EPK – Baby On A Rampage – Forgive My Figure (2026)
Publicist – Jon Asher – jon[@]ashermediarelations[.]com
For fans of Gojira, Revocation, Mastodon, Baroness, Strapping Young Lad,
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EP Title: Forgive My Figure (EP)
Release Date: November 12, 2026
Label: Self-Release
Distribution: TuneCore
Genre: Progressive Metal
Location of Band: Oakland, CA, USA
Track Listing:
1. Intro (0:56)
2. Immaculate Teeth (4:32)
3. My Tragedy (3:21
4. Reclaim (5:48)
5. Failure of One’s Name (4:29)
EP Recording Credits:
• All songs performed by: Ash Lee, Lyra Renninger and John Muir
• All music and lyrics written by: Ash Lee, Lyra Renninger and John Muir
• Produced by: Ash Lee and Scott Proctor
• Engineered by: Scott Proctor
• Mixed by: Scott Proctor
• Mastered by: Matt Boudreau
• EP Artwork by: Daniel Choi
EP Band Lineup:
Ash Lee: Guitars, Vocals
John Muir: Bass, Vocals
Lyra Renninger: Drums
Live Band Lineup:
Ash Lee: Lead guitar, Vocals
John Muir: Bass, Vocals
Lucas Garske: Rhythm guitar
Mona Iris: Drums
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About the EP Artwork:
About The EP:
Ash Lee (lead guitar and lead vocals): Forgive My Figure is our most musically and melodically complex release so far. It’s definitely grown from our previous influences and sounds, traveled away from the basic metal sound, and become more complex and more melodic. With a lot of the riffs and a lot of the choruses and bridges, I was able to portray much more emotion just through the writing of the music before even adding lyrics. All the songs tend to have the familiar dark, angry, super heavy verses, and then those big melodic, very vocal-heavy choruses that kind of explode with a lot of energy and like a big wall of sound. It’s a lot of ear candy is the word I like to use for it. And then also we grew a lot with vocal melodies and harmonies, and adding more guitar harmonies and all that ear candy kind of fun stuff. We’ve grown a lot, and I think it sounds bigger and more complex than the last record, even though we used more instruments on our last album. I think we were able to make the EP sound even more interesting just from the amount that our writing has grown.
Our last record was noteworthy because all the songs had a different feel, and there were a lot of diverse styles and sounds in there. The EP doesn’t vary as much now; it’s what our sound has grown into with more of an identity. All the new songs are different, but it’s more similar in the overall character and sound of the band, like the band has found our sound. I’ve heard some established industry people describe this new EP as surprisingly mature, particularly since we’re still all teenagers.
Scott Proctor, our co-producer and engineer on this EP, is the backup singer for Five Finger Death Punch, and one of his specialties is backup harmonies, as he has a real ear for it and layering sounds. Also, I came in with a lot more shit than the last album, because I’ve been exploring a lot, and so I came in with a lot of melody, and one thing Scott helped me with was actually getting rid of some of them. I had some parts that were way more dense, but it ended up just making the overall impact feel less powerful, so Scott helped me get rid of a lot of unnecessary stuff that I was putting in, which was very helpful. Especially with “Reclaim” and “Failure of One’s Name,” he did a lot of stripping on that one, and I think it makes the songs a lot better.
Track by Track:
1. Intro
2. Immaculate Teeth
Lyra Renninger (drums): “Immaculate Teeth” was a way for me to express my frustration with the current landscape of American politics. So many of the issues at hand are a facade, a distraction to empower oligarchs while suppressing minorities. The theatrics of politics have continued to cause nothing but grief, and that’s reflected in this song.
3. My Tragedy
Lyra Renninger (drums): “My Tragedy” is an exploration of the allure in self-destructive behaviors, juxtaposing the attempts to free oneself from the cycle of harm with the contentedness felt inside of those damaging choices. It’s a reflection of my own turmoil: when faced with the option to escape, it’s much easier to remain and cope, rather than plunging into the cold unknown.
4. Reclaim
Ash Lee (lead guitar and lead vocals): When I wrote the song, I was definitely bothered by the genocide in Palestine, and it’s very much a song about standing up and taking back, or kind of a call for some sort of revolution, like metaphorically, to take back a government position. Talking about the colonization history of the United States government, and how they’re constantly funding other governments before putting their own people at the forefront of their concerns. I mean, it’s about a lot of different kinds of government overreach, and the later sections are about the genocide of native people and their taking land, and it’s definitely an environmental song.
Musically, “Reclaim” was not a departure but an evolution, and the arrangement is more complex, more like a journey with the different sections conveying different feelings. The verses and the main part of the song are dramatic and dark, or it’s like yelling orders, and then after the clean part, that build is very emotional and hopeful sounding and big and open. It might portray a spiritual or even a religious feeling for some people, even though it wasn’t necessarily written with that intention, but I think that was a positive outcome. The song almost has an anthem-type quality, and the crowd responds really well when we play it. There’s something that’s resonating with people in that song.
5. Failure of One’s Name
Lyra Renninger (drums): “Failure of One’s Name” is a song inspired by my personal experience as a trans woman and coming to terms with my identity. For so long, it existed as a piece of me that existed in the dark, only manifesting when I felt thoroughly concealed. It represents the darkest moments that shaped who I am, and those that led me onto the path towards healing.
Ash Lee (lead guitar and lead vocals): For me, this song is about finding oneself after a big loss of that sense of self. In my interpretation of the song, the feeling of losing someone, like when my uncle died; he was a very important person in my life, and then feeling like you’ve lost a huge chunk of who you thought of as being you. The song is a journey of trying to figure out how to find yourself and feel whole by yourself. And using mentors and other people to help you get there, but really realizing and understanding that the struggle is to find your whole true self by yourself, and it’s not reliant on other people.
The title of the song at first was a random work-in-progress name that I came up with in front of Scott just to name it and to move on. Because we didn’t have a name for it, and Scott was giving me shit and called me a failure, and I was like, “Failure of One’s Name.” It’s not mysterious; that’s just how it was named. It was like, literally we had failed to name it, so we called it “Failure of One’s Name.”
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Fun Facts – Story Angles
- Fight Club backing band:
Our funnest show was probably when we played as backing band for an underground fight club put on by East Bay Rats Motorcycle Club. Their fight clubs are legendary, and there were like 100 bikes lined up all down the block. It was a warehouse with a stage at one end and a boxing ring in the middle. People would call each other out in the crowd, then you’d get in there and brawl. No clock, just fight until somebody gives up. There were some epic fights, and girls fighting girls too. We were playing our heaviest set while people were beating the shit out of each other, and it was glorious! We did a tribute to Brent Hinds, who had just died, and these girls were going crazy in the ring, wailing on each other to “Blood and Thunder.” To be funny, we covered Waking the Cadaver’s “Chased Through the Woods by a Rapist,” and those bikers knew the song and were pumping their fists to it! EAST BAY!!!
- Deep in the scene:
Lead singer and guitarist Ash Lee is head of sound at the legendary 924 Gilman Street, and he also owns and operates Ash Sound Co, which has been hugely important in the local scene, providing top-quality sound even at so many of the smaller DIY shows. Ash is sometimes running sound for bigger bands like Tsunami and Scowl, but very often he is doing all the smaller scene shows, usually for free, so Ash at one time or another has worked with most every band and most every venue in the scene.
- Battle of the Bands?
Our first show outside of the Bandworks school was a supposed battle of the bands at a city festival that was pretty uptight. We started ripping through our set, and every song they’d tell us to keep turning it down more. They didn’t like our style but blamed it on the volume. The only real competition for us was the School of Rock All-Star band, and when we played, they were rocking out to us! We eventually got the power cut and were disqualified for being too loud (and metal). The best part was that the School of Rock band, in a show of solidarity, also kept cranking their amps too loud, so they got disqualified too! We were moshing to their set, and the director of the event yelled at us that we were being dangerous and disruptive. The final “winners” were the uptight contest director’s son in his band with all white button-up shirts doing Beatles and doo-wop covers. But the School of Rock band was hekka cool, and they came out to see us the first time we played 924 Gilman Street.
The only other battle of the bands we did turned out to be fake. It was put on by a music school in San Francisco for a spot to play main stage at the Haight-Ashbury Street Fair, which would have been a huge crowd, so we were pumped. We slayed the semis and then killed it in the finals despite having our setup sabotaged, so we could only do two songs, but we drew a big crowd with the few minutes we got to play. The judges were hanging out at our merch table afterwards, and it was great! Somehow, mysteriously, the judges’ scorecards then got literally scribbled out, and lower scores were written next to them, and we found out the hard way it was rigged so the “winner” would be a band representing the school that hosted the contest. It was a learning experience for us.
- First Tour
We did our first tour in 2024 up the PNW and into Canada, but nobody in the band was legal to drive, so we had to bring parents along to drive the van. It wasn’t always cool pulling up to the DIY punk spot with your parents, but at least they helped us carry the heavy shit, so free roadies, plus they paid for the gas and some hotel rooms. All our tours after that, we were old enough to drive ourselves, but it means now we camp ‘cause we’re broke.
On our first tour, we had a show in Vancouver, and we got paranoid at the border crossing about some herbals onboard, so we stealth ditched them out the window while waiting in line. Turns out they don’t care about that in Vancouver, but our merch was a problem because they considered it international business trade, and we didn’t have a license for that. They were going to make us ditch all our merch if we wanted to cross the border, but somehow we talked our way through by promising not to sell anything, which of course we did.
- More memorable shows:
A very early gig was the San Rafael Porch Fest in 2022. It was record rainfall, and we were under a tent but still standing in water, literally. Ash put his pedals up on a plastic mailbox to get them out of the water. That’s a hometown crowd for Primus, so we covered some and kept drawing in a bigger crowd even as it rained harder and harder. Still feels like a gift from God that nobody got electrocuted.
We’ve played the infamous Stay Gold Deli in Oakland like 10 times. It gets crazy with all the people packed in there, and one time there was a guy crowd surfing while puffing on a blunt, so that was pretty funny.
We’ve played the legendary 924 Gilman Street in Berkeley so many times, and Ash is now head sound engineer at Gilman. It’s cool to play the stage that launched Green Day and hosted literally every iconic punk band from Dead Kennedys to Operation Ivy, Bad Religion, NOFX… everybody! The first time we played Gilman in 2024, we’d just gotten our first merch, and we sold over $500, so that felt pretty good!
Once we were invited to play a new venue in Oakland, we arrived to discover it was an underground cannabis festival. There were dozens of vendors with pounds and pounds and pounds of weed in big tubs and plastic garbage bags stacked everywhere. We played fast, waiting for either the police or cartel to come raid the place, but it turned out all good. I think we still might have been too young to drive at that point.
Last year we were booked with a bigger promoter in San Francisco and really wanted to prove ourselves. Unfortunately, John broke his right hand two days before the show. He said not worried he could do his bass parts left-handed, just tapping and pulling off. Nobody fully believed him, but he stepped up and did it! He played almost everything left-handed, and then he had a pick wedged into his cast for the few parts that he couldn’t play one-handed. Wish we had more video of that!
- The Birth of the Baby
Nobody in the band had to do with choosing the name. It was already chosen when the four members rotated into the band as kids. When BOAR was young, we often would switch instruments. Ash and John both play drums, and Lyra also plays keys and other instruments, so we had fun moving people around and trying different configurations. Our early teacher and mentor was Jake Scheps, son of world-renowned, multi-Grammy-winning engineer Andrew Scheps, who has worked with hundreds of A-listers including Johnny Cash, Michael Jackson, Neil Diamond, Robert Plant, Metallica, RHCP, Beyoncé, and on and on and on… Jake is a musical genius, also like part Jedi Knight and part Zen monk, and he helped us learn how to write our own material as well as teaching us professionalism from a young age.
- Recording
Our first album, Fall with Disgrace, was recorded with Michael Rosen, a legendary producer from both the thrash scene and the punk scene in NorCal. Michael’s studio is in the former Faith No More recording and rehearsal space at Soundwaves Studios, and Testament’s space was next door, so very cool history in the room. Michael teaches music production at Chabot College, so he naturally mentored us, and we learned so much from him. We did a lot of pre-production and then tracked many takes to avoid excessive editing for a more old-school sound, and we are really proud of how good the album came out, especially for our first record.
Scott Proctor helped us get a more expansive sound for this new EP, Forgive My Figure. Scott is a touring member and backing vocalist for Five Finger Death Punch, and he’s a master of vocal harmonies as well as layering of tracks while keeping everything distinct and clean in the mix. Scott helped us get a more expansive and mature sound. We had to pause a few times while he was out with 5FDP, but the finished EP is worth the wait! The sound came out so rich and dense while remaining smooth and articulate, and then Matt Boudreau’s mastering kicked it up another notch – we can’t wait to release these songs!
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The members of Baby On A Rampage first came together between ages nine and eleven at Bandworks, a local music school known for rotating student lineups. When Ash, Lyra, John, and Bruno ended up in the same group, instructors immediately noticed an unusually advanced chemistry and skill level for musicians so young. The band cut its teeth on Metallica, Green Day, and Primus before pushing into more demanding material from Mastodon, Gojira, SOAD, Rage Against the Machine, Tool, Slipknot, Pantera, and Lamb of God. Muse’s intricate arrangements and the experimental energy of King Gizzard and the Lizard Wizard also became early influences.
During the pandemic, live shows and rehearsals came to a halt, creating unexpected space for songwriting. Masked rehearsals gradually evolved into original compositions, eventually leading to a four‑song demo recorded in Ash’s living room as restrictions eased. The demo earned praise from members of Forbidden, Slayer, and other industry veterans, giving the young band a major confidence boost.
The group completed its first tour in 2024 throughout the Pacific Northwest and Canada. None of the members were old enough to drive, so parents handled van duties, occasionally awkward at DIY punk venues, but undeniably helpful for hauling gear and covering gas.
The debut album Fall with Disgrace was recorded in winter 2024–2025 with legendary East Bay thrash and punk producer Michael Rosen at Soundwaves Studios, formerly home to Faith No More’s recording space, with Testament rehearsing next door. Rosen’s mentorship and emphasis on pre‑production and multiple live takes helped shape an old‑school, performance‑driven sound.
Touring continued through 2025, including a summer run along the West Coast and a winter tour across the Southwest to Texas. With driver’s licenses finally in hand, the band traveled independently, often camping to save money, and surpassed 100 shows by year’s end.
Recording for the 2026 EP Forgive My Figure began with Scott Proctor (touring member and backing vocalist for Five Finger Death Punch and also stage manager, guitar technician, and monitor tech for legendary bands like Machine Head and Testament; bassist and songwriter for the rock bands Amongst Thieves and State Line Empire). Proctor’s expertise in harmonies, layering, and modern metal production guided the band toward a more expansive and mature sound. Matt Boudreau’s mastering added further clarity, density, and impact.
The band filmed its first music video in early summer 2026 before heading out on its longest tour to date, covering 19 cities across Texas and the Midwest while the EP was being mixed and mastered. With Forgive My Figure now complete, the band is preparing its release alongside the video for the lead single “Reclaim,” culminating in an EP being released on November 12th, 2026.
EP Band Lineup:
Ash Lee: Guitars, Vocals
John Muir: Bass, Vocals
Lyra Renninger: Drums
Live Band Lineup:
Ash Lee: Lead guitar, Vocals
John Muir: Bass, Vocals
Lucas Garske: Rhythm guitar
Mona Iris: Drums
Discography:
2026 – Forgive My Figure – EP
2025 – Fall With Disgrace – LP
Shared Stage with: Reminitions, Frog Mallet, P.E.E., Love Letter, Bonginator, Tornadic, Away With Words, Decades In
Tours and Festivals:
Summer 2026 US tour (19 cities)
Winter 2025 tour (11 cities)
Summer 2025 tour (7 cities)
Summer 2024 PNW tour (12 cities, including Vancouver BC, Canada)
2025 – End of the Summer Blowout – Oakland, CA (this is our own annual fest featuring 10+ bands held on the Sunday of Labor Day Weekend)
