CAVERNOUS MAW Unleashes Video “The Yeti Approaches the Wall” From New EP “Ancestral Lands Beyond the Antarctic Ice Wall”
A crushing new chapter begins as Cavernous Maw, the Minneapolis duo, expands its vision with a concept-driven journey into the unknown with the release of its brand-new video, “The Yeti Approaches the Wall,” from their new EP “Ancestral Lands Beyond the Antarctic Ice Wall,” out now as of October 27th, 2026.
Blending relentless death metal intensity with emotional weight, memorable melodies, and unexpected influences drawn from black metal, technical death metal, and classic extreme metal, “The Yeti Approaches the Wall” marks the next evolutionary step for the two-piece act.
Comprised of longtime friends and collaborators Niilo Smith (Vocals/Guitar) and Ben Fagerness (Drums), Cavernous Maw was born from a desire to strip away complications and focus purely on creating music. After years of playing together in various projects, the pair embraced the simplicity and creative freedom of a two-member lineup, forging a sound that is equal parts brutal, dynamic, and unmistakably their own.
The new single showcases a more mature and refined version of the vision first introduced on their debut EP, “Primitive.”
“The Yeti Approaches the Wall was the first song we wrote for our next EP. It started as nearly all of our songs do, the two of us jamming in the practice space, locking onto a riff and expanding it. The arrangement and drum parts were carefully crafted to keep the energy flowing from beginning to end. Lyrically, the song is about exactly what the title suggests: a yeti approaching a wall. Whether that wall is physical or mental is up to the listener,” adds Ben.
Serving as the opening chapter of a larger concept, the track introduces listeners to a mysterious protagonist embarking on a journey beyond the boundaries of his known world. Throughout “Ancestral Lands Beyond the Antarctic Ice Wall,” the EP follows the yeti’s path of discovery, curiosity, growth, understanding, and ultimately, humanity’s downfall.
The EP’s central theme explores exploration, self-discovery, and the pursuit of knowledge. What begins as a literal story about a yeti reaching the edge of the world becomes a broader metaphor for pushing beyond personal limitations and remaining curious about what lies beyond the horizon.
Musically, the new release builds upon the foundation established by their EP “Primitive.” While the debut evolved organically and initially wasn’t even intended to feature vocals, “Ancestral Lands Beyond the Antarctic Ice Wall” was conceived from the start as a fully realized death metal record. The result is a collection of songs with stronger structure, deeper arrangements, and a more focused songwriting approach while maintaining the raw energy and riff-driven assault that defines Cavernous Maw.
The band’s songwriting process remains firmly rooted in old-school collaboration. The band develops every song together in the rehearsal space, where riffs are shaped, arrangements refined, and ideas transformed into complete compositions through a shared creative vision.
To add to the project’s authenticity, the band recorded “Ancestral Lands Beyond the Antarctic Ice Wall” largely live in their practice space before adding vocals. The accompanying video for “The Yeti Approaches the Wall” further demonstrates the duo’s commitment to immersive storytelling. In preparation for filming, Ben and Niilo even constructed a rudimentary “Viking hut” from pine branches on location, a detail that appears briefly in the final video for eagle-eyed viewers to discover.
Beyond the fantasy narrative, Cavernous Maw‘s lyrical themes draw inspiration from humanity, history, ancestral living, exploration, and the natural world. The band’s ethos celebrates curiosity, self-reliance, and the enduring spirit of discovery that has driven civilization from its earliest beginnings to the modern age.
With additional material already written for future releases and a dedicated recording studio currently under construction, Cavernous Maw shows no signs of slowing down.
“We absolutely love this new EP record, and we hope fans will too. “It’s a more mature expansion of our original vision. Fans can expect a lot more music from Cavernous Maw in the future.”
Fans of Nile, Behemoth, Cannibal Corpse, Death, and Borknagar will find plenty to appreciate in Cavernous Maw‘s blend of crushing heaviness, technical precision, and thematic ambition.
Watch and listen to “The Yeti Approaches the Wall” via its video premiere on Decibel Magazine HERE.
The EP “Ancestral Lands Beyond the Antarctic Ice Wall” is available at the following links:
Track Listing:
1. The Yeti Approaches the Wall – 3:43
2. Choke to Choke – 2:49
3. Forever and a Day – 3:10
4. Onward to Salvation – 3:17
5. Ash for Bread, Poison for Rain – 4:21
Cavernous Maw is a two-piece death metal band dedicated to crafting heavy, brutal, emotional, and immersive extreme music. Drawing inspiration from nature, history, humanity, and exploration, the duo combines old-school death metal aggression with modern songwriting sensibilities to create a powerful and distinctive sound.
Band Lineup:
Niilo Smith – Vocals/Guitar
Ben Fagerness – Drums
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“One final, and very important point: These songs are also very infectious. They get in, they do their work quickly, and they get out.” – No Clean Singing (2025 – Primitive EP)
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Calgary Stoner Rockers DENIMACHINE Returns w/ New Single “Filthy Lucre”
New EP “Perfect Illusion” Out Nov 27th via Grand Hand Records
+ Split Vinyl w/ Riff Ratt
L-R – Brady Side (bass), Trenton Bullard (guitar, vocals), Kevin Ross (drums), Scott Charles (guitar, lead vocals)
Denimachine – Photo Credit – Josh Sandulak
Calgary, AB’s riff-worshipping stoner rock quartet Denimachine return with their long-awaited sophomore EP, “Perfect Illusion”, due out November 27, 2026 via Grand Hand Records. To mark the announcement, the band is now streaming the record’s first single, “Filthy Lucre,” an expansive, groove-heavy journey that highlights Denimachine‘s knack for pushing their riff-laden sound into more psychedelic and adventurous territory.
Available digitally and as part of a special split vinyl release with fellow rockers Riff Ratt, “Perfect Illusion” marks the band’s first new music since their self-titled 2020 EP. The four-track offering captures years of personal and musical growth while preserving the riff-driven foundation that’s become synonymous with Denimachine‘s sound.
Born from a shared desire to create something fresh after years performing in Calgary’s local music scene, Denimachine has steadily evolved from a straightforward riff machine into a more dynamic and exploratory force. The quartet blends classic hard rock swagger with modern stoner rock heft, creating songs equally suited for open highways, dusty garages, and packed festival grounds.
“These four songs are a sonic time capsule of everything we’ve lived through since our debut, and they show exactly how far we’ve evolved as a band. We’ve taken this time to dial in our sound and level up our production, blending heavy grooves with fresh, spacey textures that we can’t wait for everyone to hear,” says the band.
Produced through the band’s fully collaborative writing process, “Perfect Illusion” balances Denimachine‘s trademark heaviness with broader sonic textures, psychedelic atmospheres, and more cohesive songwriting. Produced and mixed by Scott Giffin and mastered by Stuart McKillop at Rain City Recorders, the EP spans the band’s creative timeline, featuring both some of their oldest and newest material, reflecting nearly a decade of growth since the band’s formation in 2017.
Leading the charge is the first single, “Filthy Lucre,” one of the most experimental tracks Denimachine has ever written.
“Get ready to strap in and go to space for the last half of this one. It’s definitely one of the more experimental long-form jams we’ve ever written,” adds the band.
The remainder of the EP continues the journey through Denimachine‘s evolving sound. Opener “Tornado” has been a staple of the band’s live set for years before finally making its recorded debut, while “Grundy” captures the spontaneous magic of a jam session that quickly took on a life of its own. Meanwhile, “Edgelord” unfolds from a laid-back groove into an ever-changing sonic adventure that underwent numerous transformations before reaching its final form.
Known for their energetic live performances and unmistakable chemistry, Denimachine has spent years refining a recording approach that captures the massive sound and carefree spirit that define their shows. The result is a record designed for repeat listens, whether fans are looking to crank the volume, hit the road, or sink into the band’s thick, fuzz-soaked grooves.
Formed by veterans of Calgary acts Throne of Vengeance, Frankie McQueen, Falcon, and MANcub, Denimachine consists of guitarist/vocalists Trenton Bullard and Scott Charles, bassist Brady Side, and drummer Kevin Ross. What began as a project to entertain fellow vanners at the legendary Vantopia gathering has grown into one of Western Canada’s most recognizable stoner rock outfits.
With “Perfect Illusion,”Denimachine proves that sometimes the best rock and roll comes from friends chasing riffs, sharing beers, and letting the groove do the talking.
Recommended for fans of Queens Of The Stone Age, Black Sabbath, Wolfmother, Graveyard, and TruckFighters, “Perfect Illusion” arrives November 27, 2026, digitally via Grand Hand Records, along with the EP on a Split Vinyl with Riff Ratt.
Show Dates:
Dec 5 – Calgary, AB – Palomino (EP Release Party) w/ Riff Ratt, Gone Cosmic
Submit Your Music for the 2027 JUNO Awards Before November 5th
Hey Canadian Metal Bands! Jon Asher from Asher Media Relations. As a member of the Juno Metal Committee, I’d like to remind you that the deadline to submit for The Juno Awards’ Metal / Hard Rock Album of the Year is getting near! Deadline: November 5th!
Get Ahead of the Deadline: Submit Your Music Now!
Submit at https://juno.submit.live/home
Ready to put your music forward? Submit your work for consideration for the 2027 JUNO Awards Presented by TD before submissions close. Check your eligibility, gather your materials, and complete your submission today.
Submitting early gives you more time to address any outstanding issues before the deadline. Don’t wait until the last minute!
Submissions close:
November 5 at 11:59 p.m. PT
November 6 at 2:59 a.m. ET
Eligibility period:
September 1, 2025 – November 6, 2026
What Happens After You Submit?
CARAS Eligibility Review
Once you submit, the CARAS Academy Operations team reviews your application to ensure it meets all eligibility requirements. If any information or materials are missing, or if questions arise, our team will contact you to resolve them.
Music Advisory Committee Review
Next, Music Advisory Committees, composed of experts in each genre and category, listen to and review every submission to ensure they are entered in the appropriate categories. If a category change is recommended, the submitter will be notified.
Round 1 Voting
Following Committee review, eligible submissions advance to Round 1 voting, where JUNO Judges and Academy Delegates vote to determine the 2027 JUNO Award nominees.
Have questions about your submission? Contact us at submissions@junoawards.ca.
Start With the Submission Guide
Review our step-by-step guide and checklist for eligibility requirements, key dates and the materials you’ll need. Get your submission ready now to avoid a last-minute rush.
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Rockshots Records / Extreme Metal Music (Turin, IT)
Exitus Stratagem Records (Fayetteville, NC)
Gore House Productions (Los Angeles)
Wacken Metal Battle Canada / USA
Armstrong MetalFest (Armstrong, BC)
Hyperspace Metal Fest (Vancouver, BC)
Loud As Hell Fest (Drumheller, AB)
Decimate Metal Fest (Millet, AB)
Mile High Power Fest (Denver, CO)
Tampa Death Fest (Tampa Bay, FL)
Capital Punishment Festival (Ottawa, ON)
Reminder – Deadline Oct 31st – LOUD AS HELL OPEN AIR FESTIVAL Opens Band Submissions for 2027 Lineup!
Canada’s Heaviest Badlands Gathering!
July 30th – Aug 1st – Camping & Extreme Music In Alberta’s Badlands – Drumheller, AB
Hashtags #LAHXV, #LAHOA, #LAHOA2027
Where the rocks are heavy and so is the metal, Canada’s loudest gathering returns to Alberta’s Badlands. Celebrating its 15th anniversary in 2027, LOUD AS HELL OPEN AIR FESTIVAL is back with another unforgettable weekend of crushing performances, freak shows, burlesque acts, clinics, vendors, and, of course, dinosaurs.
From July 30 to August 1, 2027, Drumheller, Alberta, will once again become the epicenter of extreme music as one of Western Canada’s premier metal festivals takes over the Badlands. In a landscape once ruled by dinosaurs, thousands of metalheads from across Canada and around the globe will gather to unleash a roar of their own.
Band submissions for the 2027 edition close on October 31st. This is your band’s chance to perform alongside some of Canada’s heaviest acts and make your mark on one of the country’s most unique festival stages. Bring the noise to the Badlands, where the roar of metal echoes louder than ever.
Bands interested in performing can apply at: https://loudashell.ca/
“As Western Canada’s festival season heats up, Loud as Hell Open Air stands out as an absolute heavy hitter.” – Broken Neck Radio
“Nestled in the sun-baked badlands of Drumheller, Loud As Hell has long held the crown as one of Western Canada’s premier heavy metal pilgrimages.” – Metal-Rules
“Metal music takes over Drumheller… If metal is your music of choice, Drumheller is the place to be this weekend. The Loud as Hell open-air festival showcases a diverse roster of independent and signed acts from across North America.” – Global News Edmonton(Video Interview)
Early Bird tickets go on sale December 1, 2026.
Secure your spot before prices rise and join us for the loudest weekend of the summer. Set against the breathtaking backdrop of Alberta’s Badlands, Loud As Hell Open Air Festival returns with earth-shaking riffs, relentless performances, and enough volume to wake the dinosaurs.
The 2026 edition featured Fallujah, Allegaeon, Summoning the Lich, Gravemass, Crimson Shadows, Starkill, Super Monster Party, Mourning High, Edge of Paradise, and many more.
LAH 2026 Lineup Spotify Playlist – https://open.spotify.com/playlist/1Nbkvo4kG0ePTcsCVl2V2T
Year after year, LAH continues to grow, drawing metal fans from across Canada and beyond for a weekend of unforgettable performances, campground camaraderie, and pure moshing mayhem among the hoodoos of Drumheller, AB. As one of the country’s most distinctive heavy music destinations, the festival delivers a one-of-a-kind experience where prehistoric landscapes and extreme metal collide.
Since launching in 2012, Loud As Hell Open Air Festival has cemented its place as a cornerstone of Canada’s extreme music scene, showcasing hundreds of bands from across the country and around the world, save for a brief pause in 2020 due to the COVID-19 pandemic. Over the years, the festival has hosted heavyweights like Revocation, First Fragment, Beyond Creation, Striker, Green Jelly, The Convalescence, Jungle Rot, Narcotic Wasteland, Into Eternity, Goatwhore, Fit for An Autopsy, Archspire, Unleash The Archers, Protest the Hero, AngelMaker, and many more, drawing metalheads from coast to coast for a weekend of sonic devastation.
In 2027, Loud As Hell returns for its 15th edition, presented by Loud As Hell Productions, Jurassic Ink Custom Tattoo, Prairie Fire Events, and Asher Media Relations. Renowned for delivering one of the most punishing lineups in Western Canada, the festival promises another unforgettable experience packed with crushing performances, freak shows, burlesque acts, clinics, vendors, and yes, dinosaurs. Loud As Hell isn’t just a festival. It’s a full-throttle celebration of metal mayhem.
LAH Partners:
WCMFA – Western Canadian Metal Festival Alliance
Asher Media Relations
Bravewords
Metal-Rules
Absolute Underground Mag
Ghost Cult Magazine
This Day In Metal
Valley Brewing
Canalta Hotels
Neighbours’ Corner Pub
Prairie Fire Productions Ltd
CFUV 101.9 Thrash Can
Slimbztv
High Voltage TV
Through The Looking Glass Photography
Heavy Metal A Way Of Life
QMR (Queen Metal Radio)
BrokenNeckRadio
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What the press is saying:
“Nestled in the sun-baked badlands of Drumheller, Loud As Hell has long held the crown as one of Western Canada’s premier heavy metal pilgrimages. For its 14th edition, the festival is delivering its most ambitious, face-melting lineup to date—headlined by technical death metal powerhouse Fallujah, a long-awaited return from Allegaeon, and opening-night chaos from Summoning the Lich.” – Metal-Rules
“Drumheller metal festival Loud as Hell continues international growth… The Loud as Hell Festival began in Drumheller in 2012. What began as a small indoor gathering of heavy metal enthusiasts has turned into a three-day outdoor summer festival at the Dinosaur Downs Speedway… As the festival has grown in popularity, so has the desire for bands to participate. In recent years, the festival selection committee has reviewed about 500 submissions of metal bands from across the globe…. While the nearly 1,000 people the festival draws on average are made up of metal fans from central Alberta, Bourrie said that it is beginning to draw international visitors as well, from the U.S., Norway, Germany, and Sweden.” – Stettler Independent / Red Deer Advocate
“Located an hour and a half east of Calgary is the town of Drumheller, Alberta. With a population in the neighborhood of 8000 and existing smack dab in the middle of Canada’s desert and dinosaur country, it’s not a place one would immediately associate with any sort of metal scene, let alone a big-ass outdoor metal fest. But that’s where you’d be wrong. Going into its 11th year, the Loud as Hell Festival is set to roll on August 4-6th with the likes of Narcotic Wasteland, Jungle Rot and Incite headlining three days of metallic fun featuring 40 or so bands, including The Convalescence, Gorgatron, Necronomicon, Untimely Demise, Eyes of Perdition and more.” – Decibel Magazine
“Western Canada’s loudest heavy metal festival brings fans to town more known for dinos than drum solos.” – CBC Calgary
“What’s more metal than the badlands? Drumheller, AB, is known for being the dinosaur capital of the world — but it’s also the home of the Loud as Hell festival, an event celebrating none other than the loudest music known to man (and, by proxy, prehistoric reptile).” – Exclaim!
“Loud as Hell – one of Canada’s top underground metal festivals – was a metal family reunion. If you walked around the grounds, where tents covered the landscape like flowers, you would experience concert goers laughing, hugging and just enjoying the moment. The music played non-stop and the people were some of the best you’ll meet. What else do you need? If you’re a metalhead fan, mark it down for next year because this is a concert you don’t want to miss.” – Blackfalds Life
“Headbanger alert: Loud As Hell festival to ramp up the volume” – Calgary Herald
“Nevermind the bug spray and sun tan lotion, as August approaches Drumheller residents should stock up on earplugs.” – Calgary Herald
“Loud As Hell returns to the southern Alberta city for its seventh year and as its name implies, will rock the city to its core.” – Calgary Herald
“Loud as Hell has celebrated eight years in the Badlands to date, with acts from all over the world-shattering the peace and quiet of the hills in a camping and music extravaganza.” – Hanna Herald
“Drumheller with its dinosaur bones is the site of the annual Loud as Hell heavy metal festival Friday through Sunday. Dozens of the heaviest bands known to Man will be taking the stage, many of them Canadian” – Gig City
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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
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Out Now! Breakdowns, Melody, and Mayhem! Montreal’s KILLED BY SORROW Unleashes New Album “Empire of Excess”
Montreal metal outfit Killed By Sorrow is proud to announce the release of their brand-new full-length album, “Empire of Excess,” available now as of October 23, 2026. Blending melodic intensity, crushing aggression, and emotionally charged songwriting, the ten-track record represents the band’s most ambitious and refined work to date.
Following the successful release of videos “The End is Near,” “The Burial,” and “Betrayal,”“Empire of Excess” showcases a band continuing to evolve while staying true to the heavy-hitting sound that first connected with fans.
Speaking on behalf of the band, rhythm guitarist Samuel Ham shared insight into the creation and vision behind the album.
“Fans will connect strongly with this release. It captures the intensity and aggression that defined our early sound, but with a more mature and refined mix. Long-time listeners will recognize the roots of Killed By Sorrow, while new fans will appreciate the clearer production, tighter songwriting, and deeper atmosphere. This release feels like a natural evolution while remaining familiar enough for existing fans.”
Melodic, aggressive, emotional, dynamic, and intense, “Empire of Excess” takes listeners on a journey through themes of societal collapse, personal struggle, betrayal, resilience, friendship, and self-discovery. The album balances crushing breakdowns, soaring melodies, punk-infused energy, and memorable hooks across a diverse collection of tracks.
According to Samuel Ham, the band’s goal was simple:
“The goal is to blend heaviness and melody in a way that pulls listeners into the story behind each track. Every song is meant to hit hard, connect on a personal level, and leave listeners with the sense that they’ve gone through something meaningful from start to finish.”
The collaborative nature of Killed By Sorrow has been a key component of the album’s development. Every song was reviewed and refined by the entire band, with primary songwriting duties shared between bassist Martin Bersier-Carpentier and guitarist Samuel Ham. The band also credits Martin for helping shape the group’s evolving sound and bringing a fresh creative perspective to the songwriting process.
Lyrically, “Empire of Excess” explores a wide range of subjects, from apocalyptic devastation in “The End is Near” to consumerism and societal decline in the title track, while songs like “Never Give Up” deliver messages of perseverance and strength. The band intentionally crafted an album with varied moods and styles, ensuring there is something for every listener.
“There is definitely a track that will please any listener. We pride ourselves on making sure the album has a different vibe from start to finish,” adds Ham.
The release also marks a significant milestone for the band, which expanded the project into a full-length album by writing additional material to complete the ten-song collection. Fans can also look forward to more music, with the band’s next album reportedly already well underway.
Known for their energetic stage presence and engaging live performances, Killed By Sorrow continue to build momentum on the local scene, led by frontman Sebastien’s commanding presence and the band’s undeniable chemistry on stage.
Recommended for fans of Unearth, Killswitch Engage, Poison The Well, Trivium, and Lamb of God, “Empire of Excess” is available as of October 23rd, 2026, at the following links:
Track Listing:
1. The End is Near – 3:38
2. Empire of Excess – 3:04
3. The Burial – 3:28
4. Betrayal – 3:51
5. Never Give Up – 2:37
6. All My Brothers – 3:18
7. In The Spotlight – 3:17
8. Killed By Sorrow – 3:29
9. Unchained – 3:42
10. Stay In Line – 3:28
Album Length: 33:55
Band Line-up:
Sébastien Mailloux – Vocals
Martin Bersier-Carpentier – Bass
Tommy Forand – Lead Guitar
Samuel Ham – Guitar Rhythm
Mathieu Lassonde – Drums
“Killed by Sorrow frappe très fort avec Empire of Excess et prouve qu’il a tout ce qu’il faut pour se tailler une place parmi les formations à surveiller de la scène metalcore québécoise. Entre les riffs percutants, les refrains accrocheurs et les breakdowns là où ça compte, le groupe livre un album solide qui ne manque ni de mordant ni de personnalité. Les dix morceaux témoignent d’une formation qui sait comment allier puissance et mélodie sans perdre de vue l’efficacité. Bref, KBS nous offre ici un album qui fait plus que le travail et qui donne surtout envie de monter le volume : une bonne dose d’intensité qu’on a envie de se remettre dans les oreilles!” – 9.5/10 – Metal Universe
“Killed by Sorrow hits incredibly hard with Empire of Excess and proves that it has everything it takes to establish itself as one of the bands to watch on Quebec’s metalcore scene. Between the crushing riffs, catchy choruses, and breakdowns that hit exactly where they should, the band delivers a solid album that lacks neither bite nor personality. These ten tracks showcase a band that knows how to combine power and melody without sacrificing effectiveness. In short, KBS delivers an album that goes well beyond expectations and, most importantly, makes you want to crank up the volume. A serious dose of intensity you’ll want to blast through your speakers again and again!” – 9.5/10 – Metal Universe
“The follow up to 2023 sophomore EP “Careless of This Sadness” it (Empire of Excess) represents half an hour of power in ten emotionally charged tunes built on explosive breakdowns and raw emotional intensity.” – Metal Noise
“The band injects plenty of energy and intensity into these songs. ” – Heavy Music Headquarters
“Almost every metal band that writes about death writes about the fight. Killed By Sorrow have gone the other way. The Burial is about the part after the fight is over — the slow, procedural, unglamorous business of the ground closing over someone. It is the second single from Empire Of Excess, the Quebec band’s debut full-length, out October 23. The band call it “a dark, ritual-like descent into death where silence, decay, and inevitability swallow everything.” They are not overselling it. Where first single Betrayal came out swinging, this one takes its time, and the patience is the whole argument.” – See Rock Live Magazine
“The band pulls from metalcore, thrash and progressive metal, with melodic leads and hardcore-punk bite running underneath. The comparisons that come with the release are Unearth, Killswitch Engage, Poison the Well, Trivium and Lamb of God, and the lineage is easy to hear in a style that values big hooks without surrendering the heaviness. It is the kind of crowded, high-energy approach that has long thrived in Quebec’s metal scene, and it sits comfortably alongside the harder Canadian acts we have covered, such as Comeback Kid and Shroud.” – See Rock Live Magazine (The End is Near – single)
“Canadian underground hardcore punks in Killed By Sorrow’s newest single, Betrayal, definitely stays loyal to the metalcore scene by actually sounding like thrash metal tones mixed with a hardcore punk grit and attitude. Heavily distorted rhythms sound closer to your traditional hardcore, but paired with your traditional style of hardcore punk vocals, Betrayal lets you know not to cross Killed By Sorrow. Huge basslines underneath and in-the-pocket drumming made this one an interesting approach in a crowded metalcore genre, and it’s more than worth a few listens.” – Metal Institute of Thrashology (2026)
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Canadian hard rock and melodic metal outfit Boneyard is proud to announce the release of its sophomore album, “Black Static”, arriving October 23, 2026. Building upon the foundation established by their acclaimed debut “Oathbreaker,” the new record showcases an evolved lineup, expanded songwriting chemistry, and a powerful blend of modern female-fronted hard rock and traditional heavy metal.
Founded in 2015 by singer/guitarist Pamtera and drummer Jefftimus, Boneyard first gained widespread attention with their independently released debut album “Oathbreaker.” The record later caught the attention of Italy’s WormHoleDeath Records, leading to a broader international re-release in 2022, including distribution in Japan. Since then, the band has become a respected force across Western Canada’s rock and metal scene, sharing stages with acts such as 96 Bitter Beings, KingDoom, and Deadwolff while earning praise for their powerful blend of melody, heavy riffs, and meaningful storytelling.
For Boneyard, “Black Static” represents both a continuation and an evolution.
“Black Static is an extension of Oathbreaker, featuring another diverse collection of songs while showcasing the unique contributions of Lezzy and Garhardt. The new lineup and album are quite different from Oathbreaker, and we’re excited for fans to hear where the band has gone,” explains Jefftimus.
The anticipation surrounding the album has steadily grown thanks to previously released singles “Before the Fall,” “Compass Points to War,” and “Hanging Tree,” each of which introduced a different side of Boneyard‘s musical personality.
According to Jefftimus (drums), local fans have been particularly eager to hear the first full release featuring bassist Lezzy and lead guitarist Garhardt, whose contributions played a significant role in shaping the album’s identity.
Musically, “Black Static” bridges generations of heavy music, combining influences from traditional ’80s hard rock and heavy metal with elements of ’90s punk and rock.
“We wanted to create something that bridges modern female-fronted hard rock with traditional heavy metal,” adds Jefftimus.
The album’s lyrical themes are equally compelling. Drawing from painful personal experiences and difficult social realities, songs explore toxic relationships, addiction, homelessness, mental health struggles, grief, war, corruption, and human trafficking. Yet throughout the darkness runs a common thread of resilience and hope.
“Pamtera and I often draw inspiration from painful personal experiences as well as difficult collective issues like human trafficking and deteriorating mental health. At the same time, we always try to weave hope and positivity into those stories,” says Lezzy.
Among the album’s standout moments is “Left Me To Drown,” a deeply personal track written from Lezzy’s experiences with toxic and abusive relationships. Built around a pirate-ship metaphor, the song combines some of the album’s heaviest musical passages with a message of survival, transformation, and empowerment.
Elsewhere, “Not This Way (Joel’s Song)” tackles the heartbreaking realities of schizophrenia, addiction, and homelessness, inspired by the true story of a man named Joel and told through the perspective of his grieving mother.
The band’s previously released single “Before the Fall” confronts global issues including corruption, inequality, war, and exploitation while ultimately delivering a message of unity and hope for future generations. Its accompanying video shines a light on human trafficking and missing and murdered Indigenous persons.
Balancing the album’s heavier themes are adventurous and cinematic tracks such as “Hanging Tree,” a tongue-in-cheek Western metal anthem packed with outlaws, gunfights, and gallows humor, and “Compass Points to War,” an epic maritime battle soundtrack driven by soaring riffs, gang vocals, and pirate warfare.
The album’s striking artwork was once again created by celebrated Calgary artist Tom Bagley, continuing the visual legacy established with “Oathbreaker” and featuring the band’s mascot, Misty Bone.
“We give Tom a concept involving Misty Bone, and he always hits it out of the park,” adds Jefftimus.
Like the music itself, the artwork balances classic heavy metal tradition with modern creativity.
Beyond the songs, Boneyard continues to stand out through its representation and authenticity. With a Métis drummer and a member of the LGBTQ+ community in its ranks, the band represents a diverse and inclusive face of modern hard rock and metal while remaining firmly rooted in the genre’s timeless spirit.
With “Black Static,” Boneyard has crafted an album that is melodic, heavy, emotional, and empowering, proving that meaningful storytelling and unforgettable hooks can coexist in equal measure.
Recommended for fans of Halestorm, Saxon, Doro, The Pretty Reckless, and Iron Maiden, “Black Static” will be available October 23, 2026, digitally and on CD, with a vinyl release to be announced later.
Show Dates:
Oct 23 – Edmonton, AB – The Rec Room (Album Release Show) w/ Daniel Martin & The Infamous
Dec 5 – Calgary, AB – Border Crossing Pub
Track Listing:
1. Met You in a Dream
2. Left Me to Drown
3. Ready for a Change
4. Not this Way (Joel’s Song)
5. Blood in the Bond
6. Before the Fall
7. Hanging Tree
8. Compass Points to War
9. Before the Fall (Piano Rendition)
Album and Live Band Lineup:
Pamtera – Lead Vocals, Guitar
Lezzy Osbourne – Bass
Jefftimus – Drums
Garhardt – Lead Guitar
“For nearly forty minutes, Boneyard deliver classic melodic hard rock on “Black Static.” Packed with memorable melodies, exceptional vocals, and a crisp, powerful production, the album offers tremendous entertainment value. At the same time, heavy riffs and varied songwriting ensure plenty of depth. As a result, the band is likely to appeal to a broad spectrum of both rock and metal fans” – Keep On Rockin Mag Germany
“A colorful band from the energy and vibe they are spreading throughout their music. With no doubt they will make a big jump in the music industry. This is rock and roll baby! Sweet but not too much, with emotions and rocking tunes to get you dance all day. A must-have 98/100.” – The Metal Mag
“Boneyard‘s debut record Oathbreaker is the kind of album that gets a little better each time that you listen” – Sleaze Roxx’s Top 10 Albums of 2020
“Solid, enjoyable debut, support the New Wave of Traditional Heavy Metal” – Bravewords
“Boneyard lean a bit more towards the hard rock side of the spectrum but the metal is all there as well” – Metal-Rules
“Rock music from Canada still guarantees quality”- PowerMetal
“What we have here is a female-fronted metal outfit that bathes in the crimson glory of traditional heavy rock and heavy metal”- Metal Roos
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Hamilton, ON’s nostalgia-fueled hard rockers MOONLIGHT DESIRES return with their biggest party yet. Six years after their last studio release, the band is set to unleash their new EP “Totally Tubular 80’s Party Machine” on November 27, 2026 via Infamous Butcher Records. To celebrate the announcement, the band is now streaming the first single and music video, a high-energy reimagining of A-ha’s timeless classic “Take On Me”.
Known for transforming beloved ’80s pop hits into guitar-driven rock anthems, Moonlight Desires continues its mission of injecting nostalgia with a shot of adrenaline. The seven-track EP showcases the band’s signature blend of soaring hooks, crunchy riffs, and sing-along choruses while remaining faithful to the spirit of the original songs.
Selected by new frontman Jay Ziebarth, “Take On Me” serves as the perfect introduction to the band’s next chapter.
“This song is basically about the risks of romance and taking a chance on love before the opportunity slips away. It’s also one of the most instantly recognizable ’80s hits of yesteryear. The nostalgia is thick with this one, and we tried to keep the arrangement close to the source material while still making it sound fresh. This song is the match that ignites a full raucous collection of hits,” says guitarist Trevor Ziebarth.
Featuring explosive performances, thunderous drums, and towering guitar melodies, Moonlight Desires approached the material differently this time around. Rather than completely reinventing the source material, the band chose to preserve the core arrangements and recognizable moments that made these songs legendary while amplifying the energy with a heavier modern rock attack.
“We’re trying to invoke all those warm memories you have of ’80s MTV, plus a dash of ’90s MuchMusic, and deliver them back to you wrapped in a louder, grungier, grittier package. When we were choosing a tracklist for this EP, we knew we wanted to make an upbeat, party-focused album while still maintaining all the moody rock sensibilities the band has become known for. Expect heavy nostalgia and an explosion of riffs,” explains Trevor Ziebarth.
The new release also marks a significant turning point for Moonlight Desires as bassist and longtime crowd favorite Jay Ziebarth officially steps into the role of primary frontman. Known for his infectious stage presence and ability to transform venues into full-scale “dance mosh pits,” Jay’s expanded vocal role brings a fresh energy to the band’s sound while preserving everything fans have come to expect from a Moonlight Desires performance.
“With this new EP, we are officially passing the frontman torch over to Jay Ziebarth. His vocal stylings and high-energy live performances have always been a staple at a Moonlight Desires show, so now we’ve given him more of an outlet for this showmanship. With bigger production, bigger hits, and a new frontman, Moonlight Desires might have reached our peak form,” says Trevor.
Adding further firepower to the release, acclaimed Failure drummer Kellii Scott performs throughout the EP after collaborating remotely from Los Angeles. The recordings were completed with longtime producer Mitch Bowden at Mechanical Noise Studios in Dunnville, Ontario.
The EP artwork also embraces the band’s deep-rooted love affair with ’80s culture. Captured by photographer Randy Gilbert during the filming of the “Take On Me” video, the cover features the band posing beside a replica DeLorean famously associated with Back to the Future, perfectly encapsulating the release’s retro-meets-modern aesthetic.
Fans can expect a collection packed with iconic hits reborn through Moonlight Desires‘ distinctive hard rock lens, including Cyndi Lauper’s “Girls Just Want to Have Fun,” Dexys Midnight Runners’ “Come On Eileen,” Bronski Beat’s “Smalltown Boy,” Peter Schilling’s “Major Tom (Coming Home),” Madonna’s “Material Girl,” and Spandau Ballet’s “True.”
After more than a decade of transforming guilty pleasures into guitar-fueled party anthems, Moonlight Desires returns with what may be their most ambitious and entertaining release yet.
Recommended for fans of Me First and the Gimme Gimmes, The Ataris, Foo Fighters, Soundgarden, and anyone who ever made a mixtape from MTV, “Totally Tubular 80’s Party Machine” will be out on all digital platforms on November 27, 2026, via Infamous Butcher Records.
Randy Gilbert (Photographer) & Brad Machry (Graphics & Layout)
Track Listing:
1. Take on Me (3:19) (A-ha Cover)
2. Girls Just Wanna Have Fun (2:43) (Cyndi Lauper Cover)
3. Come on Eileen (3:37) (Dexys Midnight Runners Cover)
4. Small Town Boy (2:49) (Bronski Beat Cover)
5. Major Tom (Coming Home) (3:28) (Peter Schilling Cover)
6. Material Girl (3:51) (Madonna Cover)
7. True (4:20) (Spandau Ballet Cover)
EP Length: 24:05
EP Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar, Bass
Marco Bressette – Lead Guitar
Mitch Bowden – Lead Guitar
Kellii Scott – Drums
Live Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar
Mitch Bowden – Lead Guitar
Joey DeLeo – Guitar
Crissy Stixx – Drums
“Moonlight Desires takes delight in taking synth-laden pop hits from the ’80s and turning them into heavy metal monsters.” – The Hamilton Spectator – At The Movies (2020)
“Just the tonic we need in these times, putting a little smile on your face and plenty of riffs for your bucks.” – Get Ready To Rock – At The Movies (2020)
“Moonlight Desires is fun… like, a lot of fun… and everyone should have some fun tonight. So rip it up, everybody Wang Chung tonight!” – V13 – At The Movies (2020)
“I just wish there were more than the four songs on here, because what’s on offer is great. I’ve played the EP on a loop since I popped it on to review it and it’s definitely going to keep on playing. None of the tracks are hugely different from their original recordings, but it doesn’t matter. They’re all just designed for being sung out loud, and you can warble along in the kitchen to these new versions as easily as you could have back when shoulder pads were in fashion… A great little compilation that will raise a smile as much as your singing voice.” – Moshville Times – At The Movies (2020)
“The Canadian band Moonlight Desires, who specialize in turning ’80s pop songs into guitar-driven songs, turn to classic ’80s movie songs for the four track EP At The Movies… It’s a fun blast from the past that will appeal to those of us who saw those movies in the theater when they were originally released along with the younger generation who discovered them via streaming services or cable TV.” – Heavy Music Headquarters – At The Movies (2020)
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Out Now! Finland’s AFTER INFINITY’s New Album “Beyond Eternity”
Featuring Album Guests Paolo Ribaldini (Delain, Leverage, Seraphiel), Aitor Arrastia (Metal de Facto),
Nitte Valo (Dreamtale, ex-Battle Beast), Mika Tauriainen (Entwine, Shamrain),
Sara Strömmer (Shereign, ex-Fear of Domination), Leonard F. Guillan (ex-King Company)
Finnish melodic metal act AFTER INFINITY releases their sophomore album “Beyond Eternity” today, October 23rd, 2026, via Rockshots Records. Following their 2024 self-titled debut, the nine-track record brings together the different musical directions introduced throughout the singles campaign, from energetic power metal to intimate ballads and ambitious progressive compositions.
Leading the album’s release is the focus track “Crooked Carnival”, featuring Aitor Arrastia (Metal de Facto). The song opens with an eerie music-box melody that gradually develops into an orchestral introduction before giving way to a powerful, guitar-driven arrangement. Drawing on the theatrical side of classic power metal, it tells a darkly humorous horror story about a sinister carnival that kidnaps children, setting an adventurous tone for the record.
Beyond the previously released singles “King With No Crown”, “Infinite Feeling”, “Everlasting Mark” and “Whisper in the Air”, the album offers further contrasts through compositions such as “Eternal Resentment”, a fast-paced power metal track featuring Nitte Valo, and the closing “Hands of Time”, an almost twelve-minute progressive epic exploring the nature of time, the origins of the universe and human existence.
Reflecting on the album, guitarist, songwriter, and founder Zsolt Szilagyi (Dreamtale, Frozen Factory) comments:
“Beyond Eternity follows in the footsteps of the band’s debut album: It’s a collection of modern metal songs with both heavy riffs and cheesy melodies, and a lot of orchestral elements. The lyrics encompass a wide range of emotions from anger, hatred and sorrow to joy and hope. With six featured singers, the album is sure to keep offering the listener something new from start to finish. Regardless of the wide variety of styles and singers, all the songs have the distinctive After Infinity sound that keeps the album cohesive.”
Alongside Arrastia and Valo, “Beyond Eternity” features guest vocalists Paolo Ribaldini (Leverage, Delain), Sara Strömmer (Shereign), Mika Tauriainen (Entwine, Shamrain) and Leonard F. Guillan, whose individual performances contribute to the album’s musical range.
Produced by Szilagyi, the record features orchestrations by Gideon Ricardo and bass by Ville Koskinen. Mixing was handled by Benjamin Connelly for Duskswitch Production, except for “Whisper in the Air”, mixed by Ari Laurila, while mastering was completed by Jasse Kesti at Kesthouse.
For fans of: Sonata Arctica, Symphony X, Helloween.
“Beyond Eternity” is out now via Rockshots Records.
Track Listing:
1. Crooked Carnival feat. Aitor Arrastia (6:52)
2. Infinite Feeling feat. Leonard F. Guillan & Nitte Valo (5:02)
3. King with no Crown feat. Paolo Ribaldini (6:21)
4. Maybe She’s Crying feat. Paolo Ribaldini (5:21)
5. Mortal Vessel (1:58)
6. Everlasting Mark feat. Sara Strömmer (4:58)
7. Eternal Resentment feat. Nitte Valo (3:43)
8. Whisper in the Air feat. Mika Tauriainen (4:03)
9. Hands of Time feat. Aitor Arrastia (11:53)
After Infinity Line-up:
Zsolt Szilagyi: Guitars, Synths, Drum Programming, Backing Vocals
Gideon Ricardo: Orchestrations, Synths
Ville Koskinen: Bass
Guest Vocalists:
Paolo Ribaldini (Delain, Leverage, Seraphiel)
Aitor Arrastia (Metal de Facto)
Nitte Valo (Dreamtale, ex-Battle Beast)
Mika Tauriainen (Entwine, Shamrain)
Sara Strömmer (Shereign, ex-Fear of Domination)
Leonard F. Guillan (ex-King Company)
After Infinity is a Finnish melodic power and heavy metal project founded in 2022 by guitarist and songwriter Zsolt Szilagyi, known for his work with Dreamtale and Frozen Factory. Built around a flexible and collaborative structure, the band emerged from Szilagyi’s desire to move beyond a purely solo approach and create a dynamic musical environment involving multiple performers.
Rather than relying on a fixed line-up of vocalists, After Infinity developed a distinctive identity by working with a wide range of guest singers, allowing each track to take on its own character while maintaining a cohesive artistic vision.
This approach quickly became a defining element of the project, turning it into a platform where different voices and influences converge.
The band’s sound blends heavy guitar riffs, rich orchestrations, and strong melodic hooks, moving seamlessly between powerful metal compositions and more introspective passages driven by piano and atmospheric textures. Drawing from power metal, heavy metal, and progressive influences, After Infinity aims to deliver a diverse listening experience shaped by contrast, emotion, and compositional depth.
Their self-titled debut album, released in 2024, received positive feedback for its songwriting and musicianship, establishing the project within the contemporary Finnish metal scene. Building on that foundation, the sophomore album “Beyond Eternity” further expands the band’s sonic palette, introducing new guest vocalists and pushing the balance between heaviness, melody, and progressive elements while preserving the core identity that defines After Infinity.
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Avant-Garde Cinematic Doom LIMINAL SPIRIT Unveils New Single “Sins of the Father”
Story Album “Forfeiture Hymns” Out Nov 6th, 2026
Milwaukee’s one-man atmospheric industrial doom metal project Liminal Spirit continues its harrowing narrative journey with the release of the new single “Sins of the Father,” the latest preview of the forthcoming album “Forfeiture Hymns”, due out November 6th, 2026.
Following the unveiling of the first single, “The Initiate“,“Sins of the Father” serves as one of the record’s emotional centerpieces, further expanding the dark, interconnected universe established on previous releases.
Multi-instrumentalist Jerry Hauppa (guitars, drums, bass, vocals, programming), known for his work with Northless, Ara, Acanthrophis, and Deorbit, helms the project. Through Liminal Spirit, Hauppa merges the melodic sensibilities forged in extreme metal with industrial, drone, and cinematic textures to create an immersive listening experience that is both unsettling and deeply emotional.
“I wanted to do a project that utilized my sense of melody established through various extreme metal outlets but now through the lens of a more industrial/drone approach. The goal was to create music that felt like it was exposing a kind of purgatory, and each song was an attempt to guide the listener through that purgatory into a place more grounded by the end,” explains Hauppa.
From its 2024 self-titled debut EP through the atmospheric explorations of 2025’s “Pathways” EP and the conceptual depth of 2025’s “Unwell” LP, Liminal Spirit has continually expanded its sonic identity. What began as a hypnotic, drone-oriented project has evolved into a cinematic and intricate fusion of death metal extremity, industrial textures, electronic atmospherics, and psychedelic influences, culminating in the ambitious storytelling and musical scope of the forthcoming 2026 album “Forfeiture Hymns”.
At the heart of “Forfeiture Hymns” is the story of Phillip, the central figure first introduced on the previous album “Unwell”. While that record focused on Phillip’s final days in a nursing home, “Forfeiture Hymns” traces his life from birth onward through the perspectives of those whose lives were irreversibly altered by his influence.
“Each track is the story of one of those people, and how his influence steered them towards ending their respective lives. To flesh out the record, I had to create all of these people and develop their motivations, which I then used to create the melodic characteristics of each song,” says Hauppa.
The new single “Sins of the Father” tells the story of Phillip’s son, Jonathon Hastings, who returns home following his father’s funeral and discovers physical evidence linking Phillip to long-suspected murders. Faced with proof that shatters everything he believed, Jonathon is overwhelmed by grief, guilt, and the terrifying possibility that he may share the same darkness as his father.
Musically, the song mirrors this descent into despair through a relentlessly tightening rhythmic framework designed to evoke the sensation of a noose closing around its victim. The track culminates in a dramatic reprise of melodic themes woven throughout the album and previous Liminal Spirit releases, binding together a narrative that spans multiple records.
“I think it’s the most extreme demonstration of the style so far but also the most memorable. Hopefully it resonates with people,” adds Hauppa.
Built as a complete conceptual work from beginning to end, “Forfeiture Hymns” continues Hauppa’s commitment to storytelling-driven composition while crafting a sound intended to challenge listeners while drawing them deeper into its narrative world.
“I decide what the lyrical story for the album or song will be and shape the melodic structures from there, as they have to develop what the story is telling. Every record is written from the first note to the last, as they are all concept records. For this album, I want it to be confrontational yet provocative enough to maintain interest, as it is deliberately built on what will be an unfamiliar language to most listeners,” Hauppa explains.
Listen to “Sins of the Father” at https://www.youtube.com/watch?v=JZk6OYrMvPs
Recommended for fans of Skepticism, Jesu, Nine Inch Nails, Shape of Despair, Confessor, Anata, and Cynic, “Forfeiture Hymns” will be available on all digital platforms on November 6, 2026.
Track Listing:
1. A Mother’s Instinct (Catherine Hastings, d. 9/24/1937)- 4:25
2. Unwanted (Phillip Hastings Sr., d. 6/12/1938)- 6:00
3. The Initiate (Tommy Pearson, d. 3/03/1951)-5:13
4. Three (Marianne Tierney, d. 4/19/1953)- 5:10
5. Apoptosis (Elizabeth and Christopher Collins, d. 11/20/1963)- 4:13
6. Ensnarer’s Lament (Detective Michael Thornton, 6/01/1978)- 5:00
7. Two (Francine Hastings, d. 10/24/1981)- 4:40
8. Do No Harm (Alice Weaver, 2/17/2015)- 5:21
9. Sins of the Father (Johnathon Hastings, d. 2/20/2015)- 5:18
10. The Parting Glass (Madeline Hastings-Everett, d. 12/5/2025)- 2:23
11. Four (Constance Greene, b. 8/28/2026)- 0:51
Album Recording Credits:
• All songs performed by: Jerry Hauppa
• All songs written by: Jerry Hauppa
• Produced by: Jerry Hauppa
• Mixed by: Jerry Hauppa
• Mastered by: Jeff Wojtysiak
• Album Artwork by: James Becker
Album Band Lineup:
Jerry Hauppa- Kite guitar, fretless guitar, bass guitar, synthesizer, violin, vocoder, sampling
“I love when an artist goes all-in for an idea. And sometimes art is not meant to be enjoyed, so much as experienced. It transports you to that invisible realm of mind and imagination, reflecting in this case something truly horrific: a journey through purgatory. There are jagged edges everywhere, shapes and forms that make no sense, and dizzying dissonance from microtonal guitars. If you feel unsettled, that’s the point.” – Doomed and Stoned (2026 – The Initiate song premiere)
“The song we’re premiering, “A Better Place“, is that closing track. In its narrative, Phillip passes into a purgatory where he is judged for his actions, and ultimately cast into hell — not the better place he hoped for. The music manifests this denouement with sounds of mangling discordance and ruthless pounding. The hammering and thudding beats don’t create an easy rhythm, but instead generate a pattern that takes away any sense of balance. Shrill ethereal tones rise up and strangely quiver from within the dissonant, mangling morass of sonic oppressiveness. Wailing vocals rise up too, adding to the song’s hallucinatory and haunting ingredients. The experience is unsettling and unearthly. Warbling spoken words come and go. The dense backing noise is cruel and searing as well as abysmal. The pounding is as vehement as it is destabilizing — until it vanishes, yielding to a cacophonous and indeed hellish finale in which the music itself seems to descend. Siren-like bursts of sound and tormented screams close out the nightmare.” – No Clean Singing (2025 Unwell)
“The title track from this latest concept EP – being released on Halloween – from Milwaukee-based multi-instrumentalist Jerry Hauppa is an appropriately unsettling exploration of themes such as memory, guilt and spiritual reckoning delivered via a fusion of progressive doom metal with avant-garde narrative techniques, crafting what the composer and musician describes as “seance music”, a genre-defying sonic ritual meant to stir movement between spiritual realms:” – THE ÜBER RÖCK SINGLES CLUB DAILY PICK – LIMINAL SPIRIT (Oct 11, 2025 – Unwell)
“Fusing Progressive Doom Metal with avant-garde narrative techniques to create a genre defying sonic ritual meant to stir movement between spiritual realms with title track “Unwell”” – Metal Noise (Unwell 2025)
“A portrait painted by multi instrumentalist Jerry Hauppa in Progressive Doom Metal and avant-garde narrative techniques, the record plays out the deterioration of Phillip’s memory, culminating in death and spiritual judgment before he is cast into hell for all eternity. Known for his work with Deorbit, Hauppa performs the piece using guitar, microtonal guitar, bass, violin, synth, vocoder and drum programming having written, produced and mixed. They call it a genre defying sonic ritual meant to stir movement between spiritual realms….. If someone is needed to write the soundtrack to the next Silent Hill incarnation then Hauppa has just submitted his curriculum vitae” – Metal Noise (Unwell 2025)
“Unwell is a fearless act of musical necromancy. It’s unsettling, artful, and deeply personal—doom metal with a philosopher’s pen and a filmmaker’s eye. Fans of Jesu, Skepticism, and Cynic will find much to admire here, but Liminal Spirit ultimately exists in its own spectral orbit.” – See Rock Live Magazine (Unwell – 2025)
“It’s dense. It’s dark. It demands your full attention. But give it that, and you’ll walk away changed—or at least slightly disturbed. Fans of Skepticism, Kayo Dot, or anyone who enjoys having their psyche gently disassembled: this one’s for you.”- Metalpapyjeff (Unwell 2025)
“I would characterize this is something for Metal fans who think outside the box and don’t need to be spoon fed the typical Metal sound. ” – Metal Temple (Unwell 2025)
“Capturing the desolation of dementia and the abject terror and helplessness of cognitive and bodily decline in an artful way – in sound format – is no easy feat, nor must it have been a light affair. RATING: I give it a 4/5… They deserve to be heard and meditated on. But I love it – I love the concept and the overall delivery – and I wish more people would hear it and think on what it’s trying to tell them!” – Hails Webzine (Unwell 2025)
“Artistically unsettling, for fans of musical curiosity with strange, slightly noisy atmospheres on the edges.” – Music Journalist – Olivier Piot (Unwell 2025)
“It’s dense. It’s dark. It demands your full attention. But give it that, and you’ll walk away changed—or at least slightly disturbed. Fans of Skepticism, Kayo Dot, or anyone who enjoys having their psyche gently disassembled: this one’s for you.”- Metalpapyjeff (Unwell 2025)
“Unwell is a fearless act of musical necromancy. It’s unsettling, artful, and deeply personal—doom metal with a philosopher’s pen and a filmmaker’s eye”- seerocklive.com (2025 Unwell)
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Streaming Now! Canada’s TURBO Crank Up The Nitro w/ New Album “Listen… Shut Up!”
+ EU Tour Dates (CZ, SK, HU, PL, DE)
Photo Credit – Mason Paul
There are no brakes, and no apologies, as Canadian heavy rock and speed metal wrecking crew Turbo is set to unleash their third full-length album, “Listen… Shut Up!”, on October 23rd, 2026. Packed with razor-sharp riffs, pounding rhythms, massive hooks, and the band’s trademark greasy attitude, the record marks a new chapter for the Halifax quartet while staying true to the hard, fast, and raw sound that has fueled their rise.
Before the album officially lands, fans will have the chance to crank it loud via its exclusive full album stream on Metal Addicts HERE.
Formed from a shared desire to push louder, harder, and further than their previous musical projects allowed, Turbo has built a reputation on relentless energy, explosive live performances, and a unique blend of speed metal, NWOBHM, sleaze rock, punk, and pure rock and roll swagger. The band proudly calls the result “Nitro-Rock,” and “Listen… Shut Up!” stands as its strongest statement yet.
The new album follows 2020’s “Fast as Fvck” and the 2024 sophomore release “Broke and Ugly,” continuing the band’s celebration of the gritty, road-weary rock and roll lifestyle. This time, however, there’s a deeper layer beneath the party anthems.
“Listen… Shut Up! is kind of the hangover from everything that came before it. Our first album felt like it was about living in squalor. Broke and Ugly felt invincible, like the party was never going to die. This album is still packed with party anthems, but it feels much more like it’s about the consequences of living the life we lead. Musically, it’s still hard, fast, heavy, and packed full of fun. It’s still undeniably classic Turbo, but it feels more mature and refined, and we’re incredibly proud of it,” explains Evan Frizzle (Lead Vocals, Lead Guitar).
Written through a fully collaborative process, the album captures a band operating at full throttle without sacrificing substance. Every member contributes equally to the songwriting, creating an eight-song barrage that balances reckless energy with personal storytelling, razor-sharp hooks, and unapologetic honesty.
“We like our music hard, fast, and raw, and that’s the kind of experience we’re trying to give other people. We want to give people the same punch-in-the-gut, ‘this rollercoaster is more than a bit too fast’ feeling that we crave,” says Frizzle.
The first singles, “Kamikaze,” “Don’t Know Me,” and “Deathwish Labyrinth,” showcase the breadth of the album’s personality. From breakneck speed metal and anthem-sized choruses to darker reflections on addiction and personal struggle, each song carries Turbo‘s unmistakable adrenaline-fueled signature.
Lyrically, “Listen… Shut Up!” draws heavily from real-life experiences, observations, and the chaos that surrounds the band. Themes range from addiction and self-destruction to revenge, redemption, relationships, and survival, all delivered with the same unfiltered honesty that has become a cornerstone of Turbo‘s identity.
Musically, the band continues building on a sound influenced by Motörhead, W.A.S.P., Judas Priest, Pantera, and Kill Cheerleader, while embracing elements of speed metal, glam metal, sleaze rock, punk, and classic British heavy metal.
One of the album’s defining strengths is its diversity. Tracks like the blistering opener “Kamikaze” and the locomotive closer “Formula One” showcase Turbo at maximum velocity, while songs such as “Deathwish Labyrinth” explore darker territory through dramatic arrangements and deeply personal subject matter. Elsewhere, fan-favorite live cut “Slut Island” injects the band’s trademark sense of humor into the record, proving Turbo remains just as willing to laugh as they are to hit hard.
The album artwork, once again created by Tim Murray, perfectly encapsulates the band’s larger-than-life personality. Featuring a crashing airplane, demon women launching beer kegs, and the band partying their way toward another inevitable disaster, the cover reflects the reckless spirit and wild storytelling woven throughout the music.
Since their formation in Halifax, Nova Scotia, Canada, Turbo has become known as much for their live performances as their records. Walking the line between authenticity and spectacle, the band delivers an experience that is equal parts concert, party, and controlled catastrophe.
“We want to give fans a fair dose of flash while still coming off as real people. At the end of the day, that’s what our music is really about. It becomes a raw, visceral, and intimate experience that translates directly into what people hear on record,” says Frizzle.
With “Listen… Shut Up!,” Turbo isn’t reinventing itself. Instead, the band has sharpened every aspect of what made them stand out in the first place, resulting in a record that feels bigger, heavier, catchier, and more confident than anything they’ve released before.
“Listen… Shut Up!” will be available on all digital platforms on October 23, 2026.
In addition to the album’s release, Turbo will be hitting the road for their “Canadian Invasion” European Tour with Monteith, kicking off on October 23rd in support of “Listen… Shut Up!”. The tour will take the Halifax nitro-rockers across Slovakia, the Czech Republic, Hungary, Poland, and Germany, bringing their signature blend of speed, sleaze, and high-octane rock and roll to European audiences for the first time on this scale.
Canadian Invasion Euro Tour – Turbo w/ Monteith
22.10 – Hradec, CZ — AC Klub
23.10 – Bratislava, SK — Koncerty na Garážach (cancelled)
24.10 – Louny, CZ — Sféra Louny
25.10 – Bohuslavice, CZ — NOISE Bar
26.10 – Košice, SK — Collosseum Klub
27.10 – Budapest, HU — S8 Underground
28.10 – Krakow, PL — SNY
29.10 – Prague, CZ — Klub FAMU
30.10 – Nuremberg, DE — Blackbox
31.10 – Hamburg, DE — Stellwerk
Track Listing:
1. Kamikaze – 3:53
2. Don’t Know Me – 3:16
3. Deathwish Labyrinth – 3:42
4. Slut Island – 4:11
5. Best Wishes – 3:07
6. Tell Your Daughter – 3:49
7. Black Wings of Revenge – 4:14
8. Formula One – 4.33
Album Length: 29:50
Lineup:
Evan Frizzle: Vox, Lead & Rhythm Guitar
Lindsey Dicks: Lead & Rhythm Guitar, Back Up Vocals
Donovan Saulnier: Bass, Backing Vocals
Sylvian Coderre: Drums
Like your disheveled uncle on Christmas morning, Turbo is loud, reckless, unapologetic, and completely sick of your shit.
Formed in Halifax, Nova Scotia, by musicians determined to create something bigger, louder, and more ambitious than their previous projects, Turbo quickly established themselves as one of Atlantic Canada’s most exciting emerging heavy acts. Drawing influence from Motörhead, W.A.S.P., Judas Priest, Pantera, and punk-fueled rock and roll attitude, the quartet forged their own signature sound: Nitro-Rock.
Following Fast as Fvck and Broke and Ugly, Listen… Shut Up! finds the band at their most focused, ferocious, and infectious. Packed with pounding rhythms, razor-sharp riffs, massive hooks, and unapologetic attitude, the album serves as a definitive statement from a band operating at full throttle.
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“The cartoon-ish cover art with toxic green/red colors could bring more smiles to the fold – Turbo executing a great crossover sound that stands on the edge of thrash, punk and NWOBHM/heavy metal. Broke & Ugly could be your soundtrack when needing an ideal wind down from your back breaking, seemingly never over work week. 8.5/10” – Dead Rhetoric
“Turbo are fast, they’re crass, and they’re here to kick your ass… As a whole, “Broke & Ugly” is peak speed and thrash metal with a party-hard overtone. But I think the comparison to Motörhead is a little heavy-handed. After listening to the gem of East Coast Canadian metal, I’m fired up to see what Turbo does next. 9/10″ – Metal Temple
“This rocks a lot. The vocalist’s gritty approach delivers surprisingly catchy and memorable vocal melodies, and the occasional backing vocals are often reminiscent of mid-80s “party” metal, very upbeat and singalong-inducing. The guitar work has everything people like in old heavy metal, a rather raw style filled with cool solos and riffs that stick in your head long after they’re over. You’d tell me this was released more than 40 years ago and I would believe you. A fun time from beginning to end. 4/5″ – The Metal Crypt
“”Broke & Ugly” may have been a little tight in terms of playing time, but with the incredible hit rate of one hundred percent, you can forgive that. When punk and thrash still spoke a language, the whole thing sounded like this album. The fact that a band would ever come close to OVERKILL in terms of sound technology says more than enough! Yes! Noisy thrash, melodic punk, classic setup – what a great record! 9/10.” – Power-Metal.de
“entertaining, refreshingly lively, dynamic, far too good to be bad. Massively punching Kick Ass- Heavy Metal n’ Rock n’ Roll on all sides, which hits the eye in a straight line, brutally, snotty, until it hits the chest, where it hurts. Snots, tubes, rocks and rolls straight to the limit! 8/10” – FFM-Rock
“the band is insanely tight, with Frizzle and fellow six stringer Lindsey Dicks really giving it some violence riff wise and soloing like their lives depended on it. Similarly, the rhythm section of Sylvain Coderre (d) and Henry MacDonald take no prisoners and submit to no-one in their ability to hold things together at high velocity. Very impressive. As we get deeper into the twenty first century, bands are running out of ways to repackage, remake and remodel, so the freshness with which Turbo approach the task in hand has to be applauded. This is fun to listen to – and it certainly sounds like the band had fun getting the album down, and sometimes a bit of joie de vivre is all any of us need. But when you are able to mix that in with a killer technique and a sharp ear for a metal tune well, good times await!” – Sentinel Daily
“Canada’s Turbo label their music Nitro-Rock; On the evidence of the submitted album, Broke & Ugly, it would seem that Nitro rock is in fact an almighty mashup of styles, all rendered at high speed and with little regard for personal danger (in my day we used to call that Crossover-Ed). If that description excites you, then the album is going to send you into paroxysms of joy…” – Sentinel Daily
“Turbo’s second full length album is the equivalent of getting into a newly juiced up hotrod, the roof reeled back in, as you’re flooring it down the highway until your smoke trails combust. From start to finish, Turbo live up to their name in droves and then some with energy that cannot be denied and a plethora of tracks that offer much to be remembered. Though boasting a full nine tracks, Broke & Ugly doesn’t even eclipse a full half hour and therefore opens itself up for numerous relistens. It starts up, gets you in the mood to kick some butt, yet doesn’t attempt to overstay its welcome to any degree. For me personally, this style of speed metal can be a vast hit or miss but I thoroughly enjoyed my time with this record, and during its duration I was brought on board with Turbo’s infectious power. Furthermore, I’d wish to visit their first record, and am excited to see what they do for a third, prospective release; I merely hope it’s not another four years because this is really good, fun material that anyone can get behind. A refreshing break from crushing, defeating extreme metal is sometimes needed, and Turbo are one fine cocktail.” – The Razor’s Edge
“Turbo is a band that gives me associations to two very different bands and the earlier stages of both of those bands output, and that is Turbonegro and Iron Maiden respectively. If you can imagine the early death punk of the former combined with certain aspects of the Di’Anno era of the latter combined into a whole, you probably won’t be too far off from the kind of landscapes explored by Canadians Turbo. And chances are good that you’ll find this tight and uptempo album to be a rewarding experience if that description comes across as tantalizing.” – The Viking in the Wilderness
“this album is just the perfect encapsulation of fun” – Brutally Delicious
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