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Category: EPKs

0 EPK – Altersoul – Origins (EP) (2026)

  • October 21, 2026
  • by Asher
  • · Altersoul · EPKs

EPK – Altersoul – Origins (EP) (2026)

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

“With this EP, we are introducing ourselves with a piece of our past to showcase where we came from and who we are now.” – Altersoul

For fans of Death, Revocation, Gojira, Children of Bodom, Opeth

Band: Altersoul
EP Title: Origins
Release Date: November 27, 2026
Label: Self-Release      
Distribution: DistroKid  
Genre: Death Metal
Location of Band: Brockville, ON

Altersoulband.com | Facebook.com/altersoulband | Youtube.com/@altersoulband | Instagram.com/altersoul.band

Altersoul1.bandcamp.com | Apple Music | Spotify

Band: Altersoul
EP Title: Origins
Release Date: November 27, 2026
Label: Self-Release      
Distribution: DistroKid  
Genre: Death Metal
Location of Band: Brockville, ON

Track Listing:
1. Abandoned – (5:20)
2. End of Days – (4:09)
3. Beyond the Apocalypse – (5:14)
EP Length: 14:43

EP Recording Credits:
• All songs performed by: Graham Murphy, James Close, Evan Ferguson, Andrew Poskus
• All songs written by: Graham Murphy, James Close, Ryan Clements
• Produced, Mixed, and Mastered by: James Close
• Album Artwork by: Max Southwood and Altersoul
• Member of SOCAN
• Canadian Content (MAPL)

EP Band Lineup:
Graham Murphy – Guitar/Vocals
James Close – Guitar/Vocals/Additional Instruments
Evan Ferguson – Bass
Andrew Poskus – Drums
Additional Guest Recording:
Wenhao Zhou – Piano
Heather Istead – Oboe

Live Band Lineup:
Graham Murphy – Guitar/Vocals
James Close – Guitar/Vocals
Evan Ferguson – Bass
Theo Konrad – Drums

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About the EP Artwork:

[James, Guitar/Vocals] The lyrics of ‘Abandoned’ tell of a man left behind by his loved ones to freeze to death in a barren, snowy landscape, and the final moments of the composition represent his last peaceful breath, when acceptance takes over. When creating the artwork for this track, we chose to focus on the serenity of the nature scene he spends his final moments in, showing the northern lights above him, the trees surrounding him, and the footsteps that led him to his final place where he will become one with nature.

The artwork from our debut album as Ominous Eclipse, ‘End of Days’, designed by Max Southwood, shows a symbol meant to signify an eclipse, in reference to the apocalypse described in the lyrics of the song.

The artwork from our final single as Ominous Eclipse, ‘Beyond the Apocalypse’, shows a collage of our 15 years of friendship and music. It shows photos going all the way from the very first time Ryan introduced me (James) to Graham and Evan (who would join the band more than a decade later), through the years, ending on the final performance at the tribute show to Ryan.

When assembling the artwork for the EP, we combined all three of these concepts into one piece – the forest scene from ‘Abandoned’, the eclipse symbol from ‘End of Days’, and the overlay image of Ryan up in the clouds looking over the scene.

About The EP as a whole (LYRICALLY & MUSICALLY):

Altersoul performed for more than a decade under the name Ominous Eclipse, with Ryan Clements on bass. At our first show in 2014, we closed by performing the first song Graham wrote, the first song James wrote, and the first song Ryan wrote for the band. Shortly after, they became the closing numbers of our first studio album as well.

When Ryan passed away, these songs became even more sentimental. After years of history, they closed out the band’s final set – a bookend for Ominous Eclipse, and our tribute to our brother and bandmate. As we transition from Ominous Eclipse to Altersoul, we give you this EP as a reminder of where we came from.

The ‘Origins’ EP is our return to the songs that made us, recorded for the first time with real drums and real orchestral instruments. It features guest appearances by our friends, including the original drummer of Ominous Eclipse, Andrew. This is our thank you to Ryan, the scene, and everyone who pitched in along the way.

Track by Track (LYRICALLY & MUSICALLY):

[Graham, Guitar/Vocals] ‘Abandoned’ is a symbolic debut for us in that it is a re-recording of a song from our past, which also happens to be the oldest composition in our catalogue. It was originally created as an acoustic guitar piece I wrote around 2009-2010. I remember being heavily influenced by the Norwegian black metal band ‘Immortal’, having just picked up their album ‘All Shall Fall’, which was released around that time. Inspired by that sound, I picked up my cheap acoustic (which can be seen in the music video) and wrote the main guitar part. Years later, when ‘Ominous Eclipse’ was being formed, I arranged the other instruments and made it a full band composition, which was featured on our album ‘End of Days’. When rebranding as Altersoul, we chose this as our first single. The core composition and lyrics remain unaltered, other than a slight timing adjustment at the beginning to add anticipation. James arranged additional orchestral instruments that he recorded himself (plus some by guest musicians), and engineered the track, performing the mixing and mastering. Lyrically, I envisioned a cold and barren climate, devoid of warmth or life, which stems from its black metal influence.

[James, Guitar/Vocals] ‘End of Days’ is the first song I wrote for Ominous Eclipse. As a teenager, I didn’t have a computer at my disposal, and there was one occasion Graham went to play some pick-up hockey with Ryan, leaving his computer unattended. When he returned, there was a composition on his computer titled ‘Song JD wrote in an hour that’s better than anything Graham’s written in his life’. Considering this track became the title track of our debut album, I think the title was justified. It was written in a stream-of-consciousness style in a moment of heavy inspiration, and I feel the new recording of it is true to that emotion.

[James, Guitar/Vocals] ‘Beyond the Apocalypse’ was a punk rock bass riff brought to the table by Ryan when he was trying to get us to be anything but a metal band. Naturally, Graham took that track and made a blisteringly fast thrash tune with a groove metal ending.

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

BAND STORY ANGLES / FUN FACTS:

1. This EP guest features our friend Andrew Poskus on drums, who was the original drummer for Ominous Eclipse. Back then, we relied on programmed drums for our releases. His first release for the band, surprisingly, happened a decade after leaving the band.2. The first release of these songs was from Ominous Eclipse’s first album, ‘End of Days’, which is a masterclass in how not to record an album. The guitar parts were recorded in one day, and the vocal parts were recorded in another day. The final note in the solo of the original version of ‘Abandoned’ was punched in the next day, using a Telecaster tuned to standard tuning. The vocals in the original version of ‘Beyond the Apocalypse’ are scratchy and weak because it was the final song of the day that we recorded.

3. When we were first starting as ‘Ominous Eclipse’, our rehearsal space was in the basement of James’s father’s house. Now our main rehearsal and studio space is in James’s (and Evan’s) Attic, in a studio now referred to as ‘The Crack Attic ’, full of instruments. The orchestral parts heard are real instruments recorded by the members of the band.

4. The majority of ‘End of Days’ was written in just over an hour when Graham left his laptop unattended at James’ house. The final breakdown and melodic section of the song came to James as he was mowing his neighbor’s lawn for $10.

5. ‘Beyond the Apocalypse’ was a punk rock bass riff brought to the table by Ryan when he was trying to get us to be anything but a metal band. Naturally, Graham took that track and made a blisteringly fast thrash tune with a groove metal ending.

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

L-R: Theo Konrad (drums), James Close (guitar & vocals), Graham Murphy (guitar & vocals), Evan Ferguson (bass)

Altersoul is a progressive death metal band from Brockville, Ontario, forged from both tragedy and renewal. Formed by longtime collaborators James Close (Guitar/Vocals) and Graham Murphy (Guitar/Vocals) after more than a decade performing together as Ominous Eclipse, the band represents a new chapter built upon friendship, perseverance, and an unwavering commitment to creative independence. Rounded out by Evan Ferguson (Bass) and Theo Konrad (Drums), Altersoul carries forward the spirit of its predecessor while exploring a broader and more ambitious musical vision.

The roots of Altersoul stretch back to a group of high school friends who would eventually spend over a decade writing, recording, and sharing stages with major touring acts under the Ominous Eclipse banner. However, after years of lineup changes, the disruption of the pandemic, and the decision to retire the Ominous Eclipse name following bassist and founding member Ryan Clements’ departure, the band began planning a fresh start. What was initially intended as a simple rebrand would ultimately take on much deeper significance.

In August 2024, Ryan Clements tragically passed away. His loss profoundly impacted everyone connected to the band and reshaped their vision for the future. The final Ominous Eclipse performance became both a memorial celebration and a mental health awareness fundraiser, honoring the friend whose presence had united the group from the very beginning.

Seeking a name that acknowledged the past while embracing a new future, the band chose Altersoul, inspired by the Latin phrase “Alter Sol” meaning “A New Sun” or “Second Sun.” Referencing the eclipse imagery associated with their former identity, the name symbolizes rebirth, remembrance, and moving forward while carrying the legacy of those who came before.

Musically, Altersoul refuses to be confined to a single style. Drawing influence from death metal, technical death metal, thrash, black metal, folk metal, progressive metal, doom, and even genres beyond metal, the band crafts songs that shift seamlessly between crushing aggression, cinematic orchestration, technical precision, and emotional atmosphere. Their sound has been described using five defining words:

Authentic. Diverse. Volatile. Inspired. Layered.

Influences including Opeth, Gojira, Mastodon, Children of Bodom, and Dethklok are woven throughout their music, while fans of Death, Revocation, and progressive modern metal will find familiar elements within Altersoul’s dynamic songwriting.

What truly distinguishes Altersoul is their fiercely independent philosophy. Every aspect of the band is self-produced. From recording, editing, mixing, and mastering to artwork, video production, orchestral arrangements, and stage design, the band maintains complete creative control. Their recordings feature real orchestral instrumentation performed by the members and guest musicians, while their live performances incorporate custom-built and programmed lighting systems synchronized to the music.

Their debut release, “Origins,” serves as both a tribute and a mission statement. The EP revisits three foundational compositions from the early Ominous Eclipse catalog: the first song written by Graham Murphy, the first song written by James Close, and the first song contributed by Ryan Clements. Originally recorded with limited resources, these songs have now been reimagined with modern production, real drums, expanded orchestral arrangements, and the experience gained through years of musical growth.

Leading the release is “Abandoned,” the oldest composition in the band’s catalog, originally conceived by Murphy as an acoustic guitar piece inspired by Scandinavian black metal. Re-recorded with lush orchestral arrangements and enhanced production, the song embodies the band’s philosophy of honoring the past while pushing forward. Alongside it are newly realized versions of “End of Days” and “Beyond the Apocalypse,” three songs that collectively represent the creative foundations upon which both Ominous Eclipse and Altersoul were built.

The “Origins” EP also features a special guest appearance by Andrew Poskus, Ominous Eclipse’s original drummer. Ironically, despite having been a member of the band years earlier, this marks the first official release to feature his performance.

For Altersoul, “Origins” is more than a collection of songs. It is a tribute to friendship, a thank-you to the fans who supported them over the years, an acknowledgment of Ryan’s lasting influence, and the bridge between what was and what comes next.

With multiple albums’ worth of unreleased material already completed and a renewed focus on recording and releasing music, Altersoul stands poised to enter the most creative and ambitious era of its career. Honoring its past while embracing the future, the band continues to evolve with the same passion and determination that first brought a group of friends together over a decade ago.

0 EPK – Moonlight Desires – Totally Tubular 80’s Party Machine (2026) (Infamous Butcher Records)

  • October 21, 2026
  • by Asher
  • · EPKs · Moonlight Desires

EPK – Moonlight Desires – Totally Tubular 80’s Party Machine (2026) (Infamous Butcher Records)

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

“This EP is a step in a new direction, promoting the band’s older Ziebarth brother Jay from bass to full-time frontman! We also decided to keep the arrangements of these classics closer to the original 80’s versions to maximize the nostalgic trip. The process of this EP was slightly different this time as Jay selected more mainstream hits that will bring the ladies to the dance floor, while adding his high-energy vocal stylings to more tracks. This collection of songs is an undeniably fun nostalgia bomb but presented with a modern twist!” – Trevor Ziebarth – Vocals, Guitar, Bass – Moonlight Desires

For fans of Sons of Butcher, Danko Jones, Foo Fighters, Me First and the Gimme Gimme’s, The Dirty Nil

Band: Moonlight Desires
EP Title: Totally Tubular 80’s Party Machine
Release Date: Nov. 27, 2026
Label: Infamous Butcher Records
Distribution: Indiepool
Genre: Rock
Location of Band: Hamilton, Ontario, Canada

Moonlightdesires.ca | Facebook.com/moonlightdesires | X.com/MoonlightDesiresBand1 | Youtube.com/massivexplosion | Instagram.com/moonlightdesiresband

Moonlightdesires.bandcamp.com | Spotify | Apple Music

“Moonlight Desires takes delight in taking synth-laden pop hits from the ’80s and turning them into heavy metal monsters.” – The Hamilton Spectator – At The Movies (2020)

“Just the tonic we need in these times, putting a little smile on your face and plenty of riffs for your bucks.” – Get Ready To Rock – At The Movies (2020)

“Moonlight Desires is fun… like, a lot of fun… and everyone should have some fun tonight. So rip it up, everybody Wang Chung tonight!” – V13 – At The Movies (2020)

“I just wish there were more than the four songs on here, because what’s on offer is great. I’ve played the EP on a loop since I popped it on to review it and it’s definitely going to keep on playing. None of the tracks are hugely different from their original recordings, but it doesn’t matter. They’re all just designed for being sung out loud, and you can warble along in the kitchen to these new versions as easily as you could have back when shoulder pads were in fashion… A great little compilation that will raise a smile as much as your singing voice.” – Moshville Times – At The Movies (2020)

“The Canadian band Moonlight Desires, who specialize in turning ’80s pop songs into guitar-driven songs, turn to classic ’80s movie songs for the four track EP At The Movies… It’s a fun blast from the past that will appeal to those of us who saw those movies in the theater when they were originally released along with the younger generation who discovered them via streaming services or cable TV.” – Heavy Music Headquarters  – At The Movies (2020)

Band: Moonlight Desires
EP Title: Totally Tubular 80’s Party Machine
Release Date: Nov. 27, 2026
Label: Infamous Butcher Records
Distribution: Indiepool
Genre: Rock
Location of Band: Hamilton, Ontario, Canada

Track Listing:
1. Take on Me (3:19) (A-ha Cover)
2. Girls Just Wanna Have Fun (2:43) (Cyndi Lauper Cover)
3. Come on Eileen (3:37) (Dexys Midnight Runners Cover)
4. Small Town Boy (2:49) (Bronski Beat Cover)
5. Major Tom (Coming Home) (3:28) (Peter Schilling Cover)
6. Material Girl (3:51) (Madonna Cover)
7. True (4:20) (Spandau Ballet Cover)
EP Length: 24:05

EP Recording Credits:
• All songs performed by: Moonlight Desires
• All songs written by: Various Artists
• Produced and Mixed by: Mitch Bowden
• Mastered by: Bill Hendersen at Azimuth Mastering
• Album Artwork by: Randy Gilbert (Photographer) & Brad Machry (Graphics & Layout)
• Member of SOCAN
• Canadian Content (MAPL)

EP Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar, Bass
Marco Bressette – Lead Guitar
Mitch Bowden – Lead Guitar
Kellii Scott – Drums

Live Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar
Mitch Bowden – Lead Guitar
Joey DeLeo – Guitar
Crissy Stixx – Drums

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

About the EP Artwork:

Photographer Randy Gilbert came to our music video shoot for A-Ha’s classic “Take On Me”, and he captured a great photo of us posing with a rented DeLorean from “Back to the Future”. We decided it had a great modern 80’s vibe and made it the cover of the EP!

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

This album features a curated collection of 80’s hits, and we did not alter the original lyrics. We took aim at some of the biggest mainstream classics that we thought could handle a heavy rock makeover. We approached these covers in a slightly different way this time, keeping the original arrangements mostly intact instead of a full reimagining like some past albums. The result is these high-octane versions of songs we all know that maintain the original vibes while cranking the intensity up to 10.

Track by Track (LYRICALLY & MUSICALLY):

1. “Take On Me” – This song is basically about the risks of romance and taking a chance on love before the opportunity slips away. It’s also one of the most instantly recognizable 80s hits of yesteryear. Selected by Jay, this jacked-up version gets the EP off to a roaring start. The nostalgia is thick with this one, and we tried to keep the arrangement close to the source material while still making it sound fresh. This song is the match that ignites a full raucous collection of hits.

2. “Girls Just Wanna Have Fun” – A track about female independence never sounded so heavy! Speeding up this bona fide 80’s banger, we tried to prove once again that there’s a wicked alchemy in the marriage of pop and hard rock. Turning synth lines into guitar leads and anthemic choruses into battle calls, this radio staple with a message about women wanting the freedom to enjoy their lives on their own terms becomes amplified by a male voice, while also being a fun and lightly ironic take.

3. “Come On Eileen” – This song about young desire, attraction, and wanting to break free from a dull life is another 80’s earworm that has stood the test of time. Long requested by fans, this track finally gets its metal dip, and features a return to the original Moonlight Desires sound, with vocalist Trevor Ziebarth singing this track. Musically transformed synth parts make for a multi-layered wall of ‘guitarmony’ that helps propel this classic sing-along track into the stratosphere!

4. “Small Town Boy” – This is a song about a gay man leaving his hometown after facing rejection and hostility for the promise of a better life. We decided to use a live version of Bronski Beat’s song to model ours after, because it was a perfectly condensed arrangement. One of the biggest choruses from the decade, this relatable song about feeling like an outsider in your hometown still rips!

5. “Major Tom (Coming Home)” – A fan-written sequel to David Bowie’s ‘Space Oddity ’, this track is the one obscure selection on the EP. The bass line in this song has a standout groove that propels the song toward an explosive chorus and tapestry of lead guitar parts. Chunky guitar riffs and big drums help to keep the momentum while sounding huge and anthemic.

6. “Material Girl” – This undeniable monster hit by Madonna is the heaviest song on the EP. Tuned down to Drop B, the guitars and bass growl as Jay chews the vocals with a fresh tenacity. This metal-leaning revamp of a universally loved song reinforces the infectious party vibe that we were hoping to capture with this EP.  This track has a huge energy that careens into an explosive climax by the end.

7. “True” – This song about struggling to find the words to express feelings of love was a perfect candidate to close out the EP. With a huge and unforgettable chorus, the song was ripe for a gritty adaptation, and we once again kept the arrangement close to ground zero. Why mess with perfection!? This track features some of the biggest guitar tones and hardest-hitting drums, and ends this 80s-soaked grab bag of bangers in an epic fashion!

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STORY ANGLES / FUN FACTS ABOUT THE BAND

1. Kellii Scott of the band Failure was hired to play drums on this EP. He is one of our favourite drummers of all time, and it was an honour to have him grace these tracks with his hard-hitting rhythmic sensibilities.

2. We rented a replica DeLorean car from the “Back to the Future” movie franchise for a music video shoot for the track “Take On Me”. It’s a bit of a comedic video that depicts Jay presenting the vehicle as an option for a new touring vehicle for the band. It was also directed by Rob Lindsay (Air Farce / No Responders Left Behind / Why Horror? / Go-Boy! Memories of a Life Behind Bars).

3. After playing gigs for many years and having bassist Jay Ziebarth take over main vocals for a portion of the set, it was decided that Jay would take on full frontman status for this latest outing. His unmatched live energy could not be contained any longer! With longtime Moonlight Desires live musician Tyler Siroky taking over full-time bass duties, Jay is now the dancer-in-chief leading the live chaos.

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L-R: Joey DeLeo (Guitar) / Crissy Stixx (Drums) / Trevor Ziebarth (Vocals, Guitar) / Jay Ziebarth (Vocals) / Mitch Thompson (Lead Guitar) / Tyler Siroky (Bass)
Photo Credit – Randy Gilbert

Moonlight Desires might only play ’80s cover songs, but dismissing them as just another cover band would be a mistake. Formed by longtime Hamilton, ON musician Trevor Ziebarth (Actor, Writer, and Composer for Teletoon’s cult adult animated series Sons of Butcher), Moonlight Desires transforms beloved synth-driven pop hits into loud, guitar-heavy rock anthems packed with nostalgia, energy, and attitude.

“For those unfamiliar, I created a television show with my brother Jay Ziebarth back in 2005 called Sons of Butcher,” explains Trevor. “The show aired on Teletoon and was sold to over 200 countries worldwide. As a companion to the series, we released comedy rock albums and toured across Canada. During those tours, we’d often perform heavier versions of classic ’80s songs that quickly became fan favourites. The response was so strong that it eventually inspired the formation of Moonlight Desires.”

Paying tribute to their Canadian roots, the band adopted their name from the iconic Gowan hit “Moonlight Desires.”

“I wanted a direct reference to an ’80s song, but I also thought it fit perfectly with the band’s heavier direction,” says Ziebarth,

Since emerging in 2013, Moonlight Desires has steadily built its reputation by reimagining timeless pop classics through a distinctly hard rock lens. Their 2014 debut album, Frankie Goes To Hamilton, delivered a rollicking collection of transformed radio favourites, while 2017’s Just The Hits: 1981-1985 turned classics like Corey Hart’s “Sunglasses at Night” and Level 42’s “Something About You” into crowd-pleasing party rock staples. In 2020, the band embraced cinematic nostalgia with At The Movies, a collection of songs inspired by some of the most beloved films of the decade, including The Breakfast Club, The Goonies, Dirty Dancing, and The Karate Kid.

Now, six years after their last studio release, Moonlight Desires return bigger, louder, and more fun than ever with their new EP, “Totally Tubular 80’s Party Machine”, arriving November 27, 2026 via Infamous Butcher Records.

Featuring high-octane interpretations of beloved classics such as A-ha’s “Take On Me,” Cyndi Lauper’s “Girls Just Want to Have Fun,” Dexys Midnight Runners’ “Come On Eileen,” Bronski Beat’s “Smalltown Boy,” Peter Schilling’s “Major Tom (Coming Home),” Madonna’s “Material Girl,” and Spandau Ballet’s “True,” the EP captures everything fans love about the band: massive riffs, irresistible hooks, and unapologetic nostalgia.

For this release, Moonlight Desires leaned into a more direct approach, preserving much of the original spirit and arrangements of these legendary songs while amplifying the intensity with down-tuned guitars, thunderous drums, and arena-sized choruses. The result is a collection that feels instantly familiar while delivering all the power of a modern hard rock record.

The EP also marks a significant milestone in the band’s evolution, as bassist Jay Ziebarth officially steps into the role of primary frontman. Long recognized for his larger-than-life stage presence and ability to ignite the band’s trademark “dance mosh pits,” Jay now takes center stage, bringing a new level of energy and charisma to both the recordings and live performances. With longtime live member Tyler Siroky taking over bass duties, Moonlight Desires enters its next era with renewed momentum.

Adding to the excitement, acclaimed Failure drummer Kellii Scott plays drums throughout the EP, helping elevate the band’s biggest and most polished production to date. Recorded with longtime producer Mitch Bowden at Mechanical Noise Studios, “Totally Tubular 80’s Party Machine” showcases Moonlight Desires at their most confident and refined.

Known for turning every performance into a celebration, Moonlight Desires continues to blur the line between rock show, retro dance party, and nostalgic time machine. Whether you’re an ’80s music fanatic, a hard rock devotee, or simply looking for an excuse to sing at the top of your lungs, Moonlight Desires delivers a live experience unlike any other.

With bigger production, bigger hits, and a new frontman leading the charge, Moonlight Desires may have finally achieved their ultimate form.

FFO: Me First and the Gimme Gimmes, The Ataris, Foo Fighters, Soundgarden, and anyone who ever made a mixtape from MTV.

EP Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar, Bass
Marco Bressette – Lead Guitar
Mitch Bowden – Lead Guitar
Kellii Scott – Drums

Live Band Lineup:
Jay Ziebarth – Vocals
Trevor Ziebarth – Vocals, Guitar
Mitch Bowden – Lead Guitar
Joey DeLeo – Guitar
Crissy Stixx – Drums

DISCOGRAPHY:
2014 – Frankie Goes to Hamilton – LP
2017 – Just the Hits: 1981-1985 – LP
2019 – Patio Lanterns – Single
2020 – At the Movies – EP
2026 – Totally Tubular 80’s Party Machine – EP

SHARED STAGE WITH:
Carole Pope
B. A. Johnston
The VaudevillianTOURS AND FESTIVALS:
October 6, 2024 – SIP Niagara Food & Drink Fest– Jordon, ON
August 27, 2022 – Voodoo Rock Fest, Odessa, ON
June 11, 2022 – Concession Streetfest, Hamilton, ON
August 27, 2021 – Music In The Square – Brantford, ON
Aug 2, 2019 – Strummerfest – Waterloo, ON
July 27, 2019 – WTFest – Brantford, ON

0 EPK – DENIMACHINE – Perfect Illusion (2026) (Grand Hand Records)

  • October 20, 2026
  • by Asher
  • · Denimachine (Grand Hand Records) · EPKs · Uncategorized

EPK – DENIMACHINE – Perfect Illusion (2026) (Grand Hand Records)

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

“These four songs are a sonic time capsule of everything we’ve lived through since our debut, and they show exactly how far we’ve evolved as a band. We’ve taken this time to dial in our sound and level up our production, blending heavy grooves with fresh, spacey textures that we can’t wait for everyone to hear.” – Denimachine

For fans of Queens Of The Stone Age, Black Sabbath, Wolfmother, Graveyard, TruckFighters

Band: Denimachine
Album Title: Perfect Illusion
Release Date: Nov 27, 2026
Label: Grand Hand Records (Digital), along with the EP on a Split Vinyl with Riff Ratt.
Genre: Stoner Rock, Psychedelic Rock
Location of Band: Calgary, Alberta, Canada

Denimachineband.com | Facebook.com/denimachine | X.com/DenimachineAF | Youtube.com/@Denimachineband | Instagram.com/denimachine

Denimachine.bandcamp.com | Apple Music | Spotify

Band: Denimachine
Album Title: Perfect Illusion
Release Date: Nov 27, 2026
Label: Grand Hand Records (Digital), along with the EP on a Split Vinyl with Riff Ratt.
Genre: Stoner Rock, Psychedelic Rock
Location of Band: Calgary, Alberta, Canada

Track Listing:
1. Tornado – 4:58
2. Grundy – 3:32
3. Edgelord – 5:33
4. Filthy Lucre – 5:44
Total EP Length: 19:47

EP Recording Credits:
• All songs performed by: Denimachine
• All songs written by: Denimachine
• Produced by: Scott Giffin and Denimachine
• Mixed by: Scott Giffin
• Mastered by: Stuart McKillop – Rain City Recorders
• Album Artwork by: Paul Henrik / Trenton Bullard
• Member of SOCAN
• Canadian Content (MAPL)

Album Band Lineup:
Scott Charles (Guitar, Vocals)
Trenton Bullard (Guitar, Vocals)
Brady Side (Bass)
Kevin Ross (Drums)
Scott Giffin (Synth)

Live Band Lineup:
Scott Charles (Guitar, Vocals)
Trenton Bullard (Guitar, Vocals)
Brady Side (Bass)
Kevin Ross (Drums)

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Describe The EP Artwork:

We reached out to our Friend Paul Henrik, a tattoo artist at Radio Block. Since we were releasing the EP on a split with Riff Ratt, we wanted the art and cover to look like there were two independent parts but also be cohesive.

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

These are four very different songs written over a ten-year span, from our oldest (Tornado) to our newest (Grundy). When we write a new song, we usually play it live a few times over the years, making minor tweaks; then, right before getting into the studio, we make a whole bunch of major tweaks, and then after it’s been recorded and pressed, we make a few more tweaks. After that, it’s done. We recorded in the prairies at OCL Studios with Scott Giffin. We recorded something that sounds heavy but groovy and true to our live sound, with some studio fun.

Track by Track (LYRICALLY & MUSICALLY):

Tornado: Written a long time ago about the Blair Witch Project and a tornado that touched down during a music festival that year. It’s the fastest and thrashiest of the four, inspired by horror movies and Dio.

Filthy Lucre: Came next and is about existential financial woes. It’s got a bit of polish but only to enhance the psych and maximize the catchiness of the chorus.

Edgelord: It’s the most laid-back of the four, but ends as one of our heaviest. We wanted to write something with a lot more groove and to experiment with our edginess.

Grundy: Straight-up rock and roll, inspired by the ascent from a particularly bad bout of depression.

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L-R – Brady Side (bass), Trenton Bullard (guitar, vocals), Kevin Ross (drums), Scott Charles (guitar, lead vocals)

Denimachine – Photo Credit – Josh Sandulak

You could say Denimachine sounds like a barbed-wire tumbleweed ripping across the Western Canadian prairie with a trunk full of fuzz pedals and a cooler full of cheap beer. You could say they’re a hard-rock wrecking crew built on thunderous riffs, highways, campfires, and a lifelong devotion to the altar of Black Sabbath.

But closer to the truth, Denimachine is simply four friends who love loud guitars, heavy grooves, and having a damn good time.

Formed in Calgary, Alberta in 2017, Denimachine emerged organically from years of friendship, shared job sites, and countless hours spent performing in notable local acts including Throne of Vengeance, Frankie McQueen, Falcon, and MANcub. After years of touring and chasing different musical paths, guitarist/vocalists Trenton Bullard and Scott Charles, bassist Brady Side, and drummer Kevin Ross came together looking for something new. What began as a one-off project intended to entertain fellow heshers at the legendary vanner gathering Vantopia quickly evolved into a full-fledged band with a cult following of riff enthusiasts across Western Canada.

Taking their name from the famous 1977 Ford Econoline “Denimachine” van created for a Levi’s promotional contest, the band embraced the vehicle’s free-spirited, blue-collar ethos from day one. Much like its namesake, Denimachine was built for the open road.

Their 2018 Demos EP introduced listeners to their riff-heavy approach, while their self-titled 2020 EP cemented the band’s reputation for combining soaring vocal melodies, fuzzy guitar heroics, and undeniable groove. Drawing influence from Queens of the Stone Age, Black Sabbath, Wolfmother, Graveyard, and Truckfighters, Denimachine balances classic hard rock swagger with modern stoner-rock heaviness, creating songs that feel equally at home blasting through festival speakers or from a dusty garage stereo.

Now, after years of writing, refining, and evolving their craft, Denimachine returns with their most ambitious material yet: Perfect Illusion, a four-song EP arriving November 27, 2026.

Produced from years of growth both personally and musically, Perfect Illusion captures a more mature Denimachine without sacrificing the riff-driven energy that first put them on the map. The EP explores broader sonic territory, incorporating more dynamic arrangements, psychedelic textures, and adventurous songwriting while maintaining the band’s trademark head-bobbing heaviness. The collection spans the band’s entire creative journey, featuring some of their oldest material alongside their newest compositions, showcasing just how far the quartet has come since their earliest jam sessions.

Built through Denimachine’s fully collaborative writing process, every track emerged from the band’s chemistry in the rehearsal room, where riffs evolve through experimentation, live performance, and collective refinement. The result is a record that captures the energy of their renowned live show more faithfully than ever before.

From the tornado-force opener “Tornado”, a fan-favorite staple finally committed to tape after years on stage, to the groove-laden swagger of “Grundy,” the shape-shifting journey of “Edgelord,” and the cosmic exploration of “Filthy Lucre,” Perfect Illusion finds Denimachine pushing their sound into exciting new territory while remaining true to their roots.

At its core, Denimachine remains what it has always been: four friends chasing riffs, sharing beers, and creating the soundtrack for good times. Their songs are designed to be played loud, whether you’re winding down around a campfire, cruising a backroad, or losing yourself in the front row.

Fueled by massive hooks, oversized grooves, and the kind of chemistry that only comes from years of friendship, Denimachine continues to prove that sometimes the best rock and roll isn’t reinvented. It’s simply played with conviction, volume, and a little extra sauce.

Perfect Illusion arrives November 27, 2026, digitally via Grand Hand Records, along with the EP on a Split Vinyl with Riff Ratt.

Denimachine Current Lineup:
Scott Charles (Guitar, Vocals)
Trenton Bullard (Guitar, Vocals)
Brady Side (Bass)
Kevin Ross (Drums)

Discography:
2020 – Denimachine (self-titled EP)
2026 – Perfect Illusion (EP) (Grand Hand Records) released as Solo EP (digitally) and on Split Vinyl with Riff Ratt

Shared Stage with:
Red Fang, Sandrider, Anciients, The Shrine, Castle, Mares Of Thrace, Nightseeker, Riot City, Dopethrone, Hellfire, Screamer, Gone Cosmic, Chron Goblin, Black Thunder, Dead Quiet, Woodhawk

TOURS AND FESTIVALS:
2024 – Cold Bones Fest – Drumheller, AB
2022 – Sled Island – Calgary, AB
2019 – 420 Music & Arts Festival – Calgary, AB
2019 – Sled Island – Calgary, AB
2019 – Woodhawk  2019 Spring Rip – Edmonton, Saskatoon, Invermere, Kelowna
2017 – Big Winter Classic – Calgary AB

Music Placements:
– Without A Pedal – A Bicycle Film About Snowboarding (2026)
– Doomed And Stoned Canada Vol 2 (2021)

0 EPK – Burn The Evidence

  • October 18, 2026
  • by Asher
  • · Burn The Evidence · EPKs

EPK – Burn The Evidence

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

For fans of I Prevail, Hollywood Undead, Killswitch Engage, Ice Nine Kills, President

Facebook.com/p/Burn-The-Evidence-100086861292626/ | Instagram.com/burntheevidence_music |

Spotify | Youtube.com/@BurnTheevidencemusic

“Ottawa-Gatineau metal band Burn The Evidence had the honor of opening the inaugural edition of El Gros Fest in Cantley, Quebec. Guitarist Éric Desormeaux described opening a festival’s very first edition as a special privilege.” – Le Droit – 2026

“One of the band’s favourites, this will pull you along on a rollercoaster of emotions, from peace to fear, from joy to sadness, but in the end, you’re going to want more. Crank up the volume and immerse yourself in a distinct brand of metalcore.” – Dropout Entertainment – 2026

“A genuinely catchy and well-produced release… Turn up the volume and immerse yourself in a distinctive brand of metalcore… “‘Night Terror’ is the perfect soundtrack for a horror-filled night or your late-night adventures….Recommended for fans of Bring Me The Horizon, Ice Nine Kills, and Falling In Reverse.” – Metal Universe – 2023

“The Ottawa nu-metalcore band BURN THE EVIDENCE officially released its new album, Case 01, on February 27, 2024. Consisting of nine tracks, the members of BURN THE EVIDENCE guide listeners through a series of crime scenes. The balance between clean vocals and growls is executed effectively, creating a strong mix that will appeal to fans of I PREVAIL. Throughout most of the album, BURN THE EVIDENCE incorporates nu-metal elements that perfectly complement the band’s catchy melodic side, while still delivering solid guitar riffs. Between crime scenes, investigations unfold successfully, and things can get very bloody. Whether it’s the band’s name, the album title, the artwork, or even the lyrics, BURN THE EVIDENCE has created a distinctive atmosphere built around a compelling story and overarching narrative. If you enjoy the approach of ICE NINE KILLS or narrative additions such as movie samples and cinematic touches, you won’t be disappointed. Definitely worth checking out. This album will take you on an emotional roller coaster, from peace to fear and from joy to sadness. But by the end, you’ll still be left wanting more. Listen at your own risk!” – Metal Universe – 2024

L-R – Maxime Rondeau – Lead Guitar, Danny Audette – Bass, Rémi Arsenault – Vocals, Serhii Myronchuk – Drums, Eric Desormeaux – Guitar/Vocals

Photo credit: Eightyoaks Photography – https://www.facebook.com/eightyoaksphotography

 

Hailing from the Ottawa, Ontario, and Gatineau, Quebec region, Burn The Evidence is a rising nu-metalcore force delivering a powerful blend of crushing riffs, infectious melodies, emotional intensity, and immersive storytelling. Formed by seasoned musicians from the local metal scene, the band’s unique identity revolves around the dark worlds of crime scenes, unsolved mysteries, investigations, and cold cases.The project was born when vocalist Rémi Arsenault joined forces with guitarists Eric Desormeaux and Maxime Rondeau, musicians he had admired through their previous work in Fractures & Outlines. With the addition of bassist Serhii and drummer Danny, Burn The Evidence evolved into a creative unit focused on crafting a distinctive musical and visual experience. United by a fascination with mystery and the unknown, the band developed a detective-inspired concept that would become the foundation of its sound and lyrical themes.

Drawing influence from modern metalcore heavyweights such as Bring Me The Horizon, Wage War, I Prevail, Ice Nine Kills, and Killswitch Engage, Burn The Evidence combines aggressive breakdowns, memorable hooks, dynamic clean and screamed vocals, and cinematic atmosphere. Their music explores the emotions surrounding criminal investigations through the perspectives of inspectors, witnesses, and sometimes even the perpetrators themselves. Fear, power, tension, triumph, and uncertainty all play a role in the band’s evolving narrative universe.

A defining aspect of Burn The Evidence is their dedication to creating an immersive experience. Ambient effects, atmospheric samples, cult-like chants, and cinematic elements are carefully woven into their music to enhance the storytelling. Every song serves as a chapter in a larger investigation, inviting listeners to step into the case and uncover the truth alongside the band.

Operating independently, Burn The Evidence writes, records, and produces much of its music in-house at guitarist Eric Desormeaux’s studio. This hands-on approach allows the band complete creative freedom and the ability to meticulously refine every detail without compromise. Their collaborative writing process sees each member contributing ideas, resulting in a sound that continues to grow heavier, tighter, and more mature with every release.

After spending the last several years sharing the stage and logging countless miles together, Burn The Evidence has developed a chemistry that translates directly into both their recordings and live performances. Known for delivering high-energy shows filled with relentless intensity, vocal harmonies, crushing breakdowns, and crowd engagement, the band strives to connect with audiences from the first note to the last.

With their detective-themed universe expanding and their sound evolving at a rapid pace, Burn The Evidence is carving out a unique place in modern metalcore, offering fans not just songs, but an experience where every clue matters and every case has a story to tell.

 

Band Lineup:
Vocals: Remi Arsenault
Rhythm Guitar and Vocals: Eric Desormeaux
Lead Guitar: Maxime Rondeau
Bass: Danny Audette
Drums: Serhii Myronchuk

 

Discography
Case 01 (Album 2025)  
COD3 (single 2024)
Night Terror (single 2023)
Spiral (single 2023)
Bad Influences (single 2023)

 

Shared Stage with:
Stick to your guns, Kaonashi, Mononc Serge et Anonymus, Dropout Kings, Madball, Death before dishonour, Exterio, Kamakazi

 

Tours and Festivals:
Welcome home mini-tour with Nova Spei, De mal en pire, Change my brain with cakes – September 2024 (Trois Rivières, Gatineau, Québec and Sept-Îles)
Victoriaville La causerie – May 2025
Elgros Fest Cantley, Outaouais – July 2025
Cornwall Chaos Fest – August 2025

 

Fun Facts:

1.  We had the chance to hit the first winter storm while going to Sept Isles… man, this road is no joke: cliffs and hills, truck stuck in the hills, nightmare, man. We arrived safe and well, but daammmmnnn that was a scary one.

2. Another one , normally Toronto to Ottawa is around 5 hours drive… again winter madness… we went to Toronto in a 45 centimeter snow storm…took us 6 hours to go we played and took us 9 hour to come back in the night… we are conquering some crazy driving skills here hahaha

3. In general, we have so much fun going out of town to play shows and discover different cities, meeting amazing people, sharing some good poutine, and learning city features, etc.  

0 EPK – Dirty Shirt – A Brighter Day ft. Jethro Tull’s Ian Anderson (single) (2026)

  • October 15, 2026
  • by Asher
  • · Dirty Shirt · EPKs

EPK – Dirty Shirt – A Brighter Day ft. Jethro Tull’s Ian Anderson (single) (2026)

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

​“Working with Ian Anderson was an honour and an incredible experience. After he agreed to join us as a guest, I sent him demos of five songs so he could choose whichever he liked best. He picked ‘A Brighter Day’, which was also the song I thought would suit him best. My only request was for him to play the main theme alongside the other acoustic instruments. Beyond that, he had complete freedom. The very next day, his flute tracks arrived, full of melodic ideas and solos, each one better than the last. We kept everything. There was no need to edit any of his parts; it all fitted perfectly. The result was exactly what I’d imagined: a blend of Dirty Shirt and that unmistakable Jethro Tull sound, with Ian’s unique approach to the flute. But he still managed to surprise me. I hadn’t expected the flute to work so well over the heavy riffs in the final section, which is the most aggressive part of the song. Having Ian leave his musical mark on one of our songs means a great deal to me. What impressed me just as much was how open and inventive he remains as a musician. I can’t wait for everyone to hear it!” – Mihai Tivadar, Dirty Shirt composer, producer, and keyboardist

For fans of Dubioza Kolektiv, Skindred, Bloodywood, Alestorm, The Hu

Single Release Date: Oct 16, 2026 (from “Balkansylvania Vol. 1: Roots” Out Jan 2027)

All Links: https://linktr.ee/dirtyshirtband

Dirty-Shirt.com –  Facebook.com/DirtyShirtRomania – Twitter.com/dirtyshirtband –  Youtube.com/dirtyshirtoriginal

Instagram.com/dirtyshirtband – Tiktok.com/@dirtyshirtband 

Dirtyshirt.bandcamp.com – Apple Music – Spotify – Dirty-merch.com – Deezer

Balkansylvania Tour 2027:​
26.12.2026 – Mos Craciun e Rocker – Baia Mare (RO)
27.12.2026 – Mos Craciun e Rocker – Baia Mare (RO)
22.01.2027 – Form Space – Cluj-Napoca (RO)
23.01.2027 – Republic Hub – Targu Mures (RO)
05.02.2027 – MMC – Bratislava (SK)
06.02.2027 – Urban Spot – Banská Bystrica (SK)
19.02.2027 – Quantic – Bucuresti (RO)
20.02.2027 – Rockstadt – Brasov (RO)
17.03.2027 – Snow Fest – Val Thorens (FR)
21.03.2027 – Snow Fest – Deux Alpes (FR)
17.04.2027 – Oldies Pub – Sibiu (RO)
18.04.2027 – Out Events – Oradea (RO)
15.05.2027 – New Cross Inn – London (UK)
25.06.2027 – Brande-Hörnerkirchen – Hörnerfest (D)
29-31.07.2027 – Czaplinek-Broczyno – Pol’and’Rock (PL)
15.10.2027 – B90 – Gdańsk (PL)
16.10.2027 – Słowianin – Szczecin (PL)
More TBA

Single Recording Credits:
• All songs performed by: Dirty Shirt
• All songs written by: Mihai Tivadar & Mathieu di Pilla
• Produced by: Mihai Tivadar & Adrian Uritescu
• Mixed by: Adrian Uritescu & Mihai Tivadar
• Mastered by: Adrian Uritescu
• Album Artwork & Lyric Video Animation by: Anna Vixie Art

Single Band Lineup:
Dan “Rini” Craciun – Vocals
Robert Rusz – Vocals
Mihai Tivadar – Keyboards
Dan Petean – Guitars
Cristian Balanean – Guitars
Cosmin Nechita – Violin
Sergio Ponti – Drums
Miruna Puiu – Backing Vocals
Alexandra Joicaliuc – Backing Vocals
Tea Visan – Backing Vocals
Andrei Oltean – Flutes
Mihai Munteanu – Cimbalom
Sami Lupean – Percussion

Featuring :
Ian Anderson – Flute
Voltaj Academy Choir

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

About The Single Artwork:

“Both the artwork and the animation are heavily inspired by the band’s lyrics, sound, and identity. After hearing the song, I felt compelled to explore the suffocating reality of this world drowning in noise and deception. I had the idea of a modern wasteland where smart devices are fused seamlessly with the garbage and everything is burning, while the main character appears to be healing. She is in desperate need of a fresh start and the fire represents cleansing and renewal, an urgent need to cut ties with the negative influences in her life. It’s an internal battle that all of us have to undertake and I wanted to explode that feeling into this piece (with flames, bright colors and Ian Anderson in one of his iconic poses). The collision between fiery orange and cold cyans represents the battlefields of the mind, where opposing thoughts clash more often than we’d like them to. It’s a testament to the quiet but resilient force we carry within ourselves that has the power to shape the world by changing the way we look at it.” – Anna Vixie

About the Single (musically, lyrically)

Musically, it’s a high-energy, catchy song with plenty of good vibes. We particularly like the contrast between that uplifting sound, the innocence of the children’s choir, and the more confrontational message of the lyrics. It was also fascinating to hear how Ian Anderson’s distinctive flute playing blended with our music: his unmistakable Jethro Tull character fits naturally into the Dirty Shirt sound while adding a new dimension.

Lyrically, we challenge the idea that someone else will come and fix everything for us. In a world full of false promises and fake news, the song is a call to take responsibility for our choices, acknowledge our failures, and stop hiding behind excuses. “Burn all the bridges” represents breaking away from that dependence and taking ownership of our direction.

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

For over 30 years, Dirty Shirt has stood as one of Eastern Europe’s most original and successful rock/metal acts. Formed in the mid‑90s as a wedding band, they evolved into a genre‑blending powerhouse, fusing modern heavy music with the vibrant energy of Eastern European traditional sounds. Their explosive live shows and innovative approach have taken them to major festivals across Europe, including Hellfest, Wacken Open Air, Pol’and’Rock, Electric Castle, and more, and earned praise from outlets such as Metal Hammer, Rock Hard, Metalsucks, and Hard Rock Mag. Dirty Shirt has performed over 600 shows in 17 countries and shared stages with Megadeth, Godsmack, Gogol Bordello, Skindred, and Orphaned Land.

“Long time readers will know by now that I am partial to the weirder side of heavy music. Dirty Shirt certainly has my attention this week. They’re like a mix of 6:33, Russkaja, and Turisas. This is bombastic, fun metal with Romanian folk mixed in. ” – Metal Injection

“Dirty Shirt, Your New Favorite Transylvanian Folk-Core Band ” – Metal Sucks

“DIRTY SHIRT only sound like DIRTY SHIRT.” – Metal Temple

“Is it catchy? Yes. Is it fun? Yes. Is it utterly mental? Yes. Highly recommended” – Metal Observer

” “…you’ve never heard anything quite like this before”” – Sonic Abuse

“This album is buoyant, blistering and bolshy; you certainly want to get your dose now!” 8/10 – Powerplay Magazine (2022 – Get Your Dose Now!)

“”Whoa! ‘Get Your Dose Now!’ is definitely not your average metal album. It’s simply something that you won’t hear anywhere else. Dirty Shirt is the real deal with extraordinarily talented musicians and a uniqueness that sets them apart from the crowd. If you’re in the market for some new music, this band offers something for everyone, from hardcore metal and thrash to tribal and traditional. It’s like your grandmother’s goulash recipe, a little of this and a little of that, with the end result being magical and inimitable.” – Uber Rock (2022 – Get Your Dose Now!)

“Dirty Shirt did a good job again and ‘Get Your Dose Now!’ is a very nice album to listen to and it deserves a listen.” – Folk-Metal.nl (2022 – Get Your Dose Now!)

“with DIRTY SHIRT you have joy in life and fun in music. They ignite a light in the currently dark world. A good mood is guaranteed. So get your dose today, now, get vaccinated against sadness and depression. before it’s too late. – Saitenkult (2022 – Get Your Dose Now!)

0 EPK – TURBO – Listen… Shut Up! (2026)

  • October 12, 2026
  • by Asher
  • · EPKs · Turbo

EPK – TURBO – Listen… Shut Up! (2026)

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

“We like our music hard, fast, and raw, and that’s the kind of experience we’re trying to give other people. We want to give people the same kind of punch-in-the-gut “this Rollercoaster is more than a bit too fast” feeling that we crave. All of our albums are an homage to the gritty rock-and-roll road-weary lifestyle we lead. It’s funny, though: our first album “Fast as Fvck” felt like it was all about living in squalor and stuff; our second release, “Broke and Ugly,” had this invincible feeling to it like the party was never gonna die, and we’re kind of thinking about this album as kind of the hangover from all that. This album is still a bunch of party anthems, but feels much more like it’s about the consequences of living the life we lead. Musically speaking, it’s still hard, fast, heavy, and packed full of fun – still undeniably classic Turbo. But it feels more mature and refined in a lot of regards. We’re incredibly proud of it.” – Turbo

For fans of Motorhead, W.A.S.P., Kill Cheerleader, ZZ Top, Black Sabbath

Band: TURBO
Album Title: Listen… Shut Up!
Release Date: October 23, 2026
Label: Self-Release
Genre: NWOTHM / THRASH
Location: Halifax, Nova Scotia, Canada

Facebook.com/TURBOFAF | Instagram.com/turboasfvck

Turboasfvck.bandcamp.com | Spotify

Canadian Invasion Euro Tour – Turbo w/ Monteith
22.10 – Hradec, CZ — AC Klub
23.10 – Bratislava, SK — Koncerty na Garážach
24.10 – Louny, CZ — Sféra Louny
25.10 – Bohuslavice, CZ — NOISE Bar
26.10 – Košice, SK — Collosseum Klub
27.10 – Budapest, HU — S8 Underground
28.10 – Krakow, PL — SNY
29.10 – Prague, CZ — Klub FAMU
30.10 – Nuremberg, DE — Blackbox
31.10 – Hamburg, DE — Stellwerk

Band: TURBO
Album Title: Listen… Shut Up!
Release Date: October 23, 2026
Label: Self-Release
Genre: NWOTHM / THRASH
Location: Halifax, Nova Scotia, Canada

Track Listing:
1. Kamikaze – 3:53
2. Don’t Know Me – 3:16
3. Deathwish Labyrinth – 3:42
4. Slut Island – 4:11
5. Best Wishes – 3:07
6. Tell Your Daughter – 3:49
7. Black Wings of Revenge – 4:14
8. Formula One – 4.33
Album Length: 29:50
Album Credits:
All songs performed, written, recorded and mixed by Turbo
Mastered by Jamie King Audio
Artwork by Tim Murray
Member of SOCAN
Canadian Content – MAPL

Lineup:
Evan Frizzle: Vox, Lead & Rhythm Guitar
Lindsey Dicks: Lead & Rhythm Guitar, Back Up Vocals
Donovan Saulnier: Bass, Back Up Vocals
Sylvian Coderre: Drums

Discography:
Fast as Fvck (2020)
Broke & Ugly (2024)
Listen… Shut-Up! (2026)

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

About The Album Artwork:

This album cover features a plane going down, with two demon girls tossing beer kegs to us and sending us on our way as we party, surf, drive, and drink our way to our next disaster in some crazy death-machine vehicle. Tim Murray does all our artwork, and we give him very little direction and just kinda tell him to go nuts. The guy just GETS us ahaha.

About The Album:

All our albums are an homage to the gritty, road-weary rock-and-roll lifestyle we lead. It’s funny though, our first album “Fast as Fvck” felt like it was all about living in squalor and stuff; our second release “Broke and Ugly” had this invincible feeling to it like the party was never gonna die, and we’re kind of thinking about this album as kind of the hangover from all that. This album is still a bunch of party anthems, but feels much more like it’s about the consequences of living the life we lead. Musically speaking, it’s still hard, fast, heavy, and packed full of fun – still undeniably classic Turbo. But it feels more mature and refined in a lot of regards. We’re incredibly proud of it.

Track By Track:

KAMIKAZE
The album kicks off with this straight-ahead double-kicking speed metal banger, and it’s a wild ride. High-octane shred solos, a wicked midsection, and a stupendous chorus; the works! The lyrics are about just doing what you were meant to do, no matter what. Anything in your way isn’t. Anyone stopping you just isn’t. Nothing can stop you, even if it kills you. One of my favorite tracks on the album.

DON’T KNOW ME
This riff starts with kind of a pool party riff that almost deceives you into thinking the song is gonna be super lighthearted and impish. It isn’t. This song is me writing a note to another self – a guy I used to be and a life I used to live, using drugs, using people, and just overall being a gross piece of shit. I like to give myself friendly little reminders like that. The harsher they are, the better.

DEATHWISH LABYRINTH
This song is a reprieve from our usual upbeat tantrums for a darker and stormier vibe all over it. This song is about being in the throes of heavy addiction; a subject I personally know all too much about. Still flooding with shred, pumping drums, chainsaw vocals, catchy ear-candy hooks, guitar harmonies, all that Turbo stuff you know and love. But there’s a lot of drama in this track.

SLUT ISLAND
There’s one song on every Turbo album where you can tell we only take ourselves so seriously. I think it’d be fair to say this is the track for that. It’s a fun, boppy song that’s catchier than a lot of people are going to want it to be, ahaha. The lyrics are written pseudo-sarcastically, and it’s really just fun to sing and feel throughout. The crowds love this one. Our girlfriends don’t.

BEST WISHES
This. Song. Is. Pissed. And it wants you to know that. When Donny joined the band, he was dating this girl who was annoying at her best, and an absolute nightmare at her worst. We gave her a million chances and tried playing nice, but it was hopeless. She lied constantly, tried to control the band, gaslit our girlfriends about us, came up on stage and yelled at us once; it was absolutely insane to deal with. When we made the first little bit of the song, I tried to think of stuff that pissed me off, and she was the only thing coming to mind; it was so bad. So I did. Donny was uncomfortable about it. Then he got cheated on, and they broke up. He loves it now! We hope you do too, ahaha.

TELL YOUR DAUGHTER
Super catchy ditty with a great main riff, chorus, and solo section. The lyrics are very personal to me, but I made them decidedly vague, so to the listener they’re about whatever you want them to be about – choose your own adventure. I WILL say this is the closest track to something mushy Turbo has ever done. Funny yardstick, but still true.

BLACK WINGS OF REVENGE
From a musical standpoint, we take a lot of our punk edge out of this song and focus on our roots in old-school British metal, I think. I dunno, that’s just how I feel about it when I’m playing it, but it’s a super hammering song. I wrote the lyrics from the perspective of a super good friend I have who’s pretty high up in this city’s criminal underworld. Scariest guy I’ve ever gotten to know, but we’re very dear friends; love hanging with him. But he LOVES getting revenge on people who try to fuck him around, and has described it to me in acute and delicious detail. The feeling is something I think a lot of us can relate to – I know I’ve been there. So my homage to that feeling is writing through his lens as I see it. I don’t have to ask if he approves. I know he does.

FORMULA ONE
Another speedy locomotive of a track with great guitar work and a bunch of ear hooks. The middle train-beat comedown section might be one of my favorite parts on the whole album. This song was written about my run-ins with the law, particularly this one time I took a bunch of weird acid (pretty sure it was called N-bone?), got all weird and did a break-and-enter, and the time avoiding the law thereafter for a couple of years until they caught me. The life I’ve lived will never run out of lyrical subject matter, ahaha. Sorry.

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

Fun Facts – Story Angles
1. Both of Turbo’s albums – “Fast as Fvck” and “Broke and Ugly” were almost entirely recorded and produced by guitarist Lindsey Dicks and the rest of the band themselves right in their rehearsal space, with minimal
outside-help.

2. Turbo played 53 shows in one year in 2023. They were on the road almost every weekend to achieve that.

3. In the fall of 2023, Turbo went on a two-week
tour through Mexico, and each member has a strange story about pooping from that trip.

4. Both the band’s singer/guitarist Evan Frizzle and drummer Sylvain Coderre instruct students on how to play their respective instruments.

5. Bassist Henry MacDonald is broke and sexy, currently trying his hand at an
amature-modeling career.

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

 

Like your disheveled uncle on Christmas morning, Turbo is loud, reckless, unapologetic, and completely sick of your shit.

Formed in Halifax, Nova Scotia, Turbo was born from a shared frustration among musicians who felt their respective projects weren’t pushing hard enough, playing loud enough, or aiming high enough. What started as a simple desire to create something bigger quickly became a mission statement. Vocalist/guitarist Evan Frizzle, drummer Sylvain Coderre, guitarist Lindsey Dicks, and bassist Henry MacDonald came together with one goal: build a band that would hit harder, move faster, and leave a crater wherever it landed.

Drawing inspiration from Motörhead, W.A.S.P., Judas Priest, Pantera, Kill Cheerleader, and countless influences across the heavy music spectrum, Turbo forged their own signature sound. The band proudly calls it “Nitro-Rock”: a high-octane collision of speed metal, NWOBHM, sleaze rock, hardcore punk, and pure rock and roll swagger.

Since the release of their debut album Fast as Fvck in 2020 and the follow-up Broke and Ugly, Turbo has built a reputation for relentless touring, no-compromise songwriting, and explosive live performances. Their music is aggressive yet memorable, filthy yet polished, and driven by a collaborative writing process where ego is left at the door and every decision serves the song.

Now, Turbo returns with their most focused, ferocious, and infectious release yet: Listen… Shut Up!, arriving October 23, 2026.

Written through the same fully collaborative process that has defined the band since day one, the album captures everything fans have come to love about Turbo while pushing their sound even further. Fueled by real-life experiences, sharp observations, reckless nights, and the everyday chaos that surrounds them, the songs hit with equal parts attitude, honesty, and adrenaline.

Packed with razor-sharp riffs, pounding rhythms, massive hooks, and enough greasy energy to power a small city, Listen… Shut Up! is a statement album from a band operating at full throttle. It doesn’t ask for your attention. It demands it.

Whether on record or on stage, Turbo walks the line between down-to-earth authenticity and absolute spectacle. The result is a raw, visceral experience that connects with audiences as much as it rattles them.

“Greasy. Fast. Slutty. Heavy. Raw.” That pretty much says it all. That pretty much says it all.

Turbo wouldn’t have it any other way.

Turbo is:

Evan Frizzle – Vocals, Guitar
Lindsey Dicks – Guitar
Henry MacDonald – Bass
Sylvain Coderre – Drums

========

What the press has said:

#9 Turbo – !earshot – The National Loud Chart – For the Week Ending: Tuesday, July 30, 2024 
https://earshot-online.com/charts/index.cfm?intChartTypeID=106&dWeekOfID=2024-07-30

“The cartoon-ish cover art with toxic green/red colors could bring more smiles to the fold – Turbo executing a great crossover sound that stands on the edge of thrash, punk and NWOBHM/heavy metal. Broke & Ugly could be your soundtrack when needing an ideal wind down from your back breaking, seemingly never over work week. 8.5/10″ – Dead Rhetoric

“This rocks a lot. The vocalist’s gritty approach delivers surprisingly catchy and memorable vocal melodies, and the occasional backing vocals are often reminiscent of mid-80s “party” metal, very upbeat and singalong-inducing. The guitar work has everything people like in old heavy metal, a rather raw style filled with cool solos and riffs that stick in your head long after they’re over. You’d tell me this was released more than 40 years ago and I would believe you. A fun time from beginning to end. 4/5″ – The Metal Crypt

“”Broke & Ugly” may have been a little tight in terms of playing time, but with the incredible hit rate of one hundred percent, you can forgive that. When punk and thrash still spoke a language, the whole thing sounded like this album. The fact that a band would ever come close to OVERKILL in terms of sound technology says more than enough! Yes! Noisy thrash, melodic punk, classic setup – what a great record! 9/10.” – Power-Metal.de 

“entertaining, refreshingly lively, dynamic, far too good to be bad. Massively punching Kick Ass- Heavy Metal n’ Rock n’ Roll on all sides, which hits the eye in a straight line, brutally, snotty, until it hits the chest, where it hurts. Snots, tubes, rocks and rolls straight to the limit! 8/10” – FFM-Rock

“the band is insanely tight, with Frizzle and fellow six stringer Lindsey Dicks really giving it some violence riff wise and soloing like their lives depended on it. Similarly, the rhythm section of Sylvain Coderre (d) and Henry MacDonald take no prisoners and submit to no-one in their ability to hold things together at high velocity. Very impressive. As we get deeper into the twenty first century, bands are running out of ways to repackage, remake and remodel, so the freshness with which Turbo approach the task in hand has to be applauded. This is fun to listen to – and it certainly sounds like the band had fun getting the album down, and sometimes a bit of joie de vivre is all any of us need. But when you are able to mix that in with a killer technique and a sharp ear for a metal tune well, good times await!” – Sentinel Daily

“Canada’s Turbo label their music Nitro-Rock; On the evidence of the submitted album, Broke & Ugly, it would seem that Nitro rock is in fact an almighty mashup of styles, all rendered at high speed and with little regard for personal danger (in my day we used to call that Crossover-Ed). If that description excites you, then the album is going to send you into paroxysms of joy…” – Sentinel Daily

“Turbo’s second full length album is the equivalent of getting into a newly juiced up hotrod, the roof reeled back in, as you’re flooring it down the highway until your smoke trails combust. From start to finish, Turbo live up to their name in droves and then some with energy that cannot be denied and a plethora of tracks that offer much to be remembered. Though boasting a full nine tracks, Broke & Ugly doesn’t even eclipse a full half hour and therefore opens itself up for numerous relistens. It starts up, gets you in the mood to kick some butt, yet doesn’t attempt to overstay its welcome to any degree. For me personally, this style of speed metal can be a vast hit or miss but I thoroughly enjoyed my time with this record, and during its duration I was brought on board with Turbo’s infectious power. Furthermore, I’d wish to visit their first record, and am excited to see what they do for a third, prospective release; I merely hope it’s not another four years because this is really good, fun material that anyone can get behind. A refreshing break from crushing, defeating extreme metal is sometimes needed, and Turbo are one fine cocktail.” – The Razor’s Edge

“Turbo is a band that gives me associations to two very different bands and the earlier stages of both of those bands output, and that is Turbonegro and Iron Maiden respectively. If you can imagine the early death punk of the former combined with certain  aspects of the Di’Anno era of the latter combined into a whole, you probably won’t be too far off from the kind of landscapes explored by Canadians Turbo. And chances are good that you’ll find this tight and uptempo album to be a rewarding experience if that description comes across as tantalizing.” – The Viking in the Wilderness

“this album is just the perfect encapsulation of a fun” – Brutally Delicious

“in “Broke & Ugly” everything is assault and everything is thrash, with scream and you chant to give that imprint punk and Warrior Soul which makes the offer of the four Canadians even more pleasant and captivating.” – Metallus.it 

“if you want to have fun while frantically shaking your head and listening to a collection of compositions full of nods to NWOBHM, be sure to give “Broke & Ugly” a listen.” – Rockeando

“TURBO is Halifax’s answer to Motorhead…” – The East Mag

“It is a thrash metal rollercoaster of a musical ride that grabs you by the dick and doesn’t let go until bust a riff-inspired ear nut.” – Slickster Magazine 

0 EPK – Cavernous Maw – Ancestral Lands Beyond the Antarctic Ice Wall (2026)

  • October 6, 2026
  • by Asher
  • · Cavernous Maw · EPKs

EPK – Cavernous Maw – Ancestral Lands Beyond the Antarctic Ice Wall (2026)

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

“We think our new single and video will make waves in the scene and be very well received. Niilo and I (Ben) are very proud of our work, love the song, and we think everyone else will as well. It is a more mature and thought-out version of our first record. Certainly not a departure from our previous sound, but a more polished version. It’s a riff-heavy slab of death metal. An enjoyable experience for all who love fast, heavy music, with a dose of emotion thrown in the mix as well.” – Cavernous Maw

For fans of Creeping Death, Frozen Soul, 200 Stab Wound, Uada, Fulci

Facebook.com/profile.php?id=61565871844355

Instagram.com/cavernousmawmetal/

Youtube.com/@cavernousmaw | Cavernousmaw.bandcamp.com | Spotify

“One final, and very important point: These songs are also very infectious. They get in, they do their work quickly, and they get out.” – No Clean Singing (2025 – Primitive EP)

Band: Cavernous Maw
EP Title: “Ancestral Lands Beyond the Antarctic Ice Wall”
Release Date: October 27, 2026
Label: Self-Release
Genre: Death Metal
Location of Band: Minneapolis, MN, USA

Track Listing:​
1. The Yeti Approaches the Wall – 3:43
2. Choke to Choke – 2:49
3. Forever and a Day – 3:10
4. Onward to Salvation – 3:17
5. Ash for Bread, Poison for Rain – 4:21

EP Recording Credits:
• All songs performed by: Ben Fagerness, Niilo Smith
• All songs written by: Ben Fagerness, Niilo Smith
• Produced by: Ben Fagerness, Niilo Smith
• Mixed by: Adam Tucker @ Signaturetone Recording
• Mastered by: Adam Tucker @ Signaturetone Recording
• Album Artwork by: Misanthropic Art

Album Band Lineup:
Niilo Smith – Vocals/Guitar
Ben Fagerness – Drums

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

About The EP Artwork:

The literal concept of the EP is a yeti coming to the edge of the earth and wondering what is on the other side. The interpretation is one of pushing yourself to your limits, seeking more, and always staying curious. The artwork signifies this, with the image of a yeti/caveman character coming through the mountain to the other side, seeing what is down below.

About The EP as a whole (LYRICALLY & MUSICALLY):

Lyrically, the EP invokes many different themes but generally follows a timeline of the yeti discovering what is beyond his current understanding of the world, going through life, and finally ending with his demise due to the destruction of the earth. Musically, the album is a heaping slab of death metal, with a variety of “non-death metal” elements, including some metalcore-inspired riffs and some black metal thrown in for good measure.

About The Lead Single (LYRICALLY & MUSICALLY):

The opening track “The Yeti Approaches the Wall” is the beginning of his journey into the unknown. With “Choke to Choke,” we thought this was kind of a morbidly hilarious way to represent the yeti going from meal to meal, from one experience to another, from one “choke to choke”. With “Forever and a Day”, the yeti continues on through the mundane aspects of life. “Onward to Salvation” sees the yeti finally understanding what it’s all about, and finally, “Ash for Bread, Poison for Rain” sees the untimely demise of all of civilization.

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

BAND STORY ANGLES / FUN FACTS:

1. We toyed around with finding a dedicated vocalist and/or bassist upon forming, but we decided against it. This was mostly due to the increased difficulty in scheduling with more members, as well as simply wanting nothing but the absolute best on bass or vocals. Niilo’s vocals crush, and with the amp split he uses to have bass and guitar going at the same time with one instrument, it was a somewhat easy decision to continue on as a two-piece.

2. Guitar and drums for both “Primitive” and “Ancestral Lands Beyond the Antarctic Ice Wall” were recorded live in our practice space, and then we added in vocals over the top.

3. Cavernous Maw seeks to promote all of our collective ancestries. Living off the land, exploration, primitive (Hence the first album’s name!), living, etc.

4. For the music video for “The Yeti Approaches The Wall”, Ben and Niilo went to the filming site in advance and constructed a “viking hut” out of pine tree branches. The hut makes it into the video for a split second if you’re really paying attention.

5. We are really big on themes. The band’s theme is generally nature-, humanity-, and history-based. Primitives’ theme was the beginning of civilization. “Ancestral Lands Beyond the Antarctic Ice Wall’s” theme is exploring the unknown.

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

Formed in late 2024 by longtime friends Ben and Niilo, Cavernous Maw seeks to carve out a name for itself in the death metal underground. Blending elements of black metal, metalcore, and doom on top of a strong death metal foundation, Cavernous Maw is bringing a unique twist to a genre increasingly difficult to stand out in. 2025 saw the release of the band’s debut EP “Primitive,” which garnered excellent reviews, including “highly memorable” from No Clean Singing. In 2026, the band plans to release its second EP entitled “Ancestral Lands Beyond the Antarctic Ice Wall,” followed by regional tours in support. The future for Cavernous Maw is bright; look for the band in a town near you!

Shared Stage with:
The Convalescence
Silva
Grand Demise of Civilization

0 EPK – Halycon Drift – I Made Do (single) (2026)

  • October 1, 2026
  • by Asher
  • · EPKs · Halcyon Drift

EPK – Halycon Drift – I Made Do (single) (2026)

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

“I Made Do is the story of resilience through adversity, rising above it all & making do with the cards you were given. In the verses, we also explore adversity and describe it, and the chorus rips it all up almost to say, “and you, are you gonna give up?” The instrumental is meant to capture the sense of anger & hopelessness felt in those situations, and the lead guitar sections are truly ethereal, vibey, and intoxicating; they give the song its character! It’s a heavy track, with a heavy subject, but it NEVER stops being captivating & fun to listen to!” – Matt Zephyr – Halycon Drift

For fans of PRESIDENT, Volumes, Issues, Dance Gavin Dance, Architects

Instagram.com/halcyondriftband | Facebook.com/HalcyonDriftOttawa | Tiktok.com/@halcyondriftottawa 

Sales Links: https://distrokid.com/hyperfollow/halcyondrift/i-made-do

Band: Halycon Drift
Single Title: I Made Do – 3:18
Release Date: October 1st, 2026
Label: Self-Release
Genre: Metalcore/Djent
Location of Band: Ottawa, Ontario

Single Recording Credits:
• All songs performed by: Matt Pilon, Matt Senneville, Matt Zephyr, Guillaume Parisien, Mikey Trottier • All songs written by: Matt Pilon, Matt Zephyr, Guillaume Parisien
• Produced by: Matt Zephyr
• Mixed by: Matt Zephyr
• Mastered by: Matt Zephyr
• Single Artwork by: Matt Zephyr

Band Lineup:
Matt Pilon – Lead Guitar
Matt Senneville – Rhythm Guitar
Matt Zephyr – Scream Vocals
Guillaume Parisien – Clean Vocals
Mikey Trottier – Drums

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

About the Single Artwork: 

The single artwork is a band photo, but not because we ran out of creativity; it’s because it’s our introduction to the world, and we wanted the artwork to reflect that with our faces on it. This music is FROM US to YOU & we wanted you to know who we are as people while listening to it!

About the single:

I Made Do is a song about the resilience of the human spirit through tough adversity, which is a subject most people can relate to, and it’s got this blend of hardcore-djenty-hiphop that really feels unique.

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

BAND STORY ANGLES / FUN FACTS: 

1. We’ve actually been a band for around 2 years now. The reason it took so long to get this project out is we’ve been looking for a drummer this whole time, interviewed & tried out around 10 different people; unfortunately,  none of them panned out. Then we found Mikey, and it was instantly the best fit, both in his playing and in his personality; he’s such a planner, always looking for ways to improve the project, get us booked on shows, etc.

2. Matt Pilon, Guillaume & I have actually known each other for over 15 years. Guillaume actually used to come swim at my house when we were under 5 years old. Matt Pilon & I flooded my mom’s basement on Christmas in 2016. The washing machine safety feature where the water automatically stops pouring in didn’t work, and there were 3 inches of water in the whole basement- a terrible ordeal, but a funny story now that it’s passed!

3. Matt Senneville & I met in school at TARA, The Audio Recording Academy, and we both used songs from this record to do our final mixing projects! (We also used the studio to record the album, so technically, the  recording of it was also a school project)

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

L-R: Guillaume Parisien – Clean Vocals, Matt Pilon – Lead Guitar, Mikey Trottier – Drums, Matt Senneville – Rhythm Guitar, Matt Zephyr – Scream Vocals

Photo Credit – Roxanne Morin

Halcyon Drift creates heavy, story‑driven music where every track feels like a chapter and every album unfolds like a world. Formed by longtime friends Matt Zephyr and Matt Pilon after the loss of their first drummer and close friend Diego Bussières, the project began as a tribute and quickly evolved into a fully realized creative universe. With the addition of clean vocalist Guillaume Parisien and drummer Mikey Trottier, the band forged a sound that is balanced, aggressive, beautiful, and complex, blending metalcore, djent, hardcore, pop‑punk, and cinematic storytelling.

Led by Zephyr’s nonstop writing engine, Halcyon Drift builds songs from raw emotion, real‑life struggle, and vivid narrative concepts. Their records weave genres to match the rise and fall of their storylines, offering listeners a journey meant to be felt, pictured, and lived through. Onstage, the band delivers a high‑energy, immersive experience with synced lighting, seamless transitions, and a dynamic presence that pulls the crowd into their world.

0 EPK – Johnny Ray – Free My Soul (single) (2026)

  • September 22, 2026
  • by Asher
  • · EPKs · Johnny Ray · Uncategorized

EPK – Johnny Ray – Free My Soul (single) (2026)

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

Facebook.com/thejohnnyray | Instagram.com/johnnyrayfl | Youtube.com/@johnnyraythemourning | Tiktok.com/@themourningmusic

Spotify

“Vocalist & multi-instrumentalist Johnny Ray (The Mourning, 3 Headed Snake) has just launched his debut solo single ‘Free My Soul’ and it’s downright fantastic. An instant classic of melodic metal with Ray’s undeniable vocal abilities as the focal point along with crunchy riffs and acrobatic guitar solos rule on this mid-tempo monster. Ray describes the track as a conversation between two parts of the self, the subconscious, exhausted and pleading: “Where the hell were you? I’ve been sounding the alarm this entire time,” and the conscious mind finally waking up and responding, “You’re right. I’m here now. I’ll take it from here.” Heady stuff for sure and you’re going to want to hear it over and over…catch ‘Free My Soul’ on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll

Band: Johnny Ray
Single Title: Free My Soul
Length: 3:46
Release Date: September 22, 2026
Genre: Heavy/melodic metal
Location: Tampa / Hudson, Florida

Single Credits:
Composed by: Shane Madere and Lance Jarreau
Lyrics: Johnny Ray
Produced by: Shane Madere
Creative direction: Johnny Ray
Vocal production/performance: Johnny Ray
Artwork: Tullius Heuer
Photos: Wayne Herrschaft

Johnny Ray is a vocalist, songwriter, and multi-instrumentalist from Florida, best known as the vocalist and keyboardist for progressive metal band The Mourning, as well as the vocalist for 3 Headed Snake, which features two-time Grammy-nominated guitarist Sin Quirin (formerly of Ministry).

His solo project is a more personal outlet, built around heavy, melodic music and lyrics that deal with what goes on inside of us when life starts taking its toll. Fear, survival, identity, self-neglect, and the fight to take control of your own life are recurring themes, but the songs aren’t meant to tell the listener what to feel.
They’re personal, but there’s enough room for people to hear their own story in them.

The first single, “Free My Soul,” deals with the point where simply surviving isn’t enough anymore, and the realization that eventually you have to show up for yourself.

SOLO PROJECT:
Johnny Ray – vocals, lyrics, vocal production, creative direction
Shane Madere – composition, production
Lance Jarreau – composition

DISCOGRAPHY:
2026 – Free My Soul – Single

OTHER BANDS:
The Mourning (vocals, keys)
3 Headed Snake (vocals)

0 EPK – Liminal Spirit – Forfeiture Hymns (2026)

  • September 21, 2026
  • by Asher
  • · EPKs · Liminal Spirit

EPK – Liminal Spirit – Forfeiture Hymns (2026)

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

For fans of Skepticism, Jesu, Confessor, Cynic, Anata, Coma Cluster Void, Skullflower,

Album Title: Forfeiture Hymns
Release Date: November 6, 2026
Label: Self-Release
Genre: Cinematic Doom Metal
Location of Band: Milwaukee, WI

Facebook.com/people/Liminal-Spirit/61575618106702/ | Instagram.com/liminal_spirit_mke

Liminalspirit.bandcamp.com | Spotify

“The song we’re premiering, “A Better Place“, is that closing track. In its narrative, Phillip passes into a purgatory where he is judged for his actions, and ultimately cast into hell — not the better place he hoped for. The music manifests this denouement with sounds of mangling discordance and ruthless pounding. The hammering and thudding beats don’t create an easy rhythm, but instead generate a pattern that takes away any sense of balance. Shrill ethereal tones rise up and strangely quiver from within the dissonant, mangling morass of sonic oppressiveness. Wailing vocals rise up too, adding to the song’s hallucinatory and haunting ingredients. The experience is unsettling and unearthly. Warbling spoken words come and go. The dense backing noise is cruel and searing as well as abysmal. The pounding is as vehement as it is destabilizing — until it vanishes, yielding to a cacophonous and indeed hellish finale in which the music itself seems to descend. Siren-like bursts of sound and tormented screams close out the nightmare.” – No Clean Singing (2025 Unwell)

“The title track from this latest concept EP – being released on Halloween – from Milwaukee-based multi-instrumentalist Jerry Hauppa is an appropriately unsettling exploration of themes such as memory, guilt and spiritual reckoning delivered via a fusion of progressive doom metal with avant-garde narrative techniques, crafting what the composer and musician describes as “seance music”, a genre-defying sonic ritual meant to stir movement between spiritual realms:” – THE ÜBER RÖCK SINGLES CLUB DAILY PICK – LIMINAL SPIRIT (Oct 11, 2025 – Unwell)

“Fusing Progressive Doom Metal with avant-garde narrative techniques to create a genre defying sonic ritual meant to stir movement between spiritual realms with title track “Unwell”” – Metal Noise (Unwell 2025)

“A portrait painted by multi instrumentalist Jerry Hauppa in Progressive Doom Metal and avant-garde narrative techniques, the record plays out the deterioration of Phillip’s memory, culminating in death and spiritual judgment before he is cast into hell for all eternity. Known for his work with Deorbit, Hauppa performs the piece using guitar, microtonal guitar, bass, violin, synth, vocoder and drum programming having written, produced and mixed. They call it a genre defying sonic ritual meant to stir movement between spiritual realms….. If someone is needed to write the soundtrack to the next Silent Hill incarnation then Hauppa has just submitted his curriculum vitae” – Metal Noise (Unwell 2025)

“Unwell is a fearless act of musical necromancy. It’s unsettling, artful, and deeply personal—doom metal with a philosopher’s pen and a filmmaker’s eye. Fans of Jesu, Skepticism, and Cynic will find much to admire here, but Liminal Spirit ultimately exists in its own spectral orbit.” – See Rock Live Magazine (Unwell – 2025)

“It’s dense. It’s dark. It demands your full attention. But give it that, and you’ll walk away changed—or at least slightly disturbed. Fans of Skepticism, Kayo Dot, or anyone who enjoys having their psyche gently disassembled: this one’s for you.”- Metalpapyjeff (Unwell 2025)

“I would characterize this is something for Metal fans who think outside the box and don’t need to be spoon fed the typical Metal sound.  ” – Metal Temple (Unwell 2025)

“Capturing the desolation of dementia and the abject terror and helplessness of cognitive and bodily decline in an artful way – in sound format – is no easy feat, nor must it have been a light affair. RATING: I give it a 4/5… They deserve to be heard and meditated on. But I love it – I love the concept and the overall delivery – and I wish more people would hear it and think on what it’s trying to tell them!” – Hails Webzine (Unwell 2025)

“Artistically unsettling, for fans of musical curiosity with strange, slightly noisy atmospheres on the edges.” – Music Journalist – Olivier Piot (Unwell 2025)

“It’s dense. It’s dark. It demands your full attention. But give it that, and you’ll walk away changed—or at least slightly disturbed. Fans of Skepticism, Kayo Dot, or anyone who enjoys having their psyche gently disassembled: this one’s for you.”- Metalpapyjeff (Unwell 2025)

“Unwell is a fearless act of musical necromancy. It’s unsettling, artful, and deeply personal—doom metal with a philosopher’s pen and a filmmaker’s eye”- seerocklive.com (2025 Unwell)

Album Title: Forfeiture Hymns
Release Date: November 6, 2026
Label: Self-Release
Genre: Cinematic Doom Metal
Location of Band: Milwaukee, WI

Track Listing:
1.  A Mother’s Instinct (Catherine Hastings, d. 9/24/1937)- 4:25
2.  Unwanted (Phillip Hastings Sr., d. 6/12/1938)- 6:00
3.  The Initiate (Tommy Pearson, d. 3/03/1951)-5:13
4.  Three  (Marianne Tierney, d. 4/19/1953)- 5:10
5.  Apoptosis (Elizabeth and Christopher Collins, d. 11/20/1963)- 4:13
6.  Ensnarer’s Lament (Detective Michael Thornton, 6/01/1978)- 5:00
7.  Two (Francine Hastings, d. 10/24/1981)- 4:40
8.  Do No Harm (Alice Weaver, 2/17/2015)- 5:21
9.  Sins of the Father (Johnathon Hastings, d. 2/20/2015)- 5:18
10.  The Parting Glass (Madeline Hastings-Everett, d. 12/5/2025)- 2:23
11.  Four (Constance Greene, b. 8/28/2026)- 0:51

Album Recording Credits:
• All songs performed by: Jerry Hauppa
• All songs written by: Jerry Hauppa
• Produced by: Jerry Hauppa
• Mixed by: Jerry Hauppa
• Mastered by: Jeff Wojtysiak
• Album Artwork by: James Becker

Album Band Lineup:
Jerry Hauppa- Kite guitar, fretless guitar, bass guitar, synthesizer, violin, vocoder, sampling

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

About The Album Artwork:
The cover shows an abstract depiction of the suicide of the character Madeline from the track “The Parting Glass.”  She first appears in the track “Admittance” from the last album, Unwell.

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

I wanted this album to flesh out the story of the main character Phillip from the last album, Unwell.  That record was a single-room story depicting his final days in a nursing home. This record tells his full story from birth onward, but instead of him being the focal point, his story is told through multiple people whom he has impacted to the point of suicide.  Each track is the story of one of those people, and how his influence steered them towards ending their respective lives. To flesh out the record, I had to create all of these people and develop their motivations, which I then used to create the melodic characteristics of each song.  I already know what the story of the next album will be.

Track by Track (LYRICALLY & MUSICALLY):

1.  A Mother’s Instinct (Catherine Hastings, d. 9/24/1937)- 4:25
-lyrically describes the events right after Phillip’s birth, where his mother, Catherine, struggles to bond with the newborn child.  She attempts to smother him to death after realizing she feels nothing for him, but after being caught in the act by her husband, Phillip Sr. (Phillip Jr. survives), she kills herself by ripping open her caesarean wound.  The music reflects the tightening of a restricted airway through the tempo changes and gets to a frantic pace towards the climax, where she commits her final act.

2.  Unwanted (Phillip Hastings Sr., d. 6/12/1938)- 6:00
-lyrically depicts Phillip Sr’s struggles with raising Phillip Jr. alone, as her blames the child for the mother’s death and resents him while also being unable to provide the care for him that a mother would.  Because of this, Phillip Jr. will not stop screaming, and Phillip Sr. debates killing the child but sees remnants of his wife in the child’s eyes, so he decides to end his own life instead.  The music takes on the characteristics of a screaming child to depict this, while beforehand having a dreamlike approach to it as the father struggles with the reality of being unable to provide for the child.

3.  The Initiate (Tommy Pearson, d. 3/03/1951)-5:13
-Lyrically depicts the hazing initiation of a child who wants to enter the club of a group of kids led by Phillip.  He is desperate to join to receive protection from bullying, but Phillip tricks him and prevents him from entering after a self-inflicted bloodletting ritual goes too far, causing Tommy to bleed out at the doorstep of their clubhouse.  The music depicts a playful nature that reflects a children’s playground, but builds to a frantic pace as Tommy is desperate for aid with his wounds and approval of the rest of the club.

4.  Three  (Marianne Tierney, d. 4/19/1953)- 5:10
-This is told from the perspective of one of Phillip Jrs teachers, who becomes pregnant with twins after pursuing an affair with the child.  She laments her choices and decides to poison herself, but her dying minutes are interrupted by Phillip discovering her, as she blames him for all of her actions as she dies.  She suffers from nausea from morning sickness and guilt throughout the song, which is developed through the seasick nature of the melodies explored on microtonal guitars.  Her poisoning moment is captured by an ambient section where she falls in and out of consciousness, only to climax as she becomes defiant when being discovered by Phillip.

5.  Apoptosis (Elizabeth and Christopher Collins, d. 11/20/1963)- 4:13
-This depicts the crime that Phillip was accused of in the Unwell album, as he is now speaking in the first person for the only time on the album and lays out his plans towards his victims who haunted him as ghosts in the previous release.  You begin to understand more of the importance of the song “Welcome to My World” by Jim Reeves, whose melody built the foundation of the Unwell release and also appears on this record multiple times to tie the events together.  Phillip reveals that his motive is to restore balance through the murder of twins after Marianne Tierney died while carrying soon-to-be twins, of whom Phillip was the father.  This song has the most industrial atmosphere on the record, developing a mechanically calculated approach that echoes the heartless nature of the crimes.

6.  Ensnarer’s Lament (Detective Michael Thornton, 6/01/1978)- 5:00
-This song is told from the perspective of a detective who has been tracking the Collins case, which has been deemed a group suicide.  Thornton believes the case is actually a double homicide and has traced a pattern throughout Phillip’s life, as multiple people surrounding him have committed suicide throughout his entire life, although the actual cause of the Collins death is poisoning despite stab wounds present on the children.  Thornton has never been able to pinpoint a smoking gun regarding Phillip and chooses to plant evidence, which is discovered and results in the case getting thrown out, allowing Phillip to go free.  The guilt in causing this has resulted in Thornton relying on alcohol to cope with it; however, he can’t manage to deal wth the weight of his actions and leaps to his death from the roof of the police station.  The music here is frenzied yet almost playful as it attempts to mimic a “cat and mouse” chase.  There is a middle section that becomes abstract and ambient to mimic a drunken state.  The climax of the song is achieved through a frenzied tempo as Thornton climbs the stairs, and a musically chromatic descent outlines his fall from the roof.

7.  Two (Francine Hastings, d. 10/24/1981)- 4:40
-This is told from the perspective of Phillip’s wife, who has recently learned she is pregnant with his third child, and takes a night drive to relieve stress, but eventually decides to commit suicide through a head-on collision.  She refers to their two children, Johnathon and Madeline, as being his “perfect family,” unaware that he believes this to be the case because he has reproduced the children that he resents being “taken from him” during Marianne Tierney’s suicide.  Francine believes that if he were to find out she is pregnant, due to his abuse of them, Phillip would murder the whole family as it no longer represents his vision of the “ideal family,” and then he would start again with another unlucky person, so her goal is to force him to value Jonathon and Madeline through suffering only the loss of his wife, and preventing others from being affected by his abuse.  She speeds into a head-on collision as the music progresses to a driving pace anchored by a single chord and consistent rhythm that is meant to bring to mind road travel, before the tempo increases upon impact.

8.  Do No Harm (Alice Weaver, 2/17/2015)- 5:21
-This is told from the perspective of the nurse who finds out about caring for Phillip in the nursing home, and what she reveals frames the story told in the Unwell album in a new way.  That record operated under the premise that the ghosts of the Collins children were real and resulted in Phillip’s death and descent into hell, but during this song, Nurse Weaver explains that she had been following the Collins case for years and felt Phillip was responsible, so she decided to slowly poison him with medications that can induce hallucinations as a form of retribution through torture.  During these hallucinations, the ghosts of the Collins children appear to Phillip, and he then explains this to Weaver, which implicates him in the crimes because the dementia he suffers from had already erased any memories of the crimes, so he now feels falsely accused, although in his current state there is no way he would know the case details otherwise.  She is responsible for the overdose that ends his life, resulting in the events of “A Better Place,” from the previous record Unwell.  After his death, she is confronted by the police at her door, signified by the same introductory sound from the track “Visiting Day” from the Unwell album, which indicates the unwanted presence of others.  Weaver is defiant and decides to pursue a death through suicide-by-cop by drawing a firearm upon the entering officers.  The song builds to a musical climax as the police attempt to break the door down.

9.  Sins of the Father (Jonathon Hastings, d. 2/20/2015)- 5:18
-This song is told from the perspective of Phillip’s son Jonathon, who had admitted Phillip into the nursing home at the beginning of the Unwell album.  He has returned home from his father’s funeral and has taken on the task of disposing of Phillip’s remaining possessions, and in doing so, finds physical proof of the Collins murders.  It is revealed that Jonathon had challenged previous narratives linking Phillip to the crimes, and upon seeing the proof in Phillip’s possessions, is overcome with grief that he has prevented justice and allowed other possible crimes, while also questioning if he himself is capable of the acts he has seen in the photos of the crimes, which had been wrapped in a bloodied sheet tied to the Collins murders.  Phillip hangs himself using the sheet as the song builds to a rhythmic climax that is meant to develop a sense of a tightening noose, which then gives way to the climax of the album, which is a reprise of the violin line at the beginning of “A Mother’s Instinct.”  This melody appears in numerous forms throughout the record, as does the melody from Jim Reeves “Welcome to My World,” and the main melodies from “Malgestation” from the first Liminal Spirit release, in an effort to tie the three records together.

10.  The Parting Glass (Madeline Hastings-Everett, d. 12/5/2025)- 2:23
-This is told from the perspective of Phillip’s daughter Madeline, who was also present during the beginning of the Unwell album as Phillip is checked into the nursing home.  During that record, she was despondent and didn’t want to be near Phillip, as she was horrified by his demented state.  In this song, she reveals that she has also been diagnosed with dementia, and deeply fears not being able to recognize herself in mirrors as her condition degrades, based on seeing how Phillip declined.  The song is a vocals-only track sung through the vocoder that is utilized for all vocals on the album, and is meant to resemble a church hymn as she commits suicide through bloodletting in the bathtub.  Her last lines are sung through the main melody of the song “Three,” which also showcases a female character regaining bodily autonomy through suicide.

11.  Four (Constance Greene, b. 8/28/2026)- 0:51
-This is an instrumental track built on two sounds: the throbbing swells meant to indicate a developing fetus that are heard on “Three” and the track “Malgestation” from the first Liminal Spirit record, and the end melody from Malgestation.  This is meant to indicate that the spirit of Phillip is set to reincarnate through a new character, as despite his dementia degrading his condition throughout Unwell, causing the only semblance of humanity he had ever shown, his true nature is that of a spiritual entity that exists to force all those around him to commit suicide that he has direct influence over but no actual physical force in achieving.  The lyrics of “Malgestation” on the first release describe the beginning of Phillip’s life as “cycle three,” meaning this is the third time it has existed and projected its curse onto others.  The song is titled “Four” due to it being the fourth time the spirit is born to continue the cycle.

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

STORY ANGLES / FUN FACTS ABOUT THE BAND

The music is built on microtonal guitars, which recently got a spotlight through acts like Angine du Poitrine and previously King Gizzard and the Lizard Wizard.

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

Liminal Spirit is the solo project of Milwaukee multi‑instrumentalist Jerry Hauppa (Northless, Ara, Acanthrophis, Deorbit), a creator of cinematic, expressive, and spiritually confrontational metal. Originally rooted in hypnotic drone and industrial ambience, the project has evolved into a boundary‑pushing fusion of extreme metal language, psychological storytelling, and what Hauppa calls “purgatorial music”—sound designed to guide listeners through the liminal space between worlds.

With the fourth studio recording and second full-length, “Forfeiture Hymn,” Hauppa delivers his most extreme and ambitious work to date. A conceptual full‑length that expands the narrative introduced in Unwell, the album chronicles Phillip Hastings’s entire life and destructive spiritual influence. Instead of centering Phillip himself, each track is told from the perspective of someone whose life he has warped, manipulated, or driven toward suicide. Hauppa created each character from scratch, shaping their motivations and emotional landscapes into distinct melodic identities that define the album’s structure.

The record pushes Liminal Spirit’s sound into new territory: microtonal guitars, industrial atmospheres, frantic rhythmic shifts, and death‑metal‑inflected motifs collide with drone‑based tension and cinematic pacing. Every song is written front‑to‑back as part of a larger conceptual arc, forming a narrative cycle of trauma, guilt, spiritual entrapment, and reincarnation. Hauppa’s writing process begins with the story, lyrics first, then melodic structures shaped to mirror each character’s psychological descent.

Lyrically, Forfeiture Hymn explores the “liminal mindset” through characters who exist at the brink of one life and the threshold of another. Hauppa draws inspiration from the idea of a spirit trapped between worlds, an entity whose influence pushes others toward self‑destruction without ever physically forcing their hand. The album ultimately reveals Phillip as such a being, reincarnating at the end of the record to continue the cycle.

The cover art depicts the suicide of Madeline Hastings from the track The Parting Glass, visually tying Forfeiture Hymn to the events of Unwell. The album also weaves recurring motifs from earlier releases, melodies from “Malgestation,” Jim Reeves’ “Welcome to My World,” and themes from Unwell, creating a multi‑record continuity that binds the trilogy together.

For listeners of Confessor, Nine Inch Nails, Anata, Shape of Despair, and Morbid Angel, Forfeiture Hymn stands as Liminal Spirit’s most jarring, emotive, and narratively complex release, an extreme, confrontational, and provocative descent into spiritual rot and generational ruin.

Discography:
– 2024 – Self-titled – EP
– 2025 – Pathways – EP
– 2025 – Unwell – LP
– 2026 – Forfeiture Hymns – LP

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