Posts By Asher

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

August 2, 2026
by Asher
· EPKs · Wooden

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

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

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

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

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

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

Woodentheband.bandcamp.com | Spotify

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

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

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

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

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

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

About The Single Artwork:

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

About The Single (LYRICALLY & MUSICALLY):

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

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BAND STORY ANGLES / FUN FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

August 1, 2026
by Asher
· Music News · Wooden

NEWS RELEASE

Montreal, QC – August 1, 2026

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

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

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

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

Vocalist Youssef El‑Khatib adds:

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

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

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

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

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

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

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

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

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

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

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

-30-

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

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

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

July 31, 2026
by Asher
· Hrafnablót · Music News

NEWS RELEASE

Montreal, QC – July 31, 2026

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

Photo Credit – Þórgnýr Einar Albertsson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For more info:

https://hrafnablot.is/

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

https://www.instagram.com/hrafnablot

-30-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CORDYCEPS CORPSE REVIEWS & MENTIONS

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

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

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

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

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

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

[Download Album Cover | Download Album Lyrics]

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

Album Recording Credits:
• All songs performed by: Nani Porter
• All songs written by: Nani Porter
• Produced by: Nani Porter
• Mixed by: Nani Porter
• Mastered by: Nani Porter
• Album Artwork by: Adam Nevler (GruesomeGraphx)

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

Live Band Line Up:
Nani Porter – Guitars & Vocals

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

About The Album Artwork:

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

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

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

Track by Track (LYRICALLY & MUSICALLY):

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cordyceps Corpse – Nani Porter (Guitar & Vocals)

Photos by: Thalia Kennebrew

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

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

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

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

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

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

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

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

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

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

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

NEWS RELEASE

Montreal, QC – July 30, 2026

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

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

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

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

Band submissions are now open. Artists can apply HERE.

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

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

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

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

NEWS RELEASE

Montreal, QC – July 30, 2026

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

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

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

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

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

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

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

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

The band explains:

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

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

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

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

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

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

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

For more info:

https://www.shiverwoodshade.com/

https://www.facebook.com/swsprod20

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

-30-

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

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

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

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

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

NEWS RELEASE

Montreal, QC – July 30, 2026

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

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

Photo Credit – Derek Carr

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

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

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

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

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

Vocalist Lorde Heathen also adds.

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

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

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

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

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

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

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

Videos:

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

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

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

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

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

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

More info:

https://endgamerecords.com/

http://www.gravemass.com/

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

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

-30-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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0 EPK – Hrafnablót – Guðlaugar Saga (2026)

July 29, 2026
by Asher
· EPKs · Hrafnablót

EPK – Hrafnablót – Guðlaugar Saga (2026)

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

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

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

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

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

Hrafnablot.bandcamp.com | Spotify

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

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

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

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

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

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

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About the upcoming debut album (LYRICALLY & MUSICALLY):

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

Track by Track (LYRICALLY & MUSICALLY):

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

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

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

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

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

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

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

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

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

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BAND STORY ANGLES / FUN FACTS:

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

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

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

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

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

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Photo Credit – Þórgnýr Einar Albertsson

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

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

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

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

Discography:
2026 – Guðlaugar Saga LP

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

Tours and Festivals:
2025 – Galdrafár – Hólmavík, Iceland

0 SHORES OF NULL Explores Solitude and Fate w/ “Son of the Tide” From New Album “Homesick” Out October 2026

July 29, 2026
by Asher
· Music News · Shores of Null (Spikerot Records)

NEWS RELEASE

Montreal, QC – July 29, 2026

SHORES OF NULL Explores Solitude and Fate w/ “Son of the Tide” From New Album “Homesick” Out October 2026

Album Out October 16th, 2026 via Dusktone

Album Guests – Natalie Koskinen (Shape of Despair) and Shaun MacGowan (My Dying Bride)

Italian melodic death-doom Shores of Null return with “Son of the Tide,” the second single taken from their upcoming album “Homesick,” due out on October 16th, 2026 via Dusktone. Accompanied by a striking lyric video illustrated by longtime collaborator Davide Mancini (Dartworks) and animated by Davide Billia, the track showcases one of the album’s most dramatic and emotionally charged moments.

Built on crushing growl‑driven verses and a huge, soaring chorus, “Son of the Tide” explores solitude, fate, and belonging through imagery tied to the sea, an element that has long shaped the band’s aesthetic.

Vocalist Davide Straccione explains:

“The tide becomes a metaphor for the forces that push and pull us through life, confronting us with fear, acceptance, anguish, and peace. The protagonist eventually stops fighting the tide and learns to move with it instead. Finding a fragile sense of peace in the inevitability of his own destiny.”

The single follows the album’s first offering, “Bleed to Life,” and continues to reveal the emotional depth and sonic evolution behind “Homesick”.

Watch and listen to the lyric video for “Son of the Tide” – https://www.youtube.com/watch?v=t7OWUN07V2w

Spotify – https://open.spotify.com/track/3T6GRvhxyd8Fw2mIhQ66xD

Out October 16th, 2026 via Dusktone, “Homesick” represents the band’s most mature and focused work to date. Conceived as a complete listening experience, the album moves through longing, loss, anger, vulnerability, and the search for belonging. It captures Shores Of Null at their most confident and emotionally honest, balancing crushing moments with some of the most memorable melodies the band has written to date, enriched by guest appearances from Natalie Koskinen (Shape of Despair) with her vocals on The Numbing Void and Shaun MacGowan (My Dying Bride) on several tracks, including violin on Dreaming of a Scar and The Numbing Void.

“The record is an exploration of the deeply ambiguous nature of ‘home’, a place of comfort and identity, but also of pain, fear, and unresolved memory. It is probably the most honest representation of who Shores of Null are today. Behind this record lies a meticulous amount of writing, rewriting, and pre‑production work. At its core lies the idea of home as something deeply ambiguous: a place of comfort and belonging, but also of fear, pain, and memories we can never fully leave behind,” adds vocalist Davide Straccione.

“Homesick” marks a new milestone for Shores of Null as an immersive, emotionally charged work that expands their sonic universe to follow their acclaimed discography, which includes “Quiescence,” “Black Drapes for Tomorrow,” “Beyond the Shores,” “The Loss of Beauty,” and the 2025 split album with Convocation, “Latitudes of Sorrow”.

Recommended for fans of Paradise Lost, Amorphis, Swallow The Sun, Katatonia, and Borknagar, “Homesick” is available for pre-order (Vinyl, CD, Digital) at the following links:

https://www.dusktone.org/

https://dusktone.bandcamp.com/album/homesick

First Single – “Bleed to Life” – https://www.youtube.com/watch?v=s825Pn_EOLg

Track Listing:
1. Allies Before Defeat – 4:35
2. Two Mountains – 4:34
3. Bleed to Life – 4:09
4. Homesick – 5:31
5. Son of the Tide – 4:18
6. Dreaming of a Scar – 5:08
7. Society Is the Murderer – 4:30
8. The Numbing Void – 6:18
9. Another Breath – 3:52
10. Disappear – 4:33
Album Length: 47:32

Album and Live Band Line-up:
Davide Straccione – Vocals
Gabriele Giaccari – Guitars
Raffaele Colace – Guitars
Matteo Capozucca – Bass
Emiliano Cantiano – Drums

For more info:

https://www.shoresofnull.com/

https://www.facebook.com/shoresofnull

https://www.instagram.com/shoresofnull

About:

Shores of Null are a Rome‑based metal band known for their seamless blend of blackened intensity, gothic‑doom melancholy, and soaring melodic depth. Since forming in 2013, they’ve built a reputation for immersive, emotionally charged songwriting on acclaimed releases such as Quiescence, Black Drapes for Tomorrow, Beyond the Shores, and The Loss of Beauty, supported by major tours and festival appearances across Europe.

Following their 2025 split, Latitudes of Sorrow, the band now enters a new chapter with Homesick (Dusktone, 2026), their most mature and evocative work yet. Featuring guest contributions from Natalie Koskinen (Shape of Despair) and Shaun MacGowan (My Dying Bride), the album explores nostalgia, absence, and the complex meaning of “home,” reaffirming Shores of Null as one of the leading forces in contemporary melodic death‑doom.

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0 Reminder – JULY 29th at WACKEN OPEN AIR – WACKEN METAL BATTLE USA 2026 Champions GANNONDORF

July 28, 2026
by Asher
· Music News · Wacken Metal Battle USA

NEWS RELEASE

Montreal, QC – July 28, 2026

Reminder – JULY 29th at WACKEN OPEN AIR – WACKEN METAL BATTLE USA 2026 Champions GANNONDORF

WACKEN METAL BATTLE USA 2026 champions GANNONDORF will be performing on the Headbangers Stage at Wacken Open Air on July 29th.

Band: Gannondorf (Wacken Metal Battle USA Champions)
Date: Wednesday, July 29, 2026
Time: 11:25 AM – 11:45 AM
Stage: Headbangers Stage
Genre: Avant-garde Extreme Metal

https://www.facebook.com/Gannondorfmetaloffical

https://www.instagram.com/gannondorfmetalofficial/

https://gannondorf.bandcamp.com/

https://open.spotify.com/artist/6HOB8sNatqHsDGAwMQei5N

About Winning Wacken Metal Battle USA:

Photo Credit – C.Huerta.Photos

One band has conquered them all! Wacken Metal Battle USA proudly crowns San Diego’s GANNONDORF as the 2026 champions. The band now seizes a coveted slot at Wacken Open Air, one of the world’s most iconic and influential metal festivals, and will advance to the international Wacken Metal Battle, where rising bands from across the globe unleash their headbanging, mosh‑ready power before a massive sea of metalheads gathered from every corner of the world.

The Wacken Metal Battle USA 2026 National Final brought together the top six bands from across the country after months of battles in cities nationwide. Representing the fiercest underground metal the United States has to offer, the final contenders were FATE DEFINED (Spokane, WA), NEMESIS (Houston, TX), GANNONDORF (San Diego, CA), RAMTHA (St. Petersburg, FL), THE VICTORIOUS DEAD (New York, NY), and THROUGH THE OCULUS (Apple Valley, CA).

After taking the stage on June 13th at Brick By Brick in San Diego, CA, before a crowd of metal‑hungry fans and a panel of industry judges including Rod Kukla (Silver Lining Music), Martin Koller (Prophecy Productions / SPKR Media), and Kelly McLauchlin (Pessimist), only one band could claim the title of WMBU 2026 Champion. GANNONDORF delivered with unrelenting fury, winning over both judges and fans to seize the crown.

WMBU organizer Eric Dow comments:

“Once again, we had a successful battle. 41 shows with over 200 bands competing. The National Final was full of talent, energy, and an overall sense of pride in our underground US bands. Thank you to all the judges, venues, media partners, promoters, bands, and, of course, the fans for making this thing happen every year. Special shout-out to Salman, Jon Asher, and Dean Guitars. Best of luck to Gannondorf at Wacken and best of luck to the rest of the bands as they move forward with their careers.”

Judges Rob Kukla, Kelly McLauchlin, and Martin Koller add:

“My fourth time judging the USA final, and I can honestly say the quality of the finalists was the best ever. Good luck to the winner, Gannondorf, in their final metal battle at the legendary Wacken Open Air.” – Rod Kukla

“What an amazing night… all the bands brought great energy, and were extremely talented – the best from all over the country – and it was fierce competition… some of the most brilliant performances I’ve seen. I know the judges agree that it was a very, very close battle, and it literally came down to fractions of a point to determine the winner. Congratulations to Gannondorf, and we wish them all the best as they represent the USA this year at Wacken!” – Kelly McLauchlin

“Congratulations to Gannondorf, the winner of the Wacken Metal Battle National Final! The final was a tight race; there were 4 bands just one point apart. Let’s push thumbs and hope Gannondorf will also rule at the Wacken Festival in Germany” – Martin Koller

Listen to all the USA national final bands on the WMBU 2026 Final Spotify Playlist – https://open.spotify.com/playlist/14751T41YocZkJCVUJWcjL?si=HGcF4x2xRXKHWR8PEaXy5w

Previous WMBU national winners: Mourning High (2025 – Southern California / Arizona), Cascade Effect (2024 – San Diego), Fadrait (2023 – San Diego), Mythraeum (2022 – San Diego), Monarch (2019 – San Diego), Voices of Ruin (2018 – Anaheim), and Corpse Hoarder (2017 – Philadelphia).

For the last seven years of battles (2017-2019, 2022, 2023, 2024, 2025), Wacken Metal Battle USA has hosted battles across the country to send one independent metal band to perform at the world’s largest metal festival, Wacken Open Air in Wacken, Germany. 2019 saw the festival celebrate its 30th anniversary, but due to COVID, the 2020 and 2021 editions were both canceled. As the metal community regains its strength, Wacken Open Air 2026 will be the 35th edition of the festival and will be held from July 29th to August 1st. The 2026 event is already sold out with a line-up that includes Def Leppard, Lamb Of God, In Flames, Powerwolf, Emperor, Sepultura, and Running Wild, among others. Details here.

Wacken Metal Battle USA is part of an international competition that sees bands from across the country battle each other for the chance to win their spot among over 55 other countries’ champions and represent the USA in an international battle of the bands at the world’s largest outdoor metal festival: Wacken Open Air. The battles have been hosted at the festival for over a decade and allow independent bands to showcase their talents to an international audience, along with the chance to win multiple prizes.

How it works:
Participating cities will host qualifying rounds plus a city final organized by a local city concert promoter, where one band will move forward to the American national final (date and city to be determined). The winner of the national final will advance to perform at Wacken Open Air 2026 and compete against the winners of international bands from around the globe in a major international battle. All bands will be judged during battle rounds by respected local music industry representatives.

About Wacken Open Air:
Wacken Open Air is the largest heavy metal festival in the world. Starting with 800 visitors in 1990, nowadays 85,000 fans from all over the world travel to Wacken every year, turning the small village in Schleswig-Holstein into the center of the festival scene for several days. The organizing WOA Festival GmbH is connected to a broad network, including band management, the Wacken Foundation, tour booking, music publishing, Travel & Stay, merchandising distribution, and ticketing. In cooperation with partners, these results in creative solutions and ideas that revolutionize the festival experience, enable technical innovations, and produce extraordinary event concepts. Wacken Open Air 2026 will take place from July 29 to August 1, 2026.

More info:
Metal-Battle.com
MetalBattleUSA.com
Facebook.com/metalbattleusa.official
X.com/MetalBattleUSA
Instagram.com/wmbusa.official

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Sponsors / Partners:
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Metal-Rules.com
V13.net
GhostCultMag.com
Come And Take It Productions
Brick By Brick
Distilled Entertainment
Piox Promotions
Tampa Bay Metal Scene
Last Light Presents
East Coast Metal Mayhem
Dean Guitars
Asher Media Relations

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jon[@]ashermediarelations[.]com
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