Posts By Asher

0 CAVEAT’s New Band Playthrough “Ghost” Will Haunt You For More! + New Album “Alchemy” Out Now!

March 11, 2022
by Asher
· Caveat · Music News

NEWS RELEASE

Montreal, QC – March 12, 2022

CAVEAT’s New Band Playthrough “Ghost” Will Haunt You For More!

Playthrough Premiere via TechnicalMusicReview

New Album “Alchemy” Out Now!

L-R Joe Sikorski – Guitars, Greg Musgrave – Guitars & Vocals, Amanda Marie Bourdon – Vocals & Keyboards, Casey Rogers – Drums, Matt Petti – Bass
Photo Credit – Monika Deviat

Progressive, aggressive, experimental, and melodic, Calgary, Canada’s Caveat recently released their fourth studio album entitled “Alchemy” on February 11th.

Today, the quintet is excited to share their full band playthrough for their album’s longest and most progressive track “Ghost“.

Guitarist Greg Musgrave adds:

“This was the last song that was written for this album and is probably the best indication of future music to come from Caveat. It’s full of twists and turns galore. The lyrics deal with trying to overcome your personal demons that keep pulling you down the rabbit hole into depression and personal turmoil. Kind of like a ghost that haunts you that no one else can see or feel but you.”

Watch and listen to the playthrough for “Ghost” via its premiere on Technical Music Review HERE.

Caveat has been making music together for the better part of two decades and in that time they have now put out five records (4 Albums, 1 EP). Their latest release “Alchemy” has been a few years in the making. This long-running band has made a name for themselves in the Canadian metal scene all the while refusing to be constricted to the genre rules and employing a vast array of influences and techniques in their music. Their new album “Alchemy” is no different as it keeps the listener on their toes as they experience this complex and detailed musical offering.

The band says that they have been getting steadily more progressive since 2004 when guitarist Joe Sikorski joined the fray. With him, he brought many possibilities in the realm of guitar harmonies and his virtuosic skills as a soloist. They continue to say that they definitely peaked as far as technical prowess on 2006’s Red, but the twin guitars, cross vocalization and wide variety of styles and songs have been a trademark of Caveat for almost 20 years. There is still innovation to be had though which they explain further:

“The creation of Alchemy has been one that has taken a few years to come to fruition, due to the stage and challenges of the modern world, but with that, we feel like the subject matter and music is more relevant than ever dealing with subjects such as addiction, the loss of a loved one, personal growth and even finding that light at the end of the tunnel. Being the band is now going on two decades of making music together, Alchemy is the first album putting newest member Amanda Marie Bourdon on lead vocal duties. She joined during the recording of our last album showing a glimpse of her vocal potential; this time around Amanda steps into the limelight as the main vocalist, which still sharing vocal duties with Greg Musgrave, but offering a new, fresh take on the Caveat sound taking the listener to uncharted territories that have turned out amazing.”

Once again, Caveat proves that they still have a trick up their sleeves and are fully prepared to give fans something new and enticing, yet familiar to enjoy. Heavily focused on personal experiences, the lyrics on “Alchemy” are both dark and light with switches in feeling and; mood ever-changing throughout the album.

Recommended for fans of Opeth, Cynic, and Devin Townsend, “Alchemy” is now available on Caveatcalgary.bandcamp.com, Spotify, Apple Music.

Music Video – Infinite – https://youtu.be/9BwpTL6c4aU

Music Video – Alchemy – https://youtu.be/7AbAXHqgguk

Track Listing:
1. Silver (7:03)
2. Alchemy (7:08)
3. Infinite (6:44)
4. Black Mirror (7:06)
5. Ghost (8:35)
6. Until Dawn (5:55)
7. Zero Hour (7:21)
Album Length: 49:54

For more info:
Facebook.com/caveatcalgary
Instagram.com/caveat_yyc

About:

Caveat was formed in mid-2001 by founding members Greg Musgrave on guitar and vocals, Jawad Baloch on drums & Terry Baldwin on bass & backing vocals. Shortly afterward Casey Rogers was asked to join as the new drummer of Caveat. This lineup would go on to record and release the debut album ‘The Biggest Secret’, which they released on May 14th of 2003.

After supporting the album, Caveat decided to expand and recruited Joe Sikorski in 2004 to the second guitar, who had been playing with Thorazine since the mid-’90s.

During 2005 Caveat partnered up with Scarab Productions to record and release a self-titled EP, which ended up landing on numerous campus radio charts and found the band playing larger shows than ever before. After parting ways with Scarab Production in late 2006, the sound of the band evolved yet again, writing more progressive and technical sounding songs, resulting in their 2007 magnum opus full-length album entitled ‘Red’.

To release ‘Red’ Caveat partnered up with Toronto-based indie record label Cyclone Records. To the band’s delight, ‘Red’ was very well received in the metal community and the band played more than ever in & around Western Canada.

Just prior to the release of ‘Red’ several members would branch off and form the deathgrind side project Exit Strategy with Shane Hawco (ex-Thorazine). Exit Strategy quickly became popular in the Western Canadian extreme metal scene. In 2008, after a successful several-year run, Caveat would elect to go into indefinite hiatus to focus on Exit Strategy.

Five years later saw the brief reformation of the band when Calgary Metalfest organizer ‘Big’ Nate Reno asked Caveat to reform to play the inaugural festival in the summer of 2013, and the band obliged. Original bassist Terry Baldwin elected to not be involved with the reunion show, so Caveat turned to former Verbal Deception and current Illuminated Minerva bass player Matt Petti to handle bass duties for the Metalfest performance. After that short hiatus, the band officially reformed at the end of 2014 with Matt Petti replacing Terry Baldwin permanently on bass duties.

Songwriting began for a new album while playing a handful of shows and several metal festivals across western Canada. Recording began in May 2015 and the new album entitled ‘Consummation’ was released on June 24th, 2016. ‘Consummation’ was also a moment of further evolution of Caveat, as local musician Amanda Marie Bourden was asked to join the band as keyboard player and second lead vocalist. Amanda accepted the invitation, and her powerful vocals were featured throughout ‘Consummation’ providing a great contrast to Greg’s clean & brutal vocal attack.

In 2017 and 2018, writing commenced for the album and would feature new vocalist Amanda as more of the primary voice in the new material. This culminated into the most diverse ambitious collection of songs to date. Then in late 2019, recording began for the new album with both Joe and Casey handling main production duties this time. Production was completed in late 2020, but due to the Covid pandemic-related shutdowns, the band decided to shelve its release for the duration of 2021 as a result.

Now Caveat’s delayed fifth album, entitled ‘Alchemy’, is for release in early 2022, and once again Caveat promises to deliver a majestic metallic assault on the senses. Stay tuned and expect the unexpected.

Album and Live Band Line Up:
Amanda Marie Bourdon: Vocals & Keyboards
Greg Musgrave: Guitar & Vocals
Joe Sikorski: Guitars
Matt Petti: Bass
Casey Rogers: Drums

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“I’d recommend the album (Alchemy) for fans of Meshuggah, Unleash The Archers, Opeth, Devin Townsend and the like, along with people who like an experimental, progressive feel to their music.” – Metal-Rules

“Track three ‘Infinite’ to me is the best song on the album. Fast and heavy, it really lets rip and is a contrast to what you’ve heard so far on the album. The song is about fear and how it motivates much of our lives. ‘Black Mirror’, inspired by an episode of the TV show of the same name, starts with an almost country and western feel before becoming a full-on rock song with lots of changing tempos and vocals. ‘Ghost’ is melodic and powerful, full of twists and turns from ballad to prog rock. It showcases the talents of both vocalists well with lyrics about overcoming your personal demons.” – Metal-Rules

“There is some stellar musicianship here from all members and the seven songs are well written and engaging. The highlight of Alchemy is definitely the lead vocals of Amanda Marie Bourdon, who has a simply excellent voice… Alchemy is definitely worth adding to your collection. 4/5″ – Heavy Music Headquarters

Alchemy opens with “Silver,” a relentless sonic assault of massive riffage that showcases Amanda Marie Bourdon’s powerful vocals with guitarist Greg Musgrave’s vicious growls. His gruffness injects several songs here, as do Bourdon’s keyboards. At times, she sings like a pissed-off Pat Benatar, and the rest of this quintet—Joe Sikorski on guitars, Matt Petti on bass and Casey Rogers on drums — matches her fury… this is an engaging listen for metal fans who don’t mind straying beyond the genre’s increasingly blurry lines.” – Shepherd Express (Milwaukee Weekly)

“On their new album CAVEAT offer seven songs, diverse in their compositions. While the guitars come up with dark, hard-hitting riffs as well as beautiful melodic parts, the mostly powerful, complex rhythmic brings in a great dynamic. By alternating between the different expressions of two strong singers, they lay all kinds of emotions into their music… All-together, “Alchemy” is an amazing listen, recommended for fans of genre-bending music. ” – Mostly Metal

“this album’s claim to take an experimental route is justified. With elements of many Metal subgenres flowing in their songwriting veins, it’s hard to stick Caveat into one category… Nevertheless, Caveat brings strength, and wonder to the Metal scene and has given us only a glimpse of what is to come.” – Metal Godesses

“A production that should be most satisfying for many fans of progressive metal, and perhaps a bit more for those who approach this style of metal from the metal rather than the progressive rock direction at that.” – Progressor

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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia

0 EPK – Kapitur

March 11, 2022
by Asher
· EPKs · Kapitur

EPK – Kapitur

For fans of Opeth, modern Swans, Godspeed You! Black Emperor, Saltland, Tina Guo

“It’s uncommon to hear a classical instrument like the cello in heavy music that isn’t Melodic or Symphonic Metal. My intent is to explore creative ways of using my instrument in heavier contexts. Twenty-six years ago, Roots Bloody Roots pleaded for the preservation of Brazilian cultural diversity. Today, Kapitur’s distinctive revisit of the song revolves around the historical alienation of common people regarded as different, the Bloody Roots of us outsiders. It grips on the struggle of finding oneself estranged from one’s original and adoptive cultures, to the ongoing murder and colonization suffered by many people in a land that was theirs for centuries; from immigrant, racial, religious intolerance to the global, modern alien anxiety suffered by African descendants and their relationship to an inaccessible homeland. Bloody Roots is about you, or someone you know and care for.” – Bruna Wanderley

Single Title: Bloody Roots (Sepultura Cover)
Release Date: March 11, 2022
Label: Self-Release
Distribution: Distrokid

Facebook.com/kapiturband – Instagram.com/kapiturband – Kapitur.bandcamp.com

Spotify pre-save: https://distrokid.com/hyperfollow/kapitur/bloody-roots

BAND STORY ANGLES / FUN FACTS:

1. Someone I know sent a private unpublished link of the music video to Sepultura and they really loved the work! Derrick Green himself contacted me to say it’s very creative, that it sounds incredible and that he looks forward to meeting me in person! So Kapitur is personally invited to meet them at their Montreal show on March 17th. One can only guess how stoked we are.

2. Shooting the music video for Bloody Roots was one of the most demanding and fun experiences we had so far. It was a very cold Fall day, we set up a tent on the sandpits and unexpectedly spent 13 hours outdoors on the first day. As soon as we got there, one of the cars got stuck in the mud, and only after greatly shoving, did a guy on a tractor appear to tow the car in a few seconds. The photographer was buried naked in the sand at 5°C – he did say he liked it. For the entire time, I was cold from shooting in a thin dress and being barefoot on the sand. At night, we had to beware of the coyote sounds coming our way – it was so reassuring to have combustible material available, just in case. Finally, all the team left the site at 3 a.m., with our gear frosted by the dew and fake blood stains on our clothes and shoes. That whole night felt really special though. Will do it again next year, once we get rid of all the sand stuck in our stuff.

3. There’s a faint possibility of having one of the upcoming songs performed by a classical choir in a few months. Fingers crossed!

Artist and multi-instrumentalist Bruna Wanderley Gonçalves draws from a young life in Brazil, living in an environment of violence, fear, and contrasting beauty. Growing up in a conservative Evangelical milieu has led her to tease her family’s most beloved boundaries and, since her solo arrival to infamously libertine Montreal in 2015, she has actively performed and recorded as a cellist in a wide array of contexts. Under her most recent metal-influenced group Kapitur – the name derived from the intriguing female character Capitu in a realist novel by Machado de Assis – she composes, sings, performs guttural vocals while also playing the cello. Making music and collaborating with artists within the local scene has consequently sparked her curiosity to explore new combinations of musical influences and sounds. Her music can be heavy, ethereal, warm, sorrowful, and atmospheric like a slow apocalypse. It’s filled with soundscapes, hammering repetitions, layering, and she creates contrasting moods with bleak cacophony followed by heavenly melodies. For her, music is a way to explore the underlying chaotic state of our past experiences as well as a fight against norms and finitude, in the search for what is eternal.

Single Band Line Up:
Bruna Wanderley – Vocals, cello, additional textures
Sam Neuman – Drums
Bruno Coe – Bass
Zach Dean – Guitars

Live Band Line Up:
Bruna Wanderley – Vocals, cello
Sam Neumann – Drums
Andres Arango – Guitars
Bass TBA
Extras TBA

Discography:
2022 – Bloody Roots (single cover Sepultura)
2020 – Decay (demo)

Single Title: Bloody Roots (Sepultura Cover)
Release Date: March 11, 2022
Label: Self-Release
Distribution: Distrokid

Single:
Bloody Roots (3:17)

Single Recording Credits:
• All songs performed by: Bruna Wanderley, Samn Neuman, Zach Dean, Bruno Coe
• All songs written by: Sepultura
• Produced by: Bruna Wanderley
• Mixed by: Jonathan Leduc
• Mastered by: Jonathan Leduc
• Album Artwork by: Ivan Arturo Photography / Bruna Wanderley
• Member of SOCAN
• Canadian Content (MAPL)

Single Band Line Up:
Bruna Wanderley – Vocals, cello, additional textures
Sam Neuman – Drums
Bruno Coe – Bass
Zach Dean – Guitars

0 KAPITUR Pays Cultural Homage w/ Cello Cover Video of Sepultura’s “Roots Bloody Roots”

March 11, 2022
by Asher
· Kapitur · Music News

NEWS RELEASE

Montreal, QC – March 11, 2022

KAPITUR Pays Cultural Homage w/ Cello Cover Video of Sepultura’s “Roots Bloody Roots”

One of the most recognizable songs by Brazil’s Sepultura is 1996’s Roots Bloody Roots. A cultural statement on the social trife between the different groups present in the country spoke to classically-trained native Bruna Wanderley who picked up her cello to create a new rendition of the classic song. She speaks to the meaning behind the track:

“Twenty-six years ago, Roots Bloody Roots pleaded for the preservation of Brazilian cultural diversity. Today, Kapitur’s distinctive revisit of the song revolves around the historical alienation of common people regarded as different, the bloody roots of us outsiders. It grips on the struggle of finding oneself estranged from one’s original and adoptive cultures, to the ongoing murder and colonization suffered by many in a land that was theirs for centuries; from immigrant, racial, religious intolerance to the global, modern alien anxiety suffered by African descendants and their relationship to an inaccessible homeland. Roots Bloody Roots is about you, or someone you know and care for.”

In both the single and the video, Wanderley takes center stage, her heavy gutturals complimenting the angry and thick notes from the cello. Kapitur’s version of the song maintains all the power and aggression that the original does, with the classical instrument being played with as much intensity as the rest of the instruments played by Sam Neumann (drums), Bruno Coe (bass) and Zach Dean (guitars).

Wanderley is the primary songwriter for the band and she has been influenced by progressive rock and death metal and more recently experimental and drone music. Heavy and ethereal, the music of Kapitur is recommended for fans of Opeth, modern Swans, and Godspeed! You Black Emperor.

Watch and listen to Kapitur‘s cello cover video of Sepultura‘s “Roots Bloody Roots” at https://youtu.be/tR7ySvFo7o8

Spotify pre-save: https://distrokid.com/hyperfollow/kapitur/bloody-roots

Kapitur.bandcamp.com

For more info:
Facebook.com/kapiturband
Instagram.com/kapiturband

BIO:

Artist and multi-instrumentalist Bruna Wanderley draws from a young life in Brazil, living in an environment of violence, fear, and contrasting beauty. Growing up in a conservative Evangelical milieu has led her to tease her family’s most beloved boundaries and, since her solo arrival to infamously libertine Montreal in 2015, she has actively performed and recorded as a cellist in a wide array of contexts. Under her most recent metal-influenced group Kapitur she composes, sings, performs guttural vocals, and plays the cello. Sam Neumann’s unyielding drumming presents a strong contrast with her unbound vocal and cello lines. The music is filled with soundscapes, hammering repetitions, with bleak cacophony followed by heavenly melodies. It can be heavy, ethereal, warm, sorrowful, and atmospheric like a slow apocalypse. Besides the Roots Bloody Roots cover, Kapitur will release an EP with four original songs in the upcoming months.

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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia

0 Out Now! Rockshots Records – THE HUMAN TORNADO’s New Album “Love Is Démodé” + New Video “It’s Never Too Late”

March 11, 2022
by Asher
· Music News · The Human Tornado

NEWS RELEASE

Montreal, QC – March 11, 2022

Out Now! Rockshots Records – THE HUMAN TORNADO’s New Album “Love Is Démodé”

+ New Video “It’s Never Too Late”

THE HUMAN TORNADO‘s new album “Love Is Démodé” is now out as of March 11th via Rockshots Records and today to celebrate its release, the band is sharing their new video for “It’s Never Too Late”.

“Couple relationships are a very complex and delicate subject. Although a man or a woman can destroy each other physically or psychologically, it’s never too late to start over, but never forgetting that every action determines a reaction. The subdivision of this song into two parts was a deliberate choice to show the evolution possibly happening within a relationship. It’s a song that has an aggressive and compact sound along with unconventional structure making it unique when compared to all the other tracks on the new record.” adds the band.

Watch and listen to “It’s Never Too Late” at https://youtu.be/YydbO49f_OA

“Love Is Démodé” is available via Rockshots Records at the following links:

CD – https://bit.ly/THT_CD

Digital – https://bfan.link/love-is-demode

Offering a slab of smashing knock-out heavy groove rock, The Human Tornado‘s “Love Is Démodé” follows their 2016 debut record “Storm In A Ketchup” (Hidden Stone Records). Since their inception in 2014, the band has been making shockwaves out of their home country of Italy supporting touring bands such as Twelve Foot Ninja, Destrage, and Crazy Town.

The album was self-produced by The Human Tornado with mixing and mastering done by Marco Paradisi at Boat Studio. The album features ten hurricane tour de force tracks that will leave fans breathless and eager to set the track listing on repeat from beginning to end. The lyrical concept behind the album is love, one of the strongest feelings of deep affection. It has different aspects and it can be addressed to another person, an animal, or a passion. But, if it’s pure, this doesn’t matter. The band explains further:

“For some years this feeling of love has been declining, going out of fashion. In fact, in our society finding people loving what they do is increasingly difficult and often image, power, success are the most important aspects of life. Moreover, these goals are more and more often achieved by means of questionable actions and negative feelings. In this album we want to express our idea of love in particular towards music, showing in every single song even the dark and negative sides coming from love in our life.”

Previous Singles:
Last Embrace – https://youtu.be/EX_U0YwqCtk
Dreamland (Music Video) – https://youtu.be/5lsGrnkjGTo
What I’m Waiting For (Music Video) – https://youtu.be/W5nrqzDMJHo

Track Listing:
1. It’s Never Too Late (3:11)
2. Dreamland (3:19)
3. What I’m Waiting For (3:45)
4. The Iron King (3:12)
5. Great Unknown (3:53)
6. Last Embrace (4:06)
7. Free (4:05)
8. Kill! Kill! Kill! (3:26)
9. Compromise (3:31)
10. Black Mind Hole (5:28)
Album Length: 38:03

Band Lineup:
Roberto “Rob” Montanari – Vocals
Simone “Goro” Gorini – Guitar
Maximiliano -”Max” Giglio – Guitar
Arash “Ash” Saboori – Bass
Lorenzo “Law” Trentin – Drums

Album Credits:
– All songs Written, Produced and Arranged by The Human Tornado
– Recorded at Boat Studio, Calderara di Reno (BO) – Italy
– Mixed and Mastered by Marco Paradisi at Boat Studio, Calderara di Reno (BO) – Italy
– Design, Artwork and Layout by Antonio “Mantra” Magro

More info:
Rockshots.eu
Facebook.com/THTofficial
Instagram.com/thehumantornadoband

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ASHER MEDIA RELATIONS

Jon Asher – Music Publicist
#514.581.5780
jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia

0 EPK – Thirteen Goats – Servants of the Outer Dark (2022)

March 10, 2022
by Asher
· EPKs · Thirteen Goats

EPK – Thirteen Goats – Servants of the Outer Dark (2022)

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

For fans of Carcass, Cannibal Corpse, Deicide, Death, Megadeth

“‘Servants of the Outer Dark’ is the debut record by Vancouver death metal monsters THIRTEEN GOATS—a sonic trip that winds down the most twisted sections of extreme metal’s memory lane on a journey to wicked new horizons. The band weaves together conventions from numerous extreme metal subgenres on songs that range from topical to tongue-in-cheek—some songs have a serious social message, and others are about cooking and eating your enemies. The album title is also a reference to the band’s name—the band’s mascot, Shepherd, is an antichrist figure who wears a goat skull mask, appearing throughout time and space to commit various evil acts with the help of twelve demon goats who function as his disciples. Together, they are THIRTEEN GOATS—and Servants of the Outer Dark.” – Thirteen Goats

Album Title: Servants of the Outer Dark
Release Date: July 1, 2022
Label: Self-Release
Distribution: CD Baby

Thirteengoats.com (under construction) – Facebook.com/THIRTEEN.GOATS – Twitter.com/THIRTEENGOATS

YouTube – Instagram.com/thirteen.goats – Thirteengoats.bandcamp.com

“With “Return to Ruin”, an unrelenting Thirteen Goats suggests it’s time to blow up everything” – Georgia Straight

“Get Weird, Wild and Wacky with Thirteen Goats’ Servants of the Outer Dark” – Decibel Magazine

“Metal Sucks – Beer Metal: More of Your Drunkest Song Suggestions – July 9, 2022 – Thirteen Goats, “Return to Ruin” – Rips, we’re here for it. Suggested by Dave M. Dave, worship the porcelain god.”

“Vancouver’s Thirteen Goats is now streaming their new single “Servant Of The Outer Dark.” The single perfectly marries old school death metal, blackened tendencies, and heavy metal choruses all into one killer song. Plus the video directed by Nessa Aref and Alysson Hall is pretty damn cool.” – Metal Injection

“Vancouver’s Thirteen Goats Don’t Care What You Think on ‘Servants of the Outer Dark'” – Exclaim!

“This new song, “Return To Ruin“, is the first single from Thirteen Goats‘ forthcoming debut album Servants of the Outer Dark, a gut-punching and head-hooking offering of death metal that borrows liberally from many of the genre’s subsets, as well as bringing in elements of thrash, black metal, and grindcore… it blazes like a wildfire running ferociously out of control, powered by a panoply of turbocharged riffing, riotous drumwork, and vitriolic vocals that span a range from guttural bellows to screeching shrieks, wild howls, and savage near-sung yells. The guitars twitch in demented thrashing fevers, jolt like jackhammers, swarm in feeding frenzies, and eject brazen fanfares, augmented by solos that spit fire and beautifully swirl. The rhythm section will also beat you senseless, but engage in some interesting off-kilter interplays as well.” – No Clean Singing

CBC Radio Interview – https://www.cbc.ca/listen/live-radio/1-91-the-early-edition/clip/15922884-on-july-1-vancouver-metal-band-thirteen-goats

“With a name like 13 Goats, it’s gonna be evil. It’s a cool thrashy, blackended groove metal, a little Lamb of God sound with a bit more heavy/brutality going on with a dash of black metal evilness. Great stuff!!”- Moshpit Radio – 89.9 FM (Madison, WI)

“Thirteen Goats make seriously good music and sound like they have a lot of fun doing it. They write great upbeat thrash songs with strong melodies that appropriately sway from sinister to camp and pull it off temendously. For some classic charcuterie of extreme metal mixed with a bit of tongue in cheek, you’re well looked after here.” – Heavy Mag

“It’s a blast of slightly technical death metal that slaps the listener in the face after the opening acoustic guitar intro on Thirteen Goats’ debut album. This Vancouver outfit set about the album with precision, aggression, controlled chaos, and menace. The menace is provided by Graham K. Miles’s death metal growl; the aggression comes from the bass and guitar; the controlled chaos can be attributed to the razor sharp drums. The menacing vocals then become clean and surprisingly rather commercial, adding another dimension to this band. The clean vocal style is still metal, its just unexpected, which is always a good thing on a debut album. This particular track ‘Servant Of The Outer Dark’ is an homage to the horror author Steven King and contains spoken word and breakdown sections that keep the listener interested and keen.” – The Razor’s Edge

“In the end of all, one can say that “Servants of the Outer Dark” is really a surprising release, and as an eclectic Death/Black/Thrash Metal release, it will show that THIRTEEN GOATS is a new strength into the extreme scene.” – Metal Temple

“The starting point of Thirteen Goats and their debut album Servants Of The Outer Dark is death metal, but it doesn’t remain tied to it. They explore all types, including tech death and melodic death metal, and even genres outside of that like thrash, groove, and doom metal. Each song brings out a unique side to the band, whether it’s the politically charged “Prisoner’s Anthem” or the body horror of “Sub-Being.”” Heavy Music Headquarters

“Canada’s Thirteen Goats are incredibly fun to listen to and at multiple points subtly humorous and as such make themselves easily a breath of fresh air within the technical scene. That sense of fun is backed up with very proficient playing and dizzying creativity, far beyond what you would expect from a debuting act’s first full length… Servants of the Outer Dark is an excellent debut full length from these guys and I can’t wait to hear more!”9/10 – Metal Observer

“All you need is love? No. All you need is Thirteen Goats. Their debut album has everything your heart could desire in a Metal record, it’s a metaphorical pizza with all the toppings and better thrill ride of a first crack we defy you to find! [8.5/10]” – Metal Noise

“‘Challenge The Executioner’ is a thunderous and aggressive beast of a death metal track, with an impressive array of technical-sounding riffs, vibrant bass work, and some truly bruising drumming. It’s a song that proves that these guys have the ability and the chops to succeed, whilst channelling bands like Lamb Of God into their output.” – Man of Much Metal

L-R – Rob Fitzgerald (Guitars, Vocals), Graham K. Miles (Vocals, Guitars), Mike Redston (Bass, Vocals)

Photo Credit – Caitlin Delaplace

Eclectic, over-the-top, and just a little weird, THIRTEEN GOATS takes cues from some of extreme metal’s most infamous acts (Death, Carcass, Cannibal Corpse) to create a tongue-in-cheek blend of different genre hallmarks that’s as hooky as it is heavy. This ain’t your dad’s death metal, but we kept the best parts. Horns up.

Album Band Line Up:
Graham K. Miles – Vocals, Lead & Rhythm Guitars
Rob Fitzgerald – Lead & Rhythm Guitars, Vocals
Mike Redston – Bass, Vocals, Acoustic Guitar

Live Lineup:
Graham K. Miles – Lead Vocals, Lead & Rhythm Guitars
Rob Fitzgerald – Lead & Rhythm Guitars, Vocals
Cody Lewichew – Bass
Leonid Verman – Drums

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

BAND STORY ANGLES / FUN FACTS:

1. Frontman Graham K. Miles got into a motorcycle accident midway through the recording process. He performed all his guitar solos on the record with a broken finger and both wrists sprained.

2. Bass player Mike Redston is also the sole member and songwriter of one-man black metal project Snakeblade.

3. Rob Fitzgerald’s first jam partner was his dad, who was the drummer in a 70s-style rock band called The Wee Band. To this day, Rob thinks his Dad might have had something to do with his love for death metal—which he describes as music where “you’re basically playing drums on all the instruments—even the guitars”.

4. The name “THIRTEEN GOATS” refers to the band’s loose concept and mascot: a demonic entity and antichrist figure named Shepherd who wears a goat skull mask. He travels through space and time, appearing in our world and others whenever evil deeds are afoot—which gives us license to write about pretty much anything. The other 12 goats represent his infernal disciples—as well as symbolizing the “baa-nality” of evil. (Sidebar: the band used to be named “COMMANDRA”, which is a type of flower growing in British Columbia that causes tree fungus. We liked the irony of being a death metal band named after a delicate flower—but nobody knew that, and we got sick of people asking us what the fuck a “COMMANDRA” was. We think “THIRTEEN GOATS” paints a much clearer picture.)

5. Graham K. Miles is a classically-trained Shakespearean actor with a master’s degree in theatre from the New School for Drama (formerly the Actor’s Studio Drama School) in New York City.

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

The album as a whole (LYRICALLY & MUSICALLY)

‘Servants of the Outer Dark’ is the debut record by Vancouver death metal monsters THIRTEEN GOATS—a sonic trip that winds down the most twisted sections of extreme metal’s memory lane on a journey to wicked new horizons. The band weaves together conventions from numerous extreme metal subgenres on songs that range from topical to tongue-in-cheek—some songs have a serious social message, and others are about cooking and eating your enemies. The album title is also a reference to the band’s name—the band’s mascot, Shepherd, is an antichrist figure who wears a goat skull mask, appearing throughout time and space to commit various evil acts with the help of twelve demon goats who function as his disciples. Together, they are THIRTEEN GOATS—and Servants of the Outer Dark.

Track by Track explained (LYRICALLY & MUSICALLY)

– Servant of the Outer Dark
This song is an homage to my favourite Stephen King villain. I hope Stephen King doesn’t sue us, but if he does, I plan to take that as a sign that we made it. He didn’t sue Anthrax, so I’m hoping that means we’ll be all right.

The song opens with a thunderclap and a bell ringing while an acoustic guitar plays softly. Then, out of nowhere, the main riff kicks in and the toms start pounding—and the band goes full-tilt from that point forward. Harsh guttural vocals rip through the verses, while a big clean sing-along hook dominates the chorus. There’s even a spoken-word bit in the middle where Rob and I have a bit of dialogue as different characters from the story the song is based on.

This is easily the most melodic song on the record, but it’s also got some truly heavy parts. Mike (who wrote most of the music for this one) has a breakdown in the middle that crushes, Rob added a truly nasty riff that kicks in at a few key points, and I think this is probably my most dynamic and versatile vocal work on the whole album. Everyone’s unique talents really shine on this one, and I hope it finds an audience who appreciates it the way we do.

– Challenge the Executioner
Rob wrote this song about overthrowing a tyrant. I think it’s supposed to be more in the realm of fantasy than social commentary—but looking around at our world for the last few years, maybe it kind of works both ways. I think there are certainly a lot of people out there these days who would like to topple a social order or two—and honestly, I can’t say I blame some of them.

Musically, this song is built around one of our most technical riffs—something Rob wrote years ago that I still have to practice regularly to keep it nice and tight. It also features some really kinetic interplay between the drums and the stringed instruments about halfway through, followed by a big section where both guitars and the bass go into a big tapping frenzy.

When we finished this one, I think we all kind of looked at ourselves and asked if it was too much. But looking back, I think this was one of the moments where we really realized that metal lets you be as crazy as you want, as long as you commit to it.

– Sub-Being
Musically, this is one of our most straightforward songs—it’s very much in the vein of classic death metal, with a few flourishes from 80s thrash thrown in. Rob wrote the music and lyrics, which tell the story of a monster created from different human body parts who craves death but is being kept alive against its will. It’s fun!

– Prisoner’s Anthem
This is our most political song on the record, but it’s also a bit personal for me. It’s about different prison-industrial complexes throughout human history—the first verse is about the Soviet gulags, the second verse is about the Nazi death camps, and the third verse is about the detention centers at the Southern U.S. border. It’s a song about how the flawed justice systems in all of those nations failed their people, and how ultimately, political ideology means nothing if you support a state that treats human lives as disposable.

My whole family is Ukrainian, and Rob has Armenian heritage, so we have older relatives who remember what it was like when the Soviets and the Nazis were disappearing people. And a lot of that stuff is coming up for us right now, with what’s been happening between Russia and Ukraine, but also with atrocities being committed by our own empire. I had a distant relative who was sent to a labour camp in Siberia. So when I hear about kids being separated from their families in this day and age, it makes me really angry. It makes me feel like we haven’t learned anything from the horrors of our past, and that’s what this song is trying to articulate.

– Unholy Mass
This was the first song that Rob and I wrote together. He came up with all the riffs—except the one that plays right at the end, which is mine—and I did the lyrics, which are about a priest who decides to cleanse the world of sinners by gruesomely murdering them. I guess you could read into that and say we’re making a comment about the hypocrisy inherent in organized religions that preach peace and love but enforce their values with violence and oppression. But honestly, we just thought it made for some cool images. I also managed to get a Cryptopsy reference into the chorus—see if you can pick it out!

– Vacuum-Induced Head Explosion
The title really says it all. This is a song about putting your enemies in vacuum-sealed chambers and making their heads explode. I think I got the idea from an old James Bond movie or something.

This might be the most technically challenging song we have on the record. The riffs make you go all over the fretboard, the pace never lets up, and there’s a bridge about two-thirds of the way through where both guitars and the bass are playing some really weird and techy stuff, all while the lead vocals are going. But it has one of my favourite choruses in the entire set—we actually all loved it so much that we couldn’t agree on who should sing it, so we each took a line or two!

– Return to Ruin
I was really inspired by late ‘90s Deicide—specifically, the stuff off ‘Serpents of the Light’ when I wrote this song. It’s a real right-hand workout, with tons of trem-picking in the verses and a chorus that kind of bounces up and down the necks of the guitars in a weird rhythm that feels like it’s almost too early for the beat (but actually isn’t).

The lyrics for this one are kind of on the serious side. They came out of my frustrations with a lot of different institutions that I feel have really failed the current generation—political, financial, educational, judicial, and so on. When I think about how poorly we’re dealing with issues like the climate crisis, or the lasting impact of colonialism, patriarchy, and white supremacy in western nations, or how global capitalism is taking us back to the days of feudalism by facilitating the largest wealth transfer in history so that billionaires can race their private rocket ships to space while the rest of us are getting squeezed tighter every year, it just makes this part of me wish we could burn everything down and start over. I know that’s not realistic, and I don’t really believe that’s the way—but in my darkest moments, it’s kind of a comforting fantasy. So if anyone out there who also feels that way hears this song, at least maybe it will help them to know we’re as angry about all those things as they are. And sometimes, that kind of solidarity inspires people to act.

– Constant Torment
This is another one that I wrote on my own. Musically, it’s inspired largely by melodic death metal like late-career Death and Children of Bodom, with a dash or two of Justice-era Metallica thrown in for good measure. There’s a lot of melody, but it’s kind of frantic and juxtaposed with the main riff, which just sort of bludgeons the listener with these big heavy power chords. I think it’s also the only song on this record with any sweep-picking going on (although that’s really just used as an accent during the chorus and a small part of the first solo).

The lyrics are about living with mental illness and what it’s like when that makes you want to kill yourself.

– Through the Meat Grinder… The Recipe
This song’s just fun. It’s a classic tale of the macabre about a man who murders his rival and cooks him—then, when the rest of the village shows up on his doorstep with torches and pitchforks, demanding to know what happened to the missing person, our “hero” invites them all in for dinner, gets them drunk, serves them the severed head of his victim, and murders the lot of them so he can keep making meat pies. Kind of an Edgar-Allen-Poe-meets-Sweeney-Todd kind of thing—except I don’t think this one will ever become a Broadway musical. But you never know!

Musically, I’m really proud of how this one came together. It’s got this kind of atmospheric, almost doomy intro, followed by a real old school death metal riff, and then it kicks into groove metal for a bit before the chorus rolls around. There’s a trem-picked lead section that feels very black-metal-inspired, and then the song transforms into this whole other beast where the guitars start doing a Gojira type of thing and Mike starts reciting the steps for preparing to cook and eat human flesh. That’s the ‘Recipe’ part. And then it all comes full circle for the grim (or should I say, ‘Grimm’?) conclusion of the story. Gotta give ‘em a satisfying ending, right?

There’s also a tiny little nod to one of our biggest musical influences—someone who unfortunately isn’t around anymore—right at the very end of the track. I think some people will hear it right away, and some people won’t. That’s just our way of saying “thank you for inspiring us”.

[Download Album Cover | Download Album Lyrics]

Album Title: Servants of the Outer Dark
Release Date: July 1, 2022
Label: Self-Release
Distribution: CD Baby

Track Listing:
1. Servant of the Outer Dark (5:48)
2. Challenge the Executioner (3:18)
3. Return to Ruin (4:11)
4. Prisoner’s Anthem (3:26)
5. Sub-Being (4:16)
6. Unholy Mass (4:41)
7. Constant Torment (3:30)
8. Vacuum-Induced Head Explosion (4:33)
9. Through the Meat Grinder… The Recipe (4:47)
Album Length: 38:34

Album Recording Credits:
• All songs performed by: Graham K. Miles, Rob Fitzgerald, & Mike Redston
• All songs written by:
– Servant of the Outer Dark
Music by Mike Redston & Rob Fitzgerald & Graham K. Miles
Lyrics by Graham K. Miles
– Challenge the Executioner
Music & Lyrics by Rob Fitzgerald
– Return to Ruin
Music & Lyrics by Graham K. Miles
– Prisoner’s Anthem
Music & Lyrics by Graham K. Miles
– Sub-Being
Music by Rob Fitzgerald & Mike Redston
Lyrics by Rob Fitzgerald
– Unholy Mass
Music by Rob Fitzgerald
Lyrics by Graham K. Miles
– Constant Torment
Music & Lyrics by Graham K. Miles
– Vacuum-Induced Head Explosion
Music by Rob Fitzgerald
Lyrics by Graham K. Miles
– Through the Meat Grinder… The Recipe
Music by Graham K. Miles & Mike Redston
Lyrics by Graham K. Miles & Mike Redston
• Produced by: Graham K. Miles, Rob Fitzgerald, & Mike Redston
• Mixed by: Diego Fernandez-Trujillo
• Mastered by: Diego Fernandez-Trujillo
• Album Artwork by: Jeremy Famir
• Member of SOCAN
• Canadian Content (MAPL)

Album Band Line Up:
Graham K. Miles – Vocals, Lead & Rhythm Guitars
Rob Fitzgerald – Lead & Rhythm Guitars, Vocals
Mike Redston – Bass, Vocals, Acoustic Guitar

Live Lineup:
Graham K. Miles – Lead Vocals, Lead & Rhythm Guitars
Rob Fitzgerald – Lead & Rhythm Guitars, Vocals
Cody Lewichew – Bass
Leonid Verman – Drums

0 Decibel Magazine Premieres Idol Of Fear’s Brooding Third Album “Trespasser”

March 10, 2022
by Asher
· Idol of Fear · Music News

NEWS RELEASE

Montreal, QC – March 10, 2022

Decibel Magazine Premieres Idol Of Fear’s Brooding Third Album “Trespasser”

“Trespasser” Out March 11, 2022

L-R – Kalei – Bass, Austin – Vocals, Doug – Drums, Dave – Guitar
Photo credit: A.J.

Toronto’s Idol Of Fear is releasing their third album “Trespasser” shortly, with a first listening over at Decibel Magazine. The album is a black metal masterpiece, shrouded in darkness, bitterness, and relentless riffs.

Listen to it in full HERE.

Their most powerful and cohesive album to date, “Trespasser” will provide a darkly invigorating yet personally introspective experience for the listener. Every lyric relates to a personal experience, but oftentimes certain elements seem to make their way through dreams and other nebulous connection points. They explain the album in further detail:

“Fear has never in recent memory held more power and sway over our populations than now. A spectrum ranging from extreme visceral terror to the more subtle and sublime forms, the latter form perhaps more nefarious in its subliminal accumulation. Whether manufactured or seated in a terrible legitimacy, its prevalence has seeped into nearly every aspect of our societal facets. Acknowledgment of its reign is unnecessary when it dictates the context of an individual existing within its domain. “TRESPASSER” is born of this wicked plane; a vehicle of ill-conceived venturing into the hostile dark.”

All the members of the band contribute ideas during the creative process. They have tracked the last two albums themselves and while this approach may change in the future, it has proven efficient to this point. The album was mastered by Jeremie Bézier (Emptiness, Enthroned) and the artwork was done by Rotten Fantom.

The eerily progressing black darkness from the North is recommended for fans of Shining, Deathspell Omega, and Mgla.

“Trespasser” officially releases on March 11, 2022 via the band’s own label Somnolence Productions.

Album pre-order – https://idoloffear.bandcamp.com

Lyric Video – Cheirotonia – https://youtu.be/-3kEEZfw5HM

Track Listing:
1. The Flayed Horizon (5:24)
2. Angel Dust (5:28)
3. Cheirotonia (5:15)
4. Phantom (4:58)
5. Trespasser (5:15)
6. In the Cold Light of Dawn (4:27)
7. Alone With You (5:12)
8. What You Came to Find (6:18)
9. Endless (3:00)
Album Length: 45:16

Album Recording Credits:
• All songs performed by: Idol of Fear
• All songs written by: Idol of Fear
• Produced by: Idol of Fear
• Mixed by: Idol of Fear
• Mastered by: Jeremie Bézier (Emptiness, Enthroned)
• Album Artwork by: Rotten Fantom
• Canadian Content (MAPL)

Album and Live Band Line Up:
Austin – Vocals
Dave – Guitar
Kalei – Bass
Doug – Drums

Discography:
2022 – Trespasser
2020 – Pox (single)
2018 – Grave Aperture (LP)
2014 – All Sights Affixed, Ablaze (LP)

For more info:
Facebook.com/idoloffear
Twitter.com/idoloffear
Instagram.com/idoloffear

About:
A heavy darkness from Canada who have been stalking the unlit horizon since 2011, Idol of Fear is undeniable, undefinable. Formed out of a necessity to make something out of the gloom that swirls around us all, Idol of Fear has been making music together for a very long time now and dedicated themselves to honing their craft, as it is work that they do not approach lightly.

Thus far, Idol of Fear have released two full-lengths, “All Sights Affixed, Ablaze” (2014) and “Grave Aperture” (2018). A third, “Trespasser” will come out in 2022. All contributing ideas to the creative process, Idol of Fear tracked the first two albums themselves and tend to write new material by recording as opposed to jamming it out. Every lyric relates to a personal experience, but oftentimes certain elements seem to make their way through dreams and other nebulous connection points.

When playing live, some songs are re-arranged in order to be properly executed, but for the most part Idol of Fear recreates the atmosphere that their recorded material projects – with the extra ferocity of course.

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ASHER MEDIA RELATIONS

Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
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0 TheCirclePit Premiere – Vancouver’s CROWN OF MADNESS Release Visualizer Video For “False God’s Hymn” Off “The Void” Out March 25th

March 10, 2022
by Asher
· Crown of Madness · Music News

NEWS RELEASE

Montreal, QC – March 10, 2022

Vancouver’s CROWN OF MADNESS Release Visualizer Video For “False God’s Hymn” Off “The Void” Out March 25th

Visualizer Premiere via TheCirclePit

L-R – Connor Gordon – Drums, Sunshine Schneider – Vocals / Guitars
Photographer Credit – Savannah Adeline – Paradox Visuals

Crown of Madness, from Vancouver, Canada, started in the midst of the pandemic, with the intention of bringing something new and beautiful to the dark and dissonant sounds of death metal. They are gearing up to release their debut EP this year and the second single they have out to whet the auditory palates of listeners is “False God’s Hymn”.

The single is about how humanity can destroy entire planets and although we are aware of this fact, we continue to do the things that will destroy us all. This can also be interpreted in a personal way, where we as individuals continue to do things we know are bad for us. The band explains further:

“False God’s Hymn was the first song we wrote for Crown of Madness and remains to be our most refined piece. It has a solid structure, where each part flows into the other smoothly, and each section is memorable. This song has all the elements we wanted to encapsulate in our overall sound; such as brutality, beauty, and sad emotions. The lyrics reflect humanity’s societal decision to continue to destroy ourselves and the planet even though we each possess the knowledge to save us all.”

For Crown of Madness, musical and lyrical inspiration comes from their love of fantasy RPGs, drawing heavy inspiration from Dark Souls, Bloodborne, and World of Warcraft. Their dissonant guitar chord-heavy riffs usually inspire a melancholy approach to the lyrics presented with simply placed vocals that are also catchy.

Emotional and devastating, “The Void” is diverse and recommended for fans of Vitriol, Gorguts, and Fallujah.

“False God’s Hymn” can be heard via TheCirclePit – https://youtu.be/Af9tlE-CfL4

“The Void” is being released on March 25, 2022.

Album pre-order – Crownofmadness.bandcamp.com

Lyric Video – The Manipulated – https://youtu.be/IGuaVlmBaH4

Track Listing:
1. Pale (feat. Claine Lamb) (2:03)
2. Eternal Feeding (2:38)
3. The Manipulated – (4:14)
4. Anguish (feat. Kaija Krimson) (4:31)
5. False God’s Hymn (feat. Claine Lamb) (4:47)
Total Length: 18:13

EP Recording Credits:
• All songs performed by: Sunshine Schneider, Connor Gordon
• All songs written by: Sunshine Schneider, Connor Gordon
• Produced by: Sunshine Schneider, Connor Gordon
• Mixed by: Connor Gordon
• Mastered by: Stu McKillop
• Album Artwork by: Jois Cabe
• Member of SOCAN
• Canadian Content (MAPL)

EP Line Up:
Sunshine Schneider – Vocals / Guitars
Connor Gordon – Drums
Claine Lamb – Guest Piano
Kaija Krimson – Guest Vocals

Live Band Line Up:
Sunshine Schneider – Vocals / Guitars
Connor Gordon – Drums
Sylvain Maltais – Bass

For more info:
Facebook.com/crownofmadnessmetal
Twitter.com/crownofmadness_
Instagram.com/crownofmadness.metal

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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780 | jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia

0 Rockshots Records – Greek Symphonic and Cinematic FORTIS VENTUS Announce Debut Album “Vertalia” June 2022

March 10, 2022
by Asher
· Fortis Ventus (Rockshots Records) · Music News

NEWS RELEASE

Montreal, QC – March 10, 2022

Rockshots Records – Greek Symphonic and Cinematic FORTIS VENTUS Announce Debut Album “Vertalia” June 2022

Rockshots Records is proud to announce their signing of Greek trio Fortis Ventus for the release of their debut album “Vertalia” on June 3, 2022.

Combining symphonic and cinematic elements along with soundtrack influences, Fortis Ventus formed in 2015 and self-released their first ep “Haunted Heart” in November 2017.

In early 2018, due to creative differences, the band underwent significant changes. The driving forces that remained were composer, arranger, keyboardist George Halliwell and vocalist, lyricist Nancy Mos. Breathing new life into their work, the duo met Gregory Koilakos who would take on the role of guitarist. Together, the three musicians started recording their first full-length “Vertalia” with Gregory taking on both guitar and bass duties for the album, which also changed the band’s metal sound with its film score music elements.

Sentimental, dramatic, grand, cinematic, and imaginative, “Vertalia” is a concept album based on a novel-fairytale written by keyboardist George Halliwell.

“Twelve chapters for a total of twelve tracks”. says, Halliwell.

The theme of this fairytale focuses on an imaginary planet called Vertalia, where the main character starts their journey to discover their inner truth and the truth of life itself. Through the challenges they face during their journey back to Earth, they connect with their higher self and take a path to eventually achieve inner peace back towards their homeland of Vertalia.

“The audience will be surprised at the intricate orchestrations that hide behind complex melodies on this album. Each person hearing it, will find a glimmer to empathize in every track. We wanted to tell a story and give the listener a variety of feelings and a journey alongside the lyrics.” adds the band.

Fortis Ventus is recommended for fans of Hans Zimmer, Two Steps From Hell, Epica, Nightwish, and Kamelot.

The first single “My Death is My Devotion” off “Vertalia” will be released on March 23rd and available for pre-save at the following link: https://bfan.link/my-death-is-my-devotion

The song captures the pain and faith behind the sacrifices for the ones we care, love, and are loyal to.

Fortis Ventus is in the planning stages of live performances to deliver an engaging and unique crowd participating visual-acoustic experience.

For more info:
Rockshots.eu
Facebook.com/fortisventusofficial
Twitter.com/fortis_ventus

– 30 –

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ASHER MEDIA RELATIONS
Jon Asher – Music Publicist
#.514.581.5780
jon[@]ashermediarelations[.]com
Facebook @AsherMediaRelations
Instagram @AsherMedia
Tweet @AsherMedia

0 Thank You Canadian MDs and DJs for the airplay love! \m/\m/ !earshot -Top February 2022 – top 20 loud #5 Primalfrost – Lost Elegies

March 9, 2022
by Asher
· Primalfrost

Thank You Canadian MDs and DJs for the airplay love! \m/\m/ !earshot -Top February 2022 – top 20 loud #5 Primalfrost – Lost Elegies https://earshot-online.com/charts/2022/February/loud.cfm