings, Human Missile Crisis is more than a band; it’s a reminder that music can still punch you in the gut and pull you back to your feet.

Previous Release
Humble Creatures – (Single/June 26TH 2021)
Liquor Store Stories – (Single/07/28/2023)
Blackwater – (Single/08/11/2023)
Too Long – (Single/08/18/2023)
Liquor Store Stories – (Album/August 25th, 2023)

Shared the stage with.
Propagandhi, Botfly, Chastity, Single Mothers, Elk Lodge, Analog Signal, Dazor, Fungus, The Hellfiends, The Scoop Outs, Artificial Dissemination, Designosaur, Dimension Boys, Shelly, Bullet Bill Club, The Bombed Solid, Chosen Lung, Rootabagga, Heavy Early, The Cathartics, Holly Snappers, The B+ Players, Hemineglect, Rad & Subtract, Vulpine, Topless Models, Backyard Action Heros, More Amour, North Of Nowhere, All Honesty, The High Tide, The Goodbye Summer, Suspex, Squander, Denacious T, Baited, High October, Johnny C, The Bloody Hell, Columns Of Clouds, The Screaming Seaman, Radio Roulette, Fire Valley Fire, Customer Service, Kyle Sveinson Band, Juice Box, Vormir, Dirtmouth, Bring Me Sleep, Conductor, Sleepless Nights, Book Buddies, Atay & Jax, Electric Spoonful, Pretty Alrights, Girls With Guns, Hushmetal, Novichok, Lazyhorse, Bologna Colorado, Half-Dead Serious, Acid Wash
Festivals:
July 22nd, 2022 – Halifax Havoc – Halifax, NS
June 2nd, 2023 – Spoonapalooza – Halifax, NS
July 6th,  2024 – Halifax Havoc – Halifax, NS
October 12th, 2024 – Gobblefest – Sydney, NS
July 5th, 2024 – Halifax Havoc – Halifax, NS

0 Dark Tales of Redemption Await with IN VIRTUE’s Music Video “Gunslingers of the New American Desert” From Upcoming Album “Age of Legends” Out Nov 2025

  • September 18, 2025
  • by Asher
  • · IN VIRTUE · Music News

NEWS RELEASE

Montreal, QC – September 18, 2025

Dark Tales of Redemption Await with IN VIRTUE’s Music Video “Gunslingers of the New American Desert”

New Album “Age of Legends” Out Nov 2025

L-R Bruno Valverde (drums), Jamie Hush (bass), Trey Xavier (guitar/vocals), Alex Nasla (keys), Rami Khalaf (guitar)

Phot Credit: Felix Martin

In Virtue, the Los Angeles genre-defying metal band known for emotionally raw storytelling and cinematic soundscapes, is proud to announce the release of their third studio album, “Age of Legends,” arriving November 21st, 2025. Alongside the announcement, the band unveils their first single, “Gunslingers of the New American Desert,” accompanied by a gripping music video that sets the tone for the album’s dark, redemptive journey.

“Gunslingers is by far the heaviest song in the In Virtue catalog. It really sets the mood for a dark and harrowing tale. It brings you along for the ride as the antihero of the story returns from his self-imposed damnation to the real world and starts breaking bad after seeing a world of opportunity open up. He once again sets aside his humanity to pursue power through violence and corruption in a lawless land. In the end, he comes face to face with the consequences of his lack of empathy, and finally truly comes to grips with how he’s trading his soul for something empty,” adds guitarist and vocalist Trey Xavier.

Watch and listen to the music video for “Gunslingers of the New American Desert” via its premiere on Metal Injection HERE.

Add To Your Spotify Playlist – https://orcd.co/invirtuegunslingers​

Fronted by YouTuber and Gear Gods founder Trey Xavier (also featured on viral hit “Dread Machine”), In Virtue blends power, progressive, and melodic death metal. The third full-length took six years to complete after their producer ghosted the band with just 10% left to finish, forcing Xavier to finish vocals in his home studio. The final product is a full-bodied concept album, “Age of Legends”, which follows a flawed protagonist inspired by the myth of Sisyphus. Through a narrative of self-forgiveness and existential reckoning, the 14-track album invites listeners to reflect on their own inner battles.

“I think fans will be pleasantly surprised, because although it builds on our past releases, it’s really the ultimate form of the same beast. The casual listener will be able to enjoy all of it without clocking the story, but anyone who wants to go deeper will be rewarded with the dark journey of a deeply flawed character on a quest to forgive himself by asking the big questions, making mistakes, and doing the hard work. It’s an emotional deep dive, a rollercoaster of textures and colors, but a cohesive trip that doesn’t just feel like a series of disconnected singles. A true concept album, the kind you should turn your phone off and light a candle to listen to on your bed with headphones from start to finish. A relatable protagonist who seeks what we all seek, to love himself in spite of himself and his flaws, to know himself deeply, and to win his battle against crushing self-doubt,” adds Trey Xavier – In Virtue.

The album’s artwork was created by former Dark Tranquillity guitarist Niklas Sundin and depicts Sisyphus breaking free from his eternal punishment, a visual metaphor for the record’s central theme of liberation and self-redemption.

Recommended for fans of Soilwork, Amaranthe, Shinedown, Symphony X, and Bad Wolves, In Virtue’s “Age of Legends” is available for pre-order / pre-save at https://orcd.co/agofle​
​

Track Listing:​
1. Ascent Glorious (00:36)
2. Sisyphus Awakening (4:55)
3. Karma Loop (ft. Charlotte Wessels) (3:35)
4. Push That Rock (2:46)
5. Purgatory (4:39)
6. Exposed (3:27)
7. Scream (3:40)
8. Where The Edges Meet (3:16)
9. Gunslingers of the New American Desert (4:42)
10. Desolation Throne (3:03)
11. Thoughts in Freefall (ft. Dave Davidson of Revocation) (4:10)
12. The River (2:24)
13. Tempus Fugue (ft. Chaney Crabb of Entheos) (8:05)
14. Descent Limitless (1:22)
Album Length: 50:40

More info: Facebook.com/invirtue | Instagram.com//invirtue​

About:

Los Angeles, California’s In Virtue is a band forging a new path, abandoning outdated conceptions of what heavy music is to redefine metal for a new era. Although In Virtue was initially formed in 2004 in California’s Bay Area, the band’s rebirth in 2015 is where the real story begins.

That’s when founding guitarist Trey Xavier made the difficult decision to take over lead vocals, move south to LA, and start the band over with a new lineup. This was the catalyst they needed, and the band’s final form took shape. Adding keyboardist Alex Nasla (The Mourning, ex-Witherfall), guitarist Rami Khalaf, and bassist Jamie Hush, their new sound was freed.

“I was tired of other people singing what I was writing,” says Trey (who you may know from his popular YouTube channel). “We had some pretty good singers, but it always felt like a compromise. It was pretty scary – I was 28 and I had never seriously sung before. But all the work I put in paid off, because now I can create my music as I envision it.”

And what a vision it has become – the band’s forthcoming album Age of Legends, due out in 2025, tells a haunting tale of Sisyphean struggle and redemption through a modern lens. This new era of In Virtue brought their first new music, 2019’s single “Purgatory”, which gave the world a brand new sound. Combining elements of power metal, groove, progressive metal, and pop, but somehow sounding like none of the above, “Purgatory” defined the sonic future of the band.

The singles “Where The Edges Meet” and “Scream” followed soon after to expand on the story, each moving the story forward and bringing new life to the characters and their pain.

With way more to come on Age of Legends, In Virtue is looking forward to the next chapter and bringing their story to the world.

-30-

—
ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
Facebook – Asher Media PR News
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0 Streaming Now! ANCIENT THRONES’ New Concept Album “Melancholia” Plunges Listeners Into A Surreal Narrative

  • September 18, 2025
  • by Asher
  • · Ancient Thrones · Music News

NEWS RELEASE

Montreal, QC – September 18, 2025

Streaming Now! ANCIENT THRONES’ New Concept Album “Melancholia” Plunges Listeners Into A Surreal Narrative

Ancient Thrones Current Line Up

L – Matt LeBlanc (Bass) | Top – Dylan Wallace (Guitar) | Bottom – Sean Hickey (Drums & Vocals) | R – Nick Leslie (Guitar)

Photo Credit – Matt Leblanc

Ancient Thrones, the Canadian progressive blackened death metal force known for their visceral storytelling and relentless sonic assault, is set to officially release their long-awaited sophomore album, “Melancholia,” on September 19th (Vinyl and Digital), and can be heard in full before its unleashed via its album stream premiere on Decibel Magazine HERE.
​
Described by the band as “the sound of existential exhaustion,” “Melancholia” is a 42-minute concept album that plunges listeners into a surreal narrative: a colourblind protagonist takes hallucinogens in a desperate attempt to see colour, only to spiral into a kaleidoscopic nightmare. From the explosive opening of “A Moon Fused Key” to the haunting decay of “Vacant,” the album is a relentless barrage of speed, aggression, and cinematic atmosphere.
​
​“This is truly an unapologetic extreme metal concept album. It’s a bad trip you can’t escape, jagged, abstract, and emotionally devastating,” says the band.
​
Formed in 2011 and rebranded in 2018, Ancient Thrones has evolved into a fully realized extreme metal entity, thanks in part to the addition of multi-band virtuoso Dylan Wallace. The writing process began in early 2020, just as the world was descending into pandemic-induced uncertainty. Rather than reflect the global crisis directly, the band channeled their energy into crafting a deeply personal and psychologically intense record.
​
​“We’re proud to share this album with our fans, old and new. We hope it moves you in unnatural ways. Enjoy the trip while it lasts,” adds the band.
​
​“Melancholia” is not just an album; it’s an immersive experience. The band’s signature blend of fast, extreme, progressive, cinematic, and existential metal is on full display, with every track contributing to the overarching narrative. Lyrically, the album explores themes of trauma, hallucination, and the dangers of idealism, all inspired by real-life experiences and a harrowing psychedelic episode.
​
Drawing inspiration from bands like The Red Chord, The Faceless, Archspire, and Deafheaven, Ancient Thrones pushes the boundaries of extreme music. Their sound is rooted in black metal, 2000s death metal, and modern tech death, but their cinematic approach and lyrical depth set them apart.
​
With “Melancholia” out on September 19, 2025, the band is already writing new material for the follow-up. Fans can expect more crushing, emotionally charged music in the near future.​
​
​Album pre-order (Vinyl, Digital) – https://ancientthrones.bandcamp.com​

Lyric Video – “A Moon Fused Key” – https://youtu.be/IfDBNhlJ0sI

​Music Video – “Melancholia” – https://youtu.be/_LvSTJ78kd8

​Playthrough – “A Turning Point” – https://youtu.be/zQ3wZqZj9EQ

​

Track Listing:​
1. A Moon Fused Key (5:12)
2. Achromatopsia (1:19)
3. Melancholia (6:17)
4. A Turning Point (5:46)
5. A Pellucid Prism (4:26)
6. Sacred Swollen Glass (6:16)
7. Blight (2:18)
8. A Pale Palace (4:55)
9. Vacant (5:31)
Album Length: 42:00

Band Lineup:​
Dylan Wallace – Guitar
Nick Leslie – Guitar
Matt LeBlanc – Bass
Sean Hickey – Drums & Vocals

More info: Facebook.com/Ancientthrones | Instagram.com/ancientthrones​

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“The music is indeed violent, and immediately so, exploding in a blast of turbulent riffing, heavily undulating bass tones, and furious beats. The guitars wildly writhe and rapidly spear off in crazed angles, kaleidoscopic in effect, and the words spit forth in caustic screams that are equally deranged. Dissonant and dismal tones intrude, along with guttural roars, blast-beat outbursts, and pulverizing blows, and the riffing also seems to swarm in agony, adding further dimensions of darkness to the song’s overarching manifestation of delirium. Backed by a pulse-pounding and highly headbangable groove, the song also introduces yet another dimension, an eerie guitar solo that slowly slithers, brightly swirls, and evolves into an entrancing harmony, very much like a beckoning and seductive presence that manifests within the mayhem.” – No Clean Singing (single – A Moon Fused Key – 2025)

What the press has said about 2020’s “The Veil”:

“A full-throttle attack, the song (The Sight of Oblivion) delivers bludgeoning rhythms, vicious darting and slashing guitar-work, scorching blackened shrieks, and cold-hearted roars. There’s a brazen, borderline-unhinged quality to the barrage, generated by screaming, rapidly whirling leads, magma-like bass notes, and fast-changing, bone-cracking drums. But within the assault there are also fluid, sinuous melodic leads whose mellifluous, reverberating tones give the music a mysterious, mesmerizing, and mournful quality. And near the end one of those leads morphs into a fret-burning dual-guitar extravaganza that really gets the blood rushing.” – No Clean Singing (2020 – The Veil)

“Nearly an hour in length, The Veil earns that run-time with crisply-written compositions and an arsenal of sky-ripping riffs. The acoustic reprieve of “Sentient” and melodic grief of “Permanent” reveal the album’s heavy heart. But the album conjures strength from those pensive moments. Rife with nimble axe-work from Dylan Wallace and Nick Leslie, The Veil never succumbs to the solemnity of its subject. The Veil remains an impactful listen down to its final dying note.” – Decibel Magazine (2020 – The Veil)

“Trailer Park Boys and Hobo With a Shotgun aren’t the only pieces of media that have emerged from Nova Scotia that you should get excited over.” – MetalSucks

“From the massive tremolo sections and bludgeoning riffs to the surprisingly melodic harmonies between guitarists Dylan Wallace and Nick Leslie, Ancient Thrones have definitely honed in on something special with this track.” – GearGods

“From earth crushing riffs and face-melting guitar solos to the overarching theme of grief and devastation that the record encompasses, this single really ramps up the intensity” – Bravewords

“Canadian band Ancient Thrones perform a combination of black, death and thrash metal with some progressive tendencies on The Veil. They have similarities to Skeletonwitch, but have an even more dynamic sound. The songs are both aggressive and intelligent in equal measure and run through a variety of different emotional tangents. There is a vile and harsh aspect to the band, but there is also a forward thinking one. It all results in a creative and dynamic listen.” – Heavy Music Headquarters (2020 – The Veil)

“The prize for most ambitious album of 2020 already has the name of Ancient Thrones carved in marble. Who among you fancies a 56-minute blackened death metal saga with an epic meditation on one man’s descent into the afterlife? No band thought it conceivable to write the metal version of Ingmar Bergman’s The Seventh Seal, but this Nova Scotia quartet are not just any band. This is a remarkable journey for the contemplative mind.” – Scream Blast Repeat (2020 – The Veil)
​
​
​“The Sight of Oblivion and The Millionth Grave are steeped in ferociousness and savagery as only a band well versed in blackened death metal are capable of producing.8.5/10” – Games, Brrraaains & A Head-Banging Life (2020 – The Veil)

“With this new incarnation, Ancient Thrones has moved into strict Black/Death territory, producing an album filled with pummeling riffs, intricate song structures, and technical musicianship that’s leavened by atmospheric segments and epic, sometimes audacious melodies that border on Cascadian. The production matches this style perfectly, being heavy and abrasive while allowing the songs enough room to stretch out… fans of more epic and melodic Black/Death will want to give The Veil a listen. 4/5” – The Metal Crypt (2020 – The Veil)

“It is fast, thrashing extreme metal with shrieked/growled vocals, and a headbanging attitude. They have elements of thrash, black and death but their method of delivery won’t confuse anyone. It is metal to make the fans move. It is pretty thrashy, pretty brutal but also melodic, and the guitar work has plenty to offer both in the riffs and the melodies.” – Metal Bulletin (2020 – The Veil)

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0 Gore House Productions Signs One Woman Band CORDYCEPS CORPSE for “From Flesh To Fluids” Cassette/CD Reissue + New Music Video For Title Track

  • September 17, 2025
  • by Asher
  • · Cordyceps Corpse (Gore House Productions) · Music News

NEWS RELEASE

Montreal, QC – September 17, 2025

Gore House Productions Signs CORDYCEPS CORPSE for “From Flesh To Fluids” Cassette/CD Reissue + New Music Video For Title Track

​

Gore House Productions proudly announces the signing of one-person slam/goregrind juggernaut Cordyceps Corpse, the twisted brainchild of multi-instrumentalist and vocalist Nani. The label will reissue the band’s latest full-length album, “From Flesh to Fluids,” on CD and cassette later this year, with the digital release available now across all major platforms.

“After following Cordyceps Corpse (Cordy) on social media for several months, I am excited to welcome the project to our roster. Seeing Nani creatively market Cordy while composing filthy, slamming death metal, there was no question but to partner up with Cordy. Her debut album, “From Flesh to Fluids,” quickly became a favorite; I’m beyond stoked to give it a proper release,” comments Gore House Productions label founder Carlos Matt.​
​
To mark the occasion, Cordyceps Corpse has dropped a new music video for the title track, “From Flesh to Fluids,” a chaotic, anti-authoritarian blast of guttural vocals, slamming riffs, and visceral imagery that sets the tone for the album’s grotesque journey.
​
​“From Flesh to Fluids” is a sonic descent into madness, equal parts brutal, disgusting, and morbid. Inspired by slam legends like Devourment and Cephalotripsy, the album delivers a raw yet polished evolution of Cordyceps Corpse’s sound, now featuring live drums and tighter production while retaining the DIY filth fans crave.
​
Fans will blast earwrenching tracks like “Battery Acid Enema”, a vile, tongue-in-cheek collaboration with Nani’s partner Liv, “Stomach Bile For Miles” is a grotesque narrative of cannibalistic carnage, “Family Photo With Hella Cadavers” (feat. WORMFUCKER) is a dehumanizing snapshot of horror, and “Tools For Torture” is a slow-building frenzy inspired by Terrifier.
​
Nani, who writes, records, and performs every element of Cordyceps Corpse, describes the album as “pure chaos into heavy slam riffs.” Drawing inspiration from horror films, documentaries, and even neighborhood trash disasters, the music is driven by feeling rather than formula.

“I want this album to give the same feeling I got when I first heard Molesting the Decapitated by Devourment. Thick and brutal sound that just keeps hitting,” says Nani.
​
​Cordyceps Corpse began in late 2023 as a solo rebellion against the monotony of beat-making.

“I was bored with making music for other people. I wanted to form a band, but didn’t want to wait around. So I said, ‘f*** it, I’ll do it myself,” adds Nani.

That DIY ethos extends to everything, from the music to the logo, which Nani designed on a refurbished iPad after watching YouTube tutorials.
​
With live shows described as chaotic parties, complete with crowd participation and impromptu mic screams, Cordyceps Corpse is poised to carve a unique space in the underground metal scene. And with Gore House Productions backing the reissue, the band’s reach is about to get a whole lot bloodier.
​
Watch the “From Flesh to Fluids” music video now and stream the full album digitally via Gore House Productions. CD and cassette editions will be available later this year.
​
Music Video – https://youtu.be/L4ExQ4UzRK8

​

Digital Album (released Aug 22, 2025) – https://orcd.co/from-flesh-to-fluids​

Track Listing:​
1. Intro to Putrefaction – (1:37)
2. From Flesh To Fluids – (2:07)
3. Decapitation – (2:34)
4. Slowly Poisoned – (2:32)
5. Battery Acid Enema – (2:41)
6. Stomach Bile For Miles – (3:16)
7. Family Photo With Hella Cadavers (feat. WORMFUCKER) – (2:08)
8. Left Over Limbs For Later – (3:03)
9. Tools For Torture – (2:17)
10. Skin Tortilla – (2:22)
Album Length: 24:37
​
​Album Recording Credits:​
• All songs performed by: Nani Porter
• All songs written by: Nani Porter
• Produced by: Nani Porter
• Mixed by: Nani Porter
• Mastered by: Nani Porter
• Album Artwork by: Nani Porter
​
​Album Band Line Up:​
Nani Porter – Guitars, bass, drums, and vocals
​
​Live Band Line Up:​
Nani Porter – Guitar and Vocals

More info: ​Gorehouseproductions.com​ | Instagram.com/cordycepscorpse | Tiktok.com/@cordycepscorpse | Youtube.com/@cordycepscorpseband​

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CORDYCEPS CORPSE REVIEWS & MENTIONS

Shay top 20 women fronted/all woman bands: https://www.tiktok.com/t/ZTHGeWoaHSaaB-6NEcX/​

Slam dad’s top slam albums 2025: https://www.tiktok.com/t/ZTHGe7svNe6Yg-XSZgA/ describes album “as thick and gross and I absolutely love it”​
​“dabbles into goregrind, a little bit brutal death meta,l but straight up slam”

Shortbus Pile Up slams of the week #38: https://www.tiktok.com/t/ZTHGe7oG6eawD-9smyt/ Bill “describes album as super fucking brutal …really good death metal”​
​

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0 Rockshots Records – “Shadow War” Ignites KARU’s Next Chapter in Symphonic Death Metal and New Album “Perdition” Out Nov 2025

  • September 16, 2025
  • by Asher
  • · KARU · Music News

NEWS RELEASE

Montreal, QC – September 16, 2025

“Shadow War” Ignites KARU’s Next Chapter in Symphonic Death Metal

New Album “Perdition” Out Nov 21st, 2025

Symphonic death metallers KARU return with the first single from their upcoming album “Perdition“. Out on September 16th, 2025, “Shadow War” sets the tone for the record’s epic narrative and sonic scope.

At nearly ten minutes in length, “Shadow War” embodies the essence of KARU’s sound: brutal, unforgiving riffs and guttural vocals contrasted by sweeping orchestration and haunting melodic passages. The track mirrors the conceptual backbone of “Perdition“, a journey through a folklore-inspired vision of feudal Japan, where villages are razed by demons and survivors confront both despair and resilience.

Musically, the single evolves like a saga. It opens with relentless death metal ferocity, transitions into an atmospheric middle section the band dubs the “Dreamworld,” and culminates in an emotionally charged guitar solo that balances virtuosity with narrative weight. This dynamic structure highlights the trio’s artistic synergy:

  • Niko Hienonen – vocals, production, orchestrations
  • Kalle Pöyskö – guitars
  • Toni Tieaho (ex-Mors Principium Est, Crystalic) – guitars

Produced, mixed, and mastered by Hienonen, “Shadow War” captures the next stage of KARU’s evolution after their acclaimed 2024 album “HYDRA”. With “Perdition“, the band pushes further, integrating clean vocals, Japanese voice acting, and even more intricate orchestration to craft an album designed as a seamless cinematic experience.

For fans of Wintersun, Brymir, Whispered, and Nightwish, KARU’s “Shadow War” is both a statement of intent and an invitation into a mythic, immersive world where extreme metal collides with symphonic drama.

DIGITAL: https://lnk.to/crEB2U​

To celebrate the release, KARU will also unveil an official lyric video for “Shadow War”, offering fans a visual entry point into the song’s story and atmosphere.

VIDEO: https://youtu.be/kmaz_NyPDOo

​

“Perdition” will be released worldwide on November 21st, 2025.

ALBUM PRE-ORDER – https://rockshots.eu/products/karu-perdition-cd​

Track Listing:
​
1. Shores of Mist and Blood
2. Shadow War
3. Alone in the Forest
4. Embers in the Skies
5. Trail of Fire
6. Path of the Unforgiven
7. Perdition

Karu Line Up:
​Niko Hienonen – Vocals, Production, Orchestrations
Kalle Pöyskö – Guitars
Toni Tieaho (ex-Mors Principium Est, Crystalic) – Guitars

More info:

​https://www.rockshots.eu

​https://www.instagram.com/karu_band/​

​https://www.facebook.com/KARUbandofficial​

ABOUT:
​
KARU
 was formed in 2017 by Kalle Pöyskö and Niko Hienonen as a studio project. In 2020, the boys came out with the first EP “KARU,” which paved the way for the future of the band. The EP introduced the driving metal force of the band as well as the beautiful orchestrations that would be more prominent in the band’s future releases. In 2023, KARU was formalized as a proper live band, and two singles were released from the upcoming album. In April 2024, the band’s first full-length concept album, “HYDRA,” was released. The album gathered attention from critiques and received critical acclaim for its unique atmosphere and attitude towards conjoining brutal metal and beautiful orchestras.

The band started to work on the next full length album already before “HYDRA” was released. The concept started as an epic journey through the wilderness of a fantasy themed Japan, drawing inspiration from the Japanese spiritual world, where all the forests have a spirit of their own. The band finished the album in the summer of 2025, only a year after their last album was released. The band went through some lineup changes, and the newest lineup is the founders Pöyskö and Hienonen, as well as the lead guitarist virtuoso Toni Tieaho (Crystalic, Existence Depraved, ex-Mors Principium Est). With the new lineup, the band’s sound evolved to wholly new levels, and “Perdition” is a testament to the band’s new sound.

With “Perdition,” the band aims to bring their music and energetic live show to new audiences within and outside of their native Finland.

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​

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0 Step Inside the Music: JON HARRIS Presents “If You Wouldn’t” Playthrough Off New Album “Parallel Heart” Out Now! via Epictronic

  • September 15, 2025
  • by Asher
  • · Jon Harris · Music News

NEWS RELEASE

Montreal, QC – September 15, 2025

Step Inside the Music: JON HARRIS Presents “If You Wouldn’t” Playthrough Off New Album “Parallel Heart” Out Now! via Epictronic

Photography by Yahozka Godfrey at Gabriela Cruz

Edmonton instrumental rock guitarist Jon Harris has unveiled the playthrough video for “If You Wouldn’t,” from his debut album “Parallel Heart,” released via Epictronic. With every note, he pulls you deeper into his world, where soulful riffs, graceful solos, and rich layers of guitar and keyboard create a sound that is both intimate and vast.

Watch If You Wouldn’t (Playthrough): https://youtu.be/0x1VhJE_HGw

​
​
​
The album is a vivid showcase of Harris’ multi-instrumental skills and compositional vision. While completely instrumental, “Parallel Heart” conveys stories of tension and release, exploring the space between connection and chaos, creative ambition and everyday demands. From the pulsing energy of Togetherness to the shimmering retro feel of 97BPM, each track builds its own emotional narrative.
​
​Harris, who performed guitar, drums, bass, piano, and production on the record, proves himself not only a guitarist to watch but a full-scale sonic architect. His sound bridges blues-soaked rock, synth-driven textures, and funk grooves with cinematic flair, evoking a blend that’s reminiscent of Jeff Beck meeting Prince with a modern rock edge.

Stream the full album “Parallel Heart” now (released Dec 13, 2024): https://orcd.co/parallelheart​

Previous videos from Parallel Heart:

Togetherness (Playthrough): https://youtu.be/hioOIfrUkpE​

Entitled (Visualizer): https://youtu.be/_B8KgOYCenA​

My Little Lady (Visualizer): https://youtu.be/ry28qp3DIUI​

Track Listing:​
1. If You Wouldn’t
2. Wasted Entertainment
3. Entitled
4. Mustard N Ketchup
5. Parallel Heart
6. Mehnoynoy
7. 97BPM
8. My Little Lady
9. Togetherness
10. Humpty Dumpty

More Info – https://linktr.ee/jonharrisrocks​

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“It’s a looping track (Entitled) that turns noodling guitar solos into an optimistic resolve. ” – Exclaim!

“guitar virtuoso Jon Harris offers a welcome throwback on ‘Togetherness’, the second single to be released from his forthcoming LP ‘Parallel Heart’. An instrumental number, its mid tempo and groove oriented base is immediately reminiscent of works by Joe Satriani, but unlike so many fretboard freaks, Harris clearly values a great melody instead of a pure shred. Here, he lays down a semi bluesy tone over a solid rock groove, before branching out to inject a funk derived rhythm with a cleaner tone, and bell like melodies. The arrangement eventually finds room for a few slightly fuzzy sounding harmonics and a melody that could be one of Satch’s best, circa ‘The Extremist’.” – Real Gone Rocks

“It’s Friday! And we have the pleasure of adding the new single “Togetherness” from six-string slinger Jon Harris. An instrumental driving rock track with an accessible melody and plenty of layered soloing to keep you engaged throughout, “Togetherness” is a rewarding five minutes without those pesky vocals! Taken from his forthcoming album “Parallel Heart” set for a December release, catch Jon Harris on your Home for the Best New Rock…W-J-O-EEEE!”

“His artistic ability blends technical brilliance and emotional depth, creating immersive soundscapes that push the boundaries of rock.” – Video Sound Art Magazine

“If melodic and elegant instrumental hard rock is music you tend to enjoy, and you appreciate some occasional funky interceptions in such landscapes, then this is an album that you probably will find to be an enjoyable and rewarding experience.” – The Viking in the Wilderness

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0 EPK – Outlying – Oblivisci (2025)

  • September 13, 2025
  • by Asher
  • · EPKs · Outlying

EPK – Outlying – Oblivisci (2025)

Publicist – Jon Asher – jon[@]ashermediarelations[.]com

“Hopefully, people will feel and understand the dark thoughts and experiences that influenced the lyrics and music. We also hope people will consider this a ‘no skipped tracks’ album, where every song matters and nothing was written as a filler.” – Fred A. Dubeau – Outlying

For fans of Dark Tranquillity, At The Gates, Testament, Evergrey, Machine Head

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Outlying.ca | Facebook.com/outlyingband |  Youtube.com/user/OutlyingBand |  Instagram.com/outlyingband | Tiktok.com/@outlying.band

Spotify | Apple Music

“Outlying offers a solid Swedish-style melodic death metal sound with their own personal touch.” – MetalUniverse.net

“With a biting energy and a relentless intensity, [Pitch-Black Serum] hits with an uncommon ferocity while keeping a dynamic, melodic and catchy structure.” – MetalUniverse.net

“I had never heard of this band before, so I was all the more amazed by the high level of performance the band had already achieved in 2012 [Scars Of Daylight album]. They are reminiscent of Scandinavian melodic death metal bands of the late 1990s.” – Ammo-underground.at

“The three gentlemen serve us finely spun melodies; the musicians tie everything together into a flowing, detailed unity. A bit of clean vocals are sprinkled in here and there, and so a lot happens in this largely whipping smasher. A few threatening vibes and thrashy, straight-ahead tactics are also effectively employed, as is polyphonic vocals – everything just fits! Raising fists, enjoying details, headbanging – it’s a mystery to me why these all-rounders are still so unknown!” – Ammo-underground.at

[Download Album Cover | Download Album Lyrics]

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Track Listing:
1 – The Raven Is Gone – 5:27
2 – Stigma – 3:49
3 – Snow – 6:02
4 – Streets Of Rats And Vultures – 4:47
5 – Pitch-Black Serum – 4:36
6 – November – 5:56
7 – Sentinel – 5:43
8 – Impaired – 5:32
9 – Dreamless Nights Part I: A Lullaby For The Insomniac – 4:19
10- Dreamless Nights Part II: From Velvet Skies – 5:13
11- Dreamless Nights Part III: Walking Out Of Eden’s Ashes – 4:25
Album Length: 55:49

Album Credits:
All songs performed, written and produced by Fred A. Dubeau and Martin Reithler
Mixed and mastered by Fred A. Dubeau
Album Artwork by Fred A. Dubeau

Album recording lineup:
Fred A. Dubeau – Guitar, Bass, All Vocals Martin Reithler – Drums
Guest musicians for the album:
Steph from “Exotoxic” – Auxiliary percussions
Marilyn from “Chained By Illness” – Female Vocals
Sim from “Lancaster” – Guest Guitar Solo
Hardcore Band “Northwalk” – Gang Vocals

Lineup for live:
Fred A. Dubeau – Guitar, Vocals
Charles Alex Bilodeau – Bass, Back Vocals
Martin Reithler – Drums

=========================================================

About The Album Artwork

A post-apocalyptic version of our home city

About the album as a whole (LYRICALLY & MUSICALLY):

The album is called “Oblivisci,” which means “to forget” in old Latin. It’s been chosen to reflect the tendency to withdraw from reality and “forget” society and the existence you live in, so to speak. The songs express oppressive feelings of trauma, alienation, grief, loneliness, and the album ends with three-part songs about Fred’s experience with alcohol/drug addiction. The music is melodic, even with only one guitar player in the band. Compositions are intended to keep the listeners’ adrenaline level high, with fast parts, heavy parts, while sticking to trying to deliver certain emotions and messages.

Sometimes, clean vocals are used, as well as some guitar effects, to add texture and dynamics.

Complexity has never been important, as we don’t believe in self-indulgent playing. Sometimes there are trickier parts that require skill, but it’s all because the music asks for that kind of intensity.

Track by Track (LYRICALLY & MUSICALLY):

1. The Raven Is Gone – Fast, heavy, catchy, and epic, the song talks about escaping chaos and trying to find refuge somewhere.

2. Stigma – Old-school melodic death style, catchy choruses again, the song is about overcoming all the judgements that happen to you when you act in a way that doesn’t necessarily harm others, but is considered socially unacceptable and frowned upon. Like being part of a subculture, not getting married or having children, drug use, etc.

3. Snow – Epic, story-telling structure, with female vocals, lyrics are the tale of a young girl abused by her father.

4. Streets Of Rats And Vulture – More old-school thrashy and punk approach, the song is about how you should always be careful who you trust, as many people out there want to backstab you.

5. Pitch-Black Serum – Creepy and dark melodic death metal, the lyrics are about how some people just give up on society, and are infected by a sort of venom that makes them defeatist and just makes them spend their lives indulging in easy pleasures such as porn, food, and video games.

6. November – Catchy, epic, melodic death metal song, the song is about a crazy obsession for someone who isn’t available or doesn’t exist.

7. Sentinel – Now this one is, like on the other albums, the power ballad type of song. Even though Outlying is a mostly aggressive type of band, it seems like these kinds of songs always end up being some of the audience’s favorites. (“Scars Of Daylight” had “The Last Time”, and “Frameworks For Repression” had “Alicia’s Tales”). Slower, lots of clean vocals, the song surprisingly has a fast, aggressive bridge. Lyrics are about grief, and how your lost ones end up staying in your head like some sort of sentinel.

8. Impaired – Dark, aggressive, and melancholic, the lyrics are very pessimistic and about how you can feel rejected by society and driven to suicide.

9. Dreamless Nights Part I: A Lullaby For The Insomniac – First of all, the title “Dreamless Nights” refers to when you sleep while intoxicated by alcohol and drugs. Since this is low-quality sleep, you mostly don’t have any dreams. This three-part song is about the cycle of addiction, which keeps going over and over. This is from Fred’s actual struggles with past (mostly alcohol) addiction. Now Fred has been sober for years, but this is one of many reasons for the delay between the last album and the release of new music. The first part is fast, melodic, and heavy, with a mysterious-sounding ending. Lyrically, it’s about feeling powerless about all the chaos and struggles of life and wanting to find escape, which is, of course, the way a lot of addictions start.

10. Dreamless Night Part II: From Velvet Skies – Now entering the fake paradise, the song builds up with a bit of a Tool-esque intro, then atmospheric black metal, and then heavy and epic. The lyrics are about the bliss of escaping the real world and floating around in this bubble of brain manipulation. The song then fades away into the darkness.

11. Dreamless Nights Part III: Walking Out Of Eden’s Ashes – When Part II ends in near silence, Part III abruptly kicks in with very heavy parts, influenced by brutal death metal. Lyrics are about the ‘hangover’ part or ‘day after’ part, so to speak. It’s about how this was all fake; not only is reality still there, it’s only gotten worse because of all the abuse. The song and album end in a more epic and melodic manner, with various instruments and a bass melody.

============================================

FUN FACTS – STORY ANGLES:

1. In Outlying’s most recent lineup, everybody in the band was introduced to Fred as a pure coincidence. Martin “Frenchy” was listening to a metal podcast from Drummondville while still living in France and heard an interview with Fred saying he was looking for a permanent drummer. Frenchy already intended to move to Quebec and decided to send Fred a message saying he’d be interested in playing in the band. When Fred read the message, he thought it was either spam or a joke.

2. In a more recent time, Fred got contacted by a woman he knows, who was asking if she could borrow his soldering iron to fix her friend’s bass guitar. Fred then drove to the lady’s apartment with his soldering iron and was then introduced to Charles Alex. A couple of weeks later, Fred was trying to find a new bass player since J-D was gone, and remembered Charles Alex.

3.  Founding Outlying drummer Guy Provencher now plays bass in Strigampire and guitar in Hopeless Nation. Fred played bass and rhythm guitar in Strigampire for a couple of years, many years ago. Steve, who is the vocalist for Strigampire and drummer for Hopeless Nation, also played drums on Outlying’s “Scars Of Daylight” album, and played live drums in Outlying when Frenchy was back in France for a little while. Trois-Rivieres’ metal scene is small.

4. Back when the band started, it was very hard for Fred to find a job and money, so he found counterfeit versions of audio and graphic software and tried to make his own records by himself. He eventually really got into audio production and graphic design, and to this day still does all that work for the band, as well as for some local bands.

5. The city of Trois-Rivieres is known for the Trois-Rivieres Metalfest, and also, the most well-known band from the city is a tech metal band called Martyr. Martyr’s drummer played in Gorguts and Beneath The Massacre, and their vocalist and guitar player now also plays in Voivod. Voivod’s bass player is also from Trois-Rivieres.

6. Despite being based in Trois-Rivieres, none of the band members grew up there. Charles Alex is from around Victoriaville, Fred was raised in a town near Becancour, and Martin “Frenchy” is from a suburban area near Paris, France.

 

L-R: Charles Alexandre Bilodeau (Bass, Back Vocals), Fred A. Dubeau (Guitar, Vocals), Martin Reithler (Drums)

Photo by Sandy Champagne

Outlying, founded in 2007 by lead vocalist/guitarist, as well as producer and writer, Fred A. Dubeau, is based in an old industrial city in the province of Quebec, Canada. Their first EP, titled ‘Within The Jail Of The Unfortunate’, was released in 2008. In 2012, after a few line-up changes, the band released a full-length album titled ‘Scars Of Daylight’. Later that year, bassist JD Poirier and French drummer Martin Reithler joined the band. In 2016, the trio released ‘Frameworks For Repression’.

In 2024, after many years of writing, creating, performing, and managing various issues, the band recruited Charles Alex Bilodeau to be their new bass player.

Outlying is now completing another full-length album, while releasing new singles along the way, such as ‘November’ and ‘Pitch Black Serum’.

Discography:
2025 – Oblivisci
2024 – Pitch-Black Serum – Single
2023 – November – Single
2016 – Frameworks For Repression – Album
2012 – Scars Of Daylight – Album
2008 – Within The Jail Of The Unfortunate – EP

Shared Stage with: The Agonist, Gone In April, Augury, Burning The Oppressor, Mass Murder Messiah, Lancaster, Last Dance Among Wolves

Tours and Festivals:
2021 – Breakout Tour – Quebec Tour
2015 – Trois-Rivieres Metalfest – Trois-Rivieres

0 EPK – In Virtue – Age of Legends (2025)

  • September 13, 2025
  • by Asher
  • · EPKs · IN VIRTUE

EPK – In Virtue – Age of Legends (2025)

Publicist – Jon Asher – jon[@]ashermediarelations[.]com

“I think they’ll be pleasantly surprised, because although it builds on our past releases, it’s really the ultimate form of the same beast. The casual listener will be able to enjoy all of it without clocking the story, but anyone who wants to go deeper will be rewarded with the dark journey of a deeply flawed character on a quest to forgive himself by asking the big questions, making mistakes, and doing the hard work. It’s an emotional deep dive, a rollercoaster of textures and colors, but a cohesive trip that doesn’t just feel like a series of disconnected singles. A true concept album, the kind you should turn your phone off and light a candle to listen to on your bed with headphones from start to finish. A relatable protagonist who seeks what we all seek, to love himself in spite of himself and his flaws, to know himself deeply, and to win his battle against crushing self-doubt.” – Trey Xavier – In Virtue

For fans of Soilwork, Amaranthe, Shinedown, Symphony X, Bad Wolves

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40

Facebook.com/invirtue | Instagram.com//invirtue | Youtube.com/@InVirtue

Invirtue.bandcamp.com | Spotify | Apple Music

[Download Album Cover | Download Album Lyrics]

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40
Track Listing:
1. Ascent Glorious (00:36)
2. Sisyphus Awakening (4:55)
3. Karma Loop (ft. Charlotte Wessels) (3:35)
4. Push That Rock (2:46)
5. Purgatory (4:39)
6. Exposed (3:27)
7. Scream (3:40)
8. Where The Edges Meet (3:16)
9. Gunslingers of the New American Desert (4:42)
10. Desolation Throne (3:03)
11. Thoughts in Freefall (ft. Dave Davidson of Revocation) (4:10)
12. The River (2:24)
13. Tempus Fugue (ft. Chaney Crabb of Entheos) (8:05)
14. Descent Limitless (1:22)
Album Length: 50:40
Album Credits:
Produced by Trey Xavier
Mixed by Mazen Ayoub and Miami Dolphin
Additional mixing by Alexander Backlund
Mastered by Jens Bogren and Tony Lindgren at Fascination Street Studios
Cover art by Niklas Sundin
Additional vocal engineering by Eyal Levi on “Purgatory” and “Where the Edges Meet”
Guest vocals on “Karma Loop” by Charlotte Wessels
Guest vocals on “Tempus Fugue” by Chaney Crabb of Entheos
Guest guitar solo on “Thoughts in Freefall” by Dave Davidson of Revocation
Additional background vocals by Court Henson
Tracked at 1008 Studios, Prairie Sun Studios, West Alley Studios
Member of ASCAP
Album Lineup:
Trey Xavier – Guitar, Vocals
Alex Nasla – Keyboards, Vocals
Rami Khalaf – Lead Guitar
Jamie Hush – Bass
Mazen Ayoub – Drums

=======================================================

About The Album Artwork:

When I saw the cover for Dark Tranquillity’s “Character” album, I knew I had to have something like it. So I looked up the artist, who turned out to be their (now former) guitarist Niklas Sundin. I commissioned him to create the cover art, which depicts Sisyphus breaking out of his eternal punishment of rolling a boulder up a mountain forever. He is returning to the real world, and the boulder rolls down the hill behind him. Niklas was excellent to work with, and he took the concept I gave him and really brought it into reality with such a unique flavor.

About the album as a whole (LYRICALLY & MUSICALLY):

On this album, the lyrics are extremely personal. It’s a story about a character, but he’s just the proxy for my own experiences and ideas. It’s a concept album about someone who has made poor choices in the past and is on a journey of self-forgiveness. The character in the story is based on Sisyphus, who was a terrible, tyrannical king who was deserving of punishment – but is there truly anything someone can do to deserve eternal punishment?

In it, this Sisyphus character decides (with a little help from a character called The Catalyst) that after thousands of years of torment, he’s done his time and that he’s going to seek forgiveness from the most important person we all need it from – ourselves.

I wrote it as a way of working through my own self-imposed punishment for my own failures and shortcomings, a catharsis to carve a way forward for myself. Realistically, none of us will ever do anything nearly as horrible as Sisyphus or any equivalent monster. But we still often hold the regret and guilt over our heads for so long.

As I wrote in the song “Purgatory”,

“Paper handcuffs and shadow walls

Shackled here by guilt alone”

So it’s about releasing ourselves from this state and moving on with our lives, because until you do, you can’t do any good in the world, for yourself or anyone else.

Musically, it’s built on a classic foundation of heavy riffs and groovy drums, but with layers of cinematic elements like synths and orchestration to transport the listener and elevate the songs at key moments. It’s not symphonic metal in the traditional sense like Nightwish or something – the orchestration isn’t there as an end unto itself, or to just make it epic. Vocally, it covers a lot of range, from gritty powerful cleans to more guttural growls and screams, and a lot in between. There are a fair bit of guitar and keyboard solos, but none overstay their welcome.

Track by Track (LYRICALLY & MUSICALLY):

1. Ascent Glorious
This is the album intro – it’s purely orchestration, and it introduces the primary melodic theme, as well as what I call “The Sound” – a sort of bell-like tone that represents The Catalyst’s awakening of Sisyphus from his torment.

It’s a bit Disney, but I love the melody so much. It comes back several times throughout the album, in different forms and variations.

2. Sisyphus Awakening
This song is one of the first I wrote for the album. It has an extremely strong opening, and it segues nicely from the intro track, I think. Since it’s one of the older ones, it still has a bit of leftover prog ambition, which I think is apt for it to be so early on in the track listing, then as we move into the future, we move away from it.

It represents exactly what the title says – it’s Sisyphus awakening from the endless grind of his torment, and breaking his shackles to escape from his eternal punishment.

3. Karma Loop
This was actually the last song to be written for the album, I think. It features my friend Charlotte Wessels on vocals, and she brought so much energy and beautiful harmony to the song that it wound up becoming my favorite.

It was actually based around a guitar part (the opening lick of the song) that I wrote a long time ago for a guitar demo for my YouTube channel, and our former drummer, Mazen (Ayoub, who plays on the album) sat down and turned it into a song one day.

Lyrically, it’s a conversation between Sisyphus and The Catalyst, in which she is convincing him that his punishment is self-inflicted, and  he is worth doing the work to redeem himself.

Fun fact: The lyrics make reference to an old song by the Kingston Trio called “M.T.A.”, in which a man can’t get off the train because he doesn’t have money to pay his fare, of which he is a nickel short (“one more nickel”). It also references the “buy the ticket, take the ride” quote from Hunter S. Thompson.

4. Push That Rock
In which Sisyphus goes from the lowest possible point in his life to a place of high hope. It consists almost entirely of one line of lyrics: Push that rock back up that hill. It’s a mantra that we’ll revisit later in the album, and between now and then, the meaning will transform – but at this point, it’s his entire existence, it’s all he knows. It’s the torment he brought on himself, and he hates it.

Fun fact: I recorded some of the vocals for this in the Tom Waits room of Prairie Sun studio, on the mic that he sings into on his albums. I thought it fit the vibe pretty perfectly, and we recorded drum tracks there for Purgatory and Where The Edges Meet, so it worked out.

5. Purgatory
This was the first song we recorded and released with the new lineup, when the plan was for Age of Legends to be a 3-song EP. We road-tripped up to Prairie Sun studios in Cotati, California, to track the drums because initially, I was going to record a different drummer for these songs before we found Mazen, and it was too late to get my deposit back.

In this song, he describes the depth of his torment and what he longs to escape from.

6. Exposed
This is one of two songs we worked on with my friend and producer Sahaj.

Lyrically, it describes Sisyphus’ relationship with The Catalyst, and the gift she’s given him by not only setting him free, but by giving him a reason to want to even bother to try.

7. Scream
This is the second of the two songs we worked on with Sahaj, who provided some much-needed perspective on the songs, much like The Catalyst does for Sisyphus.

In this song, we get a closer look at the message from The Catalyst to Sisyphus in his state of eternal punishment. She can’t free him – only he can do that. No one else is coming to save him.  In order to break free, he first has to believe he’s worthy, and then he has to care enough to try. He can’t just be complacent – he needs to be angry enough to SCREAM.

8. Where The Edges Meet
This was the second single we released, and the second song we recorded with the new lineup.

Sisyphus is at last free and returns to the real world to find a divided people.  He reflects on his personal struggles that led him to act the way he did in his past life, and considers how to move forward in this new world.

This song introduces the album title – Age of Legends – which references a concept I borrowed from The Wheel of Time series. In the Age of Legends, mankind enjoyed peace, prosperity, and technology that became lost due to humanity’s inability to be content and coexist.

Sisyphus again becomes a leader in the modern world by championing this concept, inspiring people to be good to each other and lift each other up. But it won’t last…

9. Gunslingers of the New American Desert
…because power calls to him. In Gunslingers, Sisyphus can’t resist the call, and the song details his breaking bad arc. He sees the opportunity to seize the kind of power he once held, and takes it by force, falling back into his old ways.

I had actually once conceptualized a whole album of sort of post-apocalyptic sci-fi steampunky space Western songs with the same title, and this was the only thing that actually came from it.

This is by far the slowest song in the entire In Virtue catalog, and in my estimation, the heaviest thing I’ve ever written. The lyrics are also very emotionally heavy, describing the tradeoff of humanity for the empty promise of power, and the human toll such a deal takes.

10. Desolation Throne
In which Sisyphus ascends to his throne of evil, convincing himself that he’s earned it by his suffering.

I was trying to channel Russel Allen in my vocal performance, to make it sound mean and evoke a gangster-like quality similar to the Symphony X Underworld album. I also put in a little 2005 metalcore chugging to hearken back to my days watching bands like Unearth and Killswitch Engage at small venues throughout Massachusetts.

The bridge of this song is my favorite single moment on the whole album. It simultaneously shows his emotional insecurity and how small he feels, and how he reacts to that by lashing out at the world that doesn’t understand him and trying to dominate it.

It also features one of my favorite guitar solos.

11. Thoughts in Freefall
In Desolation Throne, he is ascending to power, climbing upwards ever higher without considering how high above the ground he is. He comes to the highest peak possible – there’s no higher he could go.

Consumed with his lust for power and insane, in Thoughts in Freefall, he posits that “If I fall forever, I will never hit the ground”.  He thinks himself invincible and needs little provocation to demonstrate that fact. “I am immune to gravity”.

Naturally, he is about to make contact with the consequences of his actions.

Features an absolute dickripper of a guitar solo by Dave Davidson of Revocation.

12. The River
The “find out’ in Thoughts in Freefall’s “fuck around”.

Where previously he said, “If I fall forever”, we begin with “I fell forever”.

He loses everything, including The Catalyst, those who believed in him. He

Generally, I’m not a fan of ballads. The River started life as a suggestion from Mazen that we include a ballad of some kind on the album, which I initially resisted. But I realized that I didn’t have to write a Diane Warren-type ballad, or something corny, and that the moment called for something stripped down. So Alex and I sat down with a very vague concept of what we needed to achieve, and came up with what I consider to be a very powerful and understated moment on the album. It’s almost entirely just piano and one vocal, whereas I tend towards maximalism in my writing, with layers and layers of orchestration, synths, and vocal harmonies. It’s a bare naked moment for both Sisyphus and I, where he is broken by his own hand, once again at the bottom of the mountain, having pushed the rock all the way to the top, only to fall to the bottom again.

Literal rock bottom.

13. Tempus Fugue
“Tempus fugit” is a saying that means “time flies”, and a fugue is a musical form. On past In Virtue albums, I have included long-winded overtures of the album’s musical themes (“Underture” and “Afterture” ) that were both ill-conceived and poorly received, self-indulgent. On this album, I wanted the chance to make a meaningful tour de force of the motifs while wrapping up the story and tying it all together. This is the longest song on the album, and covers a lot of ground.

In this song, Sisyphus addresses the futility of time and its cyclical nature, to which he has had the most painfully vivid relationship. He also recognizes the healing power of time, to which we owe his entire redemption cycle, in fact.

He finally comes to an important conclusion about life on earth, and the value of true intention and effort – the work of life. Pushing the rock is something we all do, every day – we wake up and we try. We all have our own boulder and our own hill, and even in the apparent futility of time, we create something meaningful and beautiful from our struggles to ascend to something higher and better than ourselves.

And that we need to forgive ourselves, so we can push the rock again tomorrow.

We once again reprise the “Push that rock back up that hill” mantra.

Features a devastating vocal spot by Chaney Crabb of Entheos.

14. Descent Limitless
The outro of the album, with the triumphant motif from the intro once again, in its final form, as Sisyphus takes up his boulder, but with new meaning and understanding this time. We hear “The Sound’ one last time as the album wraps.

====================================================

FUN FACTS – STORY ANGLES:

1. The band is fronted by Trey Xavier, who you may know from his YouTube channel or the website Gear Gods. He’s also the singer on the viral (2 million views) YouTuber collab song “Dread Machine” (https://www.youtube.com/watch?v=kJfraNCvR8s)

2. 3 of the band members (Alex, Jamie, and Rami) are software developers.

3. Trey has a music degree in composition and teaches several online courses on songwriting and composition.

4. The album took 6 years from when we started tracking it to get done because our producer ghosted us with like 10% left to finish. We thought he was dead or something. Just straight up vanished. I sent him hundreds of texts and online messages with no reply. I had to re-track many of my vocal parts in my home studio to get it done.

5. The band has only played live once with the current lineup.

6. During the recording of the album, I got so mad at the drummer/producer that I lifted my laptop over my head and smashed it on the floor of the studio and kicked a chair, which is VERY out of character for me (we made up and it’s all good now).

L-R Bruno Valverde (drums), Jamie Hush (bass), Trey Xavier (guitar/vocals), Alex Nasla (keys), Rami Khalaf (guitar)

Phot Credit: Felix Martin

Los Angeles, California’s In Virtue is a band forging a new path, abandoning outdated conceptions of what heavy music is to redefine metal for a new era. Although In Virtue was initially formed in 2004 in California’s Bay Area, the band’s rebirth in 2015 is where the real story begins.

That’s when founding guitarist Trey Xavier made the difficult decision to take over lead vocals, move south to LA, and start the band over with a new lineup. This was the catalyst they needed, and the band’s final form took shape. Adding keyboardist Alex Nasla (The Mourning, ex-Witherfall), guitarist Rami Khalaf, and bassist Jamie Hush, their new sound was freed. 

 “I was tired of other people singing what I was writing,” says Trey (who you may know from his popular YouTube channel). “We had some pretty good singers, but it always felt like a compromise. It was pretty scary – I was 28 and I had never seriously sung before. But all the work I put in paid off, because now I can create my music as I envision it.”

And what a vision it has become – the band’s forthcoming album Age of Legends, due out in 2025, tells a haunting tale of Sisyphean struggle and redemption through a modern lens. This new era of In Virtue brought their first new music, 2019’s single “Purgatory”, which gave the world a brand new sound. Combining elements of power metal, groove, progressive metal, and pop, but somehow sounding like none of the above, “Purgatory” defined the sonic future of the band. 

The singles “Where The Edges Meet” and “Scream” followed soon after to expand on the story, each moving the story forward and bringing new life to the characters and their pain. 

With way more to come on Age of Legends, In Virtue is looking forward to the next chapter and bringing their story to the world.

Discography:
2025 – Age of Legends
2012 – Embrace the Horror
2008 – Delusions of Grandeur

Artist Endorsements: Kiesel Guitars, Revv Amps, Sennheiser Wireless

0 EPK – Stellvris – Shatter and Bloom (2025)

  • September 13, 2025
  • by Asher
  • · EPKs · Stellvris

EPK – Stellvris – Shatter and Bloom (2025)

Publicist – jon[@]ashermediarelations[.]com

“We believe this EP will be received very well. Once again, we’ve taken huge steps forward musically. The sound was crafted by Christoph Wieczorek at Sawdust Recordings, a guarantee of top quality. We’ve added more electronic elements and catchier choruses, while still keeping the brutal breakdowns that our fans love. Each track offers a different journey — every song carries its own surprising moments and unique elements. While the foundation is firmly rooted in modern metal, we’ve carefully blended in touches of other genres to keep the experience dynamic, fresh, and exciting for listeners from start to finish.”

For fans of Jinjer, Spiritbox, Holy Wars, Arch Enemy, I Prevail

Band: Stellvris
EP Title: Shatter and Bloom
Label: Self-Release
Release Date: November 7, 2025
EP Length: 18:27
Genre: Modern Metal
Location: Prague, CZ

Facebook.com/STELLVRIS.band | Instagram.com/stellvris_band | Youtube.com/@STELLVRISband

Spotify | Tiktok.com/@stellvris_band| Stellvris.bandcamp.com

“Ready-made for fans of Spiritbox and Holy Wars, STELLVRIS’ latest takes on the theme of a toxic relationship, whether romantic, platonic or professional, and urges the listener to push back and escape. As for the video, it captures the band in action, with vocalist Nicol adopting distinct personas, including a red-cast demonic one.” – Revolver Magazine

“Stellvris work best because they are able to balance the more melodic aspects of modern metal with a scorching amount of heaviness. There’s an overall adrenaline injection and flow to Persistence that makes it incredibly digestible, with the need to listen to it over again to get that same rush once it finishes. What’s great is that the aggression sticks around on repeated listens, without giving you a case of diminishing returns. Expect big things from this act in their near future for sure, but Persistence already establishes them as a modern metal force to be reckoned with.” – Dead Rhetoric (2023 – Persistence)

“The latest single “Scorpio” was a perfect song to sum up STELLVRIS’s musical identity as a band. The energetic riff and beats with Nicol switching between clean vocals and harsh vocals and even harsher vocals have been a common denominator for almost every song by STELLVRIS. “Scorpio”, however, took that electrifying awesomeness and multiplied it by a thousand! The song is three minutes of pure energy that even my conservative grandmother would headbang to (going to test this theory next family dinner). It’s a song that would be perfect when performed live! Of course, the song was released with a music video that matches the quality of the audio with visual Metal brilliance.” – FemMetal (2023 – Single – Scorpio)

[Download EP Cover | Download EP Lyrics]

Band: Stellvris
EP Title: Shatter and Bloom
Label: Self-Release
Release Date: November 7, 2025
EP Length: 18:27
Genre: Modern Metal
Location: Prague, CZ

Track Listing:
1. Shatter and Bloom – 3:18
2. Silence After Violence – 3:14
3. Monster – 4:16
4. Time’s Up – 3:32
5. Starships (Nicki Minaj Cover)
EP Length: 18:27

EP Credits:
• All songs performed by: STELLVRIS
• All songs written by: STELLVRIS
• Produced by: Christoph Wieczorek of Sawdust Recordings
• Mixed by: Christoph Wieczorek of Sawdust Recordings
• Mastered by: Christoph Wieczorek of Sawdust Recordings
• EP Artwork by: František Jelen

Band Line Up:
Nicol Hofman (vocalist)
Libor Hřebík (bassist)
Andreas Polášek (guitarist)
Hanz Polášek (drummer)

================================================

About the EP Artwork:

About the album as a whole (LYRICALLY & MUSICALLY):

Shatter and Bloom is a five-track EP that dives into themes of destruction, rebirth, and the struggles of modern life.

The title track Shatter and Bloom speaks about breaking down what no longer works and letting something new grow. Silence After Violence tackles rising aggression in society, even among the youngest, serving as a wake-up call. Monster captures the pain and strength found in toxic relationships, while Time’s Up criticizes a life lived only online, disconnected from reality. Closing track Starships reimagines Nicki Minaj’s hit as a heavy, metal-fueled summer anthem.

Musically, the EP blends modern metal, metalcore, and nu-metal with electronic elements, powerful choruses, and crushing breakdowns. It’s a record full of energy, honesty, and transformation.

Lyrically, the EP is deeply emotional and unflinchingly honest, confronting themes of brokenness, anger, betrayal, and healing. Musically, it pushes our sound further than ever — blending modern metalcore and nu-metal influences with electronic textures, massive choruses, and bone-crushing breakdowns. Each song carries its own unique flavor, but together, Shatter and Bloom is about destruction, rebirth, and the power of transformation.

Track by Track (LYRICALLY & MUSICALLY):

Our upcoming EP, Shatter and Bloom, is a raw and honest collection of five tracks, each telling its own story while forming a powerful whole.

1. The title track Shatter and Bloom is both a reflection and a statement — it speaks about people who dream big but refuse to change themselves, expecting everything to fall into place without effort. At the same time, it’s about breaking what no longer works, burning down what’s rotten, and allowing something new, stronger, and more authentic to grow in its place.

2. Silence After Violence reflects on a growing wave of frustration and aggression in society, which we now see taking root at younger and younger ages. It’s both a warning and a cry for awareness, channeling raw energy into a song that mirrors the state of the world around us.

3. Monster is the most personal of the tracks, diving deep into the scars left by toxic relationships. It embodies both the suffocating weight of manipulation and the strength it takes to break free — a cathartic release for anyone who has ever felt trapped by someone they trusted.

4. Time’s Up explores the emptiness of a life lived only online. It portrays a character who hides behind likes and posts, betrays his closest friend, and never faces the responsibility of real life. It’s a sharp reminder of how toxic escapism and immaturity can destroy human connections.

5. Finally, Starships — our metal reimagining of Nicki Minaj’s pop hit — closes the EP on a contrasting note. It’s a celebration of carefree, summer nights and youthful joy, but reframed with crushing breakdowns and modern metal intensity. It serves as a reminder that even amidst heavy topics, there is still room for lightness, fun, and release.

====================================================
FUN FACTS – STORY ANGLES

–  Energetic Live Connection – Our shows are not just about playing songs; they’re about connecting with the audience. We’ve done circle pits, walls of death, and stage dives – fans become part of the show, making every performance unique.

–  From Real Life to Lyrics – Our lyrics are inspired by personal experiences and stories from our fans. We tackle mental health, toxic relationships, and bullying – our music is meant to empower those who need it most.

–  Catchy but Heavy – While we’re a metal band, our songs include surprising elements – electronics, melodic choruses, and brutal breakdowns – which attract even non-metal listeners.

– Viral Moments in the Studio – During the recording of the Shatter and Bloom EP, we experimented with unique sounds for the title track. The guitarist tried phone vibrations, and the “WAKE UP MOTHERF***ER” moment was born – a studio moment that turned into a viral highlight.

–  Festival Footprint – We’ve played some of Europe’s biggest festivals, including Summer Breeze, and continue to grow our audience across Europe and soon the U.S. Every show is an unforgettable experience for both us and our fans.

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L-R – Libor Hřebík (Bass), Andreas Polášek (Guitar), Nicol Hofman (Vocals), Hanz Polášek (Drums)

Photo Credit – Julia Ramm

Founded in 2019, STELLVRIS is a European modern metal band with a mission: to turn pain into power. Their music speaks to those battling anxiety, toxic relationships, bullying, and the weight of everyday struggles. Every riff, scream, and soaring chorus carries a message of strength, courage, and connection — a reminder that no one has to fight alone.

Their debut releases Upside Down (2022) and Persistence (2023) introduced a sound that blends crushing heaviness with haunting melodies, winning the band a devoted following across Europe and the UK. Songs quickly became anthems for fans who saw their own stories reflected in the music.STELLVRIS are not just a band to listen to — they are a band to experience. Their live shows erupt with unstoppable energy, drawing in both seasoned metal fans and people who never thought they’d find themselves at a metal show. That connection has carried them to stages alongside Megadeth, Jinjer, The Black Dahlia Murder, The Ghost Inside, and many more, as well as to festivals including Summer Breeze, Fallen Fortress, Kave Fest, Brutal Assault, Basinfirefest, Fajtfest, and a wide range of others across Europe.

In 2025, STELLVRIS continues their journey with the release of their new EP Shatter and Bloom (out November 7), produced in collaboration with Christoph Wieczorek of Sawdust Recordings (Annisokay, Caskets, Escape The Void). With each song, the band shows no fear in addressing the darker sides of society — from mental health to violence and betrayal — and transforming them into music that unites, empowers, and heals. A music video for the single Monter was premiered exclusively on REVOLVER Magazine.

For STELLVRIS, it’s never just about the sound. It’s about creating a safe space where pain can turn into resilience, and where the silence after violence can be broken by music.

Discography:
2025 – Shatter and Bloom – EP
2023 – Persistence – LP
2022 – Upside Down – EP
Shared Stage with: Megadeth, Jinjer, The Black Dahlia Murder, Emmure, Infected Rain, Tetrarch, Filth, Heart Of A Coward, Ghost Iris, Pestilence, Space of Variations
2025
8.3. Žlutý pes club, Pardubice (CZ)
11.4. Café na půl cesty, Prague (CZ)
12.4. WATT Music Club, Plzeň (CZ)
5.5. Live-Club, Bamberg (DE)
7.6. Březfest, Jihlava (CZ)
13.6. AWO Proberaumhaus Monkeys, Solingen (DE)
14.6. O.J.V. de Koornbeurs, Delft (NL)
15.6. Ragnarok Live Club, Bree (BE)
16.6. Moritzbastei, Leipzig (DE) supporting Tetrarch
17.6. Kulturladen, Konstanz (DE) supporting FILTH
18.6. Cafe Glocksee, Hannover (DE) supporting Tetrarch
19.6. Manege Lintorf, Ratingen (DE) supporting Tetrarch & FILTH
26.6. Basinfirefest, Spálené Poříčí (CZ)
3.7. Flex, Vienna (AT) – supporting Tetrarch
5.7. Kave Fest, Gisors (FR)
19.7. Festiwal Wykopaliska, Rekowo (PL)
16.8. Summer Breeze, Dinkelsbühl (DE)
23.8. Fallen Fortress festival, Bad Dürkheim (DE)
30.8. Dobříšské pivní slavnosti, Dobříš (CZ)
6.9. HARD SUMMER FESTIVAL, Falkenfels (DE)2024
10.2. Nová Melodka, Brno (CZ)
16.2. Barrak, Ostrava – support for Space of Variations (CZ)
20.3. Rock Café Prague,  Prague – support for Space of Variations (CZ)
21.3. Voodoo, Warsaw – support for Space of Variations (PL)
2.4. Café na půl cesty, Prague (CZ)
19.4. Divadlo pod lampou, Pilsen (CZ)
20.4. Mrákofest, Mrákotín (CZ)
4.5. Klub Potok, Warsaw (PL)
10.5. MÁJ a LES festival, Kojetín (CZ)
17.5. Explosiv Halle, Graz (AT)
18.5. Redlock festival, Sczene, Wien (AT)
8.6. Modrá Vopice, Prague (CZ)
9.6. M2 Event Venue, Timisoara (RO)
10.6. Romexpo, Bucharest (RO)
11.6. La Tevi, Cluj Napoca (RO)
12.6. Republic Club, Santana Mures (RO)
13.6. Rockhalle, Constanta (RO)
14.6. Club Smile, Varna (BG)
15.6. Rock Club Madrid, Karlovo (BG)
20.6. Arch Club, Athens – support for The Black Dahlia Murder (GR)
21.6. Block 33, Thessaloniki – support for The Black Dahlia Murder (GR)
22.6. Mixtape 5, Sofia (BG)
26.6. Lowland Fest, Hódmezővásárhely (HU)
29.6. Bangarang festival, Chwałkowo (PL)
30.6. Rock pod kameňom, Snina (SK)
5.7. Fajtfest, Velké Meziříčí (CZ)
1.8. HelmFest, Helmstedt (DE)
5.8. Barrák music club, Ostrava – support for Emmure (CZ)
6.8. Brutal Assault, Jaroměř (CZ)
24.8. Mosh open air, L.A.Cham, Cham (DE)
7.9. FROVfest, Vodňany (CZ)
14.9. RENAISSANCE IV., Kremnica (SK)
20.9. Breeding Festival, Flensburg (DE)
27.9. Bandhouse Leipzig, Leipzig (DE)
2.10. Hyde Park Book Club, Leeds (UK)
3.10. Gullivers, Manchester (UK)
5.10. Bear Cave, Bournemouth (UK)
6.10. Subside, Birmingham (UK)
9.10. Sixsix Bar, Cambridge (UK)
10.10. 229, London (UK)
11.10. The Cavern, Exeter (UK)
13.10. MCP APACHE, Fontaine-l’Évêque (BE)
14.10. Kult41, Bonn (DE)
18.10. Klub Łącznik Wroclav (PL)
19.10. Flex club, Vienna (AT)
16.11. G6, Neumarkt (DE)
23.11. Klanggerüst, Erfurt (DE)
30.11. Club Zentral, Stuttgart (DE)
14.12. Sklep club, Spálené Poříčí (CZ)
20.12. Collosseum Club, Košice (SK)2023
31.3. Rock Clum Nordbayern, Selb (DE)
27.5. Camping Battleground Festival, Öttingen (DE)
3.6. Divadlo pod lampou, Pilsen (CZ)
15.6. Conrad Sohm, Dornbirn – support for Jinjer (AT)
20.6. Arena Wien, Vienna – support for Jinjer (AT)
23.6. TOPFEST, Letisko Abrahám (SK)
24.6. Hardcore Day, R Klub, Chrudim (CZ)
7.7. Fajtfest, Velké Meziříčí (CZ)
22.7. Orlovňa Skalica – support for Infected Rain (SK)
26.7. Tolminator Metal Fest, Tolmin (SI)
28.7. Escape, Vienna (AT)
12.8. Šluknov festival, Šluknov (CZ)
18.8. Nová Pekáreň, Nitra (SK)
19.8. Bošianska Metelica, Bošany (SK)
25.8. Metalacker Tennenbronn, Tennenbronn (DE)
26.8. MOSH OPEN AIR, Cham (DE)
9.9. Black Hornet Festival, Újezd u Přelouče (CZ)
16.9. Collosseum Club, Košice (SK)
22.9. Instant-Fogas Komplexum, Budapest (HU)
27.9. Kabinet Múz, Brno (CZ)
29.9. Rock Depo Music Club, Velké Meziříčí (CZ)
30.9. Divadelní Klub Polička, Polička (CZ)
6.10. Rock Café Southock, Jablunkov – support for Heart of a Coward (CZ)
13.9. Divadlo pod lampou, Pilsen (CZ)
27.10. Rock Café, Prague (CZ)
28.10. MusicClub Sklep, Spálené Poříčí (CZ)
29.10. Rock’N’Roll Club RHO, Milan (IT)
30.10. Alchemica Music Club, Bologna (IT)
31.10. Il Borgo, Vicenza (IT)
1.11. Stromoradie, Prešov (SK)
3.11. Music Club Pecka, Chomutov (CZ)
4.11. G6, Neumarkt (DE)
5.11. Replugged, Vienna (AT)
6.11. Explosiv, Graz (AT)
9.11. Fuga, Bratislava (SK)
10.11. Smer Klub 77, Žilina (SK)
11.11. Fajtfest Fryslân, Neushoorn, Leeuwarden (NL)
17.11. S-klub, Olomouc (CZ)
9.12. Memory Error, Kanianka (SK)
25.12. Bigbeatové Vánoce, Rýmařov (CZ)2022
11.3. Palác Akropolis, Praha (CZ)
15.4. Klubovna Fajtfest Night, Fabrika, České Budějovice (CZ)
23.4. Rock Club Nordbayern, Selb (CZ)
28.4. Live Music Hall, Morlenbach (DE)
30.4. Citrons Masqués, Yverdon les Bains (CH)
14.5. Fajtfest Help Party, Velké Meziříčí (CZ)
21.5. Štěpfest, Štěpánov (CZ)
16.6. MetalGate Czech Death Fest, Červený Kostelec (CZ)
24.6. Basinfirefest, Spálené Poříčí (CZ)
25.6. Chlístovský Hejk, Chlístov (CZ)
16.7. Fajtfest Afterparty, Modrá Vopice, Prague (CZ)
23.7. WooDride&RegionBeat, Ostrov (CZ)
30.7. South of Heaven Festival, Zbytiny (CZ)
13.8. Brutal Assault, Jaroměř (CZ)
20.8. Death Coffee Párty, Litoměřice (CZ)
27.8. Heartshapedfest, Humpolec (CZ)
9.9. Musikmeile, Chemnitz (DE)
10.9. Klubovna Fajtfest Night, Pacov (CZ)
15.10. Kulturní dům Volduchy, Volduchy (CZ)
22.10. Halloween party, Cross Club, Prague (CZ)
12.11. Memory Error, Kanianka (SK)
25.11. Dead End Festival, Kulturní dům Gerbera, České Budějovice (CZ)
1.12. Futurum Music Bar, Prague (CZ)
17.12. Music Club Modrá Vopice, Prague (CZ)
17.12. Zimní Basinfirefest, Spálené Poříčí (CZ)
25.12. Bigbeatové Vánoce, Rýmařov (CZ)
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