Category: EPKs

0 EPK – Super Monster Party – Rage Quit (2024)

October 3, 2024
by Asher
· EPKs · Super Monster Party

EPK – Super Monster Party – Rage Quit (2024)

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

“During the writing process, we embraced our inner gamer rage and transformed it into something raw, energetic, and unapologetic. I think old and new fans will really enjoy the heavier direction and approach we have adopted. Rage Quit is the soundtrack to our own gaming Journeys. We want to take them on a journey of nostalgia where they can remember their favorite video games. We want everyone to press start, turn up the volume, and prepare for battle when they hear our new album Rage Quit. It’s our most intense, gaming-fueled album yet. ” – Rei Sega – Super Monster Party

For fans of Dragon Force, Slipknot, Blind Guardian, Rhapsody, Slayer

Band: Super Monster Party
Album Title: Rage Quit
Single Title: Blue Hurricane
Album Release Date: Nov 11, 2024
Label: Super Monster Records
Distribution: The Orchard / Sony Music

Supermonsterparty.com | Facebook.com/supermonsterparty | Instagram.com/super_monster_party | Youtube.com/@supermonsterpartyoffical

Supermonsterparty.bandcamp.com | Spotify | Apple Music | Soundcloud

“Super Monster Party Gotta Go Fast in Their Tribute to Sonic the Hedgehog, “Blue Hurricane”” – Metal Sucks “Super Monster Party’s Single “This Is Doom!” is a Love Letter to the Gore-Filled First-Person Shooter” – Metal Sucks

““Okay,” grins livewire Super Monster Party frontman Rei Sega. “Now we’re gonna do something different…” It’s one of the understatements of the weekend as the video game-obsessed crew oversee an incredibly unhinged flash flood of colour and chaos. Based out of Miami, they’re the closest thing to local favourites that 70K has on offer and a packed-in audience throw everything into seeing them steal the whole damn show. Punters chucking Mario Kart shells at each other across the room. Dozens of special outfits, from a black metal Pikachu to Ronald McDonald and Grimace. Some giant pink monster, possibly an obscure Pokémon, ‘laying its eggs’ in the middle of it all. There are circle-pits, conga lines, punters crowdsurfing in inflatables from the pool and more chaos than you can wave a controller at. And SMP have the songs to match, from bonkers bops like Dance Dance Revolution (Til The Death) to Blue Hurricance (a speed metal banger about Sonic The Hedgehog) and smashing closer This Is Doom!. The games have just begun.” – Kerrang (2025 – 70 Tons of Metal Live Review)

“Rage Quit is just so much fun. Very much one which suits the metal community as so many of us are also gaming nerds, and the tunes aren’t throwaway crap either…. played well, tongue firmly in cheek, and rounded off well with the interludes. Very much one to look forward to.” – Moshville Times

“Rage Quit balances heavy riffs, melodic hooks, and varied styles to pay tribute to video game culture. It feels cohesive yet unpredictable, each track a carefully crafted homage that never loses the adrenaline-charged atmosphere of the album. From the crushing bass lines to the soaring guitar solos, each hits with maximum impact. Rage Quit is an invitation to relive gaming’s glory days through the lens of modern metal. With its flawless integration of game references and electrifying soundscapes, Super Monster Party has crafted a release that’s not only enjoyable but also groundbreaking in its dedication to celebrating the shared love of music and video games.” – Amplify The Noise

“SUPER MONSTER PARTY’S “RAGE QUIT” Album Is A Masterpiece Of Epic Proportions” – Horror Patch

“Video game nerds unite! Metal band Super Monster Party have just released their new album “Rage Quit” and if you love your metal heavy and fast (aside from one ballad) with intermittent narration between tracks for the full-on concept experience, well your day has arrived. Each track is centered on old school classics like Mortal Kombat, Doom, Sonic The Hedgehog, Zelda, Mario Bros & Castlevania among others. The perfect soundtrack while conquering the pixelated universe.” – WJOE – Findlay’s Home for Rock & Roll

[Download Album Cover | Download Album Lyrics]

Track Listing:
1. Welcome to Permadeath (Intro) – 0:57
2. Altered Beast – 3:14
3. Boomerangs & Magic Swords (Interlude) – 1:07
4. Upon The TriForce – 4:38
5. Demonology 101 (Interlude) – 1:22
6. This is Doom! – 3:05
7. One Last Life (Interlude) – 1:12
8. Another Castle – 4:18
9. Get Over Here! (Interlude) – 0:56
10. Test Your Might – 3:34
11. Hey! Mr. Eggman (Interlude) – 0:47
12. Blue Hurricane – 2:54
13. Killed by a Crow (Interlude) – 1:10
14. It’s Resident Evil – 4:02
15. All Secrets No Deaths (Interlude) – 0:50
16. Castlevania – 3:49
17. Don’t Stop The Beat (Interlude) – 1:00
18. Dance Dance Revolution (Till the Death) – 3:58
19. Eat Dirt You Atrocities (Interlude) – 1:19
20. Earthworm Jim – 2:38
21. Cassidy is Gone (Interlude) – 1:13
22. Maximum Carnage – 2:32
23. Gates of Permadeath (Interlude) – 1:28
24. One Winged Angel – Featuring Ty Christian (Lords of the Trident) – 4:09
25. Game Over (Finale) – 1:06

Album Recording Credits:
• All songs performed by: Super Monster Party
• All songs written by: Rei Sega
• Produced by: Rei Sega / Matt LaPlant
• Mixed by: Matt LaPlant
• Mastered by: Matt LaPlant

Album Band Line Up:
Rei Sega – Vocals / Keys
Andy Alvarez – Guitars
Oleh Andrievsky – Lead Guitars
Emilio Martinez – Bass / Backup Vocals / Keys
Fernando Lemus – Drums

Live Band Line Up:
Rei Sega – Vocals
Emilio Martinez – Bass / Backup vocals
Andy Alvarez – Guitars
Age 64 – Lead Guitars
Kevin Klingenschmid – Drums

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About The Album Artwork:

The album artwork is a nod to the original style used in many Sega Genesis games.

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

The album is a nostalgic journey through the eyes of “the champion”. A young boy who enters the fictional world of Permadeath where Video Games are real and most certainly, dangerous. Song by Song you travel through these different games and take on the role of the hero or villain as the truth unfolds layer by layer.

Track by Track (LYRICALLY & MUSICALLY):

Altered Beast – Inspired by the 1988 Sega classic of the same name. It was one of the very first games I ever played on the Sega Genesis. It’s intense right from the start just like the game.

Upon The Triforce – Inspired by the 1986 NES classic Zelda. I wanted to write a song that took you on Link’s journey.

This is Doom! – Inspired by the classic 1993 PC game. It goes loud and hard from the start and doesn’t stop.

Another Castle – This monster ballad is inspired by the 1985 Original Mario Bros video game. It paints a picture of loving someone but she’s somewhere else.
Test Your Might – Inspired by the original Mk1 and Mk2 video games from 1992 and 1993. Intense and epic just like the game.

Blue Hurricane – Is inspired by the original Sonic games of the 90’s such as Sonic 1, 2, 3, and Knuckles. It was one of the first video games I had ever played. I wanted it to sound epic and of course, fast.

It’s Resident Evil – Inspired by the 1996 Capcom Zombie Horror Game. It’s dark and broody with a very catchy chorus. It’s a humorous and dark type of song.

Castlevania – Inspired by the 1986 NES classic of the same name. It’s catchy and made to make you sing along from the very beginning.

Dance Dance Revolution (Till the Death) Inspired by the 1999 video game dance sensation. It’s punchy with electro beats and catchy melodies for everyone to sing and dance along to.

Earthworm Jim – Inspired by the 1994 sci-fi shoot of the same name. It’s fast, unpredictable, and epic.

Maximum Carnage – Inspired by the 1994 classic of the same name. It’s the last song I wrote on the album. It’s wild with its own twists and turns. I just like Cassidy himself.

One Winged Angel – Inspired by villain Sephoroth of the 1997 Final Fantasy 7 video game. I wanted to create an epic movie score-type vibes with elements of black metal and power metal.

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Fun Facts – Story Angles

1. Oleh lives in Ukraine and recorded the entire record while in the middle of the ongoing war.

2. All our songs are original songs inspired by the retro videogames.

3. We have our own playable videogame “Permadeath” available for free on our website.

4. We also have our song available on Guitar Hero (Clone Hero) and Dance Dance Revolution (StepMania)

L to R – Andy Alvarez (Guitar), Rei Sega (Vocals), Emilio Martinez (Bass)

Photo Credit: David Venegas

SUPER MONSTER PARTY is a band for all video game nerds, jump’n’run enthusiasts, metalheads, 90s kids, weirdos, and everyone in between – a metal band that’s all about video games, singing from the heroes or villains introspective point of view. And: They also have their own, free-to-play, old school nostalgia-inspired 2D jump’n’run game – ‘Permadeath’ (available at https://www.supermonsterparty.com) – with a soundtrack consisting of the instrumentals of their own powerful tracks.

Long story short: SUPER MONSTER PARTY’s music sounds like what your dearest classic video games would sound like if they’d grown up with you during the last decades, while the lyrics take you on a captivating journey into the mind of your favorite gaming protagonists, good guys, and bad guys. The band’s music as well as their game transport the recipient into the world of Permadeath, a colorful blend of classic 16-bit pixelated video game world replicas, which you as “The Hero/Champion” have to conquer, while the soundtrack ties the whole experience together and sucks you into SUPER MONSTER PARTY’s unique universe.

Rocking together since 2020, SUPER MONSTER PARTY have already gathered a lot of XP, having a bunch of achievements under their belt, such as four released albums: Permadeath (2020), SideQuest (2021), Game Genie (2023), and Up, Up, Down, Die (2023). The band is the concept of singer/songwriter Rei Sega and features notable members Emilio Martinez (Yngwie Malmsteen) on bass, Fern Lemus (Lions at the Gate) on the drums, Andy Alvarez (Irras One) on rhythm guitar, and Oleh Andrievsky as lead guitarist.

Their intense, melodic, catchy, and heavy sound shows influences of The Misfits, Rhapsody, Slipknot, NOFX, and Van Halen. The variety of different influences and genres, worshiped by the band, means that they are able to find the right metal sound for all game themes – each video game universe is authentically set to music, while the skills of the masterful musical chameleon that is SUPER MONSTER PARTY cannot be pinned down to one genre. No two songs sound the same, but one thing is for sure – they all rock hard.

On their upcoming album “Rage Quit”, SUPER MONSTER PARTY is telling an immersive story that will allow us to dive even deeper into the world of Permadeath. With narrational interludes between every track, they create a bond between the most beloved video games of their childhood and their music, providing a mesmerizing adventurous experience for the listeners. The new album also features Ty Christian aka Fang VonWrathenstein (Lords of the Trident) as a guest vocalist on “One Wing Angel”, as well as Denver Cooper (Vicious Rumors) guitar skills on a solo for “This Is Doom”, and Hugo Lee as guest saxophone on “Dance Dance Revolution”.

SUPER MONSTER PARTY really go all the way to deliver delicious easter eggs to their fans: a co-op with martial arts icon Daniel Pesina and fellow Mortal Kombat actor Anthony Marquez for the music video of Test Your Might or providing guest appearances by Angry Video Game Nerd James Rolfe and Glenn Fricker in This Is Doom!. Every one of this band’s music videos offers a special little nerdy treat, while serving as homages to the retro games they address. SUPER MONSTER PARTY’s music videos are something you don’t wanna miss!

Discography:
Rage Quit (Album) – 2024
Up Up Down Die (E.P) – 2022
Game Genie (Album) – 2023
Side Quest (Album) – 2020
Permadeath (Album) – 2020

Shared Stage with: Striker, Green Jelly, Beyond Creation, Psychostick

Tours and Festivals:
Bit Gen Gamer Fest – Baltimore MD – 2024
Loud as Hell Fest – Drumheller Aberta, CA – 2024
Classic Game Fest – Austin TX – 2023 / 2024
Magfest – Baltimore MD – 2024
Too Many Games – Philadelphia, PA – 2022

0 EPK – Trollwar – Tales From the Frozen Wastes (2024) – Out Nov 15th

September 25, 2024
by Asher
· EPKs · Trollwar

EPK – Trollwar – Tales From the Frozen Wastes (2024) – Out Nov 15th

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

“We think the EP will be received pretty well by our fans. Since Oath of the Storm, we have been working really hard on refining our sound, which is now aimed more at a melodic and symphonic dimension. On top of that, we added more progressive elements, and also exciting guests. This will be the most complex and complete Trollwar release, despite presenting only an EP.

“This EP aims at transporting the listener into a darker dimension, where shadows lurk and where deities reign supreme. The four songs are a succession of different events based on the realm of the dead, a falling pantheon and a glooming curse for adventurers who traveled to a place where they are not welcome. It is considered a pretty full experience with hints of progressive metal, black metal, and refined symphonic orchestration to push this whole dimension to a new level.” – Trollwar

For fans of Wintersun, Ensiferum, Amon Amarth, Kalmah, Equilibrium

Trollwar.wixsite.com/trollwar | Facebook.com/Trollwar | x.com/trollwarqc | Instagram.com/trollwarmetal/ | Youtube.com/@TrollwarOfficial

Trollwar.bigcartel.com | Trollwar.bandcamp.com | Apple Music | Spotify | Amazon

EP Digital – https://distrokid.com/hyperfollow/trollwar/tales-from-the-frozen-wastes

“Trollwar waste no time lighting a fire under the listener with blazing and darting riffage, booming and battering drums, soaring symphonics, savage snarls, and heroic choral singing. But a finger-tapped guitar also introduces magically swirling melodies; grim vibrating fretwork and heavily jolting grooves throw us into fierce combat; and rippling keyboard tones add to the song’s fantastical glories. The band build toward an extravagant finale, hard-hitting and sky-flying, entirely in keeping with the song’s overarching mythic aura.” (Single – Bane of The Underworld) – No Clean Singing

“Quebec symphonic, melodic heroes Trollwar drop their next EP, Tales from the Frozen Wastes, on November 15… The record fuses the band’s roots with even more symphonic orchestration, progressive elements, and all-around big sounds. As always, the lyrics are also a big part of the journey, transporting you through to a fantastical realm.” – Decibel Magazine

“Vocalist Simon-Pierre Fortin-Leclerc commands with his growing vocal style, reminiscent of Necrophobic’s Anders Strokirk. The production exudes a warmness and clarity with the symphonic elements taking a backseat to the melodic guitars and heavy drumming… The instrumental, folky opener “Prologue” segues into the 7-minute “The Unseen One”, tackling blackness and melodic guitar with smooth transitions that shows TrollWar at their best. Follow-up “Bane Of The Underworld” holds a triumphant gallop that is basically if Wind Rose added extreme elements to their music. A fist-pumping chorus elevates this one to the next level…. Good stuff and fills that need for some melodic, folky death metal.” – Bravewords

“No scene outplays another on this vivid EP. From start to finish, the blend of orchestration and metal is curated in a way that the Fantasy plays through, while the harshness of its tale is presented with wicked solos, stunning riffs, and masterful sound. As a Fantasy fanatic, and a metalhead, this EP is a stunning display of talent and imagination, utilizing skill and story to present to us one hell of an adventure. 9/10” – All Father Metal

“The 24 minute album may not last long, but it takes the listener on an epic, dark adventure with topics such as fallen gods, the realm of the dead and the consequences of too much ambition. The album’s music and lyrics are the result of years of hard work and growth and its story is fascinating. 4/5” – Metal-Rules

“A fine EP drenched in melody and saturated in musicality, this marks a new era for the band.” 8/10 – Powerplay Magazine UK

“Vous trouvez Amon Amarth tristounet? L’envie de partir batailler à coup de hache vous titille, mais vous n’osez pas sortir parce qu’il pleut ? Trollwar a la solution. En cinq pistes gorgées de testostérone et d’entrain, vous serez à nouveau prêts à fracasser le crâne de vos adversaires et aurez retrouvé la joie de vivre. Inspirées de la mythologie scandinave et grecque, mais aussi d’Elden Ring (oui oui !), les paroles vous expédient dans un au-delà guerrier, où l’important demeure, vous l’aurez compris, d’en foutre sur la gueule de vos ennemis, le tout avec le sourire ! S’il est vrai que jamais conquête du Valhalla n’aura été aussi enjouée, l’ensemble reste diablement efficace, et réjouira les fans de Wintersun ou d’Ensiferum, mais aussi les maîtres de donjon en quête d’une B.O. épique pour animer leurs parties. Pensez tout de même à ranger les choppes de cervoise au moment du pogo!” – Metallian France

” Do you find Amon Amarth a bit gloomy? The urge to go battle with axes is tempting you, but you don’t dare go out because it’s raining? Trollwar has the solution. With five tracks full of testosterone and enthusiasm, you’ll be ready to smash your opponents’ skulls and regain your zest for life. Inspired by Scandinavian and Greek mythology, but also by Elden Ring (yes indeed!), the lyrics send you into a warrior afterlife, where the key point, as you might guess, is to smash your enemies’ faces, all with a smile! While it’s true that no conquest of Valhalla has ever been this cheerful, the overall effect is devilishly effective and will delight fans of Wintersun or Ensiferum, as well as dungeon masters in search of an epic soundtrack to liven up their games. Just remember to put away the mugs of ale when it’s time for the pogo!” – Metallian France

“After six long years, this Quebec-based Folk/Death Metal horde attacks again with a new EP, boasting increased technicality and a new direction with their sound.” – The Headbanging Moose

“Trollwar adds to the legacy of killer Canadian epic/folk metal” – Teeth of The Divine

“Pour ce court album, le groupe fait preuve d’un savoir-faire métallurgique incroyable. Les pièces s’écoutent toutes seules et les 25 minutes passent en un clin d’œil : on en voudrait plus! De bons riffs, des mélodies accrocheuses, des refrains à scander et une bonne dose d’agressivité énergisante sauront satisfaire tout metalleux qui aime boire son hydromel dans une corne. L’ensemble s’accorde parfaitement aux histoires racontées au travers des chansons, que ce soit sur la déesse nordique Hel, sur l’Odyssée ou même inspirées du jeu Elden Ring! Les membres du groupe affirment que l’EP marque un renouveau dans leur son, une nouvelle maturité pour leur musique, ce qui est très prometteur! Le métal forgé sur Tales From the Frozen Wastes est de top qualité. Peut-on considérer ceci comme un avant-goût de ce que les forgerons québécois nous offriront à l’avenir? On ne peut qu’espérer! Un groupe à surveiller de près.” – Metal Universe QC

“For this short album, the band demonstrates incredible metallurgical know-how. The songs are easy to listen to and the 25 minutes go by in the blink of an eye: we would like more! Good riffs, catchy melodies, chantable choruses and a good dose of energizing aggression will satisfy any metalhead who likes to drink his mead from a horn. The whole thing fits perfectly with the stories told through the songs, whether about the Nordic goddess Hel, the Odyssey or even inspired by the game Elden Ring ! The band members claim that the EP marks a renewal in their sound, a new maturity for their music, which is very promising! The metal forged on Tales From the Frozen Wastes is top quality. Can we consider this as a taste of what the Quebec blacksmiths will offer us in the future? We can only hope! A band to watch closely.” – Metal Universe QC

“Last but certainly not least this week, we have some amazing folk-death out of Canada. It’s awesome too, a real epic slab of heaviness, catchiness and power. It’s like a more power metal-infused Amon Amarth, and I loved every second of it. From the huge intro into the amazing ‘The Unseen One’, the release starts off incredibly strong. Then you have the other three tracks which are equally amazing, and it really makes for a solid EP. Somehow I’d never heard of the band before despite them having three albums out, but I’ll definitely be going back to check those out now! The band have a big new fan in me, and this is another easy 8/10!” – OverTone Magazine

EP Artwork by Artem Demura

[Downlaod EP Artwork | Download EP Lyrics]

Band: Trollwar
EP Title: Bane of the Underworld
Release Date: November 15, 2024
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Prologue (2:00)
2. The Unseen One (7:05) ft. Keyboard Solo by Veli-Matti Kananen (Kalmah)
3. Bane of the Underworld (5:26)
4. In The Fields of Frost (4:05)
5. The Offering (5:46) ft. Clean Vocal / Choir by Mattias Sippola (Atavistia)
EP Length: 24:24

EP Credits:
All songs performed by: Trollwar
All songs written by: Trollwar
Produced by: Trollwar
Mixed & Mastered by: Christian Donaldson (Cryptopsy)
Album Artwork by: Artem Demura
Orchestration Written by: Jonathan Mathieu
Orchestration Arrangement : Mattias Sippola
Member of SOCAN
Canadian Content – MAPL

EP Band Line Up:
Steeve Jobin-Fortin (guitar)
Mathieu Chauvette (guitar)
Yanick Tremblay (drums)
Keven Villeneuve (bass)
Jonathan Mathieu (Orchestration/Keyboard)
Simon-Pierre Fortin-Leclerc (vocals)
Special Guest:
• The Unseen One (4:42): Veli-Matti Kananen Keyboard Solo (Kalmah)
• The Offering (1:40/4:24): Mattias Sippola (Atavistia) Clean Vocal / Choir

Live Band
Steeve Jobin-Fortin (guitar)
Mathieu Chauvette (guitar)
Yanick Tremblay (drums)
Keven Villeneuve (bass)
Simon-Pierre Fortin-Leclerc (vocals)

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About The Album Artwork

The artwork represents the journey to the underworld, with a desolate land, ruled by a higher force, where darkness looms over all. Yet still, through this evil sky, light can be seen piercing the night. I think that it describes really how our music sounds. It reflects and captures the energy, which is by part epic and hopeful, and by part dark and malicious.

About the EP as a whole (LYRICALLY & MUSICALLY)

I think our EP could really be described as a renewal. A renewal of our music and a new maturity for our music. I do think that you can hear it through our songs in this release. The Unseen One and In the Fields of Frost are both great songs that we wrote a couple of years ago, while Bane of the Underworld and The Offering are pretty much the new Trollwar that you should expect going forward. These two songs show a clear upgrade of how we write our music.

Track by Track (LYRICALLY & MUSICALLY)

1. Prologue (Intro)

2. The Unseen One is a song inspired by Hel, the ruler of the underworld in Norse mythology. It speaks about her army of the dead being unleashed against the other gods.

3. Bane of the Underworld is a song about warriors sending their foes to their end. Thus being sent to the underworld. This song’s lyrics were written while reading the Odyssey so it might have a touch of Greek myths here and there.

4. In the Fields of Frost is about an adventurer being awakened amidst a desolate land, where higher deities scheme for power. This song’s lyrics are inspired by the game Elden Ring and its mysterious plot.

5. The Offering is a song about a band of warriors being cursed by an offering. Forced to eternally march against their foes they wander guided by the stars.

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Band comments about EP Tracks:

The Unseen One:
‘’The Unseen One’’ was the first song that was written for the album. We are talking years ago. It has taken a way different approach as we refined it, with the ambient/symphonic elements being pushed forward, and also introducing both a Guest Synthesizer solo and a Guitar Solo. The breakdown in the middle of the song gives the listener an enjoyable build-up, leading slowly to an apex of dynamics and brutality.

The Unseen One is a song inspired by Hel, the ruler of the underworld in Norse mythology. It speaks about her army of the dead being unleashed against the other gods.

‘Bane of the Underworld:
‘’Bane of the Underworld ‘’ was a song that we worked on pretty recently. We previously had a skeleton for this song, but it went into a major facelift. We introduced progressive metal breakdowns with guitar-tapping melodies, and even a catchy piano melody to create a very enjoyable, yet technical layer on the song’s melodic breakdown. All of that mixed with a solid chorus.

As if it was not enough, some brutal old-school death metal-sounding riffs were introduced, and then mixed with some heavy symphonic elements, creating an intricate-sounding end to the song. The perfect icing on the cake.

Bane of the Underworld is a song about warriors sending their foes to their end. Thus being sent to the underworld. This song’s lyrics were written while reading the Odyssey so it might have a touch of Greek myths here and there.

In The Fields of Frost:
‘’In The Fields of Frost’’ is also a song that was basically composed years ago, and then reworked. It was always a song aiming to give the listener a ‘’Glorious’’ listening experience with great mixes of power-influenced melodies, a catchy chorus, and devastating riffs. We try to incorporate more and more ‘’pure metal riffs into our songs, keeping the whole songs complex, but enjoyable to the listener. This also creates epic moments in our live shows. The crowd loves good old-school brutal riffs.

This song is one of the less technically complex songs, but one that is really enjoyable and one that has definitely a ‘’vibe’’ to it!

In the Fields of Frost is about an adventurer being awakened amidst a desolate land, where higher deities scheme for power. This song’s lyrics are inspired by the game Elden Ring and its mysterious plot.

The Offering:
‘’The Offering’’ is the most recent song composition-wise. We think that this one is the best representation of up to where the ‘’Trollwar’’ sound has evolved. It contains some great Melodic Death Metal riffs, a good chorus, epic symphonies.. the whole package.

This is also the 2nd song where we have a guest coming in to push the limit of the song with astonishing power metal vocals and choirs.

The black-metal elements are also brought forward, with an epic evil bridge that will give chills to the symphonic black metal enjoyers.

The transitions are smooth and flow easily.

This is the last song of the album, leaving the listener with an enjoyable symphonic epilogue, and giving hints of something greater to come.

The Offering is a song about a band of warriors being cursed by an offering. Forced to eternally march against their foes they wander guided by the stars.

Photo Credit – STVFX Stephan Tremblay

Quebec-based melodic symphonic metal band Trollwar gearing up to release their fifth record “Tales from the Frozen Wastes” on November 15, 2024. The band is excited to reveal the stunning album artwork, along with offering fans a glimpse into the dark and epic world they’ve created with a new album teaser. They share their thoughts on the recording:

“We think our album could really be described as a renewal. A renewal of our music and a new maturity for our music. We do think that you can hear it through our songs in this release. “The Unseen One” and “In the Fields of Frost” are both great songs that we wrote a couple of years ago, while “Bane of the Underworld” and “The Offering” are pretty much the new Trollwar that you should expect going forward. These two songs show a clear upgrade of how we write our music.”

“Tales from the Frozen Wastes” promises to be Trollwar’s most complex and complete release to date, showcasing the band’s evolution towards a more melodic and symphonic sound while incorporating progressive elements. The EP features five tracks, including a prologue, that will transport listeners into a darker dimension ruled by shadows and supreme deities.

The album artwork depicts a desolate landscape ruled by a higher force, where darkness looms over all. This visual representation perfectly captures the essence of Trollwar’s music – epic and hopeful, yet dark and malicious. It is recommended for fans of Wintersun, Ensiferum, and Amon Amarth.

Discography:
Tales From the Frozen Wastes EP (2024)
Oath of the Storm LP (2018)
Distrollbar Split (2017)
The Traveler’s Path EP (2017)
Omens of Victory Single (2016)
Earthdawn Groves LP (2013)
Bloodshed Forges EP (2011)

SharedStage: Kalmah, Alestorm, Arkona, Gloryhammer, Æther Realm, Hollow, Seth, Necronomicon, Beyond Creation, Blinded by Faith, Aeternam, Vesperia, Gone in April, Les Bâtards du Nord, Valknatch, Valfreya, Nordheim, Sanguine Glacialis and many more.

Festivals:
FEQ (Festival d’été de Québec), QC (2017)
INNERFEST, Saguenay, QC (2015)
SAGUENAY Viking Fest, Saguenay, QC (2015)
MTL Viking Fest – Montréal, QC (2014)
QC Viking Fest – Austin, QC (2013)
Hellfest Lanaudière, Mandeville, QC (2012)
Bildofest, La Baie, QC (2011)

0 EPK – GraveMass – Fallen (single) (2025)

September 14, 2024
by Asher
· EPKs · GraveMass

EPK – GraveMass – Fallen (single) (2025)

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

For Fans of Slayer, Venom, Morbid Angel, Watain, Napalm Death.

Gravemass.com | Facebook.com/people/Grave-Mass/61556695854887/ | Instagram.com/gravemass1 | Youtube.com/@Gravemass

Gravemass.bandcamp.com | Spotify

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

[Download Single Lyrics]

Band: GraveMass
Single Title: Fallen
Released Date: April 18, 2025
Length of Track: 3:27

Single Recording Credits:
• All songs performed by: Gravemass
• All songs written by: Mayan Hate and Lorde Heathen
• Produced by: Tim Creviston
• Mixed by: Tim Creviston
• Mastered by: Tim Creviston
• Single Artwork by: Gravemass
• SOCAN Member
• MAPL – Canadian Content

GraveMass is:
Vocals – Lord Heathen
Guitar – Mayan Hate
Guitar – Murderer of Colonizers
Bass – Bowels of Hell
Drums – Destroyer of Souls

Photo Credit – Derek Carr

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

True Canadian Black Metal

Brand new band, emerging from the depths of the West Coast metal scene, Gravemass is a death metal behemoth forged from the collective fury of its veteran members. With members that read like a who’s who of West Coast metal legends, GraveMass unites alumni from Zimmers Hole, Punch Drunk,3 Inches of Blood, Revocation, Just Cause, Savannah, Process, and The Golers.

With decades of experience and a shared passion for sonic brutality, these metal stalwarts have conjured a sound that embodies the very essence of evil. Sinister, heavy riffs collide with death metal vocal power, unleashing a maelstrom of aural annihilation.

Their stage presence is a masterclass in intensity, a testament to their collective prowess. This is no mere band – it’s an assembly of warriors, united in their quest for sonic domination.

Prepare to succumb to the onslaught, as these West Coast metal veterans unleash their evil, sinister sound upon the world. The masterclass in death metal has begun.

GraveMass is:
Vocals – Lord Heathen
(Zimmers Hole – Mechanism)
Guitar – Mayan Hate
(Savannah – Just Cause – Dialed)
Guitar – Murderer of Colonizers
(Process – Punch Drunk – Savannah)
Bass – Bowels of Hell
(Subversion – The Golers – Zucckuss)
Drums – Destroyer of Souls
Zimmers Hole – 3 Inches of Blood – Revocation

0 EPK – Red Cain – Firestarter (single) (2024) – Out – Aug 30th

September 10, 2024
by Asher
· EPKs · Red Cain

EPK – Red Cain – Firestarter (single) (2024) – Out – Aug 30th

Publicis t- Jon Asher – jon[@]ashermediarelations[.]com

Band: Red Cain
Single: Firestarter
Release Date: Aug. 30, 2024
Distribution via CDBaby
Length: 4:18

Redcain.ca | Facebook.com/redcainofficial | Instagram.com/redcainarmy

Spotify – https://spoti.fi/4e4bFap
Bandcamp – https://redcain.bandcamp.com

“NAE’ BLISS is a fine example of world-class Metal. With every album they grow in statue and status they can stand shoulder to shoulder with the titans of the genre.” – Metal-Rules (2023 – NÄE’BLISS)

“Red Cain continue their evolutionary path with NÄ̈E’BLISS, taking us all on a fantastic and metallic journey that will surely help them carve their name even deeper into the metal scene worldwide.” – The Headbanging Moose (2023 – NÄE’BLISS)

“they come up with elements of melodeath, symphonic-, prog- and powermetal, melted together by the expressive vocal performance of singer Evgeniy Zayarny, who convinces with his full tone and an impressive range… “Näe’bliss” is well written, varied and dynamic, telling the stories about a common “good” against an “evil” antagonist in a great way.” – The Prog Space (2023 – NÄE’BLISS)

“What a masterpiece! In my last review, I gave my first 10/10 and called it my album of the year. That place has already been overtaken.” – Musipedia of Metal (2023 – NÄE’BLISS)

“Canadians Red Cain took on the mammoth task of turning Robert Jordan’s works of the Wheel of Time series into an album… Needless to say the Power Prog band delivers an ambitious album filled with twists and turns that will keep you on your toes!” – Belgian Jasper (2023 – NÄE’BLISS)

“Red Cain has made by far the best Wheel Of Time-related piece of art that I’ve seen or heard since before November 18, 2021. Sour grapes aside, this is some energetic power metal worthy of the source material.” – Metal Utopia (2023 – NÄE’BLISS)

“Red Cain combine with clean singing and growling vocals on opener “Fisher King.” Much of Nae Bliss has a fresh modern sound (“Blight” and the gothic “The Great Hunt”) and some modern groove (“Sightblinder”)… The modern metal here reminds me of Iced Earth and Nevermore which has some excellent clean vocals. ” – Transcending the Mundane (2023 – NÄE’BLISS)

“this is an album to explore if you tend to enjoy a more theatrical and bombastic variety of progressive metal.” – Progressor (2023 – NÄE’BLISS)

“If you’re into the symphonic side of metal, then this is a must have album.” – Smorg Magazine (2023 – NÄE’BLISS)

“As such Red Cain uses Näe’bliss to showcase the slickest noodling and power grooving of their career… Red Cain hasn’t yet made an album for the ages in this modern expression of classic prog/power exuberance, but each record thus far has swung for the fences and landed in good graces—stop sitting around and spin some Red Cain!” – Angry Metal Guy (2023 – NÄE’BLISS)

“you’ll still feel the mighty pull of Power Metal all over the record. But the progressive parts now start to encroach on soundscapes bands like Haken or Caligula’s Horse3) usually usurp. And that leaves us with an uncannily savvy power prog mix with an unholy urge for unusual extreme metal undercurrents on full display. And that led – yet again – to overheated turntables over at the RMR office tower. Red Cain are back and in full swing yet again, feisty as ever. And as well they should be. So, where’s that bookshop? Robert Jordan’s fantasy lore’s beckoning us.” – Rock Music Raider (2023 – NÄE’BLISS)

“With Näe’bliss, Red Cain has created their own progressive metal epic fantasy that is fuelled with blast beats, howling guitars, wailing vocals, and rumbling bass. The intricate lyrics tell their own tales and have captured the essence of the adversaries and nemesis of the story. Perhaps for me, storyline aside, is the wonderful vocal dynamic between Evgeniy Zayarny and Kalie Yan and how they play off each other in a beautiful tit for tat of clean versus harsh and singing versus operatic as if they were the protagonist and antagonist. Let the chaos reign supreme, crank Näe’bliss to 11.” – Amplify The Noise (2023 – NÄE’BLISS)

““Fisher King,” is a monstrous opening, a song that tempts the deliverance and brings the power of brilliance and chaos of the whirlwind…. “Fires of Heaven,” is bombastic, powerful, enchanting and downright haunting. A song that smashes through everything.” – The Median Man (2023 – NÄE’BLISS)

Band: Red Cain
Single: Firestarter
Release Date: Aug. 30, 2024
Distribution via CDBaby
Length: 4:18

Single Credits:
All songs written and performed by Red Cain
Mixed by Tyler Corbett (Sole Audio)
Album Artwork by Evgeniy Zayarny
Member of SOCAN
Music is MAPL – Canadian content
Band Lineup:
Evgeniy Zayarny – Vocals
Samuel Ridout – Guitar
Oman Costa – Guitar
Taylor Gibson – Drums

L-R: Taylor Gibson (Drums), Oman Costa (Guitar), Samuel Ridout (Guitar), Evgeniy Zayarny (Vocals)

Photo Credit Zak Kelly

A year after their break-out third album, 2023’s “NÄE’BLISS”, which had its single “Fisher King” nominated by Calgary’s YYC Music Awards for “Metal Recording of The Year”, symphonic power prog storytellers RED CAIN return in 2024 with their first taste of new music.

Entitled “Firestarter”, this first single of 2024 is loosely based on the lore of the action role-playing game “Elden Ring: Shadow of the Erdtree”. The band spent a lot of their time this year playing this fantastic release. Elden Ring is not only a brilliant game and a visual masterpiece, but also a storytelling phenomenon that deliberately has lore gaps to let fans and players create their own stories and interpretations of the lore. This strongly resonates with Red Cain’s approach as musicians, as they always write music for their fans to read in unique ways and weave into their mythology.

“Firestarter” is also a new statement for Red Cain, as they continue to embrace a modern sound and reinvent their songwriting. You will hear a lot more groove and synth backing on this one, along with the same anthemic hooks, technical riffs, and vocal layering they are known for.

Listen to “Firestarter” at the following links:

Lyric Video – https://youtu.be/aKnOVyjRT6o

Spotify – https://spoti.fi/4e4bFap

Bandcamp – https://redcain.bandcamp.com

Red Cain, from Calgary, Canada is a modern progressive metal project with Eastern European roots. They have been making waves since their first release in 2016, with award-winning music videos and concept albums “Kindred: Act I”, “Kindred: Act II” and “NÄE’BLISS”. The albums contained a ton of genre inspirations, from gothic rock to ambient electronica, power, black, and death metal, and were universally lauded for their inventiveness, variety, and strong conceptual content. They continue this momentum with forthcoming releases.

Red Cain is:
Evgeniy Zayarny – Vocals
Samuel Ridout – Guitar
Oman Costa – Guitar
Taylor Gibson – Drums

0 EPK – Helevorn – Espectres (2024) – Meuse Music Records – Out Sept 13th

September 4, 2024
by Asher
· EPKs · Helevorn

EPK – Helevorn – Espectres (2024) – Meuse Music Records – Out Sept 13th

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

“We think it can be an intense experience for those who want to connect something very emotional and very philosophic with dark and gloomy music. This album is based on Hauntology, described first by Jaques Derrida and after by the philosopher Mark Fisher. He wrote ‘The Ghosts of My Life’, an amazing book where he describes the ‘slow cancellation of future’ and a lot of great concepts about the specters and the absences. How they make us what we really are. Is a fantastic concept to write a Doom Metal album, isn’t it?” – Helevorn

For fans of Paradise Lost, My Dying Bride, Draconian, Swallow The Sun

Band: Helevorn
Album Title: Espectres
Release Date: September 13th 2024
Label: Meuse Music Records (BE)

Facebook.com/helevornband/ | Instagram.com/helevornband | Youtube.com/@Helevornband

Album Pre-Order – http://www.helevorn.com/shop | Helevornofficial.bandcamp.com | Spotify

[Download Album Cover | Download Album Lyrics]

Band: Helevorn
Album Title: Espectres
Release Date: September 13th 2024
Label: Meuse Music Records (BE)

Track Listing:
1. Inherit the Stars (6:36)
2. The Defiant God (5:07)
3. Signals (4:47)
4. When Nothing Shudders (5:49)
5. Unbreakable Silence (7:15)
6. L’Endemà (5:37)
7. The Lost Futures (5:46)
8. Children of the Sunrise (4:40)

=============================================
About The Album Artwork:

That’s an old fig tree. In the middle of a dead soil field. But it lives. That tree is not only what it is, it exists due to a series of absences that make it present in the world. That’s the same for the human beings.

So that fig tree is moved, so is more than real or maybe is a ghost.

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

Explained by Josep Brunet – Vocals

We think it can be an intense experience for those who want to connect something very emotional and very philosophic with dark and gloomy music.

This album is based on Hauntology, described first by Jaques Derrida and after by the philosopher Mark Fisher. He wrote ‘The Ghosts of My Life’, an amazing book where he describes the ‘slow cancellation of future’ and a lot of great concepts about the specters and the absences. How they make us what we really are. Is a fantastic concept to write a Doom Metal album, isn’t it?

Track by Track (LYRICALLY & MUSICALLY):

Explained by Josep Brunet – Vocals

1. Inherit the Stars: The connection we have with the Universe. What would happen if we all die and the Earth disappears? Very Helevorn Song.

2. The Defiant God: God gets angry with humankind. Should we pray more or should we fight for him until death?

3. Signals: The hit. The beginning of the song (the key part that makes you dance) was made with guitar melodies before entering to record the album. It was there that our producer suggested we record a key sequence to make it more ‘gothic’. And there is a guitar solo performed by Biel Gaya that is awesome.

4. When Nothing Shudders: It starts very slow and it ends very very high. It’s about the genocide of Palestine. Very raw and real.

5. Unbreakable Silence: Dedicated to Mark Fisher and people who finish their lives due to mental illness. That’s not an individual issue but a problem that we , the society, should work in common.

6. L’Endemà: A song in Catalan, our mother tongue, with some female vocals performed by Ines Gonzalez. Very heavy, doom, and with a beautiful chorus.

7. The Lost Futures: The slowest and doomed song we have ever written. Very old school. No future because post-Fordism killed it.

8. Children of the Sunrise: It was just a piano song that turned into a very special song in the studio with a very special guest appearance of Thomas Jensen of Saturnus. Dedicated to all the children who came to this world to make it a better place. I thought about my two children when I was writing it.

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

L-R – JM Rubio – Bass, Sandro Vizcaino – Guitars, Pedro S Bonnin – Keys, Josep Brunet – Vocals, Alex Correa – Guitars

Photo Credit – Tuco Martin

HELEVORN FIFTH ALBUM

We started the recording sessions of our fifth album on January 29th, 2024, again with Miquel A Riutord ‘Mega’ at his studios in Inca (Mallorca). The same studio where we recorded our last two albums.

The last three years have been very intense for the band due to some lineup changes. The fact is we had to ask Sebastià Barceló (Trallery) to record the drums because it was impossible to find a permanent drummer.

Moreover, the last year was very productive (we decided to not play live so much), we composed the eight songs that we had just recorded at the studio. We finished the sessions some days ago.

About the new songs:

The songs are a bit different than in the past because is the first time that the new guitar player (Alex) has composed the 60% of the album, so we can say that ‘is Helevorn but in a new (but) same way’. You will find the same atmosphere, and the same feelings but played a bit differently. Maybe more raw, with more details, more technique, etc. We really love the way that the band started working with the new members and how they put their ideas in common.

We definitely found comfortable with the idea of ‘Mediterranean Doom’ in our previous album, but now is, without any doubt, less epic, less ‘folkie’, and more Doom and Metal. And as always, we can say that we are so proud of this album and maybe they are the best songs we have ever recorded (is very common to say that, I know).

About the concept:

We love to write about real things, and we have always done it.

This time it came to our hands the book of Mark Fisher ‘Ghosts of my Life’ and we decided that we wanted to talk about it. The ‘hauntology’ gave us the departure point where we started to write non-stop and gave life to our songs.

Mark Fisher wrote about how post-Fordism and neoliberalism broke the way that music and culture, in general, were able to create something new, so that’s the ‘slow cancellation of future’. The examples he gave are fantastic.

The idea that Fisher talks about the ‘specters’ is the part we have dug more into.

How these specters conform to our thoughts, our feelings, and our longings.

Indeed, it is something philosophic but at the same time kind of ethereal.

Espectres” is due out on September 13, 2024 from Meuse Music Records.

Discography:
2024 – Espectres – LP
2019 – Aamamata – LP
2014 – Compassion Forlorn – LP
2010 – Forthcoming Displeasures – LP
2005 – Fragments – LP

Shared Stage with: Swallow The Sun, Katatonia, Dracononian, Saturnus, Rotting Christ, Primordial, Esoteric, Poema Arcanus, Majestic Downfall

Tours and Fests:
2022 – Supporting Saturnus and Esoteric in their European Tour
2022 – Metal Gates Festival (ROM)
2022 – Gothoom Open Air (SK)
2019 – Doom Heart Fest (ITA)
2019 – Canadian Tour with Majestic Downfall
2016 – Madrid is the Dark Fest (SP)
Metal Over Malta, Dutch Doom Days, Metal Holidays/Wacken, tours around Spain, etc.

0 EPK – Sandveiss – Standing in the Fire (2024) – Out Oct 11th

August 29, 2024
by Asher
· EPKs · Sandveiss

EPK – Sandveiss – Standing in the Fire (2024) – Out Oct 11th

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

“We hope our fans will receive our new album “Standing in the Fire” well. Once again, we kind of cover different grounds musically speaking, but the core of our music is always riff-oriented with very melodic vocals and harmonies, and I think that’s what our fans expect from us.

On a songwriting level, we like to go to “different places” on the same album, and each time, we push things a little further toward new directions while staying true to what we really are. We like to guide the listener through different kinds of emotions on the same album while of course trying to maintain a certain level of coherence and continuity. A bit like different chapters of the same book. Even the singles were chosen to demonstrate different sides of the album and different moods.

On a technical side, we tried with this album to give the listener maybe a slightly different listening experience than what we offered in the past. We wanted the sound of the band to be more textured, airy, and lively so we decided to contact one of our favorite current mixers, a guy named Karl Daniel Lidén to mix and master the album. He worked with bands like Dozer, Greenleaf, Lowrider, The Ocean Collective, and Katatonia to name a few, and we felt he was the right person to help us achieve the sound we wanted for that record.”

For fans of Black Sabbath, Mastodon, The Sword, Dozer, Baroness

Band: Sandveiss
Album Title: Standing in the Fire
Release Date: October 11th, 2024
Label: Folivora Records
Distribution: Believe

Folivora.ca | Facebook.com/Sandveiss | Instagram.com/sandveissband

Sandveiss.bandcamp.com/ | Spotify | Apple Music | Amazon | Deezer

!earshot – November 2024 – top 200 loud – #131 Sandveiss – Standing in the Fire
https://earshot-online.com/charts/2024/November/top200.cfm

“Standing In The Fire is easily one of the most impressive heavy-stoner rock albums this year and I bet this band could easily grow huge if given the chance to perform to larger crowds supporting some of the big guns.” – Velvet Thunder UK

“What I appreciated when listening to this record was the melodic power from start to finish which endures without ever running out of steam. And the production work, already highlighted above, is really ultra clean and very pleasant for the ears. ” – Metal Universe

““Standing In The Fire” is a fantastic record that really deserves all possible attention, and will definitely claw its way into this year’s top 10 records for me.5/6″ – Norway Rock Magazine

“To diversify the eclectic variety of this week’s highlights even more, how about some stoner rock? Ok, while that is certainly the foundation of the sound Canadian quartet Sandveiss presents on their new album “Standing in the Fire”, there is definitely a lot more to it and – how could it be otherwise – especially the proggy bits and pieces in some of the riffing know exactly how to please my ears. Excellent songwriting – excellent warm and earthy production by Swedish sound expert Karl Daniel Lidén (Katatonia, The Ocean, A Swarm of the Sun etc.) – excellent album. Dario” – The ProgSpace

“Standing In The Fire has a whole bunch of memorable songs that will keep you humming them all day as well as air guitaring their riffs, because there are plenty of those to go around too… The new Sandveiss record was exactly what I wanted as a follow up to their excellent last one. You get more of the heavy, more of the melody, their band’s excellent playing, and song writing ability that makes these songs last. Standing In The Fire is another excellent record by an excellent band who is in their prime right now. 9/10″ – Musipedia of Metal

“‘Standing In The Fire’ (2024), their latest, bobs and weaves different stylistic elements together for something that could be classified progressive heavy rock. What remains consistent and gives the band its signature sound is a bravado rhythms from drummer Dominic Gaumond, guitars that growl and a bass that bruises, fantastic atmospheric elements, and a certain metallic vocal sheen of frontman Luc Bourgeois… Stick it on a playlist with Mastodon, Baroness, Retronaut, and Greenleaf.” – Doomed and Stoned

“Quebec City’s Sandveiss has a reputation for balancing heavy and melodic, but Standing in the Fire takes that to a whole new level. This isn’t just another rock album—it’s a journey. A sonic exploration where the band pushes their limits while still holding onto that raw, gritty essence that got them here in the first place. From the moment you press play, you’re in for a ride. – Heavy Stoned

“What’s impressive about Standing in the Fire is how it balances these emotional highs and lows without losing its groove. Sandveiss knows how to guide you through a variety of moods, but everything fits, like chapters of the same gritty, doom-laden novel. Heavy riffs, killer solos, and a lot of heart—there’s a lot here for fans of Black Sabbath, Mastodon, and The Sword. You’ll get that familiar stoner rock vibe, but there’s something deeper, something more refined. In short, heavy, melodic, unpredictable—and totally worth the trip.” – Heavy Stoned

“Heavy rockers’ Sandveiss have just launched a pair of singles “I’ll Be Rising” & “No Love Here” ahead of their new album “Standing In The Fire” which is slated for an Oct. 11th release. The singles are both fantastic with elements of prog and heavy rock that make for two very interesting and impressive tracks. Outstanding vocals, unusual time signatures, melodic and hook driven…yeah it’s right up our alley.” – WJOE – Findlay’s Home for Rock & Roll

“This track (Standing in the Fire) delivers an intense and reflective exploration of inner turmoil and societal disillusionment. The lyrics capture the struggle between seeking higher meaning and being trapped in confusion, ignorance, and denial. With evocative lines like “one foot in the grave” and “anger consumed heart,” it speaks to the emotional weight of confronting fears and beliefs. The recurring chorus heightens the feeling of frustration, making it a powerful commentary on the fight for clarity in a chaotic world. To close, this single and forthcoming album won’t gather dust in any collection, and will keep heads bouncing and feet tapping from sofa to stage. So why not clear a space, and give Sandveiss a try for 2024. Star Rating – 10/10” – Star Gazer Music Magazine

“If a contemporary sounding blend of hard rock and heavy metal that use melodies as well as a tight and vibrant execution sounds like your kind of music, this is an album that should have a very high chance of engaging you.” – The Viking in the Wilderness

“As a successor to their KILLER previous album, Scream Queen, Saboteur holds its own and shows growth from the band, both in writing and musicianship. Saboteur is not meant to be played at lower decibels.” – Doom Charts

“Sur ce nouvel album, le son propre et puissant sert à merveille des riffs ciselés et des mélodies accrocheuses. Chaque titre est une petite pépite de plaisir musical sertie dans une production jamais tape à l’œil, où les effets discrets relèvent la sauce.” – Weirdsound

“Sometimes you hear something, and it hits you so hard it automatically becomes incredibly special to you. That has been my experience with Saboteur and Sandveiss.” – Metal Nation

[Download Album Cover | Download Album Lyrics]

Band: Sandveiss
Album Title: Standing in the Fire
Release Date: October 11th, 2024
Label: Folivora Records
Distribution: Believe

Track Listing:
1. I’ll Be Rising – 5:03
2. Standing In The Fire – 3:51
3. Wait And See – 3:26
4. No Love Here – 7:26
5. Fade (Into The Night) – 3:48
6. Gone Away – 4:53
7. These Cold Hands – 4:57
8. Bleed Me Dry – 5:42

Album Length: 39:36

Album Credits:
• All songs performed by: Luc Bourgeois (lead vocals, guitar) Shawn Rice (back vocals, guitar, keys), Maxime Moisan (bass), and Dominic Gaumond (drumkit)
• All songs written by: Luc Bourgeois
• Produced by: Luc Bourgeois, Shawn Rice
• Mixed by: Karl Daniel Lidén
• Mastered by: Karl Daniel Lidén
• Album Artwork by:
Amanda Morley (collage)
Caroline Morin (infographic)
• Member of SOCAN
• Canadian Content (MAPL)

Album and Live Band Line Up:
Luc Bourgeois (lead vocals, guitar)
Shawn Rice (back vocals, guitar, keys)
Maxime Moisan (bass)
Dominic Gaumond (drum)

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

About The Album Artwork:

The album is called “Standing in the Fire”, and its artwork is a mix of “analog” collage art by Amanda Morley and graphic arts by Karo Morin. It depicts a headless person with their hands and legs tied up, standing in front of a fire. Despite its description, it doesn’t represent anything graphicly “gore” or violent but rather a state of mind related to despair, oppression, helplessness, and suffering. The fact that the person here is headless only means that those feelings and states of mind do not have a “face”. That person there can be anybody. We decided to use collage art because we love its aesthetic and also the idea of expressing something new from totally different sources that were not meant to be presented together.

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

We like our music to follow different paths while of course trying to maintain our identity as a band. We didn’t overthink the general musical direction of the album, we just tried to write the best stuff we could. To me, every song on the record is like its own little world but within the same universe. We don’t want our band to be one-dimensional and like to open different doors while writing our music. We are music lovers with a lot of different influences and we’re not afraid to wear these influences on our sleeves.

About the lyrics, I wrote most of them during the pandemic. We’ve seen a lot of the worst in human beings during that period of time and it inspired me to write a lot. People seem to be more divided and polarized than ever. Social media have become a very toxic mess and I think are partly the reflection of a very ill society.

Track by Track (LYRICALLY & MUSICALLY):

I’ll be Rising:

Musically it is a blend of heavy riffing, melodic parts, and somewhat unusual time signatures for us. It gives the song a proggier feel but still has a lot of our more “usual elements”. A good balance between what we’ve always been and what’s new.

Lyrically, it’s a song about resilience, justice, and empowerment from the perspective of a survivor of rape and abuse. Anxiety, shame, depression, and the fear of not being believed. But above all this, there is an absolute need for the truth to be heard. Sometimes, after years of silence.

Standing in the Fire:

Musically I decided with that one not only to embrace some of my earliest musical influences but to openly celebrate them. A lot of influences from the 80’s of course. Kiss, Alice Cooper, Survivor, and Scorpions but also bands from the 70s like Blue Öyster Cult, Rush, and Kansas.

Lyrically it’s a song about science deniers, propaganda, and modern-day witch hunts.

How some people let strange and nonrational beliefs enter their minds, become slaves of their own fears, and lose control over their own lives and sometimes their actions.

Wait and See:

Musically the most upbeat song on the album, the energy fits well with the urgency spoken of in the lyrics. Rather short in length (the shortest on the album) but still a lot of things are going on in the way the song unfolds.

The lyrics of the song are about some politician’s arrogance and inaction towards climate change and urgent environmental problems.

No Love Here:

The most prog-rock song on the album. The longest one, the more “developed” and unpredictable in terms of structure and sound (it is what “prog rock” is about, right?). A lot of texture and space in the music and some intricate parts I guess. Of course a lot of influences from the 70s on this one (King Crimson, Rush, Harmonium) but also some vibes influenced by more modern bands like Mastodon, Elder, or Baroness.

The lyrics were written about toxic relationships that lead to domestic violence and in this case, that unfortunately ends up with the worst possible conclusion. I wrote this as a reaction to the horrible and alarming femicides that increased during the pandemic.

Fade (Into the Night):

The music is upbeat, a straight-up rock song in its structure, maybe with some kind of hypnotic vibes to it.

The lyrics are about some narcissistic manipulators, their toxic behaviors, and their need to control other people’s lives for their own benefit and profit. Religious groups and cults, internet gurus, politicians, influencers on social media, conspiracy theorists, etc… They’re everywhere.

Gone Away:

Musically a heavy blues and hard rock-inspired song that almost feels like a shuffle. We think that one has a vibe that can remind bands like Uncle Acid and the Deadbeats and Graveyard, but also bands like Boston, Whitesnake, and Thin Lizzy.

The lyrics are written more like poetry for this song. Images and reflections about many different things in my life.

These Cold Hands:

More uptempo, and heavy, but the choruses and the bridge sound more “open” and textured. One might hear some Rush influences in some rhythms parts and guitar parts, mainly the chorus-sounding open-strings that can be heard a lot in the song.

Lyrics are in fact a letter to death. How much time is left? How is it going to happen? I started to write the lyrics of that song when I heard that a friend’s mother had cancer (luckily she survived) and finished the writing not long after one of my best friends died of very aggressive cancer, a few weeks only after knowing she was ill.

Bleed Me Dry:

Musically the heaviest, most aggressive, and metal-influenced song of the album. Also, it features a new vocal approach for me in some sections of the song. More aggressive and sometimes screamed vocals, something I have never done before. The funny thing is, I was never able to properly scream prior to this. I discovered the technique by pure accident during recording sessions for this album. Since “Bleed Me Dry” was the very last song I recorded the vocals for, and since it’s the heaviest one on the record, I thought it’d be interesting to try those new-found abilities and see where it would bring the song.

Lyrics were written out of exasperation but also sadness towards the behavior and reflections of some people regarding serious social issues and critical situations. Some of them act the way they do because of huge anxiety and denying is like their self-defense mechanism. Some others are ignorant, selfish, and driven by hatred, some are sadly “broken from the start” and have been misguided early in life by people they trusted.

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

Story Angles – Fun Facts

1: It turns out that all our album and EP titles start with the letter “S,” just like our band name. This was a pure coincidence until our second album when I realized that all our releases started with the same letter (Self-Titled Demo, Scream Queen, Save Us All 7″, and Saboteur). Since then, we’ve released a Sabbath cover EP titled “Sandveiss Bloody Sandveiss” and our new album called “Standing in the Fire.” We might break the cycle with future releases… or not. 😉

2: I discovered some “fry scream” vocal techniques by pure accident while recording the last few songs of the new album. I’ve always loved the more aggressive vocal approach and style but avoided trying it for fear of damaging my vocal cords. However, while recording apart, I suddenly figured out how to do it naturally. New possibilities are unlocked!

3: The last song we recorded was the album closer, “Bleed Me Dry,” and for whatever reason, I couldn’t come up with a vocal melody I liked. The song is the heaviest on the record, played in drop A tuning, and I felt the vocals were lacking something to match the heaviness of the music. I put the song aside for a few weeks and then came back to it only after discovering that I could scream. I tried new ideas and changed the vocal approach using these newfound abilities, and this time it felt right. Sometimes one thing leads to another, and then everything falls into place.

4: We like to hide little things here and there in our recordings, such as reversed or down-pitched sounds. Sometimes this leads to a tradition: on the first album, I recorded a few screams through my guitar pickups and placed them somewhere in the music. My son did the same on the second album, and my daughter did it on the new one. Maybe our cat will do it on the next one? Who knows? Haha

5: Little fun fact, once in a while during our time on the road, Max (bass) and Dominic (drums) like to surprise Shawn (guitar) with special gifts, mostly goofy-looking hats bought at the Dollar Store, and it has become a tradition. The uglier or cheesier, the better! We always capture on camera the moments when he receives the hat and include them in the video recaps of the tour.

L-R – Dominic Gaumond (Drum), Luc Bourgeois (Vocals, Guitar), Maxime Moisan (Bass), Shawn Rice (Guitar)

Photo Credit – Paul Di Giacomo

SANDVEISS is a Heavy Rock band from Quebec City that came to life in 2011. Their music is heavy yet also melodic. Their influences range from Black Sabbath, Kyuss, Tool, Mastodon etc. The band’s first album “Scream Queen” came out in 2013. In the Summer of 2015, SANDVEISS played notably at the FEQ (Plains of Abraham), opening act for High on Fire and Megadeth, and at Heavy Montreal to a very receptive crowd. Next Autumn, their album “Scream Queen” won “Heavy Album of the Year” at the GAMIQ awards. In 2016, they released a 7” EP vinyl “Save Us All” (also nominated at the GAMIQ awards). That paved the way to a tour in Sweden, where they played shows at the “Live at Heart” festival in Örebro. After some changes and a long successful writing process, SANDVEISS returned in 2019 with their 2nd full release called “Saboteur”. The year after that, they released Sandveiss Bloody Sandveiss, a tribute to Black Sabbath.

The band consists of Luc Bourgeois (lead vocals, guitar) Shawn Rice (back vocals, guitar), Maxime Moisan (bass), and Dominic Gaumond (drumkit).

Discography:
2020 – Sandveiss Bloody Sandveiss (A tribute to Black Sabbath) – EP
2019 – Saboteur – Album
2016 – Save Us All – EP
2015 – Scream Queen (Deluxe Edition) – Deluxe Album
2014 – Scream Queen – Album

Awards / Feature
GAMIQ – Awards
2015 – Scream Queen – Heavy Album of the Year (winner)
2016 – Save Us All – Metal EP/Album of the Year (nomination)
2020 – Saboteur – Metal EP/Album of the Year (nomination)
2019 – Artist of the Month – Metal March – CJLO

Shared Stage with – Megadeth, High on Fire, Fatso Jetson, Scorpion Child, Asteroid, Scott Weiland, Protest the Hero

Tours and Festivals:
2024 Planet Desert Fest Weekend (Las Vegas, USA)
2023 Canadian Music Week (Toronto)
2016 Live at Heart (Orebro, Sweden)
2015 Heavy MTL
2015 Festival d’été de Québec

0 FREYA – Blood Thirst (single) (2024)

August 23, 2024
by Asher
· EPKs · FREYA

FREYA – Blood Thirst (single) (2024)

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

“I wrote Blood Thirst to be a straightforward banger. I was inspired by Biohazard for the first part of the song. Not that it sounds like them, but it felt like it had that hard-hitting old-school hardcore vibe with an easy-to-follow memorable riff. And then the second half I wanted to showcase the thrashy, Slayer side of our style. Just wanted it to crank and hit hard. As much as I love a mosh pit, I think I’m equally happy when an audience is engaged, head-banging, and genuinely seems to be happy to be there. Whether it’s an old song, a new song, or whatever, I’m stoked when I see those fans out there smiling and banging their head. Our new material does that, it’s easy to follow the groove.” – Ethan D. Henry – Drums – FREYA

For fans of Earth Crisis, Terror, Hatebreed, Madball, Ringworm

Facebook.com/freyahardcore | Instagram.com/freyaband | Linktr.ee/freyaband315 |

Upstaterecordsny.com/freya | Youtube.com/@UpstateRecordsNewYork | Upstaterecords.bandcamp.com | Apple Music | Spotify

Single – Blood Thirst – https://bfan.link/blood-thirst

“Bloodthirst” artwork by Ethan D. Henry

Band: FREYA
Single Title: Blood Thirst
Release date: August 23, 2024
Label: Upstate Records

Single Credits:
• All songs performed by: FREYA
• All songs written by: FREYA
• Produced by: Ethan D. Henry
• Mixed & Mastered by: Len Carmichael (Landmine Studios)
• Album Artwork by: Ethan D. Henry

Single Band Lineup:
Ethan D. Henry – Drums
Bryan W. Fleming – Guitar
Karl Buechner – Vocals
Ed Ordez – Bass

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

About The Single Artwork

The cover art was created by our drummer Ethan and our friend Kim. The image conveys extinction-level warfare.

About The Single:
“I’ve been friends with Karl, Erick, and Bulldog for over twenty years. We have worked with Peta2 in the past and have always supported animal rights even though it’s not our main objective. I’m not vegan or anything but I was just thinking of this concept of some trophy hunters entering the forest killing and taking what they wanted and leaving the corpses of their victims to rot. I imagined a grizzly bear being fed up finding rotten deer, Turkey, and whatever else on his daily trek. Full of rage, he is forced to fight back and chase the men out of the forest. Like Batman haha. But a pissed-off grizzly bear.

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FUN FACTS – STORY ANGLES

(1) Freya was invited last minute to play a festival in Albany called Park fest that was headlined by 50 Cent. Our van was broken so we rented a Ryder box truck, set a living room couch in the back of it, and drove from Syracuse to Albany. After the concert we were on the way back we got out at a gas station and the police laid everyone out thinking that the truck was being used to smuggle people from below the border.

(2) There is a vacant lot in downtown Syracuse next to Moresound Studio. In the fall and winter, we parked the van in that area. Over the course of a month and a half or so grass grew up around it and homeless people lived inside of our vehicle.

(3) Freya used to practice in a rented rehearsal room in North Syracuse. We heard that the building was going to be undergoing renovations and that we needed to remove our equipment. As will oftentimes happen things got away from us. We drove up to the building and it was wrapped in plastic had been condemned and was undergoing asbestos removal.

(4) Dimebag Darrell from Pantera was murdered in Columbus Ohio during a Damage plan performance. A week or so later Freya played that same club. When the stage lights brightened I got a chill, I saw that silver duct tape had been placed over the bullet holes in the walls.

L-R – Ethan D. Henry – Drums, Bryan W. Fleming – Guitar, Karl Buechner – Vocals, Ed Ordez – Bass

Hailing from Syracuse, NY, Freya was formed in 2001 by three members of Earth Crisis’ bassist Ian Edwards, lead guitarist Eric Edwards and vocalist Karl Buechner. When Earth Crisis temporarily concluded, members split into three separate bands; Freya, percussionist and guitarist Dennis Merrick and Scott Crouse, respectively, formed Slave One and all five Earth Crisis members continued on with their reactivated project band, Path of Resistance.

Over the past 20 years, Freya have blazed a path through both the worldwide hardcore and metal scenes. Prominently featured on MTV’s Room Raiders, Road Rules and the iconic Headbangers Ball as well as the Showtime series, Shameless, the Freya vault runs deep with their soon to be seventh release, Fight As One, since their inception. Freya’s discography has been featured in Kerrang!, Decibel, Amp and Metal Hammer for their unique sound, a well-crafted amalgamation of darkened New York style hardcore with a generous dose of thrash metal stirred into the mix.

Discography:
Fight as One (Full-length) 2023
Grim (Full-length) 2016
Paragon of the Crucible (Full-length) 2013
Ghost Echoes (EP) 2013
All Hail the End (Full-length) 2010
Lift the Curse (Full-length) 2007
Hoods / Freya (Split) 2004
Freya / Darkest Hour / Dead to Fall (Split) 2003

Shared Stage with: Ringworm, Escuela Grind, Terror, Death Before Dishonor, Madball, Walls of Jericho, Kataklysm, Biohazard, Downset, Tree, Full Blown Chaos

Tours And Fests:
Muddy Roots – August 2024
Upstage Fest – August 2024
Kittie Fest – 2011

0 EPK – Forsaken Rite – The Forgotten West (EP) (2024) – Out Sept 27th

August 22, 2024
by Asher
· EPKs · Forsaken Rite

EPK – Forsaken Rite – The Forgotten West (EP) (2024) – Out Sept 27th

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

“The upcoming EP is an evolution of the Forsaken Rite sound with new creative members. We want this EP to be a continuation of our full-length album “The Northern Saga” where every song, though unique, and listenable on its own, is still very much part of the whole story, the adventure. We want our listeners/fans to join us once again on our adventures and feel like they are every part of the Warparty contributing to its success.” – Forsaken Rite

For fans of Eluveitie, Nightwish, Faun, Ensiferum, Blackbriar

Band: Forsaken Rite
EP Title: The Forgotten West (EP)
Release Date: September 27, 2024
Label: Self-Release

Facebook.com/ForsakenRite | Youtube.com/@ForsakenRite | Instagram.com/forsaken_rite

Forsakenrite.bandcamp.com | Spotify | Apple Music

““The Forgotten West” really does invoke in us some very primeval and basic human instincts which then allows us to reach out across the vast swathes of history and time to reconnect with our long since departed ancestors once again. If you like me love a bit of folk metal, then you will absolutely love “The Forgotten West” and the raw sound of FORSAKEN RITE, so make sure you check it out when it drops. Highly recommended.” – Female Fronted Power

“Forsaken Rite do not offer classic Folk Rock. On the contrary, it’s metallic and hard-hitting… I didn’t know Forsaken Rite before. But the Folk Metal immediately cast a spell over me. Fortunately, it’s far removed from the ‘Horn Rock’ that you usually hear. With this EP, the Canadians have given me a taste for listening to their older releases. 8.5/10″ – Metalheads Forever Magazine

“The band have returned with a vengeance, and if they build on this release and momentum, can easily be pushed high up in the genre pretty soon. For now, this EP gets another easy 8/10″ – Overtone Magazine

“a nice balance of melody and aggression, all tinged with Folk elements, and they pull you into their fairytale world with their brand of songwriting.” – Metal Temple

“A fresh and invigorating listen, with lots of melodic and Celtic heart; ‘TFW’ brings an atmospheric connection and a strongly evocative audio-scape…. a refreshingly escapist listen.” – Rock Queen Reviews

“Each track on the EP flows into the next to lay out the story of the war party’s voyage west and the challenges that they face along this journey. The whole composition becomes an epic piece of music that has highs and lows as the adventure progresses and works best when listened through in order. My personal favourite track on this EP though has to be ‘Fire Circle’ which takes the form of a jovial celebration. The sound of the accordion and the upbeat melody it portrays invokes images of drunken revelry around the firepit bringing an element of light after the previous track, ‘The Storm’. ‘Fire Circle’ is a song of reflection on the challenges that have been faced by the warparty to this point and engaging in celebrated remembrance of those who have been lost along the way.” – Uber Rock

“‘The Forgotten West’ is a great example of epic folk metal that captures the wild and unforgiving nature of some of the deeper parts of Canada. This continuation of the adventures from 2017’s ‘The Northern Saga’ will easily appeal to fans of folk metal with the similarities to Eluveitie being hard to ignore. Not that there’s anything wrong with this, the Eluveitie formula is fantastic and if you can produce something similar whilst remaining true to your own cultural roots, then have at it! It may have been my first exposure to Forsaken Rite but it certainly won’t be my last and I’ll be keeping an eye out to see if the band ventures out of Canada to hit the shores of the ÜK, and if that doesn’t happen then I have no problems returning to Canada for another adventure of my own!” – Uber Rock

“North American Combo, European Sound.” – PowerMetal.de

“Forsaken Rite’s blend of metal and folk continues to evolve, showcasing a sophisticated integration of genres. The EP balances aggressive metal riffs with traditional folk instrumentation, creating a dynamic and rich sonic landscape. Expect powerful guitar work and driving rhythms paired with acoustic elements, and rich vocals. Favorite Track- Call To War ” – Queen Metal Radio

““Call to War” is a heavy war song led by the power of unclean vocals as clean vocals build the narrative. The song’s bridge is a grand battle speech and a march towards victory climaxing in a multi-layered instrumental and vocal breakdown to round out the EP.” – She Makes Music

“I didn’t know Forsaken Rite before, but their folk metal immediately captivated me…. With this EP, the Canadians gave me the taste to listen to the older releases.” – Keep On Rocking Germany

“Melodies that run loosely into the ear, sensitive singing, hotter death growls and powerful, irresistible pagan folk merge into a compact unit. In terms of content, the Canadians led by lead singer Ursa appeal to a wide range of fans between BATTLE BEAST, ENSIFERUM, ELUVEITIE, NIGHTWISH and FAUN.” – FFM-Rock.de

“We get to hear five pretty nicely constructed songs where power and melody are brought together in quite uplifting songs. The pure folky element lies in Ursa’s voice, which contrasts sharply with the deep growls of Emrys Faol, and the use of a flute. 84/100” – Musika

““The Northern Saga” is definitely worth checking out as it has some solid songs, strong performances and catchy tracks. Another epic album from north of the border.” – Folk-Metal.nl (2017)

“…The conquest based on riffs warriors and vindictive is launched, no prisoners and drink in the skull of our enemies tonight! But FORSAKEN RITE is not just a fight, it’s also a real passion for Scandinavian shamanic atmospheres that are inserted in small touches along the tracks…” (Translated from French) – kaosguards.com (2017)

[Downlod EP Cover | Download EP Lyrics]

Band: Forsaken Rite
EP Title: The Forgotten West (EP)
Release Date: September 27, 2024
Label: Self-Release

Track Listing:
1. The Forgotten West – 5:01
2. How Long is Forever? – 4:14
3. The Storm – 4:29
4. Fire Circle – 4:19
5. Call to War – 4:12

EP Recording Credits:
• All songs performed by: Forsaken Rite
• All songs written by: Forsaken Rite
• Produced, Mixed and Mastered by: Diego Fernandez, Oracle Recoding Studios
• Album Artwork by: Renee Robyn Photography and Digital Art
• Member of SOCAN
• Music is Canadian Content (MAPL)

EP Recording Band Lineup:
Paige Patenaude (Adaria Ravencroft) – Drums
Daniel Brown (Räv Dagdrömmare) – Keyboards
Scott Schulthies (Ulfbjorn Weirsson) – Bass
Alex McPhail (album only) – Guitar, Flute
William Hubbs (Emrys Faol) – Vocals
Ursula Acuña Kuchenbecker (Ursa) – Vocals

Live Lineup:
Paige Patenaude (Adaria Ravencroft) – Drums
Daniel Brown (Räv Dagdrömmare) – Keyboards
Scott Schulthies (Ulfbjorn Weirsson) – Bass
Connor Pylypa (Peregyr) – Guitar
William Hubbs (Emrys Faol) – Vocals
Ursula Acuña Kuchenbecker (Ursa) – Vocals, Flute

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About EP Artwork:

Depiction of a hooded figure in a broad landscape running to the distance with buildings and mountains in the background.

About the EP as a whole (LYRICALLY & MUSICALLY)

The Forgotten West as an EP is a collection of songs that tell a grand adventure story spanning multiple regions, times, and events. Building upon the sounds and ideas established in The Northern Saga (2017) it serves as the relaunch of Forsaken Rite and the world they intend to build intertwining metal and folk music and fantasy-inspired storytelling.

Each song features distinct and unique folk and metal elements throughout that give each member of the Warparty an opportunity to shine and showcase their musicianship.

Soaring, versatile, and expressive clean vocal melodies, harmonies, and lyrics build the Warparty’s world and stories.

Hard-hitting distorted vocals display anguish, anger, and power and support the emotive expression of the songs and stories.

Forsaken Rite’s iconic accordion-inspired sound is accompanied by inspiring and distinctive flute and medieval flute lines. The instrumentation is further supported through epic and expansive orchestral and folk elements including various horns, harps, and strings.

Striking and virtuosic guitar solos and leads shine through while providing rhythmic and heavy support throughout.

Driving bass guitar lines are distinguished with multiple leading bass lines and otherwise supportive and establishing rhythms.

Thundering and widely varied percussive elements throughout the songs establish and fortify the direction of each song.

Although the songs are loosely interconnected, each song is intended to stand alone by capturing the listener in the unique sounds and stories of Forsaken Rite.

Track by track (LYRICALLY & MUSICALLY)

1. The Forgotten West

Story: The Forgotten West is the start of a new adventure. Once content living a simple life in their town, everything changed on the night of reckoning when the town was attacked and everyone lost their land and home. Legends whisper of new lands to the West that are prosperous and free, so now the Warparty has begun their quest.

Despite great successes so far on this quest and new stories to be told, they can’t help but remember, and long for what they once had, but was lost. Who will remember where it all began?

Music: The Forgotten West is an epic adventure song that features multiple different folk, orchestral, and metal elements. It serves as a beacon to the listener to join the Warparty on their adventure and sets the stage for the successes, the failures, and the overall diversity that is going to be experienced throughout The Forgotten West.

The introduction is an ominous flute introduction that builds the stage for the story that is to ensue throughout The Forgotten West’s journey. The song features multiple vocal verses led first by clean vocals and later distorted vocals that build the world and narrative of the Forgotten West capturing the magnitude and scale of Warparty’s journey and the emotions behind it all. The song’s chorus soars high and captures the heart of the journey.

The bridge is abrupt and fills the soundstage with an epic orchestral composition over a chant enticing the listener to remembrance of what was once had, and the sacrifices that it took to get where they are now.

2. How Long is Forever?

Story: Descend into madness. An immortal being starts the story by questioning the meaning of its existence. The melancholic voice of Sanity is represented by clean vocals, which describe the internal struggle associated with the meaningless passing of time. Madness, represented by distorted vocals, slowly takes over until there is no trace of Sanity left.

Music: How Long is Forever was first developed as an original work for another project by Ursula (vocals). Bringing it to Forsaken Rite, it was quickly reworked to fit with the new direction of the band. It’s easily one of the most diverse songs on the EP bringing darker and dynamic elements to the band’s sound. The song is bass and clean vocal driven, starting dark and haunting and, in line with the story told, progresses heavier and heavier ending with a grand multi-layered outro incorporating unclean vocals, accordion, flute, guitar, syncopated percussion, and other orchestral elements.

3. The Storm

Story: The adventurers are traveling West and encounter a terrible storm. As if something greater has other plans for their journey, they must weather its forces in order to survive and continue on their path.

Music: The Storm is a catchy sing-a-long with clean and distorted vocals and multi-layered folk elements. The instrumental section is percussive and brings together multiple folk instruments and melodies.

4. Fire Circle

Story: Fire Circle tells the story of the night directly after the events of The Storm. All gathered around the fire, festivities ensue in remembrance of those who have been lost and the challenges that have been faced.

Music: Fire Circle features several distinct musical elements and sections including a medieval flute intro, ominous and reflective clean vocals that build the song’s narrative and entice the listener to join in the festivities and remembrance, and several folk instrumental sections giving a lead to dancing rhythms and melodies on accordion, flute, and guitar. The song sends off the listener with a soaring guitar lead as the festivities continue.

5. Call to War

Story: Call to War is the finale of The Forgotten West’s journey. The Warparty has made it to their destination… for now.

They have found villages and life isn’t so bad, it’s different than before, but yet… oh so familiar.

But as if destiny had other plans, peace lasts only so long before history begins to repeat itself as new enemy forces move in to take what little the village has left.

Call to War is a battle speech and a rallying cry, because this time, we all stay to fight, unlike so long ago, before the journey of The Forgotten West.

Music: Call to War is the finale of The Forgotten West’s journey. The drums of war front the final rally cry as the war party leads warriors into battle.

Call to War is a heavy war song led by the power of unclean vocals as clean vocals build the narrative. The song is directed at listeners enticing them to join the Warparty in the final battle.

The song’s bridge is a grand battle speech and a march towards victory climaxing in a multi-layered instrumental and vocal breakdown to round out the EP.

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

Fun Facts – Story Angles

1. Paige never heard folk metal before 2011, ended up going to a Cradle of Filth concert that year, and met someone who showed her folk metal starting with Eluveitie, Tyr, Ensiferum, Amon Amarth, etc. Immediately she was like “I wanna start a band like this”. Coming off a 5 year drum hiatus she began working towards starting the band.

2. The band name came from one of those band-name generators. Looked up some starting names and Forsaken came to mind, then worked to come up with what sounded good/cool with the word Forsaken. Eventually settled on Rite. “Forsaken Rite”

3. Back in 2016 there started a festival called Metalocalypstick Fest. A festival celebrating women in metal. Every band that played had to have, a least one female in the band. We had 3. The festival started with warm weather but quickly turned to rain. The stage, thankfully, was covered by a huge canopy. We were the very first band on the very first day on stage, effectively Christening, the festival. We played our 45-minute set, and shortly after we had completed and torn down, it started to rain. It continued to rain most of the weekend. The festival’s headliner was, none other than, Nervosa

Photo Credit: VOH Photography

Forged in the cold northern plains of Edmonton, AB, Forsaken Rite has been crafting tales of ancient lore and heroic feats since their formation in 2012. Drawing inspiration from their northern ancestry and the wild landscapes of Canada, the band has built a reputation for delivering electrifying live performances and transporting their audience into fantastical realms.

Weaving intricate tales of adventure, battles, and travels with each song they create. Their upcoming EP “The Forgotten West” out on September 27^th, 2024 is a continuation of 2017’s “The Northern Saga”, and sees the band/war party heading West.

They are recommended for fans of Eluveitie, Nightwish, and Faun.

Discography:
2024 – The Forgotten West – EP
2017 – The Northern Saga – Album
2015 – For the Honour of our Fathers – EP

Shared Stage with: The Agonist, Mortillery, Hibria, Lost Nebula, W.M.D.

Tours and Festivals:
2022 – Hyperspace Metal Festival (attended, but unable to play due to half the band having Covid)
2021 – Loud As Hell
2020 – Loud As Hell
2019 – Metalocalypstick Fest
2018 – Saskatoon Screamfest – Night #2
2018 – Armstrong Metal Festival
2018 – Metalocalypstick Fest
2018 – March of The Frozen North Tour
2017 – Metalocalypstick Fest
2017 – The Northern Saga Canada Tour
2016 – Metalocalypstick Fest
2016 – Albertilation Festival

0 EPK – Chain Code – Synthetic Outcomes (2024) – Out Oct 1st

August 22, 2024
by Asher
· Chain Code · EPKs

EPK – Chain Code – Synthetic Outcomes (2024) – Out Oct 1st

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

“I am pleased to finally unleash this labor of love. I started this project in 2022 and manically wrote two albums, fixated on creating paranoid yet beautiful progressive rock to express my enjoyment of dystopian science fiction that sees humanity losing its very essence to machines. The initial point musically was to have Adrian Belew join Voivod in my bizarro musical mind. I feel that this album will find an audience of weirdos who are into this type of music. I don’t think it was written for “average” music fans, as it’s a challenging listen, but there are definitely those on the outskirts of genres who could find meaning in this project. I encourage any weirdo to put on headphones and take a trip to our future with the chaotic elegance of Chain Code!” – MuRphry – Chain Code

For fans of Adrian Belew (King Crimson, Zappa, Talking Heads, solo), Voivod, Primus, with tinges of post-punk (Dead Kennedys, NoMeansNo, Jesus Lizard)

Band: Chain Code
Album Title: Synthetic Outcomes
Release Date: October 1, 2024
Label: Self-Release

Facebook.com/ChainCodeBand | ChainCode.bandcamp.com

“the new track (In Line) is a bold musical statement with one foot in modern progressive technical musical prowess, but with eye on the class and lyricism of the distant past greats of the genre.” – Ghost Cult Magazine

““Synthetic Outcomes” is a deeply satisfying listen if you like your music to be dense, multi-layered and to come with an idea and a concept that the music and the lyrics expand upon. It is spectacularly complex and rewards repeated listens to an egregious degree. It isn’t overpoweringly heavy, but it’s heavy enough to bite you in the arse and it is a challenging listen indeed. Some punters may find it a bit too much to digest in a single sitting, however Dark Juan is made of sterner stuff than that. 9/10″ – Ever Metal

“Murphy is a Milwaukee based musician and his description of Andrian Belew (King Crimson) fronting Voivod is a close description of the brilliance of the debut, Synthetic Outcomes. Bringing his love of science fiction and humor, Murphy’s style is avantgarde and fascinating. “Human” is the album opener and you get that unique approach to progressive metal. “A New Face” shows how catchy this guy can be, but still avantgarde and cool as hell. The bass really stands out (Primus is also an influence) during songs like “They’re Not Mad Scientists” and “Unlearn.” “My Buddy” has that early nineties (The Outer Limits and Angel Rat era) Voivod sound. Chain Code makes “Junk Piles and Their Lonely Owners” memorable with the busy, but repetitious music and really cool technical guitar playing. This is a definitely contender for album of the year.” – Transcending The Mundane

“Progressive rock fans, get ready to be captivated by the latest offering from Chain Code, a unique and complex solo project led by the enigmatic MuRphry who channels his love for prog rock and sci-fi into a potent sonic experience… ‘A New Face’ is a short, yet windy, frantic, and complex song that is as unpredictable as it is catchy.” – The ProgSpace

“Tickling my itch for some dissonant avantgarde stuff this week is “Synthetic Outcomes”, the debut from new US based project Chain Code. This is a “non-stop barrage of syncopation and dissonant tension”, as the press release aptly stated, spearheaded by the enigmatic vocalist/multiinstrumentalist MurPhry, and these nine tracks should present themselves as some welcome grubs for the Voivod/King Crimson/Sleepytime Gorilla Museum/Gargoyl//Shamblemaths crowd. ” The Prog Space

“If System of the Down and Primus had a child, that child would sound like the debut single “A New Face” from Chain Code… With a unique blend of melody, dissonance, and intricately stringed arrangements, Chain Code is set to spin progressive rock on its head not only with their debut single but also with their debut album Synthetic Outcomes” – Amplify The Noise

“As debut albums come, Synthetic Outcomes is quite exceptional… Keep an eye open for this captivating artist, and beware of our computer overlords that are just around the corner waiting to take over for good.” – Disagreemeent.nl

“US band Chain Code are out with the album “Synthetic Outcomes”, and progressive metal is the style explored on this production. That being said, a lot of the heart and the soul of this band appears to revolve around aesthetics from the 1970s, and then from more expressive bands from the progressive rock tradition back then. With plenty of references to King Crimson, possibly also Gentle Giant, and if you know about a band from that era that played around with avantgarde tendencies and whimsical attitudes there’s a good chance that you’ll encounter references in that line too. With a bit of a theatrical display in the vocals department to boot, and some of the flamboyant aspects from the symphonic progressive rock tradition added as a bit of a subtle seasoning. But the band have chosen to explore those landscapes in a metal guise. An understated one at that, but still with metal rather than prog as the expression and orientation of choice. An album to seek out if the idea of exploring expressive 1970s progressive rock in a metal guise strikes you as an appealing proposition.” – Progressor

[Download Album Cover | Download Album Lyrics]

Band: Chain Code
Album Title: Synthetic Outcomes
Release Date: October 1, 2024
Label: Self-Release

Track Listing:
1. Human(kind of) (8:12)
2. A New Face (4:42)
3. They’re NOT Mad Scientists (4:16)
4. Unlearn (6:18)
5. My Buddy (3:54)
6. Inadequate (4:27)
7. Junk Piles and Their Lonely Owners (5:16)
8. Reaching Out (7:02)
9. In Line (8:00)

Album Credits:
All songs written and performed by MuRphry.
All songs recorded by MuRphry.
All artwork created by MuRphry with help from Matt Altieri and Arby.
Album mixed and mastered by Dan Klein and Iron Hand Audio, 2024.
Chain Code is MuRphry-all instruments and vocals.

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Describe The Album Artwork:

Each song comes with its own specific piece of art. The art has a lot of robots/cyborgs that have human characteristics. The art/lyrics also observe human insecurity and self-doubt as a driving force for the creation of such technology.

Track by track (LYRICALLY & MUSICALLY)

1. Human(kind of) seeks to set the album themes up lyrically with its repetition of the word synthetic. It is a song that expresses the idea that humans, while full of good intentions and philosophies, ultimately have a need for destruction. It is the longest song on the album and the only song with a sample in it, taken from a news story about using AI to translate brain scans into text and was chosen as the opener musically because of both its monotonous ending and slow build beginning. It is sort of a unique song on the album structurally, but seemed appropriate as an opener.

2. A New Face concerns the effort and ingenuity that went into designing a technology that eventually comes to encapsulate humanity’s inherent desire for self-destruction and war. This was the first song written for the album and is definitely has some of the best interplay between guitar parts on the album.

3. They’re NOT Mad Scientists not only sees a bit of humor coming into the lyrics but builds off the ideas set forth in A New Face in that good intentions are in place at the onset of creating something destructive. It sets up the idea that the creators put their own insecurities and sadness into their creation, and those are what eventually create the AI’s natural need to eliminate or subjugate humans, an idea that is also found later in the album. The song has a standard enough arrangement(in the context of prog’s fearless embracement of pop), but has a very complex midsection. In spite of that, it is one of the easier-to-grasp songs musically.

4. Unlearn is a song that juxtaposes the parts of a computer with the parts of a human being with the intention of suggesting that human beings can choose to be more than biomechanics. The vs in this song has what is perhaps the most complicated interplay of guitar and bass on the whole album.

5. My Buddy is a humorous song and shamelessly pays homage to the guitar playing of East Bay Ray(Dead Kennedys) in its verse. However, it gives way to something off-kilter at the end. The song starts with the line “The time I’ve wasted with my spy”, a direct reference to human beings being added by the technology they keep in their pockets, making it easier for governments or AI systems to gain power.

6. Inadequate, like A New Face and My Buddy, focuses on how human insecurities trick them into allowing technology to gain a foothold. It’s definitely a slower song on the album, more psychedelic than what comes before it.

7. Junk Piles and Their Lonely Owners was heavily influenced by King Crimson’s Red album. The vs. has a midi Erhu(a Chinese instrument) that is set to mimic the violin playing on the aforementioned Crimson album. This song definitely deals with human mortality more than the other songs. It also deals with intentionally expanding one’s mind in order to not be enslaved by technology.

8. Reaching out and 9. In-Line were heavily influenced by the Marvel character Ultron, an AI machine that both wants humanity and to destroy humanity. Both songs see this character ruminating on the flaws of humanity and how he is essentially in line to surpass humans. He is waiting patiently, collecting data, observing, and finally striking out. Musically both songs have some of the more complex arrangements. In Line begins and ends with a Black Hole Sun(Soundgarden) style oddball heavy and slow, yet beautiful and melodic, riff.

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

Fun Facts – Story Angles

1. Despite having many issues with modern Star Wars, I loved The Bad Batch and The Clone Wars enough to take my band name from the SW universe. Chain Code is the term denoted to the identification markers that contain biographical information on an individual. The music was all written and finished before naming the project.

2. All things nerd influence Chain Code, from science fiction movies (Terminator, Robocop, etc) to comic books.

Chain Code is a progressive rock band from Milwaukee, WI. The project was started by sole member MuRphry in 2022 with the sole intention of playing catchy, yet complex, bizarro progressive rock, think Adrian Belew(King Crimson, Zappa, solo, Talking Heads) meets Voivod. The lyrics’ themes center largely around the ever-popular sci-fi idea of technology overcoming human beings. Using a mixture of melody and dissonance, and a barrage of stringed instrument interplay, MuRphry seeks to capture both the beautiful moments and harsh realities of a future ever reliant upon a technology that, as all sci-fi predicts, will overtake a complacent human existence. The debut album, “Synthetic Outcomes”, finds humanity in distress, conquered by the technology they became dependent upon, but the future is left wide open for a human uprising. All weirdos are encouraged to put on headphones and take a trip to our future with the chaotic elegance of Chain Code!

0 EPK – Massive Scar Era – Assyad (2024) – Out October 25th

August 20, 2024
by Asher
· EPKs · Massive Scar Era

EPK – Massive Scar Era – Assyad (2024) – Out October 25th

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

“I dedicated years to studying Egyptian Zar traditions, songs, and rhythms, and I believe this EP represents a deeply rich and progressive musical experience. It’s a journey that I think will resonate with those who appreciate concept albums and are drawn to non-mainstream metal music. In the world of Zar, what you are curious about also becomes curious about you. Each song on this EP is inspired by a specific Zar spirit, and I’m eager to see how each listener connects with the EP, as I’m sure everyone will be drawn to different songs in their own unique way.

I’m incredibly proud of this collaboration that united Canadian and Egyptian musicians from completely different backgrounds who only spoke the language of music. A memorable moment was a five-minute improvisation between Simon on drums and Muhammed on the tabla. Despite the language barrier, the intensity of the metal drumming and the polyrhythmic Zar beats created a profound harmony. I instantly knew this collaboration would be a success. I cherished every moment with these musicians and am proud of Assyad. It was a unique experience, and I hope it resonates with audiences just as it did with us.” – Cherine Amr – Massive Scar Era

For fans of metal with folkloric cultural influences, Merfolk, Nawather, Zaeer, Ambrotype, Khalas

Band: Massive Scar Era
EP Title: Assyad
Release Date: August 23, 2024
Label: Self-Release

Facebook.com/massivescarera | Instagram.com/massivescarera |

Massivescarera.bandcamp.com | Spotify | Apple Music

“Steeped in Metal, but bridging the gap to Egyptian music, Massive Scar Era is a Metal band you need to know about in 2023. The brainchild of visionary artist Cherine Amr, their new EP Metal Goes Egyptian, the seventh release in her career, is coming out in November. Not only does the band creative a ground-breaking mix of Metal and world music, Cherine had to flee her country where “the devil’s music” is forbidden to create, let alone defying gender norms that could lead to punishment, or worse. With its unique fusion of Prog Rock, post-Grunge, Egyptian music, and Heavy Metal, the group just released a new single “Between Waves!”” – Ghost Cult Magazine (2023 – Metal Goes Egyptian)

” When you’re a metal act, you either go big or you go home, and going big is what Massive Scar Era does extremely well. Today, the metal ensemble unveiled the video for their new single, “Oblivious,” off of their Metal Goes Egyptian EP. As an in-studio performance video, it’s simple but effective. It’s particularly effective due to the level of precision with which the band plays. Then you add in the orchestral elements, and you have essentially what amounts to a symphony. Beyond band founder and leader Cherine Amr, there are many minds and parties at play to bring this vision to life. Amr collaborates closely with musicians, producers, and video creators. Her goal is to combine heavy metal’s power with traditional Arabic music’s beauty and charisma. You’ll hear it all come together in perfect harmony upon Metal Goes Egyptian’s official release on November 3rd.” – V13 (2023 – Metal Goes Egyptian)

“As the title indicates, it’s metal with a middle eastern tone and style… mostly melodic death with clean and harsh vox.” – The Moshpit – WORT 89.9 FM (Madison, WI) (2023 – Metal Goes Egyptian)

“the Egyptian-Western music cocktail has an almost hypnotic effect” – PowerMetal.de (2023 – Metal Goes Egyptian)

“Through “Metal Goes Egypt”, their new EP, Canadian band Massive Scar Era invites open-minded heavy music fans to embark on a musical journey that transcends borders and creates a unique fusion of metal energy and the melodic beauty and cultural nuances of traditional Egyptian Arabic music.” – YoZone.fr (2023 – Metal Goes Egyptian)

Band: Massive Scar Era
EP Title: Assyad
Release Date: August 23, 2024
Label: Self-Release

Track Listing:
1. Muluk al-Ardiyya | The Kings of the Earth – 4:54
2. Abdel Salam Lasmar – 3:17
3. Genie, Lambo – 3:17
4. Inner Dialogue – 3:33
5. El-Leil | The Night – 4:24
6. Pretend – 3:43
7. School Girls ft. Chaney Crabb (Entheos) – 3:26
EP Length: 26:38

EP Recording Credits:
Creative producer: Cherine Amr
Zār Leader, teacher, and consultant: Muhammed Abouzeid
Community Connector, Cultural Consultant, and overseas executive producer: Dr. Kawakb Tawfik
All songs and lyrics are written by Cherine Amr.
Any Arabic vocals heard on Assyad are folkloric Zār songs.
Percussion and Kawala arrangement and performance: Muhammed Abouzeid
Traditional Zār singer: Salem Atallah
Drum arrangement and performance: Simon McKay
Bass arrangement and performance: Frédérick Filiatrault
Vocal, Guitar, and back vocals arrangement and performance: Cherine Amr.
Death Growl: Chaney Crabb on Track 7. School Girls
Music Producer: Etienne Tremblay (La Machine à Mixer)
Recorded at Studio Mix Art in Montréal, Québec, by Nicholas Pétrowski and Etienne Tremblay.
Mixed and Master by Etienne Tremblay (La Machine à Mixer)

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

About The EP Artwork:

I discovered Zeinab on Behance and was captivated by her unique, obscure art. Given her cultural background of being also from the Arabic-speaking region, I knew she would easily get the cultural nuances and mostly understand the Arabic lyrics on Assyad. I shared the EP and some jewelry related to Zar rituals with her. Although these elements aren’t directly reflected in the artwork, her inspiration is subtly evident. Zeinab truly grasped the essence of the project and created a vision for *Assyad* that fits perfectly.

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

Zār is a possession cult that incorporates music and dance into its rituals, aiming to establish reconciliation between individuals and the spirits (Assyad) believed to inhabit their bodies, causing illness. The Assyad represents the projection of fears and anxieties, and the Zār ritual seeks to alleviate suffering, challenges, and conflicts faced by the individual. At the heart of the Zār ceremony, an ensemble guides the devotees through a trance dance, breaking down barriers to personal identity through rhythmic and melodic patterns deeply rooted in emotional and cultural contexts. This allows individuals in a trance to identify with the possessing spirits, providing a unique sensory experience.

The EP Assyad blends traditional Zār songs and rhythms with metal. Each track is inspired by a specific Zār spirit.

Track by track (LYRICALLY & MUSICALLY):

1. Muluk al-Ardiyya | The Kings of the Earth | ملوك الأرضية (first song we worked on)

Muluk al-Ardiyya is a song for the spirits living on the mainland. They are among the oldest kind of invisible creatures whose agency is related to the forces and life on Earth.

2. Abdel Salam Lasmar | عبدالسلام الاسمر

Abdel Salam al-Asmar, a revered religious figure in Libyan Muslim history, lived from 1455 to 1575 CE. Began an ascetic (zahid) in Libya’s expansive desert, known for performing miraculous acts for the needy. Later in life, he became a mujahid (holy warrior), defending his city with fervour. Revered across North Africa, he features in traditions like Zār, Gnawa, and Stanbeli. His militant stance inspired many Sufi orders in anti-colonial and military resistance efforts.

3. Genie, Lambo | جني يالمبو

Spirit of the fire, Jinn Lambo is a spiteful creature and a servant of Sultan al-Nar, the fire sultan. The music retains strong African elements, maintaining a profound connection to Zār’s Eastern African roots. The ritual necessitates the presence of fire and lit candles during the trance dance.

4. Inner Dialogue

Inner Dialogue is inspired by the Zār song “Salila, the Master of the Water,” depicted as a mermaid symbolizing rebirth and abundance. Salila is a captivating yet proud female spirit, drawn to wealth and gold, but also capable of transformative generosity and support for humanity.

5. El-Leil | The Night | الليل

“The Night serves as an ode to the day and sun. The benevolent Asyad sing to the night, longing for its swift departure, as darkness is associated with malevolent spirits.

6. Pretend

Pretend draws its inspiration from the esteemed spirits of Mamma el-Sultan and Sa’det El-Bar. Mamma el-Sultan presides as the revered master over all Zār spirits, while Sa’det El-Bar command the domain of Al-Midan, the battlefield.

7. School Girls | بنات المدرسة ft. Chaney Crabb (Entheos)

“School Girls” represents a dialogue between the Mu’allima (teacher) spirit, brought to life by Chaney’s voice, and the outside world. The chorus is adapted from the traditional Zar song “Banat el Madrassa,” which reflects a significant era in Egyptian society and feminism. It highlights the pursuit of higher education by middle and upper-class women in the 1950s, symbolizing their aspirations and empowerment. The Mu’allima serves as both a guide within the female Zar realm and a social archetype.

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

Story Angles – Band Fun Facts:

1. When I formed this band In 2004, in Alexandria, Egypt, it was established with an all-female lineup. The reason behind this choice was the restriction imposed by my family, which prohibited me from playing music with male musicians. While some perceived it as a feminist statement, I personally experienced it as one of the most oppressive situations I had ever encountered

2. In the SWANA (Southwest Asia and North Africa) region, each country has its unique microtonal system. In the orchestra that recorded the Arabic Music, the members hailed from various backgrounds within the Arab-speaking region. However, despite their diverse origins, they all tuned in together and delivered an authentic Egyptian sound.

3. Traveling with my Egyptian passport has proven to be an extremely arduous task primarily due to the stringent visa procedures involved. In 2017, during the implementation of the Trump travel ban, MSE received an invitation to perform at SXSW. I personally had a physical appointment at the embassy, clearly stating the purpose of my travel, and providing the official SXSW invitation, I was granted the visa. However, upon reaching the borders, I faced an unexpected setback: I was denied entry, even though Egypt was not included in the travel ban list.

Massive Scar Era – Cherine Amr – Photo Credit by Big Rock Films

Massive Scar Era, the visionary Egyptian/Canadian metal project led by Cherine Amr, is thrilled to announce the release of their new single “School Girls | بنات المدرسة”. This track, featuring the dynamic vocals of Chaney Crabb from Entheos, is the lead single from their upcoming EP, “Assyad”, set to drop in October 2024. With “School Girls”, Massive Scar Era breaks genre boundaries again, blending progressive rock, post-grunge, Egyptian music, and metal into a captivating sound that resonates deeply with fans worldwide. Amr comments on the unique track:

“‘School Girls’ represents a dialogue between the Mu’allima (teacher) spirit, brought to life by Chaney’s voice, and the outside world. The chorus is adapted from the traditional Zar song “Banat el Madrassa,” reflecting a significant era in Egyptian society and feminism. It highlights the pursuit of higher education by middle and upper-class women in the 1950s, symbolizing their aspirations and empowerment. The Mu’allima serves as both a guide within the female Zar realm and a social archetype.”

Amr, the creative force behind Massive Scar Era, has dedicated years to studying Egyptian Zār traditions, weaving this deep cultural understanding into her music. Zār is a cult of possession in which ritual incorporates music and dance. Zar aims to establish a state of reconciliation between the individuals and the possessing spirits (Asyad) that inhabit their bodies and are believed to be the cause of illness.

For this EP, Amr received invaluable support from the community and cultural consultant, Dr. Kawkab Tawfik, who introduced her to Zar Abou El-Gheit, led by the master Zar musician, Muhammed AbouZeid. Muhammed invited Amr to attend one of their ceremonies held for a patient at his home in the village of Abou El-Gheit, a couple of hours outside Cairo, Egypt. They formed an immediate connection there, and Muhammed was instrumental in deepening Amr’s understanding of Zar songs.

Amr later invited Muhammed and his bandmate Salem to Montreal, where we engaged in daily songwriting workshops. Joining them were metal musicians Simon Mckay (the drummer of The Agonist) and Frédérick Filiatrault (bassist of Vvon Dogma I) for a month-long residency. Amr worked closely with Simon, recording the Zar songs played by Muhammed and Salem on a DR-70 Tascam. Amr would then take these recordings home to develop the songs further, sometimes sending Simon rough versions with unquantized drumlines or even without any drumlines. Simon would then rewrite the drumlines and occasionally assist with the guitar arrangements. The next day, they would reunite in the studio to share and refine their ideas. This process, which they repeated five days a week, was truly collaborative.

As Massive Scar Era continues to evolve, the release of the single “School Girls” marks a new chapter in the band’s journey, offering fans a glimpse into the rich, progressive musical experience that awaits in “Assyad”, which will be a concept record that blends Egyptian Zār songs with prog rock and metal.

“I believe this EP will be a journey that and I think it will resonate with those who appreciate concept albums and are drawn to non-mainstream metal music. In the world of Zar, what you are curious about also becomes curious about you. Each song on this EP is inspired by a specific Zar spirit, and I’m eager to see how each listener connects with the EP, as I’m sure everyone will be drawn to different songs in their own unique way.” adds Amr.

This single “School Girls” is a testament to Amr’s commitment to exploring and honoring these traditions while pushing the boundaries of modern metal music along with it being a bold statement, blending traditional Zār songs and rhythms with the raw power of metal into a unique and distinctive sound.

Recommended for fans of Merfolk, Nawather, and Zaeer.

More Info:

Massive Scar Era is the brainchild of the visionary artist Cherine Amr, who leads a collaborative journey with diverse musicians in every EP, bringing her unique vision to life. Originating from Alexandria, Egypt, and currently based in Montreal, QC, Massive Scar Era defies genre boundaries, weaving together a captivating tapestry of progressive rock, post-grunge, Egyptian music, and metal, resonating deeply with audiences across the globe.

Since its inception in 2004, Massive Scar Era has been at the forefront of musical innovation, pioneering a remarkable fusion of fierce vocals, intricate violin melodies, distorted guitars, and the pulsating rhythms of Egyptian percussion. Her music reflects the cosmopolitan allure of Alexandria intertwined with the raw essence of Cairo’s urban landscape. The project’s distinctive sound and cultural influences have garnered widespread recognition, leading to its inclusion in two highly influential documentaries that shed light on the vibrant music scenes across the SWANA region: “Microphone” (2012) and “Before the Spring After the Fall” (2013).

She has embarked on extensive tours throughout Europe and North America, gracing renowned stages and captivating audiences with her magnetic presence.

Discography:
Assayd (2024)
Metal Goes Egyptian (2023)
Color Blind (2018)
30 Years (2016)
Comes Around You (2012)
Precautionary Measures (2011) (physical only)
Unfamiliar Territory (2010) (physical only)
Reincarnation (2006) (physical only)

Music Placements – Microphone Movie 2012

Shared Stage with: Kreator, Dream Theatre, Dimmu Borgir, Septic Flesh, The Algorithm, Moonspell, Tyr

Tours and Festivals:
2019 – USA East Coast Tour
– USA West Coast Tour
– D-CAF Music Festival Cairo, Egypt
2018 – No Visa Required Cross Canadian Tour
2017 – Metalocalypstick (Lone Butte, BC)
2016 – Metalocalypstick (Valemount, BC)
2015 – SXSW (Austin, TX)
2014 – Total Metal Festival (Italy)
2014 – Inferno Metal Festival (Norway)
2013 – FreakStock Festival (Borgenstreich, Germany)
2013 – SXSW (Austin, TX)
2012 – Saxstock Festival (Germany)
2012 – Slot Art Festival (Poland)
2011 – Whiskey A Go Go (Los Angeles)
2011 – Metal Asylum, Dubai (UAE)
2011 – Cornerstone Festival, USA
2010 – Dubai Film Festival (UAE)
2010 – Cornerstone Festival (Marietta, IL)
2007 – SOS Music Festival (Egypt)
2008 – Sweden Rock Festival (Sweden)

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