NEWS RELEASE
Montreal, QC – April 22, 2026
ASHEN HORDE Unleashes Third Single “Apparition” from Forthcoming Album “The Harvest” Out May 1st
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Photos by @still.squill (Trevor); Photo Dun Right (Karl); unknown (Robin)
Los Angeles extreme metal collective Ashen Horde continues their march toward the release of their fifth full‑length album, “The Harvest,” arriving May 1st, 2026. Following the crushing momentum of the first two singles, “Entropy and Ecstasy” and “Voids in the Ash”, the band now reveals their third offering, the blistering and atmospheric “Apparition.”
The new track showcases the band’s signature fusion of death metal ferocity, black‑metal tension, and progressive unpredictability. Described by guitarist and primary songwriter Trevor Portz as “probably the heaviest song on the album,” “Apparition” draws inspiration from early death metal before veering into eerie, off‑kilter riffing with a vaguely 70s undercurrent. Lyrically, vocalist Karl Chamberlain inhabits the voice of a tormented ghost, condemned to witness humanity’s worst impulses while questioning whether his eternal imprisonment is punishment for forgotten sins.
“He’s slowly going insane in his eternal prison,” Portz explains, capturing the psychological dread that permeates the track.
Listen to “Apparition” at the following links:
YouTube – https://www.youtube.com/watch?v=R4Doe6X8bZs
Bandcamp – https://ashenhorde.bandcamp.com/
“The Harvest” marks the band’s first full‑length release with Chamberlain, whose dynamic vocal range has expanded Ashen Horde’s sonic palette. Though not a traditional concept album, the record is unified by a central theme: endings. Each track explores a different facet of finality—personal, societal, mythological, or apocalyptic.
The album’s striking cover art, created by artist Venus Kohana, features two red skeletons that immediately captivated Portz when he encountered the piece at an art show. The imagery not only set the visual tone for the album but also directly inspired the lyrics of the title track.
“It’s unique and cool, and very metal; it even inspired the lyrics to the title track,” says Portz.
Musically, “The Harvest” is Ashen Horde at their most varied and adventurous. From the Voivod‑tinged chaos of “Entropy and Ecstasy” to the grunge‑infused harmonies and volcanic fury of “Voids in the Ash”, a song depicting the final days of Pompeii, the album thrives on contrast. Tracks like “Backward Momentum” blend Opeth‑style clean vocal layering with 90s‑inspired riff breaks, while “Autumnal” opens the record with a slow‑burn ascent into full black‑metal intensity.
The rollout for “The Harvest” began with the release of “Entropy and Ecstasy”, accompanied by a music video that marked the first time any two members of Ashen Horde had ever performed together, despite the band’s decade‑long history. The track introduced fans to Chamberlain’s voice and set the thematic tone for the album with its tale of a couple who find exhilaration in global collapse.
Music Video – Ecstasy and Entropy – https://www.youtube.com/watch?v=zud62AXzvsw
The second single, “Voids in the Ash,” followed with a dramatic shift in mood and style. Inspired by the destruction of Pompeii, the track blends moody, slow-burning verses with explosive black‑metal passages, showcasing the band’s love of sharp stylistic contrasts.
Music Video – Voids in the Ash – https://www.youtube.com/watch?v=U-tcwbsxNHg
Recorded entirely remotely, “The Harvest’ is the culmination of Ashen Horde’s evolution from a one‑man project into a fully realized extreme metal entity. The album’s eight tracks explore endings through myth, history, personal struggle, and existential dread, all filtered through the band’s genre‑defying approach.
The title track, inspired by the album’s artwork, imagines a hidden entity watching humanity’s self‑destruction until the moment it decides to emerge and consume everything, a metaphor for our species’ relentless march toward ruin.
For over 10 years, Ashen Horde has crafted extreme metal that defies easy categorization. Rooted in black and death metal but unafraid to incorporate progressive, melodic, and alternative influences, the band appeals to fans of Opeth, Enslaved, Amorphis, Ihsahn, and other genre‑bending heavyweights.
Album pre-order (release date May 1, 2026) available on limited splatter vinyl and CD (along with t-shirt bundles) on Bandcamp, as well as everywhere digitally – https://ashenhorde.bandcamp.com/album/the-harvest
Tour Dates:
May 14 – Montclair, NJ – The Meatlocker
May 15 – Wallingford, CT – Cherry Street Station
May 16 – Brattleboro, VT – Midnight’s
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Track Listing:
1. Autumnal (6:12)
2. Entropy and Ecstasy (5:47)
3. Backward Momentum (5:21)
4. Voids in the Ash (5:41)
5. Remnant (4:37)
6. A Place in the Rot (4:38)
7. Apparition (4:57)
8. The Harvest (5:46)
Album Length: 43:03
Credits:
Mixed by Ricardo Borges and mastered by Tony Lindgren at Fascination Street Studios
Artwork by Venus Kohana (venuskohana.com)
Lineup:
Trevor Portz: Guitar, Bass, Harmony Vocals
Karl Chamberlain: Vocals
Robin Stone: Drums
More Info:
https://www.facebook.com/AshenHorde/
https://www.instagram.com/ashenhorde
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“The harvest is coming! The new Ashen Horde album is a multi-faceted journey into every nook and cranny of extreme metal. “The Harvest” is challenging and quirky, but unlike a lot of other progressive/experimental releases, it never loses track of the key ingredient in music – good songwriting. All tracks are well-crafted and interesting in their own right, and the skillful instrumental performances are more like the icing on the cake and not the main focus. Highly recommended!” – Nik Sundin (Dark Tranquillity)
“plenty of listeners will undoubtedly enjoy this, and the musical ability of this outfit is beyond question.” – Musika (2026 – The Harvest)
“The song (Entropy and Ectasy) captures this dichotomy of collapse and exhilaration — of entropy and ecstasy — through a fast-spinning (and head-spinning) kaleidoscope of sound. The moods of the music change along the way, but even the relatively slower and more desolate passages include inventive and intriguing nuances. Karl Chamberlain’s remarkably multi-faceted voice is a perfect match for the remarkably multi-faceted nature of the music. He expels brutal death metal gutturals and ripping black metal screams, but he also sends his singing voice in ravishing upward arcs that are spine-tingling to hear, and down into gloomy troughs. As for the surrounding music, it’s intricate and exhilarating, especially when the band are in full flight, discharging rapidly darting and maniacally swirling notes, incendiary bursts of tremolo’d delirium, or riffing that feverishly slashes with vicious, serrated edges. In less frantic phases, the music dismally groans and throbs, creating a pall of desolation, even when Chamberlain’s voice might be reaching for the clouds. The fretwork also includes angular progressions that generate moods of disorientation and fearfulness, and the song further includes an astonishing guitar solo that all by itself seems to capture the song’s thematic dichotomy of collapse and jubilation. Perhaps needless to say, Robin Stone’s drumming is as constantly changing as everything else, and surgically crafted to match all the other head-spinning, pulse-pounding, and heart-sinking twists in this shapeshifter of a song.” – No Clean Singing
“Antimony; 3/5 rating; “the sound Ashen Horde has developed over three albums is pretty much theirs alone. It’s a dense but accessible approach that rewards both casual listens and sustained attention.” – Angry Metal Guy (2023 – Antimony)
“Equal parts blackened madness, death metal riffing, and clean vocals, “The Neophyte” should get just about anyone stoked for Antimony.” – Metal Injection (2023 – Antimony)
“an amazing odyssey all around and the amount of remarkable coherency as well as the instrumentation work and musicianship is just top notch.” – Metal Purgatory (2023 – Antimony)
“Progression like what Ashen Horde has undergone over the years is what the best tales in the underground are made out of.” – Head-Banger Reviews (2023 – Antimony)
“Fallen Cathedrals; 4.0 rating; “I can’t recommend this enough for fans of black and death metals being combined in unique ways.” – Angry Metal Guy (2019 – Fallen Cathedrals)
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