Posts By Asher

0 EPK – Slug Comparison – Cold in Cold Out (2026)

August 2, 2026
by Asher
· EPKs · Slug Comparison · Uncategorized

EPK – Slug Comparison – Cold in Cold Out (2026)

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

“My last album was all electric, with upfront rock production. Cold in Cold out is a step away from that, towards the vibe of my previous work, which is a bit more spacious and brings in steel-string and nylon-string guitars. It’s a bit like Fen’s Trails out of Gloom, and these six new songs dwell in a similarly depressive territory to that album, if not more so. I can’t say what brought the gloom back into the music, but I’m glad it’s back. I’m more comfortable there.” – Doug Harrison – Slug Comparison

For Fans of Nirvana, Katatonia, Porcupine Tree, The Pineapple Thief, Fen

Instagram.com/slugcomparison | Facebook.com/slugcomparison

Slugcomparison.bandcamp.com | Spotify | Apple Music

“The album takes us through the self-doubt, denial, and defiance of the artist and is another mini-masterpiece delivered under the Slug Comparison banner. 10/10” –SonicAbuse

“In no way “progressive” in the traditional sense, there is a depth to each composition, and a variation in styles across the album, that rewards careful listening.” –DPRP

“Harrison’s voice tends to have a grungy quality, but it also unfolds in epic, theatrical, or simply beautifully melodic ways.” –Musikreviews (translated from German)

“modern, emotionally rich, and laced with just enough grunge to hit us right in the feels.” –Mandatory Music

“The highlight is a twisted power ballad about having much too much of a good thing (Too Much Love).” –Here Comes the Flood

“progressive and alternative inclinations align with dark rock, punk and other rich hues. It makes for a palette of surprise and unpredictable adventure” –The RingMaster Review

“One of my favourite songs of the year” (about “Bringer of Doom”) –Dutch Progressive Rock Radio

“Simply engulfs the imagination and emotions” -The Ringmaster Reviews

#30 of The Rickter Scale’s Top 100 albums of 2014

“Stirs the senses, taking the listener on a voyage of imagination and emotion.”-Sonic Abuse

#5 on DPRP’s Top Progressive Metal Albums of 2014

“Spell binding” -Your Music Blog

“Songs that are all of the highest caliber” -Power of Metal

“a true gem of prog rock” -Living Music Blog

“Ahh, the glorious beauty of the brooding and gloomy mind of Doug Harrison” (5 stars) -Sea of Tranquility

“a lot of work and effort has gone into this album, and it pays off spectacularly” -Wonderbox Metal

Band: Slug Comparison
EP Title: Cold in Cold out
Release Date: September 10, 2026
Label: Self-Release
Distribution: online
Genre: Alternative gloom
Location of Band: Victoria, British Columbia, Canada

Track Listing:
1. Tongue of the Hollow (4:01)
2. To Whom Would You Answer (3:47)
3. Back to the World (4:03)
4. Burden of Life (4:44)
5. Cold in Cold out (5:31)
6. No Healer (4:36)
EP Length: 26:42

EP Recording Credits:
• All songs performed by Slug Comparison
• All songs written by Doug Harrison
• Produced by Doug Harrison
• Mixed by Sheldon Zaharko
• Mastered by Brock McFarlane at CPS Mastering
• Album Artwork by Inkantation
• Member of SOCAN
• Canadian Content (MAPL)

EP Lineup:
Doug Harrison: vocals, guitar, bass, programming, songwriting, production
Randall Stoll: drums

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About The EP Artwork:

The artwork is based on the title track, “Cold in Cold out,” which offers the metaphor of a string for a person’s life, a linear but winding path from birth to death. Once the drawing was done, I realized the snake-like thing coming out of the cave could also be a literal interpretation of the song title “Tongue of the Hollow.” That was a nice surprise.

Track by Track (LYRICALLY & MUSICALLY):

1. Tongue of the Hollow
As I was writing this song, I realized early on that the verse riff was way too similar to Nirvana’s “Something in the Way.” I could have abandoned the idea right there, but then I added a few chord changes (I lack Kurt’s gift for writing a song with only two chords), so I decided to keep going and let it be an homage. I was huge into Nirvana for a few years, so it made sense that my appreciation was coming out this way. As far as lyrics, I had no idea what “Something in the Way” was about, and that freed me to fumble my way down a different path.

“Tongue of the Hollow” is about a bedridden apartment dweller who is nearing death and lives with a lot of cats. They don’t understand why their owner is just lying there, unable to care for them, and they wonder where their next meal will come from. The dying man’s solace, as he waits for the end, comes in the evenings when the upstairs neighbour paces the creaky floor and sings.

2. To Whom Would You Answer
The turnaround from idea to master recording for this song set a personal record for me. About 18 months. It was born out of one of those semi-traumatic encounters where for the next few days you can’t think about anything else, you run over and over in your mind what happened, what people said, what you should’ve said, what you shouldn’t have said. The whole thing spirals. It keeps you from sleeping, and when you finally do sleep, it’s right there when you wake. It was after two days of this that I sat down with my guitar and started playing the main riff to the song for the very first time. My mind cleared.

3. Back to the World
This song is about running into an old friend who took a dark turn. Seeing them, you feel guilty for not having tried to keep in touch while they faced their demons. You realize their strength, and you realize they used to add something to your life that was essential for making you whole, something that’s been gnawed away in their absence. Being with them gives you hope that you’ll face your own demons down, smaller in stature, but growing each day, each year, that you don’t deal with them.

4. Burden of Life
n/a

5. Cold in Cold out
I was sick of the kitchen-sink realism that pervaded my last album. I wanted to write something that was removed from the everyday, something grander in scope, and also desolate. “Cold in Cold out” is about the lonely trial of human existence: the physical pain, the exhaustion, the fleeting moments of wonder, and the recurring question—how long will this go on for?

6. No Healer
This song is about someone who has reached the end of their journey. Fevered and facing death, all they can do is lie under the jungle canopy and wait, at the mercy of whatever powers now guide their existence.

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BAND STORY ANGLES / FUN FACTS:
1. Between Slug Comparison and Fen (6 albums), this is Doug Harrison’s tenth recording.

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

Doug Harrison – Photo Credit – Peter Wiholm

Slug Comparison is the solo project of Canadian artist Doug Harrison, vocalist for progressive rock/metal band Fen. While Fen explores complex and sometimes aggressive musical territories, Slug Comparison offers a more introspective landscape, allowing Harrison to delve into songs that expand upon textural and melodic elements within Fen’s work.

Launched in 2014 with the release of the single “Bringer of Doom,” Slug Comparison quickly established its own identity. The self-titled debut album, released later that same year, further solidified this direction, revealing a sound characterized by atmospheric depth, intricate arrangements, and earnest vocal delivery. The Ringmaster Reviews said the album “simply engulfs the imagination and emotions.” This debut was followed up by the 2019 album, When You Were Living Here, released by Dutch label Rock Company. When reviewing the album, Something for the Weekend? praised Harrison’s “amazing voice and his ability to communicate a deep sense of meaning and emotion in his music.”

After a six-year hiatus, Slug Comparison returned in 2025 with the energetic A Battle to the End Fought on the Edge of a Knife, described by Mandatory Music as “modern, emotionally rich, an album with just enough grunge to hit us right in the feels.”

The upcoming EP, Cold in Cold out, due out on September 10, 2026, drops the energy to a dirge-like pace, opening with an acoustic song inspired by Nirvana’s “Something in the Way.”

Discography:
2026 – Cold in Cold out – EP
2025 – A Battle to the End Fought on the Edge of a Knife – album
2019 – When You Were Living Here – album
2014 – Self-titled – album

0 EPK – Ombra – Night Terror (Hysteria Entertainment) (2026)

August 2, 2026
by Asher
· EPKs · Ombra · Uncategorized

EPK – Ombra – Night Terror (Hysteria Entertainment) (2026)

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

“We wrote this EP as a reflection of our own experiences, feelings, and emotions throughout the last few years. The world has gone through so much change, turmoil, and war; this EP is our commentary on some of the major events of the last decade. Our objective is to encourage others to explore their own minds, make their own opinions, and live true to themselves. This EP reflects our thoughts and observations. We encourage all individuals to express themselves freely through art, speech, and any medium they see fit.” – Ombra

For fans of Power Trip, High On Fire, Motorhead, Mastodon, Testament

Ombra.band | Facebook.com/people/OMBRA/61582909783052/ | Instagram.com/@abandcalledombra | Youtube.com/@ombraband

Spotify | Apple Music

EP Pre-Save – https://too.fm/eab92od

“OMBRA emerges in ‘Hysteria’ as a force that transforms social chaos into high-impact art. Advancing with the brutality of thrash metal and the structure of hard rock, the track shapes a sound that feels like both a siren and a sentence at the same time. Sharp and relentless, the riffs dialogue with drums that tear through the silence, while the vocals echo indignation and lucidity, a manifesto in the form of distortion. The band builds tension with precision: there is weight, but also clarity; fury, but control.” – Roadie Metal

“Delivering high-quality extreme metal that blends elements of thrash metal with other influences full of raw aggressiveness, a cinematic atmosphere with no soft edges, like a punch to the gut!” – Metal Junkbox

“From the moment we hear the sound of sirens, gunshots, and helicopters flying overhead, we know we’re going to encounter a strong track both in sound and lyrics, because the soundscape they create from the very first seconds already feels dense… the drums and guitar move between agility and the creation of a track full of suspense and tension.” – Poppunkers

‘STITCHES’, the new single from the Canadian trio OMBRA, arrives like an open cut: direct, intense, and impossible to ignore. The song crosses the border between hard rock and thrash metal with aggressiveness, transforming psychological tension into dense and precise sound.” – Roadie Music

“OMBRA is an incredible discovery! A band that shows us metal is more alive than ever… it is the perfect soundtrack to start a mosh and let out all our anger. It maintains brutal riffs worthy of any Metallica fan, an imposing guttural voice… it is 100% recommended!” – End Sessions

“I really felt it wasn’t a song made to sound pretty. It’s dark, heavy, and direct… The story it tells ,a woman who keeps reconstructing herself to fit in, hit me hard… It’s not a song that accompanies you in the background; it’s one that confronts you. It ends and leaves you with that knot in your chest.” – Rockola Indie

“Stitches’ hits hard with a dark and visceral vision of the oversexualization of women and the price of chasing perfection… It is raw, uncomfortable, and impossible to ignore.” – Poppunkers

“Stitches’ explores the limits between obsession, beauty, and self-destruction. The track dives into the mind of someone who seeks perfection at any cost… Musically, it combines aggressiveness and atmosphere, with a fast, dense, and confrontational sound… a sharp and suffocating sonority that amplifies the emotional tension. ‘Stitches’ transforms psychological horror into sonic impact.” – Metal Never Die

“The band delivers one of their darkest and most intense compositions to date. The last single before the release of the EP Night Terror, the track dives deeply into themes such as dependency, paranoia, and the destructive consequences of escaping reality. Combining dense and melodic passages with explosions of weight and aggressiveness, creating a sound experience that is as engaging as it is disturbing.” – Metal Junkbox

‘Blue Dream’ delivers suffocating, volatile metal with heavy riffs depicting psychological terror, chemical dependency, and mental collapse in a dense, cinematic sound.” – Whiplash

Band: Ombra
Album Title: Night Terror
Release Date: September 14, 2026
Label: HYSTERIA ENTERTAINMENT INC.
Distribution: TOO LOST
Genre: METAL
Location of Band: MONTREAL, QC, CANADA

Track Listing:
1. HYSTERIA (4:15)
2. STITCHES (4:43)
3. BLUE DREAM (3:46)
4. NIGHT TERROR (5:44)
5. SO IT GOES (3:06)

EP Credits:
• All songs performed by: GIUSEPPE CRINITI, MARCO SISTI, NICO-ANGELO SISTI, SASHA DA COSTA
• All songs written by: GIUSEPPE CRINITI, MARCO SISTI, NICO-ANGELO SISTI
• Produced by: GIUSEPPE CRINITI
• Mixed by: JORDAN BARRILARO and JF-DAGENAIS
• Mastered by: JORDAN BARRILARO
• Album Artwork by: OMBRA
• Are you a Member of SOCAN
• Canadian Content (MAPL)

Album and Live Band Line Up:
GIUSEPPE CRINITI – VOCALS/LEAD GUITAR
MARCO SISTI – RHYTHM GUITAR/BASS
NICO-ANGELO SISTI – DRUMS

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

About The Album Artwork:

The album’s artwork reflects phobias and fears of individuals, and how the smallest details can turn dreams into night terrors

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

The album as a whole is intended to be listened to from track 1 through track 5, taking the listener on an experience of a range of emotions and feelings, with the climax being the intense fear of a NIGHT TERROR.

Track by Track (LYRICALLY & MUSICALLY):

1. HYSTERIA: A powerful introduction to the album, which fuses raw aggression, cinematic atmosphere, and unapologetic honesty. HYSTERIA is a reflection on the harsh realities of the modern world, discussing government control and media influence on the general population.

2. STITCHES: A haunting exploration of obsession, beauty, and the price of transformation. The track digs into the psychological spiral of chasing perfection, where flesh becomes a canvas, pain becomes currency, and identity fractures under the knife.

3. BLUE DREAM: A suffocating descent into chemical escapism and psychological collapse. The track drags listeners through a world where fleeting highs mutate into permanent hauntings and paranoia. The line between dependency and possession disappears completely. BLUE DREAM captures the feeling of losing control in slow motion. The song spirals through vivid imagery of abandoned homes, waking nightmares, and unseen forces lurking beneath intoxication, transforming substance abuse into something almost supernatural.

4. NIGHT TERROR: Is a play on Murphy’s Law: everything that can go bad will go bad. A metaphor for any force that seizes the mind, strips control, and refuses to release its grip. A visceral depiction of night terrors (and the mental freefall that can accompany them). The song tracks the progression of an episode that feels both physical and existential. The refrain turns the terror into a forced spectacle; the sufferer is both a victim and captive audience of their own mind. It does not offer resolution or comfort; the terror simply owns the speaker by the end.

5. SO IT GOES: An instrumental piece that takes the listener on a journey through the reflection. Concluding the intense feelings of a NIGHT TERROR where the final message is a reminder that no matter the experiences, good or bad, keep going, bury the hatchet, make peace and live… so it goes.

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STORY ANGLES / FUN FACTS ABOUT THE BAND

1. G and Marco walked away from their hard-rock/prog project NRTH in late 2020 specifically to write heavier music. Nico (Marco’s cousin and former Hidden Pride drummer) joined them. They all grew up together in Lachine, went to the same schools, and were already family friends — making the formation feel inevitable rather than calculated. This is the cleanest “local Montreal thrash origin” story.

2. A true front-to-back conceptual EP about fear and loss of control

Night Terror is deliberately sequenced as one continuous experience. It moves from societal panic and media/government control (Hysteria), through obsessive self-destruction (Stitches) and chemical freefall (Blue Dream), into pure mental seizure (Night Terror), before resolving in the instrumental reflection So It Goes. The band wants listeners to hear the full arc, not just singles.

3. The lyrics come straight from lived experience and observation of the last decade’s turmoil. Themes include media manipulation, the price of chasing perfection, chemical escapism turning into possession, and the feeling of being trapped inside your own mind. The EP’s stated goal is to push people to think for themselves and express freely, not just headbang.

4. Night Terror treats the title track (and the EP as a whole) as a pure expression of Murphy’s Law applied to the psyche: everything that can go wrong inside your head will go wrong, and it won’t let go. It’s less about external horror and more about being both the victim and the captive audience of your own mind.

5. Marco and Nico are first cousins.

6. G and Marco have grown up together since they were toddlers; their families came to Canada from Italy together and have been best friends their entire lives.

7. JF-Dagenais of Kataklysm did the first mix of HYSTERIA

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

OMBRA is a Montreal‑based metal trio forged from lifelong friendship, shared roots, and a mutual drive to create heavier, more honest music. Formed by Giuseppe “G” Criniti (vocals/guitar), Marco Sisti (guitar/bass), and Nico‑Angelo Sisti (drums), the band grew naturally out of years spent growing up together in Lachine—attending the same schools, sharing family ties, and eventually breaking away from their previous projects to carve out a new identity. In late 2020, G and Marco departed their hard‑rock/progressive group NRTH to pursue a heavier direction, while Nico, an acclaimed drummer in the local scene and Marco’s cousin, had just left Hidden Pride. Their histories made OMBRA feel less like a new band and more like an inevitable reunion.

OMBRA’s sound is loud, energetic, groovy, exciting, and fun, blending old‑school thrash, sludge, groove metal, and touches of psychedelic rock into a modern, high‑impact style. Influences such as Power Trip, High On Fire, Motörhead, Mastodon, Testament, and Rammstein shape their sonic backbone, while the band’s emotional honesty and rhythmic focus give their music a distinct personality. Every track begins with the heartbeat, the rhythm section, before evolving through long jam sessions, layered melodies, and sprawling solos that eventually crystallize into fully formed songs.

Lyrically, OMBRA draws from real‑world experiences, observations, and the emotional turbulence of the last decade. Their upcoming EP, Night Terror, is a conceptual front‑to‑back experience designed to be heard in sequence. Written between 2021 and 2026, the record reflects the band’s collective response to global turmoil, personal challenges, and the psychological weight of modern life. Each track explores a different facet of fear, control, obsession, escapism, and mental collapse, culminating in the EP’s namesake, a visceral depiction of a night terror and the loss of control that accompanies it.

The album’s artwork mirrors these themes, visualizing phobias, subconscious fears, and the small details that can turn dreams into nightmares. Musically, the EP moves from raw aggression and cinematic tension to suffocating introspection and finally toward reflection, ending with the instrumental So It Goes, a reminder to keep moving forward despite chaos.

OMBRA’s live performances are high‑energy, communal, and cathartic. The band promises that audiences will mosh, dance, and have a great time, experiencing both the physical impact of their riffs and the emotional weight behind their themes. Their sound continues to evolve with their moods—some days aggressive and loud, other days mellow and introspective, but always unapologetically honest.

With strong international reception to their first singles and a fully realized conceptual EP on the horizon, OMBRA stands poised to become one of Montreal’s most compelling modern metal acts. Their mission is simple: encourage listeners to explore their own minds, think freely, and express themselves without compromise.

Discography:
2026 – NIGHT TERROR – EP

0 EPK – Wooden – Veil of Mankind (2026) (single)

August 2, 2026
by Asher
· EPKs · Wooden

EPK – Wooden – Veil of Mankind (2026) (single)

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

We think fans will be surprised just how extreme we can go. This single (Veil of Mankinf) is by far our most ambitious song; it’s very fast and has a lot more of a progressive metal influence compared to the songs on our previous album.” – Wooden

For fans of Metallica, Iron Maiden, Testament, Judas Priest, Pantera

Linktr.ee/woodenmetalband | Facebook.com/WoodenMetalBand | Instagram.com/wooden_metal_band

Youtube.com/@WoodenTheBand | Tiktok.com/@wooden_metal_band

Woodentheband.bandcamp.com | Spotify

Single – https://distrokid.com/hyperfollow/wooden/veil-of-mankind

‘’Amazingly well executed – Mixes fast paced moments reminiscent of eighties Speed metal with calibrated vocals and a striking bass/drum duo’’ – Lifecode.666 Magazine

Band: Wooden
Single Title: Veil Of Mankind – 7:20
Release Date: August 1st 2026
Label: Self-Release
Distribution: Distrokid
Genre: Heavy/Thrash Metal
Location of Band: Montreal, QC, Canada

Single Recording Credits:
• All songs performed by: Bilal El-Khatib, Youssef El-Khatib, Darius Cristian Roman, Émile Dessureault, Rémi Vaillancourt
• All songs written by: Bilal El-Khatib, Youssef El-Khatib, Darius Cristian Roman, Émile Dessureault, Rémi Vaillancourt
• Produced by: Antony Lepage, Bilal El-Khatib, Youssef El-Khatib
• Mixed by: Antony Lepage
• Mastered by: Antony Lepage
• Single Artwork by: Julian Mortuus

Band Line-up:
Youssef El-Khatib – Vocals
Bilal El-Khatib – Lead Guitar
Darius Cristian Roman – Rhythm Guitar
Émile Dessureault – Drums
Rémi Vaillancourt – Bass

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

About The Single Artwork:

(Bilal El-Khatib – Guitar ) The single artwork for Veil Of Mankind is inspired by multiple depictions of Plato’s allegory of the cave. We told the artist we wanted something sinister, organic, and not overproduced. When the artwork looks like what the song sounds like, you know it’s been done right.

About The Single (LYRICALLY & MUSICALLY):

(Bilal El-Khatib – Guitar ) Veil Of Mankind is a 7-minute journey of fast-paced riffing through melodic interludes and blistering guitar solos, while describing the story of a cave dweller, discovering the truth about his underground life and escaping to experience the real world. Personally, I feel like it is the most ambitious song we have ever written to date.

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BAND STORY ANGLES / FUN FACTS:

1. (Bilal El-Khatib – Guitar ) Most of our best ideas are complete accidents: someone just noodles away on their instrument, and it ends up being the exact thing we need, or turns into a song or a guitar solo. On our first album, the main riff from The Monster was just written for an amp simulation software we were trying to test.

2. (Bilal El-Khatib – Guitar ) Sometimes we spend so much time disagreeing on a musical idea that does not matter at all, like the volume of a cymbal, or the length of a vibrato. We know that nobody will notice it, but as musicians we tend to obsess over the smallest details. That’s just part of being a musician, and we are trying to be more loose about it.

3. (Bilal El-Khatib – Guitar ) We once played at a venue back in 2023 that had no address, was full of second-hand smoke, had no windows, no working speakers, yet we had the time of our lives. Usually, the more underground the place, the more fun it is.

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Wooden is a 5-piece heavy metal band formed in 2020 in Montreal, Canada. Their sound is a blend of traditional heavy metal from the 80s and modern metal from the 2000s, often being called a ‘’heavier version of Iron Maiden’’.

The band released their self-titled debut album ‘’Wooden’’ on October 18th, 2024, gaining over 12000 streams across 45 different countries on Spotify, Bandcamp, YouTube, and Apple Music. The album has been featured on multiple channels, including The New Wave Of Traditional Heavy Metal, The Circle Pit, Decibel Metal Radio show CIBL 101.5, and GMPQ Media.

In 2025, Wooden played in the first round of the Wacken Metal Battle Canada and has since been playing multiple shows across Quebec Province, including the first edition of the Montreal Power Fest, and has opened for the USA touring band THE ANCHOR.

The band is currently in the process of writing their second EP, with a more progressive-focused sound, and is set to release their newest single in the summer of 2026.

Wooden has one mission: Carry the torch of heavy metal forever.

Discography:
2026 – Veil Of Mankind (Single)
2025 – Children Of The Hills – Acoustic Version (Single)
2024 – Wooden – (Self-Titled Album)
2024 – The Monster – (Single)

Shared Stage with:
THE ANCHOR (USA)
SELIAS (ONTARIO CANADA)
EXECUTION DAY (USA)
ALONG CAME A SPIDER (USA)
EXUUL (QC CANADA)
TROLLWAR (QC CANADA)
DROWNING IN BLOOD (QC CANADA)
NOOR (QC CANADA)
BLACK ABSINTHE (ONTARIO CANADA)
SOULTHIEF (QC CANADA)
BURNING ATTIC (QC CANADA)
DESCAPE (QC CANADA)
SHROUD (QC CANADA)
CRIES OF BLOOD (QC CANADA)
EXORCIST (ONTARIO CANADA)

TOURS AND FESTIVALS:
2023 – WINTER MASSACRE – Montreal, QC
2023 – THE ANCHOR US/CANADA TOUR – Montreal, QC
2024 – SELIAS SEPTEMBER SANITY TOUR – Montreal, QC
2025 – WACKEN METAL BATTLE CANADA – Montreal, QC
2025 – MONTREAL POWER FEST – Montreal, QC
2026 – SOUNDS FROM HELL METAL FEST – Montreal, QC
2026 – NAIL BITE US/CANADA TOUR – Montreal, QC

0 Montreal Heavy Metal WOODEN Takes A Bold Progressive Leap Forward w/ New Single “Veil of Mankind”

August 1, 2026
by Asher
· Music News · Wooden

NEWS RELEASE

Montreal, QC – August 1, 2026

Montreal Heavy Metal WOODEN Takes A Bold Progressive Leap Forward w/ New Single “Veil of Mankind”

Montreal heavy metal force Wooden returns this summer with “Veil of Mankind,” the first single from the band’s forthcoming EP, to be released at a later date. Being unleashed August 1st, the track marks the most ambitious and extreme chapter in the band’s evolution, a fast, melodic, progressive metal journey inspired by Plato’s Allegory of the Cave and shaped by the band’s sharpened, collaborative songwriting.

Fans can expect a familiar Wooden identity, but pushed into new territory that is heavier, faster, and more musically mature as “Veil of Mankind” delivers a 7‑minute narrative of blistering riffs, soaring melodies, and atmospheric interludes.

“This is by far our most ambitious song. It’s very fast and has a lot more progressive metal influence than the songs on our previous album. It’s heavy, but it has melodic moments where it makes the listener feel like they are floating into another universe, similar to the classics from Pink Floyd,” says guitarist Bilal El‑Khatib.

Vocalist Youssef El‑Khatib adds:

“This single feels like a familiar breath of fresh air; it anchors our signature style while expanding on emotional and conceptual reach.”

Originally built around a long acoustic intro, the song sat untouched for months until inspiration struck.

“At first, the song didn’t have a chorus. Eventually the ideas just flew naturally, and the song was finished in two weeks,” says Bilal.

The band’s collaborative writing process remains central: Bilal lays the foundation, Youssef pushes vocal and lyrical direction, and the rest of the band shapes the final structure with riffs, drum patterns, and melodic details.

The single’s artwork mirrors its conceptual depth, drawing from multiple depictions of Plato’s cave. Wooden requested something “sinister, organic and not overproduced,” ensuring the visual identity reflects the song’s atmosphere.

The upcoming EP promises a more progressive‑leaning direction, with intricate compositions and refined musical maturity.

Since forming in 2020, Wooden has forged a sound that merges traditional heavy metal with modern intensity, earning them the reputation of a “heavier version of Iron Maiden.” Their debut self-titled album drew international attention and radio support, while their high‑energy, crowd‑driven performances continue to elevate their profile. With earworm riffs, face‑melting solos, groovy bass lines, soaring vocals, and unforgettable audience interaction, Wooden has become a standout presence on the live circuit, including appearances at Wacken Metal Battle Canada, Montreal Power Fest, Sounds From Hell Metal Fest, and a support slot for U.S. touring act The Anchor.

Listen to “Veil of Mankind” at the following links:

Spotify – https://distrokid.com/hyperfollow/wooden/veil-of-mankind

Lyric Video – https://www.youtube.com/watch?v=wM_dudOV0Qc

More info: https://linktr.ee/woodenmetalband

-30-

’Amazingly well executed – Mixes fast paced moments reminiscent of eighties Speed metal with calibrated vocals and a striking bass/drum duo’’ – Lifecode.666 Magazine

—
ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
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0 Sorcerous Folk Metal HRAFNABLÓT Unfolds Their Icelandic Epic w/ New Video “Dísablót” From Forthcoming Debut Album “Guðlaugar Saga”

July 31, 2026
by Asher
· Hrafnablót · Music News

NEWS RELEASE

Montreal, QC – July 31, 2026

Sorcerous Folk Metal HRAFNABLÓT Unfolds Their Icelandic Epic w/ New Video “Dísablót” From Forthcoming Debut Album “Guðlaugar Saga”

Photo Credit – Þórgnýr Einar Albertsson

Following the momentum of their first single “Svartigaldur”, a frostbitten, narrative‑driven sea‑shanty metal tale, Iceland’s sorcerous folk‑metal conjurers Hrafnablót proudly release their second single and music video, “Dísablót”, marking the next chapter in the unfolding saga behind the band’s forthcoming debut album “Guðlaugar Saga,” arriving in fall 2026.

“Dísablót was the first song we wrote together as a band. As such, we’ve had a long time to polish and refine it,” says the band.

Musically, the track surges with groovy, driving riffs, twin‑guitar harmonies, fast solos, and powerful vocal interplay, capturing the band’s signature blend of folk mysticism and dramatic metal intensity. Lyrically, it opens the album’s story: modern‑day protagonist Guðlaug, shy and alone at a Reykjavík bar after midnight, follows a beckoning fairy (Dís) to what she believes is an afterparty, only to awaken in the Icelandic settlement age, unsure whether she was drugged or transported by ritual.

The single’s artwork, illustrated by Ana Nikitina with layout by guitarist Mara Birna Jóhannsdóttir, depicts Guðlaug kneeling in a circle of flames, clutching a taser, encircled by ravens and framed with Icelandic magick runes known as Draumstafir.

Recommended for fans of Ensiferum, Nightwish, Wintersun, Skálmöld, and Eluveitie, listen to “Dísablót” at the following links:

Music Video – https://www.youtube.com/watch?v=7tI34l6OrGc

Add to your Spotify playlist – https://open.spotify.com/track/7tLMz9VCwdEii8mjs0NZwx

Bandcamp – https://hrafnablot.bandcamp.com/

A true epic, their forthcoming debut album “Guðlaugar Saga” blends Icelandic folklore, Sagas, magick, and folk‑metal tradition into a cohesive narrative concept record. The story follows Guðlaug, a modern woman hurled into the settlement age with nothing but her clothes and a taser, navigating battles, celebrations, kidnapping, fate, and the choice between returning home or reshaping history.

Sonically, “Guðlaugar Saga” contrasts darkness and light, ugliness and beauty, past and present, weaving together Icelandic folk music, Nordic folk metal, NWOBHM, gothic influences, and extreme metal to create a sound that is sorcerous, folky, dramatic, melodic, and contrasting.

The album will feature seven full songs plus two spoken‑word pieces, including the seer’s prophecy in Spádómurinn and the chieftain’s post‑battle reflection in Kappar, meyjar, and komendur. Each track contributes to the overarching Saga, from the celebratory folk‑metal revelry of Fögnuður to the 11‑minute multi‑movement finale Örlagavegur.

Hrafnablót was formed in Reykjavík, Iceland, in fall 2024 and channels the contrasting light and darkness of Icelandic magick, Sagas, and folklore. Their music merges heavy riffs, folk influences, haunting melodies, and both clean and harsh vocals, a sound deeply rooted in Icelandic myth and landscape.

Since forming, the band has become a striking presence in Iceland’s live scene, performing at Íslenski rokkbarinn, Lemmy, BIRD, and the Icelandic Sorcery Festival. Their shows are ritualistic experiences, rich with visuals, storytelling, and dramatic intensity.

First Single – “Svartigaldur” at https://www.youtube.com/watch?v=aDPpHb_Qf1s

For more info:

https://hrafnablot.is/

https://www.facebook.com/hrafnablot/

https://www.instagram.com/hrafnablot

-30-

“Iceland’s Hrafnablót and debut single ‘Svartigaldur’ a heavy piece of pagan folk metal; for the tale of a time traveller lashed to Viking mast accused of being a witch. With symphonic metal richness, black metal energy, traditional melodies, theatrical vocal harmonies and soaring, clean female vocals, it’s quite a ride!” – Loud Enough Magazine

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0 EPK – Cordyceps Corpse – Perverse Craving For Rotting Corpses (2026) (Gore House Productions)

July 30, 2026
by Asher
· Cordyceps Corpse (Gore House Productions) · EPKs

EPK – Cordyceps Corpse – Perverse Craving For Rotting Corpses (2026) (Gore House Productions)

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

For fans of Devourment, .357 Homicide, Cephalotripsy, Kraanium, Corpse Pile

Band: Cordyceps Corpse
Album Title: Perverse Craving For Rotting Corpses
Release Date: October 9, 2026
Label: Gorehouse Productions
Genre: Brutal Death Metal, Slam, Goregrind
Location of Band: Ohio, USA

“This album, I really wanted to dive more into the 90’s/2000’s brutal death metal sound. I really think that era was the peak for bdm and Slam. I focused on writing a little bit more technical riffs than just straight slam riffs. I feel like it gets to a point where if a song is nothing but slams, it starts to sound like the next song. I think what makes a slam riff hit is context. Like a basic ass slam riff sounds cool as fuck after crazy fast riffs or whatever. 90’s/2000’s era, I feel, does this well with like switching stuff off and just being fast too.

Lyrically, I also want to lean more towards that era. I feel like things were more serious and kinda like brutal. Like, I kinda like reading some fucked up lyrics, it’s like a horror movie for music. That was a big inspiration for writing the lyrics for this album. Also, Aileen Wuornos, she kinda gave some inspiration for the album’s theme lyrically. Also, I just wanted to do something different; BDM/slam always has men brutalizing women, so for this album, I flipped the script.” – Nani Porter – Cordyceps Corpse

Gorehouseproductions.com | Facebook.com/GoreHouseProductionsOfficial | Instagram.com/gorehouseproductions | X.com/GoreHouse

Facebook.com/profile.php?id=61580310663974 | Instagram.com/cordycepscorpse | Tiktok.com/@cordycepscorpse | Youtube.com/@cordycepscorpseband

Album pre-save – https://orcd.co/perverse-craving-for-rotting-corpses

“USA’s Cordeyceps Corpse and ‘Forced Out Of Existence,’ a low and brutal piece of savage gore-grind; down-tuned chugging guitars, low growled vocals, and an 80s video nasty horror vibe!” – Loud Enough? Magazine

CORDYCEPS CORPSE REVIEWS & MENTIONS

“The solo project of multi-instrumentalist and deathgrind visionary Nani, Cordyceps Corpse delivers a grotesque cocktail of guttural slam, sludged-out goregrind, and DIY fury” – Necrozine

“a one-woman slam/goregrind wrecking ball spilling over with disgusting grooves, guttural violence, and Nani’s fully unhinged DIY vision. It’s her rawest, most chaotic statement yet, now upgraded with live drums, sharper production, and a brand new video for the title track that leans hard into the project’s anti-authority, horror-splattered energy. If you’re into thick Devourment-style slam filtered through a solo creator who writes, records, mixes, masters, designs, and performs everything herself, this reissue is worth diving into — chaotic, filthy, and completely owned from the ground up.” – IDIOTEQ

“In Slam / Brutal Death it is often the case that there is only one man behind it, but this is Nani Porter, a woman who takes care of everything. After a few singles and EPs, the lady presents her debut and a sample part gets tough, but not so quickly. The snare is set just right for me on the drum machine and you can hear it stapling wonderfully. I also think it’s great that the woman gets so deep with her voice and in the end there’s a lot of shooting. „From Flesh to Fluids“ starts at a crisp up pace and then bludgeons like crazy and Nani’s gargling is so intense that it almost ends in squeals. „Decapitation“ pushes forward properly before continuing at a pressing mid/slam pace and then sprinkling in a few shooting parts. „Slowly Poisoned“ lives up to its name because it is a tough and crawling track, after which „Battery Acid Enema“ is also played rather clumsily, But here and there it also goes up a gear. „Stomach Bile for Miles“ starts like a battlefield, but then drops more and more with clever breaks. We find rich stomping and robust riffs in „Family Photo with Hella Cadavers“, which then arrives at a crawling pace and rough squeals. „Left Over Limbs for Later“ is pure slam death, there’s a lot of crawling going on here, the coarse vocals have power and power that it gets through your bones. „Tools for Torture“ also holds back when it comes to tempo, but when it comes to brutality the track is high up and in the end „“Skin Tortilla“ is a really crushing song. For me, what the lady is pulling out of the hat is strong” – FFM-Rock

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”

Track Listing:
1. Perverse Craving for Rotting Corpses(2:48)
2. Forced Out Of Existence (1:54)
3. Thoracic Bifurcation (2:42)
4. Ishmael’s Demise (2:07)
5. Postmortem Ejaculation (2:22)
6. Fermented Remains (1:57)
7. Skinned Alive and Left to Die (2:18)
8. Costectomy Torture (2:01)
9. Penetrating Ocular Trauma (1:56)
10. Urophagia (1:55)
11. Suspended Chainsaw Gastrostomy (2:08)
Album Length – (24:15)

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: Adam Nevler (GruesomeGraphx)

Album Band Lineup:
Nani Porter – Guitar, Bass, Drums, Vocals

Live Band Line Up:
Nani Porter – Guitars & Vocals

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

About The Album Artwork:

The album artwork was done by Adam Nevler (GruesomeGraphx). It’s a beautiful and gruesome piece of art that I thought fit the album perfectly.

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

The album is very much the journey of a Glock-loving, necrophilic, cannibal, misandrist woman. It’s like her twisted diary. Think of Aileen Wuornos, but like with superpowers basically, and she gets more powerful from the victims she consumes

Track by Track (LYRICALLY & MUSICALLY):

1. Perverse Craving for Rotting Corpses
Perverse craving is intense. It’s the opening track for the album; it starts off with an interview with Aileen Wuornos, followed by a pretty intense few opening riffs, then it gets into the slams. The lyrics revolve around a supernatural serial killer waking up from her slumber, thinking about her last meal, then becoming hungry again and needing to find a new victim.

2. Forced Out Of Existence
The song starts with slow, held-out chords, then gets into the slams. Lyrically, I just wanted to write something wild and kinda fried. I think I accomplished that, haha.

3. Thoracic Bifurcation
I was watching re watching Terrifer and hitting the bong when I wrote the lyrics to this one. Thats how I got the idea of being like suspended upside down and being turned into a human bong. Again same formula for song structure, chaos, and brutality into heavy groove/slams.

4. Ishmael’s Demise
This song has one of my favorite riffs of the album. The entire song was written around it. I didn’t want this entire album to be low-IQ riffs, so I did my best to add some tech into my death metal riffs. Not gonna share the lyrics, but it’s named after this musty ass dude named Ishmael. He chased my girlfriend and me, threatened to shoot us, and stole my gf’s phone. I fucking hate him.

5. Postmortem Ejaculation
This song is a lot of fun. It’s about a woman who lures men from her OnlyFans to her place and literally edges them to death. And then they cum after they die, and she eats them. Hella groovy slam-filled track. I enjoyed making this one, and I hope people like listening to it.

6. Fermented Remains
This one turned out way better than I planned. The song was written off what I guess is technically the second riff of the song? The palm-muted riff into the goregrind style riff was originally the whole song, but I needed to add to it, so I went with the house/EDM method and did like a build-up, if that makes sense? Kinda like how in some EDM songs they don’t play the full melody until like after the drop. I took the main riff and just paused on the pinch harmonic. I dunno if that makes any sense, but I like it. Lyrically, the message is very clear. Fuck Ice. They’re fucking Nazi’s. Fuck colonization. They’re literally stealing people while on stolen land.

7. Skinned Alive and Left to Die
Lyrics to this song are basic bdm/slam shit. Torture, murder, gore, all that, while blast beats and heavy scooped guitars chug in the background. Real classy stuff in this one.

8. Costectomy Torture
This one is about snorting lines of crushed ribs. Musically, I did something a little different after I slowed down the song, and then slowly raised the tempo back to the original. Really stoked on how it came out.

9. Penetrating Ocular Trauma
This song is super slammie. Big slam riffs throughout the song. Lyrically, the song is about the same woman from the other songs enjoying a walk after a meal. She’s a little drunk and wants to test out her new gun, she made that shoots dicks. So she just walks around shooting people with her dick gun and gets one person in the eye, giving them ocular trauma.

10. Urophagia
This one is the piss-drinking anthem, a lot of fun to play. A bunch of breaks, I was like hyper fixated on like bass breaks while writing the music for this album.

11. Suspended Chainsaw Gastrostomy
This one has a really fun riff in it. I just wanted to make something fast to contrast the slow intro. Lyrics same shit: murder, gore, and everything nice.

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

FUN FACTS – STORY ANGLES:
1. A lot of people think I came up with the name Cordyceps Corpse because of the show The Last of Us. But it actually came from a nature show I was watching, and these ants got infected with Cordyceps. I thought that was crazy: a fungus could hijack that ant’s motor functions, and the ants, I guess, are conscious and aware the entire time, but can’t do anything. The idea of being a prisoner in your own body is wild. So naturally, I just added Corpse to the end and got Cordyceps Corpse.

2. On Cordyceps’ older releases, I used an e-kit for the drums, and I had the snare cranked so crazy in the module, trying to achieve that pin, but I honestly look back and think it sounds comical. Like the snare sounds like a cartoon version of a dodgeball snare.

3. I feel like this isn’t news to the people who know me personally, but the reason why I was able to use acoustic drums was because of my friend Joelle. She’s the vocalist for Fleshpile, which is a band everyone should definitely check out, but she has a few drum sets in her basement, and it was taking up space, and she said I could grab whatever. It was literally the most perfect thing. She had a Yahmah set in there, so I took that and slowly started adding shit. I was working at Sam Ash at the time, and they were going out of business, so anything that had a slight defect and needed to be repaired had to be thrown out. So I snagged some cracked cymbals and just used a grinder to fix them later on. Anyways, huge shout out to Joell’e; she’s the homie, love her.

4. Cordyceps Corpse isn’t technically a band; it’s just one woman (me) making noise. I write and record everything in my room. I feel like most people know that. But everyone once in a while, someone asks what I play in Cordyceps, and I’m like “everything”.

5. People ask me about my logo a lot, like who did it, and I actually made the logo on my iPad. I had originally paid someone to make one, but they were taking forever. So I bought a refurbished iPad, watched a bunch of YouTube videos, and made one in like a week. No hard feelings toward the other person; they ended up sending the money back, and they just had a lot going on, I guess, so that’s totally understandable.

6. I have four cats: Salami, Cleo, Ozzy, and Bowie. Cleo runs the house and bullies her brothers.

7. The location where “From Flesh To Fluids” was filmed was an abandoned church at night.

8. More cat facts. Cleo has been in the room for every song I’ve made. She literally follows me everywhere.

Cordyceps Corpse – Nani Porter (Guitar & Vocals)

Photos by: Thalia Kennebrew

Cordyceps Corpse is the solo sonic nightmare of Ohio-based multi‑instrumentalist Nani Porter, a one‑woman force mutating brutal death metal, slam, and goregrind into something feral, chaotic, and unmistakably her own. Born from impatience, obsession, and a refusal to wait for a “real band,” Nani launched the project in late 2023 after years of making beats for others left her craving something far more visceral. One day, she simply said, “fuck it, I’ll do it myself,” recorded a single in her room, and Cordyceps Corpse erupted into existence.

Following the Gore House Productions reissue of From Flesh To Fluids, a grotesque and unhinged debut drenched in horror‑film grime and real‑world depravity, Cordyceps Corpse now enters its next evolutionary stage. In 2026, Gore House Productions will unleash the project’s most violent and ambitious work yet: Perverse Craving For Rotting Corpses, an album that pushes Nani’s fast‑and‑filthy songwriting into even more chaotic, technical, and cinematic extremes.

Where From Flesh To Fluids reveled in raw, improvised gutturals and sludge‑thick slam riffs, Perverse Craving For Rotting Corpses dives deeper into contrast and structure. Nani wrote 26 songs in a whirlwind month‑and‑a‑half burst of inspiration, ultimately carving the chaos down to 11 tracks that feel like watching a truly fucked‑up movie unfold in audio form. The album swings violently between blistering, low‑IQ tremolo insanity and massive, groove‑soaked slams, each riff placed for maximum impact. Influenced heavily by the 90s/2000s brutal death metal era, she considers the genre’s peak; Nani incorporates more technicality, odd time signatures, and deliberate pacing while preserving the unhinged spirit that defines Cordyceps Corpse.

Lyrically, this record marks a shift. Instead of pure rhythmic gutturals, Nani wrote actual lyrics, dark, disturbing, and inspired by crime interrogation footage, horror cinema, Darby Valentine videos, and the grim psychology of figures like Aileen Wuornos. In a genre oversaturated with men brutalizing women, she flips the script entirely, crafting a narrative world where the violence is reframed, recontextualized, and intentionally unsettling.

Cordyceps Corpse’s sound can be summed up in five words: fast, brutal, gross, gruesome, family fun. Drawing influence from Devourment, .357 Homicide, Cryptopsy, Last Days of Humanity, and Brodequin, Nani channels chaos into something rhythmically guttural, structurally unpredictable, and emotionally feral. The transition from electronic drums to a scavenged acoustic kit added a new layer of organic violence to her recordings, further sharpening the project’s identity.

Live, Cordyceps Corpse is a spectacle all its own, Putrid Pile style. It’s just Nani on stage, often in the crowd with her guitar, inviting fans to scream into the mic, turning every show into a communal, sweaty, cathartic horror party. Everything, from the riffs to the mixing to the logo drawn on a refurbished iPad, is done entirely by her. Cordyceps Corpse isn’t a band. It’s a one‑woman horror machine.

With Perverse Craving For Rotting Corpses, Nani Porter cements Cordyceps Corpse as one of the most exciting, deranged, and authentically DIY forces in modern brutal death metal. Faster, filthier, and more unhinged than ever, this new chapter is a celebration of chaos, contrast, and pure sonic depravity, exactly the way she intended.

Shared Stage with: Glorious Depravity, Wretched Blessing, Brazilian Back Massage, Sissy Sissy Sissy

Discography:
2026- Perverse Craving For Rotting Corpses
2025- From Flesh to Fluids- LP
2025- Spider Birth Reingurgitation-Album Feature
2024- Merry DICKMAS MIXTAPE, Vol. 1- Feature
2024- Advanced Torture Tactics – EP
2024- Two Pak – EP
2024- Road Kill Kush – Single
2024 – Putrid Fetish – LP
2024- Corpse Collector – EP
2023- Spliff Spit – EP
2023- F.M.P.F.T.P. – Single

0 Ottawa’s CAPITAL PUNISHMENT Opens Band Submissions For 2026 Festival Dates!

July 30, 2026
by Asher
· Capital Punishment Festival (Ottawa) · Music News

NEWS RELEASE

Montreal, QC – July 30, 2026

Ottawa’s CAPITAL PUNISHMENT Opens Band Submissions For 2026 Festival Dates!

Capital Punishment Festival is now officially opening band submissions for the 2026 edition, taking place November 27–29 across Ottawa’s ByWard Market. Presented by Chord Productions, the third edition expands once again with more venues, more artists, and even more chaos throughout downtown Ottawa.

Supported by Ottawa Tourism, Capital Punishment Fest continues its mission to amplify Canada’s underground heavy‑music community, uniting national acts and rising local talent for three nights of relentless, high‑energy performances. Previous editions have featured Blackguard, First Fragment, Lutharo, Spectral Wound, Martyr, Dopethrone, and many more.

Canadian bands interested in performing at this year’s festival are invited to submit materials for consideration. Capital Punishment Fest is seeking opening‑slot applicants from across the country, from emerging acts to seasoned underground performers ready to level Ottawa. All genres will be considered, including Metal, Punk, Hip Hop, EDM/Goth, Hardcore and Rock.

Band submissions are now open. Artists can apply HERE.

Festival Details:
Capital Punishment Festival
November 27–28–29, 2026
Ottawa, ON – ByWard Market
Multiple Venues
Presented by Chord Productions
Supported by Ottawa Tourism

More info: https://www.chordproductions.com/capital-punishment.html

– 30 –

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0 India’s SHIVERWOOD SHADE Explores the Depths of Anger and Isolation in “Divided By Hate” From Debut Album “Escaping Darkness”

July 30, 2026
by Asher
· Music News · Shiverwood Shade

NEWS RELEASE

Montreal, QC – July 30, 2026

India’s SHIVERWOOD SHADE Explores the Depths of Anger and Isolation in “Divided By Hate” From Debut Album “Escaping Darkness”

Indian alternative/groove metal outfit Shiverwood Shade have released the visualizer for “Divided By Hate”, one of the most explosive and emotionally charged tracks from their debut album “Escaping Darkness.”

“Divided By Hate” stands as the album’s most aggressive moment, an eruption of nu‑metal riffs, industrial tension, and raw emotional catharsis. The track dives deep into the destructive nature of internal and external anger, mirroring the album’s overarching journey from turmoil to resilience.

Watch and listen at https://www.youtube.com/watch?v=d8bcsMfYYiQ

Originally formed in Gwalior, Madhya Pradesh, India, Shiverwood Shade first made waves by winning major Indian college festivals including Spring Fest at IIT Kharagpur, IIIT Gwalior, and ITM. After years of evolution, the band underwent a dramatic rebirth, relocating 1,500 kilometres east to Kolkata in 2022 and rebuilding their lineup from the ground up.

This transformation mirrors the emotional narrative of “Escaping Darkness”, leaving behind old worlds, confronting inner turmoil, and forging a new identity with cinematic intensity.

Shiverwood Shade’s sonic identity blends nu‑metal, post‑hardcore, industrial electronics, and dark cinematic atmospheres into a hybrid they describe as Cinematic Metal. Their sound is, in their own words, a heavy electronic collision designed to feel like a movie soundtrack for your darkest thoughts.

Each track on “Escaping Darkness” is built with sweeping orchestral pads, tense synthwave textures, EDM‑style drops, and down‑tuned guitars, creating a soundscape that is both crushing and emotionally immersive. The album is a ten‑track emotional journey through inner conflict, healing, resilience, and personal growth. It blends crushing riffs, cinematic layers, haunting electronics, and soaring melodies, balancing heaviness with vulnerability.

The band explains:

“We wanted to create an album that listeners could experience from beginning to end, a journey through darkness, doubt, resilience, and ultimately hope.”

Recommended for fans of Linkin Park, Bring Me the Horizon, Story of the Year, Breaking Benjamin, and Architects, Shiverwood Shade’s “Escaping Darkness” (released Dec 26, 2025) is available at the following links:

Spotify – https://open.spotify.com/album/5Htt6Dl6p54M4bVfx2rUKl

Bandcamp – https://shiverwood.bandcamp.com/album/escaping-darkness-album

Track Listing:
1. Intro – 1:02
2. Pulling Away – 4:14
3. Facing Darkness – 3:53
4. Holding On – 3:37
5. Crawling Back – 3:54
6. Walking In Circles – 4:50
7. Alone – 3:12
8. Lost – 3:50
9. Haunted – 3:39
10. Divided By Hate – 4:06
11. Break Free – 3:21

Album Band Line-up:
Gaurav Ghosh – Vocal
Anupam Ghosh-Guitar
Saptarshi Basu-Bass
Manav Kundu-Keys
Sayan Pal-Drums
Monish Mallick-Guitar

Live Band Line-up:
Gaurav Ghosh – Vocal
Anirban Bhattacharya-Vocal
Anupam Ghosh-Guitar
Saptarshi Basu-Bass
Manav Kundu-Keys
Sayan Pal-Drums
Monish Mallick-Guitar

For more info:

https://www.shiverwoodshade.com/

https://www.facebook.com/swsprod20

https://www.instagram.com/shiverwoodshade/

-30-

“Shiverwood Shade’s song “Pulling Away” begins with melancholy synths before the guitars explode with a powerful mix of punk and nu metal riffs. – Skylight Webzine

“Escaping Darkness: Shiverwood Shade on Chaos, Catharsis, and a Modern Nu‑Metal Pulse” – Wall Mag

“Exploring themes of inner struggle, resilience and transformation, Escaping Darkness balances aggressive riffs with melodic passages and atmospheric synth layers. Tracks such as Crawling Back and Holding On showcase the band’s signature mix of raw intensity and emotional depth”. – Rock Street Journal, India

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0 Reminder – GRAVEMASS (ft. members of Zimmers Hole, 3 Inches of Blood, Revocation) Kick-Off Western Canada “This Is The Way 2026 Tour” + Loud As Hell Open Air Fest

July 30, 2026
by Asher
· GraveMass · Music News · Uncategorized

NEWS RELEASE

Montreal, QC – July 30, 2026

Reminder – GRAVEMASS (ft. members of Zimmers Hole, 3 Inches of Blood, Revocation) Kick-Off Western Canada “This Is The Way 2026 Tour”

Performing at Loud As Hell Open Air Festival 2026 w/ Fallujah, Allegaeon, Summoning the Lich, Crimson Shadows, Edge of Paradise, and more!

Photo Credit – Derek Carr

L-R – Destroyer of Souls – Drums – Bowels of Hell – Bass – Murderer of Colonizers – Guitar – Mayan Hate – Guitar – Lorde Heathen – Vocals

Fresh off the release of their debut album “This Is The Way,” West Coast extreme‑metal force Gravemass kicks off a run of Western Canadian tour dates for summer 2026. The trek, appropriately titled “This Is The Way Tour 2026,” will see the band unleash their ferocious live assault across British Columbia and Alberta from July 31st to August 8th and includes a performance at this year’s Loud As Hell Open Air Festival with Fallujah, Allegaeon, Summong The Lich, Crimson Shadows, Edge of Paradise and more (dates listed below).

The tour follows the eruption of “This Is The Way,” a debut forged from decades of West Coast metal lineage. Featuring members of Zimmers Hole, Punch Drunk, 3 Inches of Blood, Revocation, Just Cause, West of Hell, Savannah, Process, Subversion, and The Golers, Gravemass is the convergence of long‑standing forces within Vancouver’s extreme‑music underground.

Guitarist Mayan Hate, who wrote the album’s music in an intense two‑month burst, describes the project as a natural evolution among lifelong friends.

“We’re all West Coast metal heads who’ve known each other for decades. I wrote the music between breaks in other projects and showed it to Lorde Heathen. He immediately wanted in. From there, we recruited the rest of the band, guys we’ve all known forever.”

Vocalist Lorde Heathen also adds.

“Brutal, angry, fast, dark, and evil, this album delivers exactly that: an unrelenting barrage of sinister riffing, death‑metal vocal ferocity, and rhythmic devastation. It draws from the chaos of the modern world. All the lyrics come from the shit‑hole world order that exists right now.”

While “This Is The Way” was written by Mayan Hate with lyrics by Lorde Heathen, the band confirms that album two is already underway and will be a fully collaborative effort.

Known for channeling the ferocity of their influences, Slayer, Venom, Morbid Angel, Watain, and Napalm Death, Gravemass promises a live show that is nothing short of a full‑scale assault.

“The live show is where we bring it all together. We want to bring this experience to the masses,” says Lorde Heathen.

With “This Is The Way” unleashed March 6, 2026, via End Game Records Inc., Gravemass now turns its focus to the stage, marking the beginning of a new chapter in West Coast extreme metal. More music, more brutality, and a deeper collaborative evolution lie ahead.

Add to your Spotify Playlist – https://open.spotify.com/album/0ROzZyUacjjY7dC6xOwtg5

Bandcamp – https://gravemass.bandcamp.com/

Videos:

This Is The Way – https://www.youtube.com/watch?v=sR9gy-AD8-E

Fallen – https://www.youtube.com/watch?v=OQ4ws87xOJs

Spitting Hell – https://www.youtube.com/watch?v=r477FZl1VFo

Gravemass – Western Canada – This Is The Way Tour 2026
July 31 – Bridgeview Theater – Kamloops, BC
Aug 1 – Loud As Hell Open Air Festival – Drumheller, AB
Aug 4 – The Owl – Lethbridge, AB
Aug 5 – The Royal – Nelson, BC
Aug 6 – The Globe – Nanaimo, BC
Aug 7 – The Lucky Bar – Victoria, BC
Aug 8 – Green Auto – Vancouver, BC

Track Listing:
1. Slaves To Pain – 2:38
2. This Is The Way – 3:45
3. Horned King – 2:54
4. Harvest of Souls – 2:53
5. Spitting Hell – 2:07
6. Black Bell – 2:50
7. Fallen – 3:27
8. Gravemass – 3:51
9. Abandon – 2:01
10. Poison Temple – 3:11
Album Length: 29:41

Album Band Line-up:
Lorde Heathen – Vocals
Mayan Hate – Guitar
Murderer of Colonizers – Guitar
Bowels of Hell – Bass
Destroyer of Souls – Drums

More info:

https://endgamerecords.com/

http://www.gravemass.com/

https://www.facebook.com/people/Grave-Mass/61556695854887/

https://www.instagram.com/gravemass1/

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“Hold on to your hats, buds. Your eyes and ears are in for a blinding treat. Canada’s black/death metal band GraveMass just released the aural assault known as “Fallen.” The song and the video are delightfully overwhelming. ” – Metal Sucks

““Fallen” is a brutal, pummeling track with vocals that range from a guttural growl to a nasal screech, creating a blistering death metal assault. The black-and-white video with its flashing lights and quick cuts combines imagery of nature and religion in a way that perfectly complements the sonic onslaught of the video. It’s a breakneck track that leaves carnage in its wake, and you’ll want to check it out.” – New Noise Magazine

“Gravemass Deliver Evil with Latest Single & Video, “Fallen”” – V13

“Well now, isn’t this one hell of a supergroup? Love the term or loathe it, here it really does count, especially as far as the Canadian metal scene goes. Gravemass are here, and with them comes a vitriolic death metal release that takes elements of the genre’s old-school ferocity and blends it with modern groove and energy. A release that clocks in at just under thirty minutes, ensuring it doesn’t overstay its welcome. Though there’s no short-changing here as we have ten tracks and across them a cacophony of violent, snarling, hyperactive blasts of heaviness that will thrill all those who love extreme metal. I’m one of them and Gravemass really do it for me. I think this is a beast of a record and found myself compelled to head-bang almost all the way through it.” – Games, Brrraaains & A Head-Banging Life

“Originally from Vancouver and including former members of Zimmers Hole, 3 Inches Of Blood, Revocation, and Punch Drunk, Gravemass has only one goal: to offer solid, effective, and slightly crazy death metal. The codes are known, but their interpretation is puzzling, largely due to structures that are more punk than metal and unusual sounds (among other things in the rhythms). And with only ten tracks, totaling twenty-nine minutes, Gravemass leaves little time to understand what is happening. 4/5” – Metallian

“This Is the Way is a flawless debut. It manages to feel nostalgic for the golden era of death metal while sounding fresh, mean, and modern. If you crave music that is “brutal, angry, fast, dark, and evil,” this is your new obsession. Essential Tracks: Slaves to Pain, Horned King, Fallen. 10/10″ – Broken Neck Radio

“Festering, ferocious, and fierce, This Is the Way is nothing short of extreme zealotry — a masterclass in chaos with a sinister edge. It snaps the synapses of the sacred and dives headfirst into the devil within the divine. If you love death, black, and speed metal, then This Is the Way is absolutely for you. As a matter of fact, I now have my own Gravemass name — Fucking Legend. Perfectly apt, if you ask me. This Is the Way by Gravemass is intense and exceptionally powerful. Don’t sleep on this album — word is the second album already has three songs ready to go, with a more collaborative approach already in motion. With their debut now unleashed via End Game Records, Gravemass mark the beginning of a new chapter in West Coast extreme metal — and if this is just the beginning, we’re in for one hell of a ride. The world is going to hell in a fucking handbasket, and Gravemass aren’t afraid to tell you exactly how it is. This Is the Way is the Luciferian aural bible. The end of all that is sacred. The Necronomicon of blackened death metal.” – Crannk

“Honestly, this is half an hour of brutal excellence. From the insane riffing to the thunderous, relentless drumming to the brutal screams, it’s all so good. It almost has a pretty hardcore energy to it too, none of the tracks overstaying their welcome, being balls-to-the-wall and straight to the point! And every song flows pretty excellently; every track being as good as the last! And, for a debut album and a band that seemingly haven’t been around all too long, this is amazing stuff! They should be a lot bigger than they are already, and hopefully this album pushes them to new heights! From the opener to ‘Harvest of Souls’ to the bands namesake track, there are definitely highlights. Though, as I said before, there isn’t a bad track throughout! And it still has an air of epicness throughout that made me even more hooked. They have a VERY bright future ahead of them, and if you are at all into a more death-leaning metal sound, I cannot recommend this enough. It gets an incredibly solid 8.5/10 from us!” – Overtone Magazine

“For me Gravemass made a statement with this album. They are here to stay. They are damn good and delivered a jaw dropping album. This is extreme metal that will blow you away. This album was made for a mosh pit. I give the album the perfect 10.” – Project Metal Music

“A rain shower becomes a thunder storm as the intensity increases dramatically with title track “This Is The Way“, the gang chanted “1, 2, 3, 4!” something that will go down well in the live arena. Soaked in blasphemous rhetoric that bleeds Black Metal inspirations, the band bring the hammer down with enough force to split more than a few skulls. The rhythmic battery feels like a blunt force trauma as the band refuse to re-invent the wheel, instead opting for something of depraved atmospheres that is both dark and insanely good fun. ” – Metal Noise

“The opening notes of “This Is the Way” don’t just set a mood: they trigger a pure survival instinct. As soon as the “1, 2, 3, 4!” gang-chant explodes on the title track, the rest of the world instantly fades away. This isn’t an album you just listen to; it’s an adrenaline surge that hits you full force, and every second of the carnage is a total blast…. If you live for the dark, fast, and visceral, imagine a heavy encounter between Slayer and Morbid Angel in a dark alley, this record is your new obsession for 2026. Get ready, because their appearance at the Loud As Hell festival this summer is already looking like a total field of ruins.” – Papy Jeff Metal

“Basically, I can easily enjoy a record like “This Is The Way” from the first to the last second” – PowerMetal.de

“the album impresses with its energy, solid songwriting and powerful production. For fans of dark, aggressive extreme metal, this album is definitely worth it. Conclusion: »This Is The Way« of GRAVEMASS is a strong album that will delight fans of blackened death metal and deathcore alike.” – MetalUnderground.at

“The production on this one packs a punch but still feels human, which is needed with songwriting like that that just feels sinister in all of the right ways. Gravemass is the kind of band that you spin to forget your troubles, as it just sucks you in for all 10 tracks and almost 30 minutes of length, then you will instantly start it over. We need something like that now more than ever.” – Heavy Debriefings

“With “Fallen,” GraveMass offers a glimpse into what promises to be a searing, unholy debut album. It’s a declaration of intent—and a brutal reminder that Canadian metal is as fierce and alive as ever.” – See Rock Live

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0 EPK – Hrafnablót – Guðlaugar Saga (2026)

July 29, 2026
by Asher
· EPKs · Hrafnablót

EPK – Hrafnablót – Guðlaugar Saga (2026)

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

“When writing the album, we knew right away we wanted to create a strong and cohesive narrative and to feature the stark contrasts present in Icelandic folklore and Sagas. The album features seven songs, along with a spoken word interlude and intro, weaving together influences from Icelandic magick, history, and culture. The sound can most aptly be described as sorcerous folk metal, drawing influence from the contrasting darkness and light of Icelandic folk culture as well as sonic influences from Nordic folk metal, NWOBHM, various gothic and miscellaneous extreme metal genres.” – Hrafnablót

For fans of Ensiferum, Nightwish, Wintersun, Skálmöld, Eluveitie

Band: Hrafnablót
Album Title: Guðlaugar Saga
Release Date: September 11, 2026
Label: Self-Release
Distribution: DistroKid
Genre: Sorcerous Folk Metal
Location of Band: Reykjavik, Iceland

Hrafnablot.is | Facebook.com/hrafnablot | Youtube.com/@Hrafnablot | Instagram.com/hrafnablot

Hrafnablot.bandcamp.com | Spotify

Digital Album Pre-Save – https://distrokid.com/hyperfollow/hrafnablt/gulaugar-saga

CD and Vinyl Pre-Order – https://elasticstage.com/hrafnablot/releases/gudlaugar-saga-album

Band: Hrafnablót
Album Title: Guðlaugar Saga
Release Date: September 11, 2026
Label: Self-Release
Distribution: Distrokid
Genre: Sorcerous Folk Metal
Location of Band: Reykjavik, Iceland

Track Listing:
1. Spádómurinn – 1:49
2. Dísablót – 5:44
3. Heljarhlíð – 6:22
4. Kappar, Meyjar, Komendur – 1:22
5. Fögnuður – 5:41
6. Nornarheimt – 5:21
7. Svartigaldur – 5:17
8. Heimþrá – 4:59
9. Örlagavegur – 11:23
Album Length: 48:02

Album Recording Credits:
• All songs performed by: Hrafnablót
• All songs written by: Hrafnablót
• Produced by: Hrafnablót
• Mixed by: Helgi Durhuus
• Mastered by: Lasse Lammert
• Album Artwork by: Julie Lochridge

Band Line-up:
Hugrún Hanna Stefánsdóttir – Vocals
Þórgnýr Einar Albertsson – Bass & Backing Vocals
Ólafur Daði Jónsson – Keyboards & Backing Vocals
Steingrímur Viðar Karlsson – Guitar & Backing Vocals
Andri Pétur Dalmar – Drums & Backing Vocals
Mara Birna Jóhannsdóttir – Guitar

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About the upcoming debut album (LYRICALLY & MUSICALLY):

Inspired sonically by various genres of metal and Icelandic folk music, and lyrically by Icelandic folklore and Sagas, Guðlaugar Saga is a true Icelandic epic. The album tells the tale of how a modern-day woman called Guðlaug gets sent back to the Icelandic settlement age with nothing but the clothes on her back and a taser. Listeners follow her journey through battle, celebrations, kidnapping, and her internal struggle over whether to return to her mundane life in the present or stay in the past. Musically, the album strongly contrasts darkness and light, ugliness and beauty, past and present. Drawing influences from Icelandic folk music, Nordic folk metal, NWOBHM, and various gothic and extreme metal, Hrafnablót has brewed its own brand of sorcerous folk metal.

Track by Track (LYRICALLY & MUSICALLY):

1. Spádómurinn
Spádómurinn is a spoken-word intro in which our guitarist Steingrímur portrays a seer, gazing into the future of our protagonist, Guðlaug. The track features various sound effects, ranging from howling Icelandic winds to ravens, along with eerie whispers. The lyrics are written in highly lyrical, old Icelandic.

2. Dísablót
Dísablót prominently features a groovy, driving main riff along with powerful vocals, twin guitar harmonies, and fast guitar solos. The song tells the story of how Guðlaug, alone and friendless at the bar, is drawn into an ancient rite called Dísablót and sent back to the Icelandic settlement age with nothing but the clothes on her back and a taser.

3. Heljarhlíð
Heljarhlíð is the first song on the album to feature harsh vocals by keyboardist Ólafur, alongside Hugrún’s clean singing. The song is influenced by various melodic death metal sounds and draws to a close with a strong vocal harmony. Lyrically, the song is about how Guðlaug is drawn into a battle and is forced to defend herself with her trusty taser.

4. Kappar, meyjar, komendur
Kappar, meyjar, and komendur are the spoken-word intro to the next song, Fögnuður, in which guitarist Steingrímur portrays an Icelandic chieftain celebrating after the battle and remembering the fallen. Musically, the song consists of arpeggiated guitars, deep bass tones, and melodic keys.

5. Fögnuður
Fögnuður, Icelandic for celebration, is a celebratory folk metal party song with a drinking chant, strong guitar melodies, vocal hooks galore, and even a keyboard solo. In Fögnuður, we follow Guðlaug through the post-battle celebrations.

6. Nornarheimt
In Nornarheimt, a band of brigands crashes into the hall after the party has subsided and the guests have fallen asleep. They assume Guðlaug must be a witch, having helped decide the battle with her magical weapon, and kidnap her. Nornarheimt is perhaps the harshest song on the album, featuring galloping guitars strongly inspired by Icelandic folk music, swift, rhythmic singing, and pounding drums.

7. Svartigaldur
Svartigaldur is, in essence, an Icelandic, metallized sea-shanty. The main riff for the song is adapted from the Icelandic folk song Að bíða þess sem búið er, which stands alongside rowboat rhythms, guitar chord work inspired by black metal, and exceptional clean vocal hooks. Lyrically, the song tells the tale of how Guðlaug, having recently been kidnapped, is bound to the mast on a boat as she is assumed to be a witch, no matter how much she explains her apparent lack of magical powers.

8. Heimþrá
Heimþrá centers around a melodic keyboard riff and the vocals of singer Hugrún. Lyrically, Heimþrá, homesickness in English, centers on Guðlaug trying to come to grips with having been thrown into the past and wishing to return home to present-day Iceland. She realizes she has to embrace dark magicks to escape her captors.

9. Örlagavegur
Örlagavegur is a roughly 11-minute epic in multiple parts, with various tempo, key, and meter changes. Featuring everything from waltz-inspired rhythms to a heavy riff in 13/4 time. In Örlagavegur, Guðlaug is struggling with whether to return home to the present or stay in the settlement age. She’s visited by the Fates, who implore her to go back to the future. Realizing that in her old life, she had no power or purpose, she elects to stay in the past – changing the course of Icelandic history.

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BAND STORY ANGLES / FUN FACTS:

1. Hrafnablót is strongly focused on narrative, and our debut album, Guðlaugar Saga, is a concept album that tells the tale of a modern-day woman sent back to the Icelandic settlement age with nothing but the clothes on her back and her trusty taser.

2. Hrafnablót had booked a slot at the Icelandic Sorcery Festival in a remote, small town named Hólmavík in Iceland in spring 2025. Andri, the band’s drummer, had a severe back injury at the time, so there was a great deal of uncertainty about whether the band would actually be able to perform. In the end, Andri soldiered on. Lying on his back the whole time, except for when the band took to the stage. He had back surgery the day after returning home.

3. In February 2026, Hrafnablót ventured together to the south of Iceland, to a lighthouse in a remote cove called Selvogur, to record performance scenes for the music video for Svartigaldur. Apparently, they didn’t take a good enough look at the weather forecast. Upon arriving at the scene, band members were greeted with exceptionally stiff winds and a temperature of -12°c (10°f). The video shoot turned out to be completely impossible, so the band went to Þrastarskógur, a wooded area nearby, to shelter from the winds. Despite the biting frost, the band managed to shoot all the scenes for the day. A few days later, unbothered by the cold, singer Hugrún and bassist Þórgnýr headed out again to shoot scenes in -15°c (5°f).

4. All instrumental recordings for the album were done by band members themselves, chiefly edited by drummer Andri with assistance from bassist Þórgnýr.

5. The main riff for Svartigaldur is an interpolation of the melody from a lesser-known, old Icelandic folk song named Að bíða þess sem búið er.

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Photo Credit – Þórgnýr Einar Albertsson

Hrafnablót is a sorcerous folk metal band, formed in Iceland in the fall of 2024. Drawing from the contrasting light and darkness of Icelandic magick, Sagas, and folklore, the band weaves together heavy riffs, folk influences, haunting melodies, and clean and harsh vocals. The outcome is a sound rooted in Icelandic myth and landscape.

Since forming, Hrafnablót has built a strong presence in the live music scene in Iceland, performing at venues such as Íslenski rokkbarinn, Lemmy, and BIRD, as well as the Icelandic Sorcery Festival in 2025.

Hrafnablót’s live shows channel ritual intensity and pure metal energy, carried by meticulous Icelandic lyrics, storytelling, and a distinct sense of drama.

Hrafnablót is releasing their debut album, Guðlaugar Saga, in the fall of 2026.

Discography:
2026 – Guðlaugar Saga LP

Shared Stage with:
Fortíð, Kælan Mikla, Eldrún, Space Völvö, Aesculus, Frostborn, Morose

Tours and Festivals:
2025 – Galdrafár – Hólmavík, Iceland

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