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Category: EPKs

0 EPK – Liminal Spirit – Forfeiture Hymns (2026)

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

EPK – Liminal Spirit – Forfeiture Hymns (2026)

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

For fans of Skepticism, Jesu, Confessor, Cynic, Anata

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

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

Liminalspirit.bandcamp.com | Spotify

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Track by Track (LYRICALLY & MUSICALLY):

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

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

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

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

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

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

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

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

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

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

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

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

STORY ANGLES / FUN FACTS ABOUT THE BAND

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

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

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

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

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

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

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

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

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

0 EPK – Within The Realm …Of Systemic Decay (2026)

  • September 17, 2026
  • by Asher
  • · EPKs · Within The Realm

EPK – Within The Realm …Of Systemic Decay (2026)

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

“Geoff: It feels great to finally have these songs recorded and released after almost 10 years of them being written. I believe everything happens at the right time, and we’ve all grown as players & as friends to make this record possible… As a producer, I’m extremely proud of the production and the mixing that went into the album! I hope our fans enjoy it…

“Rick: We wrote this album with a certain rawness and honesty that came from our love of 80’s and 90’s metal. Those decades of metal really resonate with and inspire us the most, and we think we truly captured that on this LP.”

For fans of Slayer, Sacrifice, Sacred Reich, Megadeth, Sepultura

Facebook.com/WithinTheRealmOfMetal

“Into The Night is a song that balances aggression with melody, memorable riffs, and emotional depth”  – Queen Metal Radio

Album Title:  “…Of Systemic Decay”
Release Date: October 30, 2026
Label: Self-Release
Genre: Thrash/Heavy Metal
Location of Band: St. John’s, Newfoundland

Track Listing:
1. Sixth Sense – 4:13
2. Endless Life – 4:59
3. Spiral of Terror – 5:39
4. Hidden Agenda – 5:05
5. Homicidal Sacrifice – 4:12
6. The Hydra – 5:26
7. The Information is Out – 5:16
8. Into The Night – 4:24
Album Length – 37:56

Album Recording Credits:
• All songs performed by: Within the Realm
• All songs written by: Within the Realm
• Produced by: Within the Realm
• Mixed by: Michael Small
• Mastered by: Michael Small
• Album Artwork by: Within The Realm, photography by Felix Mittermeier, Avak Ava, album band photography by Gordon Little
• Canadian Content (MAPL)

Album Band Lineup:
Richard Squires (vocals)
Rick White (bass and backing vocals)
Michael Small (drums)
Geoff Waye (guitar)
Des Mason (backing vocals)

Live Band Lineup:
Richard Squires (vocals)
Rick White (bass)
Michael Small (drums)
Geoff Waye (guitar)

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

About The Album Artwork:

Geoff: The album cover is symbolic of the systemic decay within society. It shows a decayed government building in an apocalyptic landscape.

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

Across these lyrics, the unifying themes center on intense psychological conflict, external subjugation, anti-authoritarianism, and the cathartic power of heavy metal culture. Tracks like “Sixth Sense,” “Spiral of Terror,” and “Homicidal Sacrifice” explore internal states of dread, overwhelming premonitions, trauma, and loss of agency or sanity. Concurrently, songs such as “Hidden Agenda,” “The Information is Out,” and “The Hydra” turn outward to critique systemic oppression, government deception, conspiracy theories, extraterrestrial cover-ups, and corporate greed—framing societal structures as malicious entities that divide and manipulate the populace. Binding these dark and chaotic narratives together, pieces like “Endless Life” and “Into the Night” propose an antidote: unified resistance, resilience in the face of suffering, and a fierce, nostalgic devotion to heavy metal music as a lifelong sanctuary, brotherhood, and outlet for primal energy.

Track By Track (LYRICALLY & MUSICALLY):

1. Sixth Sense: Explores the chaotic, overwhelming burden of unwanted precognitive visions and sudden cosmic connections that disrupt reality.

2. Endless Life: Frames heavy metal music as a resilient sanctuary and unifying rally cry when facing environmental ruin and personal despair.

3. Spiral of Terror: Depicts a young person’s struggle through trauma, addiction, and fear as they try to put past demons to rest.

4. Hidden Agenda: Warns against government deception and mind control, urging people to question authority and search for hidden truths.

5. Homicidal Sacrifice: Delves into the dark, sinister mind of a killer consumed by an inescapable impulse to control and select victims.

6. The Information is Out: Details the dramatic military encounter and political aftermath of a UFO disclosure that exposes alien contact to humanity.

7. The Hydra: Urges the populace to stop fighting among themselves and unite to tear down a corrupt, greedy system designed to subjugate them.

8. Into the Night: Celebrates pure nostalgia, intense energy, and lifelong devotion to the heavy metal scene from 1985 to the present day.

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

BAND STORY ANGLES / FUN FACTS:

1. Rick and Geoff played together in the mid-90’s era band Oberon in St. John’s! And Oberon was one of the first metal bands Richard had seen locally as a teenager

2. Through various bands he played in, Rick was fortunate to play shows with internationally known acts Misery Index, Thine Eyes Bleed, Havok, Revocation, Forbidden, and Napalm Death.

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

Formed in St. John’s, Newfoundland, Within The Realm delivers a powerful blend of 80’s and 90’s inspired heavy metal, thrash metal, and groove metal. Combining crushing riffs, driving rhythms, and a no-compromise approach to songwriting, the band has built a reputation for music that is both aggressive and memorable. With a renewed focus and new material on the horizon, Within The Realm is preparing for its return in October 2026.

The band was formed in 2016 by bassist Rick White, who recruited drummer Michael Small. Guitarist Geoff Waye joined soon after, reuniting with Rick following their earlier collaboration in Oberon during the 1990s. Vocalist Des Mason completed the original lineup, and the band went on to write and perform original material throughout 2018 and 2019 before entering an extended hiatus as Rick was living in Edmonton at the time.

Within The Realm reconvened in the summer of 2025 with the goal of bringing their long-shelved material into the studio, alongside newly developed songs. During this process, vocalist Des Mason was unable to return due to personal health reasons, and Richard Squires, well-known in the Newfoundland metal scene and formerly of Last Soul Down, stepped in as the band’s new frontman.

With a renewed lineup and a deep catalogue of material years in the making, Within The Realm is preparing to release its long-awaited recordings, shaped by decades of experience across the Newfoundland metal scene.

Current Lineup & Notable History

Rick White (bass) – formerly of Festered Corpse, Sacrament A.D.,Oberon, Rapid Burial, Corporal Punishment, Incidium, Kriticos, Ides of Winter, Death Assembly

Michael Small (drums) – Jaded Truth, formerly Winterhearth

Geoff Waye (guitar) – Category VI, Triskelyon, Artach, formerly Oberon

Richard Squires (vocals) – formerly Last Soul Down

0 EPK – The Astral Prophets – Invasion (2026)

  • September 15, 2026
  • by Asher
  • · Astral Prophets · EPKs

EPK – The Astral Prophets – Invasion (2026)

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

“We wanted to bring an album that improves upon our already unique style. During our EP, we started to dial in our sound, but now we are delivering an LP in our full form. We brought the music back to our heavier roots. The riffs are stronger. The leads are melodic and smooth. The drums are driving, and Staci’s singing is more ballsy! Every song is amazing in its own right, and we couldn’t be prouder of them.” – The Astral Prophets

For fans of Unleash the Archers, Amaranthe, Volbeat, Battle Beast

Band Name: The Astral Prophets
Album Title: Invasion
Release Date: October 30, 2026
Label: Self-Release
Genre: Power Groove
Location: Calgary, AB, Canada

Theastralprophets.com | Facebook.com/theastralprophets | Instagram.com/astralprophets | Youtube.com/@theastralprophets3308/videos

Apple Music | Spotify | Theastralprophets.bandcamp.com

All Links – https://hyperfollow.com/astralprophets

“I love the band’s genuineness, honesty, and energy the most on the album… They DRIVE those riffs home, and the bass guitar clubs you every inch of that ride. Get ready for an ass-kicking.” 8/10 – Metal-Temple

Band Name: The Astral Prophets
Album Title: Invasion
Release Date: October 30, 2026
Label: Self-Release
Genre: Power Groove
Location: Calgary, AB, Canada

Track Listing:
1. Target Locked – 4:24
2. Power of the Rift – 4:08
3. Invasion ft. Jeff Black – 4:06
4. Into Nothing – 4:46
5. A Trail of Broken Stars – 4:46
6. World Eater – 4:35
7. Hyperdrive – 4:47
8. Inside the Hyperdrive – 3:37

Album Recording Credits:
All songs performed by: The Astral Prophets
All songs written by: Terry Savage, AJ Bergin, Staci Stardust, Kyle Summers, Harley D’Orazio
Produced by: Savage Studios & Nick The Music Dude
Mixed and Mastered by: Blacknote Music
Album Artwork by: Disturbing Grace Design
Member of SOCAN
Canadian Content (MAPL)

Album & Live Band Lineup:
Staci Stardust – Lead Vocals
AJ Bergin – Lead Guitar & Vocals
Harley D’Orazio – Guitar & Vocals
Terry Savage – Bass & Vocals
Kyle Summers – Drums

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

Describe the Album Artwork:

Earth. We have squandered it for far too long. For too long have we drained its rivers and pilfered its minerals. It’s dying now. One of the most special planets in the universe, Earth stands alone. Even in its dilapidated and over-populated state, it still exists as a prize to the other civilizations of the known universe.
The artwork depicts a mysterious alien mothership arriving to terraform the planet out of a massive wormhole. The first battalions of the alien fleet hover around looking for specimens to beam back up for probing. The ground dries and cracks underneath the immense power of the ion beam stemming from the ship. The end is here. It is…INVASION

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

Invasion is a roller coaster of an album. It kicks off with a bang, slows down in the middle, but then also goes out with a bang. Some of these songs materialized out of nowhere and became beasts in their own right.
Throughout the album, there are themes of anger, retribution, causality, and madness. But there are also themes of love and longing mixed in between. These aspects are conveyed with sci-fi and cosmic overtones.

Track By Track:

Describe each song track by track (LYRICALLY & MUSICALLY):

Target Locked – Target Locked was born out of boredom during the COVID lockdown in 2020. It’s our most straightforward, thrashiest song, and it doesn’t even have a solo. The problem with working from home for Terry was that his guitar was right there in his office, so between meetings he’d pick it up and mess around with riffs. One day, Target Locked was born. It was originally about Boba Fett and had a lot more guitar licks, but it got refined, chopped up, and lengthened. The bridge, aptly named “Dogfight,” was only played once in the original demo, but the band workshopped it until it became the monster it is now. Terry’s original lyrics were bad, straightforwardly bad, so Staci put her own spin on them and dumped some anger in, making it more personal. The song sends a message of “Don’t mess with me!”

Power of the Rift – Like Target Locked, Power of the Rift was born during the Covid lockdown. Terry wanted to write a song based purely on chord structure. It started that way… complete with really, really cheesy lyrics (embarrassing to listen to now). Between the chord changes, a catchy riff popped into existence and became the hook of the song. The intro got modified, the bridge got cut, an epic dueling guitar solo with a workshopped ending was added. Once the structure locked in, Terry went overboard with synths and sound effects, thinking the rest of the band would laugh at how ridiculous it was, but they ended up loving it! When it came time for Staci to write lyrics, she drew on some of her happier memories and layered them on top, that “loving at the speed of light” kind of feeling.

Invasion – I came up with the main riff on this one. It is heavy and metal as hell. My initial plan was to experiment with Terry and write a few bars at a time and bounce it back and forth with each other. I sent him the initial riff; he then added a verse…and a pre-chorus…and a chorus. He then sent it back to me to start adding to it. I got super busy with work and family, and kind of forgot about it. I guess while he was waiting for me to add to it, Terry took to the beach with his acoustic and randomly came back with a really cool riff, one that ended up being twice as fast as he’d originally imagined. It became arguably the most difficult riff he has ever written. He worked for hours trying to nail the harmonies on the demo, and it’s the most loved/hated riff on the whole record. He just naturally writes music at such a high level, I can’t keep up with the guy! Staci had a hard time coming up with lyrics for this one, so Terry took over and went back to our old song Lazerwitch for inspiration, the idea that humanity could easily be taken over by a more technologically superior race since we are already so reliant on technology today. We also have Jeff Black from Glyph featured on this song, trading some dueling guitar solos. I had the pleasure of being in Scythia briefly with Jeff, but never got a chance to work with him on a track until now. I am super proud of getting him on this song and will treasure it forever!

Into Nothing – The inspiration for this song traces back to an old joke song in Scythia called Fort Make Money. A satirical retelling of rig life up in Fort McMurray. Terry started playing the chorus riff and had the song nailed out within a few hours, as he does. It’s easily our most 80s glam rock influenced song, and it fits the same swing feel as our older songs Cybernetic Doom and Firewall. The first time the band played it live, we ran the bridge, solo, and last chorus over and over because it was too fun to stop. It is actually my favorite song to play. When it came time for Staci to apply lyrics, she had a dream about trying to punch someone in the face and actually felt it connect in real life. It has the theme of not being able to differentiate dreams from reality.

Trail of Broken Stars – This song was originally called Maelstrom and was one of the first songs Celine, Terry, and I wrote together at the beginning of The Astral Prophets. Most of the riffs were mine, but the original version just didn’t quite slap as hard as we wanted it to. It got shelved for a long time until I breathed new life into it last year. For this album, Terry really started getting into backing tracks and made a mark on this one. He also came up with the lyrical scheme for the vocals in the intro. He had each person in the band write one stanza with lyrical themes based on The Astral Prophets. They all ended up flowing together beautifully. The lyrics took a while to materialize, until Terry was driving and “I am alive again” came to him, snowballing into a full set of lyrics. He sang them roughly to the band one jam, and they loved it. Bam, we had the last puzzle piece to the album. The song is about an Eternal being searching the cosmos for her soulmate who has gone mad. This song embodies themes of madness, pain, and loneliness.

World Eater – Terry wrote the main riff of this song back in Grade 12. He originally called it “A Bar at the End of the Universe.” It sat in the memory riff bank forever until he tabbed and recorded a quick demo. Again, it sat on Google Drive/Dropbox until I dug it up, chopped it up, and refined it. We workshopped it about six times back and forth until it became a damn good song. It’s anthemic and bombastic, and the bridge is always super fun to play. We named the song World Eater as a reference to Galactus from Marvel Comics and then used that for inspiration for lyrics. The song is more about the Silver Surfer, actually, and his longing to go back home to his love.

Hyperdrive – Terry had a riff that was a combination of Clutch and Mötley Crüe, and he turned it into a hootin’ rock & roll song that he was just over the moon about. Then our old drummer Jordan told us that it sounded like some kid’s Bandcamp final rock & roll songwriting recital song, and that the best part of it was when it was over. Terry was a sad boy that day. He took that criticism with my head hung low and went back to the drawing board. This song had a riff he had been working on for years, trying to fit it into a song. The “Inside the Hyperdrive” riff, and he was for damn sure going to get it onto this next album somehow. Terry sat down at my computer and just riffed, riffed, and riffed over and over again until it morphed into this groovy, thrashy, all-over-the-neck song. He listened back to the old demo and thought, “Yeah…how do you like me now?!” Thus, “Hyperdrive” was born. Staci asked what she should write the lyrics about, and the answer was simple. “Some dude is in love with the engine in his spaceship. Take that and run with it!” She came up with the idea of a woman trying to love a man who is too in love with his spaceship. All he needs is that hyperspeed.

Inside the Hyperdrive – When Jordan said that the best part of the song was when it was over, he meant this part. Terry loves when bands do the “bring it back but slower” move. It’s usually a death metal trick, but he had tried his hand at it here because that riff is just too damn catchy. I didn’t stop recording, kept playing that riff, and just left it at the end of the demo. Terry spruced it up and figured he’d come back to it one day and turn it into a full song. But all it needed was some polish and an end, which showcases Harley, our new guitarist. What you hear is 95% close to the original demo where Terry just messed around with the riff.

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

STORY ANGLES / FUN FACTS ABOUT THE BAND

1. We wanted to be just a straight-up doom metal band. But we all have such eccentric personalities and can’t stand playing that slow.

2. We synchronize a lot of our stage movements that bring a lot of smiles to our fans.

3. AJ forgets to bring gear to jam almost weekly! Poor guy. One time his kids borrowed his pedal power supply for their Easy Bake oven and fried the circuit.

4. Kyle is sponsored by Los Cabos drumsticks because he has been in 1000 bands!

5. Staci always takes 4 hours to get ready at gigs so she doesn’t have to help with load-in. Sneaky!

6. Kyle disassociates and still thinks he’s playing Rock Band or Guitar Hero on stage

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

Top L-R: Kyle Summers (Drums) | Harley D’Orazio (Guitars/Vocals) | Terry Savage (Bass/Vocals)
Bottom L-R: Staci Stardust (Lead Vocals) | AJ Bergin (Guitars/Vocals)
Photography Credit: Brad, YYC Visual Media

The Astral Prophets rose out of the ashes of Scythia, the Calgary-based folk/progressive metal act, when guitarist AJ Bergin, bassist Terry Savage, and drummer Celine Derval joined forces in 2019 to chart a course in a new, heavier direction.

Trading the folk-metal storytelling of their previous project for something rawer, more grounded, and more accessible for all, the trio built The Astral Prophets and formed it into what they call “Power Groove.” They added guitarist Brandon Macneill and then released three consecutive singles, “Firewall,” “USB Humanity,” and “Lazerwitch,” in October 2021.

Shortly after, Celine moved out to the coast, being replaced by Jordan Tworek on drums. The band then found Staci Allen to take on lead vocal duties. With a fresh, new, and improved sound, they then followed the three singles with their first EP release. “Anywhere But Here” came out in March 2023, featuring five tracks including a fan-favorite cover of Led Zeppelin’s “Immigrant Song.”

Now, in 2026, with the final form of the band featuring Kyle Summers on drums and Harley D’Orazio on guitars, The Astral Prophets prepare to deliver the masterpiece. The full-length LP “Invasion” will be delivered to the masses in Fall 2026!

Discography:
LP: Invasion – October 2026
EP: Anywhere But Here – March 2023
Single: Lazerwitch – October 2021
Single: USB Humanity – October 2021
Single: Firewall – October 2021

SHARED STAGE WITH:
Enforcer, Psychostick, Crimson Shadows, Greyhawk, Lunar, Owlbear, Solarus, Tyrants Demise, Aggression, Vaegon, SYRYN, Boneyard, Under the Mountain, Luminator, Tylor Dory Trio, Glyph, Tower Hill, Red Cain, Serpent Rider, and Crüzer.

TOURS AND FESTIVALS YOU HAVE PERFORMED ON.
Hyperspace Metalfest 2025 (Vancouver, BC)
The Electric Highway 2023/2025 (Calgary, AB)
Decimate Metalfest 2024 (Millet, AB)
Ampfest 2024 (Canmore, AB)
Moments Fest 2024 (Siksika, AB)

Artist Endorsements:
Kyle Summers is sponsored by Los Cabos Drumsticks

 

0 EPK – Nova Spei – Trinitas (Bam&Co-Heavy) (2026)

  • September 11, 2026
  • by Asher
  • · EPKs · Nova Spei (Bam&Co. Heavy)

EPK – Nova Spei – Trinitas (Bam&Co-Heavy) (2026)

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

“Writing Trinitas was both a challenge and a burden. There was the fear of not being able to compose an album that would do justice to its predecessor, both musically and lyrically, and in terms of the energy we all wanted to share with the audience. Although the majority of the music had always been composed by Dany, the departure of the previous lead singer had a significant emotional impact, and having to continue and rebuild a new dynamic with Cédrick was somewhat daunting. The shift in vocals from male to female was also, in itself, a considerable challenge, but one that was relatively easy to achieve. In the end, it was the change Nova Spei needed to get back on its feet and move forward into another chapter of its life. Fortunately, the joy of playing together as a band quickly resurfaced. Working with Francis Perron in the studio also greatly helped to rediscover the pleasure of playing and composing.” – Nova Spei

For fans of Make Them Suffer, Jinjer, Spiritbox, Architects, Kittie

Band: Nova Spei
Album Title: Trinitas
Release Date: November 6, 2026
Label: Bam&Co-Heavy
Distribution: Believe Digital (Digital) / Propagande (Physical) 
Genre: Modern Groove Metal
Location of Band: Trois-Rivières, Québec, Canada

NovaSpei.com | Facebook.com/NovaSpei | X.com/NovaSpeiBand | Instagram.com/novaspei | Youtube

Novaspei.bandcamp.com | Apple Music | Spotify

Online Store – www.novaspei.com/marchandise | Bam&Co. Heavy

“Sequentis is an album that will appeal to fans of thoughtful, committed metal and to fans of heavy djent-style sound.”- OndesChocs webzine

“I haven’t heard metal this groovy and catchy since ‘Ashes of the Wake’ era Lamb of God” – Spark Bean webzine

“Clearly superior to the previous offering, this Sequentis production presents a solid collection of rather muscular djent material that pays homage to the past while reveling in a modern, groovy sound.” – ArsMedia webzine

“Une pièce qui a tout ce qui faut pour devenir un classique du métal québécois. Des phrases percutantes et pleine de sens sur une musique lourde à souhait.” – Ondes Chocs

“Nova Spei : Nouvel espoir sur la scène métallique au Québec” – Voir

“Bref un excellent album à se mettre sous la dent ou sous le sapin pour le temps des fêtes ! Supportez notre belle scène du Québec ! ” – Metal Universe (2021 – Sequentis – LP)

“so there they were, twelve times groovy metal in French – from Canada. “Sequentis” by NOVA SPEI offers many an entertaining song. A lot of it certainly ignites live in the mosh pit and causes the crowd to freak out because they know how to get their limbs moving with their riffs and fat grooves… an album that is fun and fans of the good old groove metal should like.” – Stormbringer (2021 – Sequentis – LP)

“”Along with a meticulous display of proficient musicianship, this entire album is not only a credit to its makers, but the multifaceted collection of influences that has firmly planted a seed deep within them over the years, and brings New Hope to both the listener and the band as you peel away the cellophane so to speak. As a result, this album won’t gather dust in any collection, and will keep heads bouncing and feet tapping from sofa to stage.”” – Stargazer Music Magazine (2021 – Sequentis – LP)

Band: Nova Spei
Album Title: Trinitas
Release Date: November 6, 2026
Label: Bam&Co-Heavy
Distribution: Believe Digital (Digital) / Propagande (Physical) 
Genre: Modern Groove Metal
Location of Band: Trois-Rivières, Québec, Canada

Track Listing:
1. Trinitas – 1:38
2. Renaissance – 2:37
3. M’entends-tu!? – 2:16
4. Déraciné – 4:07
5. Hypnose Collective – 3:23
6. Sentence – 3:39
7. Bourreau – 2:53
8. Résonance – 2:03
9. Enterré Vivant – 3:19
10. Aucun Regret – 4:15
11. Traitre – 3:40
12. Vautours – 3:38
13. Draps Blancs – 2:52
Album Length: 40:27

Album Recording Credits:
• All songs performed by: Nova Spei
• All songs written by: Nova Spei
• Produced by: Nova Spei
• Mixed by: Francis Perron – Radicart Studio (Voivod, Martyr, etc)
• Mastered by: Maor Appelbaum at Maor Appelbaum Mastering – California – U.S.A (Faith No More, Voivod, Halford, Yes, etc)
• Album Artwork by: Flat Bathtub: Filip Ivanović personal playground
• Member of SOCAN and SOPROQ
• Canadian Content (MAPL)

Album and Live Band Lineup:
Cédrick Charland – Lead Guitarist
Dany Soucy – Founder, Rhythm Guitarist
Emmanuelle Desbiens-Dubois – Vocals
Julien De Carufel – Drum
Nicolas Dumais-Brouillette – Bass, Vocals

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

About The Album Artwork:

Filip Ivanovic has worked on the idea that you can spot the character from the Sequentis cover art. He is holding a new book, from which he draws his power. Two other books lie on the ground, referencing the two previous albums..

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

Trinitas is the third album, but above all, it marks the rebirth of a band that suffered the loss of members and had to take a hard look at itself in order to bounce back stronger and charge once more into its passion with power and intensity!

Track by Track (LYRICALLY & MUSICALLY):

1. Trinitas: is the track that introduces you to, and heralds, through a poetic text, the dawn of this new chapter!

2. Renaissance: is an energetic song that demonstrates our overflowing energy. It speaks of the obstacles we’ve encountered, our desire to get back up and start again stronger than ever.

3. M’entends-tu!?: is about someone in our lives whom we cherish above all else, but who, despite our best efforts, sinks deeper into a world of drugs, no matter what we try to do to save them.

4. Déraciné: This song speaks of what the First Nations experienced with the arrival of white people and their governments, of the uprooting and the strength they lost. The subject was important to Emmanuelle, given her background. It’s a topic that is still often silenced by governments, and she wanted to denounce it.

5. Hypnose Collective: A topic often used but which remains relevant nonetheless: having ideas imposed upon oneself and directing the mentalities of a society to ensure that people follow without questioning too much.

6. Sentence: That feeling of shame and betrayal when you are a victim of incest as a child. A heavy subject too often silenced.

7. Bourreau: We remain on the subject of heavy themes, and in this one, we are talking about pimping seen from the perspective of the victim.

8. Résonance: When you lose someone close, a friend, a family member, they always leave a resonance in your life till the end. Instrumental this one did not need any lyrics.

9. Enterré Vivant: Someone about to die but who would like to escape and survive no matter what.

10. Aucun Regret Despair: depression, the desire to escape this pain without looking back, and without any regrets.

11. Traître: Experiencing a situation of betrayal, feeling like the person is trying to bring you down in order to lift themselves up. We’re not fooled; we see through your game.

12. Vautours: No matter what obstacles we may face, nothing is ever truly lost. Even when we watch vultures circling overhead, waiting for our final failure to devour us.

13. Draps Blancs: One day, you go to the hospital for a minor procedure… but… a medical error, and it’s simply the end.

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BAND STORY ANGLES / FUN FACTS:

1. We started imagining the next album with an approach as modern as Sequentis’s. But Francis Perron showed us how it could all sound much more organic, more raw, the way he worked with Voivod, and our focus completely shifted when we heard his first rough mix.2. We didn’t know who to contact for mastering the songs, and when we were offered the chance to work with Maor Appelbaum (Faith No More, Yes, etc.), we thought it would never happen, and yet… he said yes and seems to have really liked what he heard! We’re not worthy! Hahaha

3. This was the first time Nova Spei had recorded in a professional studio. We had recorded the two previous albums in our own facilities.

4. Filming the music video for “Enterré Vivant” was insane! Pretending to be buried alive in a box, screaming, and reacting like it was real led to some hilarious moments/bloopers and quotes we have to keep to ourselves, hahaha

5. The gravedigger in the video for “Enterré Vivant” is wearing the shirt of his own band, which is called Anal Dislocator, and we let him wear his shirt so we could showcase this impactful “name”!

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

Left to Right: Nova Spei Current Lineup | Cédrick Charland (Lead Guitarist) | Julien De Carufel (Drums) | Emmanuelle Desbiens-Dubois (Vocal) | Nicolas Dumais-Brouillette (Bass, Vocal) | Dany Soucy (Founder, Rhythm Guitarist)

Photo Credit –Étienne Dionne (Mute Drummer)

NOVA SPEI, a French-language metal band from Quebec, launched/presented their first album, “Self-Titled,” as the opening act for Anonymus on their December 2017 tour across Quebec. In 2019, they toured most of Quebec’s major cities during the band’s 30th-anniversary tour. By 2025, Nova Spei will have performed over 100 shows to promote the band in Quebec and Ontario.

NOVA SPEI was formed in 2012 by Dany Soucy (guitar) (Dook, Legion). Nicolas Dumais (bass) joined the band in 2014. Julien De Carufel (drums) arrived in August 2021, and it was finally in 2025 that Cédrick Charland (lead guitar) as well as Emmanuelle Desbiens-Dubois (vocals) joined the new version of Nova Spei.

In 2017, their first album was recorded in their home studio in Champlain and mixed, produced, and mastered in France by Anthony Chognard (Smash Hit Combo, CHSprod). Their single “L’homme aux 1000 Sourires” (The Man with 1000 Smiles) is in constant rotation on Quebec City’s RadioX 98.1FM, and their songs “Ma Muse” (My Muse) and a few more can be heard during Montreal Canadiens games at the Bell Centre.

2019 marked the beginning of recording for their second album titled SEQUENTIS. The first single, “Qui Sème Le Vent” (Who Sows the Wind), was released in November 2019, but due to the pandemic, the album’s release was delayed by two years, until November 12, 2021.

After some lineup changes, 2026 heralded the return of the full band and the desire to hit the road again. An album titled TRINITAS is therefore in preparation for autumn 2026, to restart the party on stage that is Nova Spei.

Discography:
2026 – Trinitas – LP
2021 – Sequentis – LP
2017 – Self-Titled LP

Music Placements: Montreal Canadiens games at the Bell Centre

Artist endorsements: Charbonneau Guitars

0 EPK – EDventurED (Eddie Kravov’s Project) – Symmetry In Chaos (2026)

  • September 7, 2026
  • by Asher
  • · EDventurED (Eddie Kravov's Project) · EPKs

EPK – EDventurED – Symmetry In Chaos (2026)

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

“Symmetry in Chaos began with a simple question: what if the things we call random are actually part of patterns we haven’t learned to see? The album grew into a journey through nine different theories, but the deeper I went into them, the more I realized that they were not separate ideas. Chaos theory, psychology, genetics, social behavior, free will, and cooperation all describe different aspects of the same thing – the complicated system we call life. Musically, I wanted to create something progressive without losing the emotional connection to the songs. There are complex ideas and structures, but melody and emotion always come first. I hope Symmetry in Chaos is an album people can listen to for the music, but also return to for the ideas. Maybe after listening, they will look at their own choices, relationships, and experiences a little differently.” – Edi Krakov

For fans of Riverside, OSI, Soen, Spock’s Beard, Dream Theater

Facebook.com/profile.php?id=61582620816728 | Youtube.com/@EDventurED-EddieKrakovsProject

Edventured.bandcamp.com/album/symmetry-in-chaos

Band: EdVenturED
Album Title: Symmetry in Chaos
Release Date: October 30, 2026
Label: Self-Release
Genre: Progressive Rock
Location of Band: Toronto, Canada

Track Listing:
1. Symmetry in Chaos – 4:30
2. Threads and Chains – 4:22
3. Mental Conflict – 6:26
4. Echoes Code – 5:39
5. Equilibrium’s Edge – 4:52
6. Reflections of the Seen – 4:53
7. Whispering Wings – 5:58
8. Masks of the Crowd – 6:05
9. Shadows We Remember – 5:06
10. Mirror of the Other – 6:38
Album Length: 54:32

Album Recording Credits:
• All songs performed by: Vocals: Eddie Krakov
Guest Vocalists:
Teddy Shvets
Jack Krakov
Dimi De San
Keyboard: Eddie Krakov
Drums Recorded by Amit Malool (4 Songs)
Drums Recorded by Wildy Souza (6 Songs)
Bass Recorded by Diego Valencia
Guitars Recorded By Santiago Aguilar
Mix and Mastering: Santiago Aguilar
Vocals Recorded at Dima Graziani Studio
Vocal Guidance: Victoria Taranova
Special Thanks: Jack Krakov and Lena Krakov
• All songs written by: Music by Eddie Krakov, Lyrics by Eddie Krakov, and Teddy Shvets (3 Songs)  
• Produced by:
Song Production: Santiago Aguilar (7 Songs)
Song Production: Mikołaj Krzaczek (3 Songs)
• Mix and Mastering: Santiago Aguilar
• Album Artwork by: Morgan Czerweny

Album Band Lineup:
Eddie Krakov – Vocals and Keyboards.

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

About The Album Artwork:
The artwork is designed to represent the visual idea behind Symmetry in Chaos.

We wanted to show opposing elements existing together: differences that are still connected, symmetry that appears to be moving, and chaos that somehow remains calm and structured.

The goal was to create something that feels both organized and unpredictable, just like the central idea of the album itself.

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

EDventurED – Symmetry in Chaos is a progressive rock concept album exploring the hidden connections between chaos and order in nature, human behavior, and society.

Inspired by nine scientific, psychological, and philosophical theories, the album examines how seemingly random events, choices, memories, and relationships create patterns that shape our lives.

Each song explores a different theory, from chaos theory and game theory to free will, social identity, epigenetics and reciprocal altruism. Together, the songs form one larger question:

Is chaos truly random, or is there a hidden order behind it?

Musically, the album combines melodic and emotional songwriting with progressive structures, atmospheric passages, and moments of complexity. The intention is to create music that can be enjoyed on the surface while revealing new ideas and details with repeated listens.

Track by Track (LYRICALLY & MUSICALLY):

Here are the 9 different theories and concepts, and a summary track that tells the story behind them (Total 10 Songs).

Each theory is a separate song and the idea behind.

2. Threads and Chains

Theory: Determinism vs. Free Will

Are our lives already written, or are we creating them through our choices?

This song explores the conflict between fate and free will. Our lives are connected by countless threads – genetics, circumstances, history, society, and chance. But somewhere within those threads, we continue to make choices.

The question is whether those choices are truly free.

3. Mental Conflict

Theory: Cognitive Dissonance – Leon Festinger

We don’t always believe what we want to believe.

This song explores the psychological tension created when our beliefs, values, and actions contradict one another. We try to resolve that discomfort, sometimes by changing our behavior, sometimes by changing our beliefs, and sometimes simply by convincing ourselves that the contradiction does not exist.

4. Echoes Code

Theory: Epigenetics

Our experiences can leave traces that reach beyond our own lifetime.

The song explores the relationship between genetics and environment and the idea that experiences, stress, and trauma can influence how certain genes are expressed and potentially affect future generations.

It asks what we inherit beyond DNA – and whether the experiences of the past can become echoes in the future.

5. Equilibrium’s Edge

Theory: Game Theory

This song explores the strategic games we constantly play with one another.

Competition, cooperation, trust, betrayal, and self-interest all influence the decisions we make. Sometimes working together benefits everyone, while in other situations protecting ourselves can become the priority.

The song asks where the balance lies between cooperation and conflict, and how much of our behavior is shaped by the actions of others.

6. Reflections of the Seen

Theory: The Observer Effect

Observation can change what we observe.

Inspired by the observer effect in quantum physics, the song uses the concept as a broader metaphor for human life. The way we watch, measure, judge and interpret the world can influence the reality we experience.

Sometimes simply being seen changes the way we behave.

7. Whispering Wings

Theory: Chaos Theory / The Butterfly Effect

The album begins with the idea that the smallest action can have consequences far beyond what we can predict. A tiny change can grow into something enormous, and a seemingly insignificant decision can alter an entire chain of events.

The song uses the butterfly effect as a metaphor for life, choices and the unpredictable consequences of our actions.

8. Masks of the Crowd

Theory: Social Identity Theory

Who are we when we are alone, and who do we become when we are part of a group?

The song explores identity, belonging, and the influence of groups on individual behavior. We wear different masks depending on where we belong, and sometimes the identity of the crowd becomes stronger than our own individual identity.

9. Shadows We Remember

Theory: The Collective Unconscious – Carl Jung

This song explores Carl Jung’s idea that humanity may share deeper psychological patterns, symbols, and archetypes that exist beneath individual consciousness.

It looks at the shadows, memories, and images that seem to follow humanity across generations, asking whether some parts of who we are existed within us before we were even aware of them.

10. Mirror of the Other

Theory: Reciprocal Altruism

Why do we help other people?

Is kindness completely selfless, or is cooperation built into the way humans survive and interact?

This final song explores reciprocity, trust, and altruism, asking whether helping another person is ultimately a reflection of ourselves.

The album ends with the idea that perhaps our relationship with others is another part of the larger system connecting everything together.

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

STORY ANGLES / FUN FACTS:

1. The album was born while finishing other albumsSymmetry in Chaos wasn’t originally planned as a new project. Eddie was working on mixing and mastering his other progressive rock projects, Stormy Atmosphere and Timequarium, when new ideas started arriving faster than he could ignore them.

What began as a few demos eventually grew into a complete album and the beginning of EDventurED.

2. Many of the songs began as ideas recorded while driving

Some of the album’s ideas started as small fragments of melodies, lyrics or musical thoughts that Eddie recorded on his phone while driving alone. Later, he would bring those ideas to his keyboards and develop them into full songs.

A simple voice recording could become the starting point for an entire progressive rock composition.

3. Eddie’s 8-year-old son sings on the album

One of the most personal moments on Symmetry in Chaos features Eddie’s son, Jack Krakov, who was only eight years old when he recorded his vocal part.

Having his son appear on the album adds a very personal dimension to the project and creates a connection between two generations within the same musical work.

4. A familiar voice from Eddie’s other project joins him for a duet

The album also features Teddy Shvets, the lead singer of Eddie’s other project, Stormy Atmosphere.

Teddy and Eddie perform a duet on one of the songs, bringing together two important parts of Eddie’s musical journey and creating a connection between EDventurED and his previous work.

5. Nine theories became nine songs

The entire album was built around nine scientific, psychological, and philosophical theories.

Each theory became the foundation for a separate song, creating a connected concept album rather than simply a collection of unrelated tracks. The goal was to take complex ideas and turn them into something emotional, melodic, and accessible through progressive rock.

At its heart, Symmetry in Chaos asks one question:

What if the chaos we see is actually part of a pattern we don’t yet understand?

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

EDventurED is the progressive solo project of Edi (Eddie) Krakov, a Canadian‑based musician, composer, vocalist, and keyboardist known for his work with Stormy Atmosphere and Timequarium. After years of writing, performing and touring internationally with his bands, Krakov found himself overflowing with new musical ideas while finishing the mixing and mastering of their upcoming releases. With full‑band albums moving slowly toward completion, he began experimenting alone, recording rough sketches, shaping arrangements, exploring production ideas, and stepping forward as a lead vocalist for the first time.

What began as a handful of private demos soon revealed a deeper conceptual thread. The songs were connected by one overarching question: Is chaos truly random, or is there a hidden order behind it? That question became the foundation of EDventurED and its debut concept album, “Symmetry in Chaos,” due out in October 2026.

Blending progressive rock, progressive metal, atmospheric elements, and melodic storytelling, EDventurED explores the delicate balance between chaos and structure in sound, emotion, and human experience. Krakov’s writing is shaped by science, psychology and philosophy, transforming complex theories into accessible, emotional narratives. Each track on Symmetry in Chaos is built around a different concept, including chaos theory, game theory, cognitive dissonance, epigenetics, social identity, free will and reciprocal altruism. Together, they form a unified journey through the patterns that shape human behavior, memory, relationships and the unseen systems guiding our lives.

Although EDventurED is deeply personal, the project is also collaborative. The album features contributions from guest musicians, vocalists, and creative partners, including a duet with Teddy Shvets, the lead singer of Stormy Atmosphere, and a touching appearance by Krakov’s eight‑year‑old son, Jack Krakov, whose voice adds a generational echo to the album’s themes.

Musically, EDventurED aims for a sound that is simple enough to feel, yet complex enough to discover. Krakov’s approach favors emotional clarity over technical showmanship, creating songs that reward both casual listeners and those who dive deeper into the album’s conceptual layers. His influences include Riverside, OSI, Soen, Spock’s Beard, and Dream Theater, reflected in the project’s blend of atmosphere, melody, and progressive structure.

On stage, EDventurED promises a theatrical, immersive experience. Rather than a traditional performance, Krakov envisions a visual and conceptual world built around “Symmetry In Chaos,” where imagery, storytelling, and music merge into a single narrative environment.

EDventurED marks a new chapter in Eddie Krakov’s artistic evolution, a project born from spontaneous inspiration, shaped by curiosity, and driven by the desire to connect ideas, emotions, and listeners through progressive music. “Symmetry in Chaos” is not the end of the story, but the beginning of a larger creative journey.

0 EPK – Boneyard – Black Static (2026)

  • September 7, 2026
  • by Asher
  • · Boneyard · EPKs

EPK – Boneyard – Black Static (2026)

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

For fans of Halestorm, Saxon, Doro, The Pretty Reckless, Iron Maiden

Album Title: Black Static
Release Date: October 23, 2026
Label: Self-Release
Genre: Heavy Rock
Location of Band: Edmonton, Alberta, Canada

Linktr.ee/boneyardrocks | Boneyardrocks.ca | Facebook.com/boneyardyeg | X.com/@boneyardyeg

Youtube.com/@boneyardyeg | Instagram.com/boneyardyeg | Tiktok.com/@boneyardrocks

Ffm.bio/boneyard (All Digital Streaming)

“Boneyard‘s debut record Oathbreaker is the kind of album that gets a little better each time that you listen” – Sleaze Roxx’s Top 10 Albums of 2020

“Solid, enjoyable debut, support the New Wave of Traditional Heavy Metal” – Bravewords

“Boneyard lean a bit more towards the hard rock side of the spectrum but the metal is all there as well” – Metal-Rules

“Rock music from Canada still guarantees quality”- PowerMetal

“What we have here is a female-fronted metal outfit that bathes in the crimson glory of traditional heavy rock and heavy metal”- Metal Roos

Album Title: Black Static
Release Date: October 23, 2026
Label: Self-Release
Genre: Heavy Rock
Location of Band: Edmonton, Alberta, Canada

Track Listing:
1. Met You in a Dream
2. Left Me to Drown
3. Ready for a Change
4. Not this Way (Joel’s Song)
5. Blood in the Bond
6. Before the Fall
7. Hanging Tree
8. Compass Points to War
9. Before the Fall (Piano Rendition)

Album Recording Credits:
• All songs performed by: Boneyard
• All songs written by: Boneyard
EXCEPT* *Compass Points to War, *Hanging Tree (Written by Boneyard and Dennis Cooke)
• Produced by: Boneyard
• Mixed by: Stew Kirkwood
EXCEPT* *Before the Fall, *Hanging Tree, *Compass Points to War (Mixed by Glen Kelton and Boneyard)
• Member of SOCAN
• Canadian Content (MAPL)
• Mastered by: Nik Kozub
• Album Artwork by: Tom Bagley

Album and Live Band Lineup:
Pamtera – Lead Vocals, Guitar
Lezzy Osbourne – Bass
Jefftimus – Drums
Garhardt – Lead Guitar

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

About  Album Artwork:
We are so grateful to have had Tom Bagley do the covers on both of our albums. He is a one-of-a-kind artist from Calgary, Alberta, who’s been doing album covers for decades. We give him a concept involving our mascot Misty Bone, and he always hits it out of the park. – Jefftimus (drums)

The album as a whole (LYRICALLY & MUSICALLY):
Musically, it’s an extension of the first album “Oathbreaker”, having a diverse collection of songs. At the same time, it features different elements through Lezzy and Garhardt’s unique contributions. – Jefftimus (drums)

Track by Track (LYRICALLY & MUSICALLY):

1. Met You in a Dream: The song starts with quick shots of heavy guitar and an intro that explains a dream that seemed so real that, once awoken, the dreamer felt like they were in a trance or a dream hangover, where their brain struggled to separate the emotional weight of the dream from their waking reality. In this dream, the sleeper remembers all of the things she tried to become to capture the love of another. All throughout the relationship, the lover’s wandering eyes were never on the dreamer but on other random people. The Chorus brings you through a dream state where she is condemned to live out the romance and rejection over again. This fast song powers through the emotions and leaves the dreamer wondering when they will visit again. – Pamtera (lead vocals, guitar)

2. Left Me to Drown: This is Lezzy’s most significant contribution to the album – her “baby”. She wrote all the lyrics from personal experiences of toxic/abusive relationships, using a pirate ship metaphor that mimics the experience of loving someone with all your heart, only to get your gold stolen, your body tied in chains, and then thrown overboard, carelessly left to die. However, the most profound message is when her shackles break by hitting the bottom of the sea while on the brink of death, freeing her to float up and rise above it all, stronger than ever. “Meet the new me” are the ending words – the ultimate comeback.

Musically, the song is probably the heaviest of the whole album, portraying the anger and sorrow felt. Lezzy arranged the track with a bassline and finished the vocals, including all the backing vocals and harmonies. It is also the only song that Lezzy sings lead on, but she also gave alternating leads to Pamtera in the verses to keep her distinct voice on the track so that it remains within the realm of what Boneyard fans are used to hearing, but with a whole other twist.

Jefftimus then wrote very fitting drums that took the song to the next level, while Garhardt followed suit with captivating leads and one of my favourite solos I’ve ever heard! – Lezzy (bass)

3. Ready for a Change: The song starts with guitar swells giving it a moving and swaying feel. It’s a foggy morning, and someone is thinking about life. The lesson of the song is that if you are ready to change yourself, habits, or behaviours, once you think about it, it’s easy to talk about, as awareness leads to expression, and repetition leads to lasting change.  The middle bridge is a rigid guitar riff, perhaps showing the repetition of a thought pattern. Returning to its poppy beat, the song’s positive message gives you the exact formula to change. – Pamtera (lead vocals, guitar)

4. Not this Way (Joel’s Song): Joel, diagnosed with schizophrenia, had a hard time dealing with life and used drugs to help him navigate. Due to his paranoia, he was usually homeless and unable to let police and healthcare workers help him, as he was scared they were there to hurt him. Sadly, this is a true story, and Joel passed away from a drug overdose, his Mother finding him days later. The lyrics are in his Mother’s words as she explains how she wants to remember him, and how she never wanted this outcome for him, and never wanted to “find him this way”. The song opens with haunting, melancholic guitars, slowly building in weight and intensity as the anguish begins to take hold. As the music grows heavier, the choruses become a reflection on those living on the streets, forgotten and struggling to survive, and on the loved ones we’ve lost to the devastating grip of drug addiction and overdose. It’s a song about grief, desperation, and the people we wish we could have saved. – Pamtera (lead vocals, guitar)

5. Blood in the Bond: Lezzy wrote a fast and upbeat bassline and brought it to the band to start a new song. Even though she had thrash metal in mind, her punk roots inevitably came through, so it’s now our one-off punk tune. However, the bridge and solo section (that we changed a few times) ended up metal as fuck! It’s a really fun song with a heavy, gang-vocal chorus, and extremely interesting layered harmonies at the very end, where all 4 of us are singing different parts. The opening line often gets people clapping to the beat as Lezzy and Jefftimus kick it off before the guitars and vocals come in.

Jefftimus wrote a fascinating jungle beat that complements the bass; Garhardt wrote Egyptian-style lead guitar as he was figuring out the “fucked up” scale that Lezzy wrote the main riffs in (haha), while Pamtera wrote all of the lyrics and came up with the lead vocal melodies. It was Jefftimus’ idea to chant the repeating “Blood in the Bond” gang vocals.

Lyrically, Pamtera wrote the song about the sad reality of alcoholism and how addiction is passed down from generation to generation. The Seven Generations Principle is an ancient Indigenous philosophy requiring current decision-makers to ensure their actions build a sustainable world seven generations into the future. Pamtera’s idea is that the blood no longer remains within the bloodline, so in 7 generations there would be no Blood left in the Bond. – Lezzy (bass)

6. Before the Fall: “Before the Fall” was the first single released from Boneyard’s upcoming album, “Black Static”. Starting with a tight, catchy guitar riff, the song speaks of our leaders who think they are doing the best for their people, while inadvertently paving the way for catastrophic futures. Genocide of cultures, World Wars, AI creation. We use these lyrics to explain what we don’t want anymore. “Greed, Corruption, Inequality, Famine, War and Slavery”. This song is a song of hope. We, as human beings, need to recognize these atrocities and create a new way of thinking by joining and helping each other for the future. With the lyrics, “Let’s help each other, create a different end”.

The accompanying music video explores the dark underworld of human trafficking and missing and murdered indigenous persons, and offers a powerful blend of melody, aggression, and raw emotion. The song ends with a beautiful mix of gang and harmony vocals, which fans sing along during live performances. – Pamtera (lead vocals, guitar)

7. Hanging Tree: Hanging Tree is a hilarious Western-metal extravaganza that leans fully into camp and chaos. The fun lyrics tell a story of a wanted man who “accidentally” robs a train and shoots a man down. He is running from the law and the sheriff of the town, who is out looking for him so he can hang him from the local “Hanging Tree.” The song comes in with a country-themed harmony solo and then a riff that blends country and metal. His only regret is leaving his love, as he admits his guilt and goes down to the Hanging Tree.

The “Hanging Tree” video is a tongue-in-cheek Western Metal showdown like you’ve never seen before — packed with gunslingers, outlaws, a sultry goth cowgirl, and a hangman’s noose. It’s equal parts grit, groove, and gallows humor, showing Boneyard’s ability to blend heavy hooks with cinematic flair. The video was written and produced by Boneyard. – Pamtera (lead vocals, guitar)

8. Compass Points to War: “Compass Points to War” plunges you into a high-stakes sea battle with energetic riffs, a commanding female lead, gang vocals that echo each cannon blast, and a soaring melodic guitar solo. As the battle between ships comes into being, the guitars create mood and pacing that work together to amplify the song’s message of struggle and forward motion toward conflict. A blend of harmony guitars ensues as the ships clash, cannons are fired, and pirates board to take over the losing ship and its gold. In the end, they win the war and leave the ship downed with its crew.  

The accompanying music video is a high-intensity performance music video by Boneyard that visually reflects themes of conflict, momentum, and inevitability. Through dark, cinematic imagery, dramatic lighting, and tightly edited performance shots, the video captures the raw power of the band. Boneyard and Richard Pearce wrote and produced the video. – Pamtera (lead vocals, guitar)

9. Before the Fall (Piano Rendition): Garhardt arranged a cinematic piano rendition of Before the Fall that sounds like it’s straight out of a movie soundtrack. It combines a goosebump-inducing melody, synth swells, intentionally placed drum hits, and human-feel tempo changes to create an otherworldly, epic soundscape. – Lezzy (bass)

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

BAND STORY ANGLES / FUN FACTS:
1. The first 3 singles were already written and mostly recorded before Lezzy joined the band, so she added background vocals and harmonies to what was already established before the recordings were finalized. She was then able to make bigger contributions to the remaining tracks that we wrote and refined together as the new lineup, including Garhardt on lead guitar, who was involved in every song and wrote phenomenal solos! – Lezzy (bass)

2. In 2015, while we were still learning cover songs to play live, I noticed how similar our set list was to the songs on the Ozzy’s Boneyard channel on Sirius/XM satellite radio. We decided to call ourselves Boneyard, mostly for reference for show promoters.

– Jefftimus (drums)

3. We all have a good sense of humor and have created a handful of highly entertaining videos, like our “stoner circle” Shockerfest promo in 2023, our unexpected cartwheel/campfire-won’t-light Decimate Metalfest promo in 2024, and the hilarious shoot-offs and drinking contest in our official music video for Hanging Tree, amongst others! – Lezzy (bass)

4. The band’s strength isn’t just in their riffs — it’s in their representation. With a Métis drummer and a female bassist from the LGBTQ+ community, Boneyard embodies inclusion, power, and authenticity while proudly flying the flag for hard rock and melodic metal. – Jefftimus (drums)

5. Boneyard independently released the album “Oathbreaker” in 2020. It eventually attracted the attention of Italy’s WormHoleDeath Records. The label and its affiliates re-released the album in 2022 to a broader market, including Japan. Grammy-nominated and Juno-winning mastering engineer Maor Appelbaum (Faith No More, Annihilator, Dokken) mastered the album in Los Angeles. – Jefftimus (drums)

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

L-R: Jefftimus (Drums), Lezzy Osbourne (Bass Guitar), Garhardt (Lead Guitars), Pamtera (Lead Vocals and Guitars)

Photo Credit – Corrine (Wytchy) Thain

Formed in 2015 by singer/guitarist Pamtera and drummer Jefftimus, the Canadian quartet began writing material for their debut release. After the pandemic delay, Boneyard independently released the album “Oathbreaker” in 2020. It eventually attracted the attention of Italy’s WormHoleDeath Records. The label and its affiliates re-released the album in 2022 to a broader market, including Japan.

With it came singles and videos for the songs such as “Fates Warning”, “Oathbreaker”, and “Evil Ways”. Grammy-nominated and Juno-winning mastering engineer Maor Appelbaum (Faith No More, Annihilator, Dokken) mastered the album in Los Angeles.

Over the years, Boneyard has become a standout force in the Canadian rock and metal scene, performing across Western Canada at events like Decimate Metalfest, Pembina River Nights, and Metisfest, and sharing stages with 96 Bitter Beings, KingDoom, and Deadwolff.

The band looks to build on the momentum and success of the first album with their upcoming sophomore independent release “Black Static”, due out October 23, 2026.

The singles/videos “Pride Before The Fall”, “Compass Points To War” and “Hanging Tree”, all released in 2025, were met with tremendous response and have heightened the anticipation of the album’s release.

The band’s strength isn’t just in their riffs; it’s in their representation. With a Métis drummer and a female bassist from the LGBTQ+ community, Boneyard embodies inclusion, power, and authenticity while proudly flying the flag for hard rock and melodic metal.

Lineup:
Pamtera – Lead Vocals, Guitar
Lezzy Osbourne – Bass
Jefftimus – Drums
Garhardt – Lead Guitar

Discography:
2026 – Black Static – Album
2020 – Oathbreaker – Album

Tours and Festivals:
2026 – Metisfest – Smoky Lake, AB
2025 – Pembina River Nights – Entwistle, AB
2025 – International Women’s Day Weekend – Red Deer, AB
2024 – Decimate Metalfest – Millet, AB
2024 – Wacken Metal Battle – Edmonton, AB

0 EPK – Baby On A Rampage – Forgive My Figure (2026)

  • August 29, 2026
  • by Asher
  • · Baby On A Rampage · EPKs

EPK – Baby On A Rampage – Forgive My Figure (2026)

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

For fans of Gojira, Revocation, Mastodon, Baroness, Strapping Young Lad,

Babyonarampage.com | Facebook.com/profile.php?id=61577134441189 | Youtube.com/@babyonarampage | Instagram.com/baby_on_a_rampage

Babyonarampage.bandcamp.com | Apple Music | Spotify

EP Title: Forgive My Figure (EP)
Release Date: November 12, 2026
Label: Self-Release
Distribution: TuneCore
Genre: Progressive Metal
Location of Band: Oakland, CA, USA

Track Listing:
1. Intro (0:56)
2. Immaculate Teeth (4:32)
3. My Tragedy (3:21
4. Reclaim (5:48)
5. Failure of One’s Name (4:29)

EP Recording Credits:
• All songs performed by: Ash Lee, Lyra Renninger and John Muir
• All music and lyrics written by: Ash Lee, Lyra Renninger and John Muir
• Produced by: Ash Lee and Scott Proctor

• Engineered by: Scott Proctor
• Mixed by: Scott Proctor
• Mastered by: Matt Boudreau
• EP Artwork by: Daniel Choi

EP Band Lineup:
Ash Lee: Guitars, Vocals
John Muir: Bass, Vocals
Lyra Renninger: Drums

Live Band Lineup:
Ash Lee: Lead guitar, Vocals
John Muir: Bass, Vocals
Lucas Garske: Rhythm guitar
Mona Iris: Drums

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

About the EP Artwork:

About The EP:

Ash Lee (lead guitar and lead vocals): Forgive My Figure is our most musically and melodically complex release so far. It’s definitely grown from our previous influences and sounds, traveled away from the basic metal sound, and become more complex and more melodic. With a lot of the riffs and a lot of the choruses and bridges, I was able to portray much more emotion just through the writing of the music before even adding lyrics. All the songs tend to have the familiar dark, angry, super heavy verses, and then those big melodic, very vocal-heavy choruses that kind of explode with a lot of energy and like a big wall of sound. It’s a lot of ear candy is the word I like to use for it. And then also we grew a lot with vocal melodies and harmonies, and adding more guitar harmonies and all that ear candy kind of fun stuff. We’ve grown a lot, and I think it sounds bigger and more complex than the last record, even though we used more instruments on our last album. I think we were able to make the EP sound even more interesting just from the amount that our writing has grown. 


Our last record was noteworthy because all the songs had a different feel, and there were a lot of diverse styles and sounds in there. The EP doesn’t vary as much now; it’s what our sound has grown into with more of an identity. All the new songs are different, but it’s more similar in the overall character and sound of the band, like the band has found our sound.  I’ve heard some established industry people describe this new EP as surprisingly mature, particularly since we’re still all teenagers.

Scott Proctor, our co-producer and engineer on this EP, is the backup singer for Five Finger Death Punch, and one of his specialties is backup harmonies, as he has a real ear for it and layering sounds. Also, I came in with a lot more shit than the last album, because I’ve been exploring a lot, and so I came in with a lot of melody, and one thing Scott helped me with was actually getting rid of some of them.  I had some parts that were way more dense, but it ended up just making the overall impact feel less powerful, so Scott helped me get rid of a lot of unnecessary stuff that I was putting in, which was very helpful. Especially with “Reclaim” and “Failure of One’s Name,” he did a lot of stripping on that one, and I think it makes the songs a lot better.

Track by Track:

1. Intro

2. Immaculate Teeth

Lyra Renninger (drums): “Immaculate Teeth” was a way for me to express my frustration with the current landscape of American politics. So many of the issues at hand are a facade, a distraction to empower oligarchs while suppressing minorities. The theatrics of politics have continued to cause nothing but grief, and that’s reflected in this song.

3. My Tragedy

Lyra Renninger (drums): “My Tragedy” is an exploration of the allure in self-destructive behaviors, juxtaposing the attempts to free oneself from the cycle of harm with the contentedness felt inside of those damaging choices. It’s a reflection of my own turmoil: when faced with the option to escape, it’s much easier to remain and cope, rather than plunging into the cold unknown.

4. Reclaim

Ash Lee (lead guitar and lead vocals): When I wrote the song, I was definitely bothered by the genocide in Palestine, and it’s very much a song about standing up and taking back, or kind of a call for some sort of revolution, like metaphorically, to take back a government position. Talking about the colonization history of the United States government, and how they’re constantly funding other governments before putting their own people at the forefront of their concerns.  I mean, it’s about a lot of different kinds of government overreach, and the later sections are about the genocide of native people and their taking land, and it’s definitely an environmental song.

Musically, “Reclaim” was not a departure but an evolution, and the arrangement is more complex, more like a journey with the different sections conveying different feelings.  The verses and the main part of the song are dramatic and dark, or it’s like yelling orders, and then after the clean part, that build is very emotional and hopeful sounding and big and open. It might portray a spiritual or even a religious feeling for some people, even though it wasn’t necessarily written with that intention, but I think that was a positive outcome.  The song almost has an anthem-type quality, and the crowd responds really well when we play it. There’s something that’s resonating with people in that song.

5. Failure of One’s Name

Lyra Renninger (drums): “Failure of One’s Name” is a song inspired by my personal experience as a trans woman and coming to terms with my identity. For so long, it existed as a piece of me that existed in the dark, only manifesting when I felt thoroughly concealed. It represents the darkest moments that shaped who I am, and those that led me onto the path towards healing.

Ash Lee (lead guitar and lead vocals):  For me, this song is about finding oneself after a big loss of that sense of self. In my interpretation of the song, the feeling of losing someone, like when my uncle died; he was a very important person in my life, and then feeling like you’ve lost a huge chunk of who you thought of as being you.  The song is a journey of trying to figure out how to find yourself and feel whole by yourself. And using mentors and other people to help you get there, but really realizing and understanding that the struggle is to find your whole true self by yourself, and it’s not reliant on other people. 

The title of the song at first was a random work-in-progress name that I came up with in front of Scott just to name it and to move on. Because we didn’t have a name for it, and Scott was giving me shit and called me a failure, and I was like, “Failure of One’s Name.”  It’s not mysterious; that’s just how it was named. It was like, literally we had failed to name it, so we called it “Failure of One’s Name.”

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

Fun Facts – Story Angles

  1. Fight Club backing band:  

Our funnest show was probably when we played as backing band for an underground fight club put on by East Bay Rats Motorcycle Club.  Their fight clubs are legendary, and there were like 100 bikes lined up all down the block.  It was a warehouse with a stage at one end and a boxing ring in the middle.  People would call each other out in the crowd, then you’d get in there and brawl.  No clock, just fight until somebody gives up. There were some epic fights, and girls fighting girls too.  We were playing our heaviest set while people were beating the shit out of each other, and it was glorious!  We did a tribute to Brent Hinds, who had just died, and these girls were going crazy in the ring, wailing on each other to “Blood and Thunder.”  To be funny, we covered Waking the Cadaver’s “Chased Through the Woods by a Rapist,” and those bikers knew the song and were pumping their fists to it!  EAST BAY!!!

  1. Deep in the scene:

Lead singer and guitarist Ash Lee is head of sound at the legendary 924 Gilman Street, and he also owns and operates Ash Sound Co, which has been hugely important in the local scene, providing top-quality sound even at so many of the smaller DIY shows.  Ash is sometimes running sound for bigger bands like Tsunami and Scowl, but very often he is doing all the smaller scene shows, usually for free, so Ash at one time or another has worked with most every band and most every venue in the scene.

  1. Battle of the Bands?

Our first show outside of the Bandworks school was a supposed battle of the bands at a city festival that was pretty uptight.  We started ripping through our set, and every song they’d tell us to keep turning it down more.  They didn’t like our style but blamed it on the volume.  The only real competition for us was the School of Rock All-Star band, and when we played, they were rocking out to us!  We eventually got the power cut and were disqualified for being too loud (and metal). The best part was that the School of Rock band, in a show of solidarity, also kept cranking their amps too loud, so they got disqualified too!  We were moshing to their set, and the director of the event yelled at us that we were being dangerous and disruptive.  The final “winners” were the uptight contest director’s son in his band with all white button-up shirts doing Beatles and doo-wop covers.  But the School of Rock band was hekka cool, and they came out to see us the first time we played 924 Gilman Street.

The only other battle of the bands we did turned out to be fake. It was put on by a music school in San Francisco for a spot to play main stage at the Haight-Ashbury Street Fair, which would have been a huge crowd, so we were pumped.  We slayed the semis and then killed it in the finals despite having our setup sabotaged, so we could only do two songs, but we drew a big crowd with the few minutes we got to play.  The judges were hanging out at our merch table afterwards, and it was great!  Somehow, mysteriously, the judges’ scorecards then got literally scribbled out, and lower scores were written next to them, and we found out the hard way it was rigged so the “winner” would be a band representing the school that hosted the contest.  It was a learning experience for us.

  1. First Tour

We did our first tour in 2024 up the PNW and into Canada, but nobody in the band was legal to drive, so we had to bring parents along to drive the van.  It wasn’t always cool pulling up to the DIY punk spot with your parents, but at least they helped us carry the heavy shit, so free roadies, plus they paid for the gas and some hotel rooms.  All our tours after that, we were old enough to drive ourselves, but it means now we camp ‘cause we’re broke.

On our first tour, we had a show in Vancouver, and we got paranoid at the border crossing about some herbals onboard, so we stealth ditched them out the window while waiting in line.  Turns out they don’t care about that in Vancouver, but our merch was a problem because they considered it international business trade, and we didn’t have a license for that.  They were going to make us ditch all our merch if we wanted to cross the border, but somehow we talked our way through by promising not to sell anything, which of course we did.

  1. More memorable shows:

A very early gig was the San Rafael Porch Fest in 2022.  It was record rainfall, and we were under a tent but still standing in water, literally.  Ash put his pedals up on a plastic mailbox to get them out of the water.  That’s a hometown crowd for Primus, so we covered some and kept drawing in a bigger crowd even as it rained harder and harder.  Still feels like a gift from God that nobody got electrocuted.

We’ve played the infamous Stay Gold Deli in Oakland like 10 times.  It gets crazy with all the people packed in there, and one time there was a guy crowd surfing while puffing on a blunt, so that was pretty funny.

We’ve played the legendary 924 Gilman Street in Berkeley so many times, and Ash is now head sound engineer at Gilman.  It’s cool to play the stage that launched Green Day and hosted literally every iconic punk band from Dead Kennedys to Operation Ivy, Bad Religion, NOFX… everybody!  The first time we played Gilman in 2024, we’d just gotten our first merch, and we sold over $500, so that felt pretty good!

Once we were invited to play a new venue in Oakland, we arrived to discover it was an underground cannabis festival.  There were dozens of vendors with pounds and pounds and pounds of weed in big tubs and plastic garbage bags stacked everywhere.  We played fast, waiting for either the police or cartel to come raid the place, but it turned out all good. I think we still might have been too young to drive at that point.

Last year we were booked with a bigger promoter in San Francisco and really wanted to prove ourselves.  Unfortunately, John broke his right hand two days before the show.  He said not worried he could do his bass parts left-handed, just tapping and pulling off.  Nobody fully believed him, but he stepped up and did it!  He played almost everything left-handed, and then he had a pick wedged into his cast for the few parts that he couldn’t play one-handed.  Wish we had more video of that!

  1. The Birth of the Baby

Nobody in the band had to do with choosing the name.  It was already chosen when the four members rotated into the band as kids.  When BOAR was young, we often would switch instruments.  Ash and John both play drums, and Lyra also plays keys and other instruments, so we had fun moving people around and trying different configurations.  Our early teacher and mentor was Jake Scheps, son of world-renowned, multi-Grammy-winning engineer Andrew Scheps, who has worked with hundreds of A-listers including Johnny Cash, Michael Jackson, Neil Diamond, Robert Plant, Metallica, RHCP, Beyoncé, and on and on and on…  Jake is a musical genius, also like part Jedi Knight and part Zen monk, and he helped us learn how to write our own material as well as teaching us professionalism from a young age.

  1. Recording 

Our first album, Fall with Disgrace, was recorded with Michael Rosen, a legendary producer from both the thrash scene and the punk scene in NorCal. Michael’s studio is in the former Faith No More recording and rehearsal space at Soundwaves Studios, and Testament’s space was next door, so very cool history in the room.  Michael teaches music production at Chabot College, so he naturally mentored us, and we learned so much from him.  We did a lot of pre-production and then tracked many takes to avoid excessive editing for a more old-school sound, and we are really proud of how good the album came out, especially for our first record.

Scott Proctor helped us get a more expansive sound for this new EP, Forgive My Figure.  Scott is a touring member and backing vocalist for Five Finger Death Punch, and he’s a master of vocal harmonies as well as layering of tracks while keeping everything distinct and clean in the mix.  Scott helped us get a more expansive and mature sound.  We had to pause a few times while he was out with 5FDP, but the finished EP is worth the wait!  The sound came out so rich and dense while remaining smooth and articulate, and then Matt Boudreau’s mastering kicked it up another notch – we can’t wait to release these songs!

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

The members of Baby On A Rampage first came together between ages nine and eleven at Bandworks, a local music school known for rotating student lineups. When Ash, Lyra, John, and Bruno ended up in the same group, instructors immediately noticed an unusually advanced chemistry and skill level for musicians so young. The band cut its teeth on Metallica, Green Day, and Primus before pushing into more demanding material from Mastodon, Gojira, SOAD, Rage Against the Machine, Tool, Slipknot, Pantera, and Lamb of God. Muse’s intricate arrangements and the experimental energy of King Gizzard and the Lizard Wizard also became early influences.

During the pandemic, live shows and rehearsals came to a halt, creating unexpected space for songwriting. Masked rehearsals gradually evolved into original compositions, eventually leading to a four‑song demo recorded in Ash’s living room as restrictions eased. The demo earned praise from members of Forbidden, Slayer, and other industry veterans, giving the young band a major confidence boost.

The group completed its first tour in 2024 throughout the Pacific Northwest and Canada. None of the members were old enough to drive, so parents handled van duties, occasionally awkward at DIY punk venues, but undeniably helpful for hauling gear and covering gas.

The debut album Fall with Disgrace was recorded in winter 2024–2025 with legendary East Bay thrash and punk producer Michael Rosen at Soundwaves Studios, formerly home to Faith No More’s recording space, with Testament rehearsing next door. Rosen’s mentorship and emphasis on pre‑production and multiple live takes helped shape an old‑school, performance‑driven sound.

Touring continued through 2025, including a summer run along the West Coast and a winter tour across the Southwest to Texas. With driver’s licenses finally in hand, the band traveled independently, often camping to save money, and surpassed 100 shows by year’s end.

Recording for the 2026 EP Forgive My Figure began with Scott Proctor (touring member and backing vocalist for Five Finger Death Punch and also stage manager, guitar technician, and monitor tech for legendary bands like Machine Head and Testament; bassist and songwriter for the rock bands Amongst Thieves and State Line Empire). Proctor’s expertise in harmonies, layering, and modern metal production guided the band toward a more expansive and mature sound. Matt Boudreau’s mastering added further clarity, density, and impact.

The band filmed its first music video in early summer 2026 before heading out on its longest tour to date, covering 19 cities across Texas and the Midwest while the EP was being mixed and mastered. With Forgive My Figure now complete, the band is preparing its release alongside the video for the lead single “Reclaim,” culminating in an EP being released on November 12th, 2026.

EP Band Lineup:
Ash Lee: Guitars, Vocals
John Muir: Bass, Vocals
Lyra Renninger: Drums

Live Band Lineup:
Ash Lee: Lead guitar, Vocals
John Muir: Bass, Vocals
Lucas Garske: Rhythm guitar
Mona Iris: Drums

Discography:
2026 – Forgive My Figure – EP
2025 – Fall With Disgrace – LP

Shared Stage with: Reminitions, Frog Mallet, P.E.E., Love Letter, Bonginator, Tornadic, Away With Words, Decades In

Tours and Festivals:
Summer 2026 US tour (19 cities)
Winter 2025 tour (11 cities)
Summer 2025 tour (7 cities)
Summer 2024 PNW tour (12 cities, including Vancouver BC, Canada)
2025 – End of the Summer Blowout – Oakland, CA (this is our own annual fest featuring 10+ bands held on the Sunday of Labor Day Weekend)

0 EPK- Traumatomy – Ascension Of The Ineffable (2026) (Gore House Productions)

  • August 26, 2026
  • by Asher
  • · EPKs · Traumatomy (Gore House Productions)

EPK- Traumatomy – Ascension Of The Ineffable (2026) (Gore House Productions)

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

“We are very happy with this new album « Ascension Of The Ineffable»; we have been working on it for 2 years. We believe that this album will be loved by fans for a long time. Konstantin Ogarkov brought a special sound to this album. The sound is raw but at the same time sharp and brutal. The album cover by Jon Zig captured our vision and atmosphere. SLAM IS THE ONLY WAY” – Traumatomy

Band: Traumatomy
Album Title: Ascension Of The Ineffable 
Release Date: October 30, 2026
Label: Gore House Productions

For fans of Gorevent, Cerebral Incubation, Disgorge, Epicardiectomy, Defeated Sanity

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

Tiktok.com/@gorehouseproductions | Youtube.com/c/Gorehouseproductions-Official | Spotify | Gorehouseproductions.bandcamp.com

Facebook.com/traumatomy | Instagram.com/traumatomy.slam

Spotify | Apple Music | Traumatomyslam.bandcamp.com

Pre-Save – All Digital Platforms (Bandcamp, Apple Music) – https://orcd.co/ascension-of-the-ineffable

“Brutal death metal enthusiasts rejoice!… Get in, make a s**t-ton of noise, wreck some bodies, and get out. That’s the mantra of this EP, and the mindset of Traumatomy, who deliver five of the nastiest and brutalising death metal tracks heard this year. With guitar riffs that are as thick as coagulated blood, bass hooks that rip through flesh as though they’ve emerged from a freshly opened Lament Configuration, drums that sound like a demon is hitting the skulls, ribcages, and stretched skin of its victims, and vocals that gurgle and growl like a creature driven to madness through hunger. This is Traumatomy’s sound, and it is f**king mean. There’s no refresh of the brutal death metal sound here. No suggestion that Traumatomy are about to drop a melodic one out of the blue. No attempt to do anything but deliver brain-crushing heaviness at its best. Which is what Traumatomy do here. Delivering the kind of savage and sickening heaviness that leaves you with a headache, a sore neck, aching limbs, and the strong feeling of having been well and truly violated.” – Games, Brrraaains, A Head-Banging Life

“TRAUMATOMY releases “Triumph Of Enslavement”, an EP that offers slam in its purest form, but which is attractively designed in terms of songwriting and rafinesses here and there, which reveals the many years of experience in this style, especially from guitarist Constantine Chevardin. Fans should be happy with this appetizer. 8/10″ – PowerMetal.de

“Well, this is short and sweet at just over 15 minutes. Triumph of Enslavement is a nice little (tiny?) slab of brutal death metal that opens up with a mid-paced but heavy, crushing intro before swerving in a faster, but no less heavy, death metal onslaught. They do slow down, sometimes almost to a crawl, but the crushing heaviness is omnipresent, clickety drums included (OK, that has nothing to do with heaviness, but you do get the clickety drums). The growls are deep, deeper than I usually like, but they’re a perfect fit for the music here—I wouldn’t see a different style working quite as well. It’s dark, it feels like the weight of the world going through your ears, and sometimes that’s just what you need.” – The Metal Crypt

«There is a consistent groove throughout each song which either features slow, dragging parts where the focus is on the slams, or faster parts in which the riffs and drumming get a lot more technical and intense» – Angelusmortem

«Musically, Traumatomy’s style is very similar to Abominable Putridity, Visceral Disgorge, Party Cannon and Epicardiectomy since the songs have that groovy aesthetic but this time, they’ve bring more depth in their sound since every song doesn’t feel the same as it keeps the melodics, tempos, arrangements and style feel its welcomed and for that, I truly feel this is the best Traumatomy album they’ve done to date»  – Metalpurgatorymedia

«You want absolute bestial brutality? You’ve got it!» – bloodynews.ro

Band: Traumatomy
Album Title: Ascension Of The Ineffable
Release Date: October 30, 2026
Label: Gore House Productions

Track Listing:
1. Entropic Obliteration (3:34)
2. Pervigilium of the Obsolesced Xenolith (3:26)
3. Endoneural Parasitosis (3:07)
4. Repugnant Coalescence (2:55)
5. Ascension Of The Ineffable (2:54)
6. Visceral Maceration (2:34)
7. Autognathic Avulsion (2:43)
8. Xeno-Homeostasis (3:07)
Album Length: 24:15

Album Credits:
All songs performed by Traumatomy
All songs written by Constantine Chevardin
Produced by Constantine Chevardin
Mixed and Mastered by Konstantin Ogarkov
Cover artwork by Jon Zig

Album band line-up:
Constantine – Guitars
Ivan – Drums
Leonid – Bass
Haruka – Vocals
Kirill – Vocals

Live band line-up:
Constantine – Guitars
Ivan – Drums
Leonid – Bass
Kirill – Vocals

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

About the album as a whole (LYRICALLY & MUSICALLY)

The new album sounds faster, more brutal, and more raw. Lyrically, it is the same as the others.

Track by Track (LYRICALLY & MUSICALLY)

1. Entropic Obliteration – The opening song of the album shows the brutality of the album as a whole.

2. Pervigilium of the Obsolesced Xenolith – This is the fastest track on the album. It has the most blast beats.

3. Endoneural Parasitosis – A song with truly sick breakdowns

4. Repugnant Coalescence – It’s our drummer’s favourite track. The most balanced track.

5. Ascension Of The Ineffable – It’s the main track of this album. The track represents the entire album, as the lyrics and title are related to the album cover.

6. Visceral Maceration – One of our favorite songs to perform live

7. Autognathic Avulsion  – It has it all: grooves, blast beats, and atmospheric riffs.

8. Xeno-Homeostasis – It has the perfect structure for the end of the album.

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

Fun Facts – Story Angles:

1. A former band member once vomited and shitted at the same time after the last show of our European tour. He drank a lot of the national Czech drink, slivovitz.

2.  Our bass player was smoking weed, thinking he was smoking cigarettes. Then he fell in the bathroom and hit his head. :)))
It was slammy!!!!

3. When we were on tour in Russia, in the city of Astrakhan, our bus was broken into, and our merch was stolen.

The next day we noticed that local alcoholics were wearing our T-shirts.

4. One day we were invited to an open-air event in Cheboksary. We didn’t know what awaited us since it was our first time working with this show manager. When we arrived, there was an open field, a forest, and pits in front of us. There was no equipment or stage, just bare ground.

When we approached this manager with a question, he replied that all his bands performed like this and did not see any problem. He invited us to play and then spend the night on the bare ground with him. (Even without beer)

5. The former live vocalist performed with us at the festival in Germany, “Death Fest Open Air”. After our return to Russia, a local newspaper wrote about him; the headline was: “The retail worker of a local alcohol store was carried on fans’ arms in Germany” lol

Traumatomy is an international slamming brutal death metal unit formed in 2012 by Constantine Chevardin (Disfigurement Of Flesh, Nauseating, Morphogenetic Malformation) and Haruka Kamiyama (ex‑Gorevent / Medic Vomiting Pus). Originally conceived as an online studio project with no intention of performing live, the band quickly became a cult favourite in the global brutal underground following the release of their 2013 debut full‑length Transcendental Evisceration of Necrogenetic Beasts. Between 2012 and 2018, Traumatomy issued two albums and three EPs, steadily sharpening their primitive, crushing, and uncompromising sonic identity.

Everything changed in 2018 when bassist Leonid (Cephalic Impurity) and a permanent drummer, Ivan, joined the lineup, transforming Traumatomy into a fully active touring band. Their coordinated, intense stage presence and relentlessly brutal delivery have since earned them a reputation for charisma, precision, and professionalism, supported by a large catalogue of live videos circulating online.

In 2026, Traumatomy enters a new era with the release of their fourth full‑length album, Ascension Of The Ineffable, out October 30, 2026 via Gore House Productions. Written entirely by Constantine, the album pushes their sound into even more savage territory, faster, rawer, and more brutal than anything in their discography. Inspired lyrically by H.P. Lovecraft and the grim absurdity of Russian criminal TV shows, the record continues the band’s tradition of grotesque storytelling while amplifying the extremity of their musical approach.

Fueled by beer, riffs, and cosmic horror, Traumatomy remains committed to creating monolithic slam until the end of time. Ascension Of The Ineffable stands as the definitive statement of that mission: a violent, gnarly, and invigorating slab of slamming brutal death metal that embodies everything the band has become.

Discography:
2026 – Ascension Of The Ineffable – LP
2024 – Triumph Of Enslavement EP
2021 – Extirpation Paradigms – LP
2017 – Embodiment of Excruciation – EP
2017 – Hysteric Decapitation Demo
2015 – Monolith of Absolute Suffering – LP
2014 – Beneficial Amputation of Excessive Limbs – EP
2014 – Promo
2013 – Transcendental Evisceration of Necrogenetic Beasts – LP
2012 – Promo

Shared Stage with: Cerebral Incubation, Epicardiectomy, Waking the Cadaver, Guttural Secrete, Pyrexia, Pathology, Within Destruction

TOURS:
2025 – Worship Of Sickness Tour w/ Insect Inside
2024 – Unsparing Cruelty Tour w/ Cephalic Impurity
2023 – Slam Violence Tour w/ Cerebral Incubation, Epicardiectomy, 357 Homicide
2023 – Slam Them All Tour w/ Visceral Disorder
2022 – United In Brutality Tour w/ Decomposition Of Entrails
2022 – Tyranny Over Russia Tour w/ Insect Inside
2022 – Summer Brutality Tour w/ Cold Blooded Murder
2019 – Desolation Europe Tour w/ Disfigurement Of Flesh and Paediatrician
2019 – Asia Tour w/ Within Destruction
2018 – Kill. Crush. Destroy Tour w/ Inopexia

0 EPK – Bat Leather – Dark Arts (2026) (No List Records)

  • August 26, 2026
  • by Asher
  • · EPKs · No List Records - Bat Leather

EPK – Bat Leather – Dark Arts (2026) (No List Records)

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

Nolistrecords.bandcamp.com/album/dark-arts 

Facebook.com/nolistrecords | Instagram.com/nolistrecords

150 white vinyls
50 rare blacks

Instagram.com/batleathernoise

Band: Bat Leather
Album Title: Dark Arts
Label: No List Records (Vinyl), Super Crunch Records
Release Date: September 4, 2026
Genre:  Brutal Minimalist Noise Rock
Location: Calgary, AB / Vancouver, BC, Canada

Track Listing:
1. Dance Craze – 2:00
2. Thursday Inn Sylvan – 1:42
3. Misguided Projects – 1:51
4. Then He Was Pulled Into A Machine – 2:26
5. Technical Aggression – 2:39

Credits:
Cory – Guitar, Bass, Drums, Noise
Luke – Vocals, Noise

Recorded January 2026 at Red Volume Audio in the Badlands, ab by Cory. Vocals recorded in Vancouver, bc by Luke.
Mixed by Cory. No master, no god.
Cover photograph and layout by Cory.

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

Bat Leather 7” 2026

There are times when you drop a needle on a record, sit down to listen to it for the first time, and you’re immediately a bit puzzled. Where is this coming from? How do I place this? What genre am I going to put this in when I brag to my friends that I found it first?

Bat Leather makes that type of music. The kind that confronts you, maybe makes you a bit uneasy, on edge, but is immediately engaging. It’s punk, but not. It’s noisy garage rock, but not entirely that. Noisy and then, somehow, noisier. Then there is that nod to the plodding, sludgy sound more often associated with music to get stoned to. It’s a lot, packed into short blasts of sound and fury.

With the overdriven vocals and hyper-distorted guitars punctuated by waves of feedback, this band is heavy. Like, heavy. Puzzling over the sound isn’t the point. “Technical Aggression” captures how Bat Leather can expertly twist feedback into the core of the song, and while “restraint” is not necessarily an accurate word to describe this music, “Dance Craze” is a slow burn, with pounding drums and vocals dragging you through the smoke. 

Usually, these write-ups of bands include comparisons or influences, with a tidy wind-up that puts the band into a box of a narrowly defined genre, simplifying things, or lumps them into a scene that makes things familiar. Bat Leather is not that band; their music is not that easy. In the end, you’re left with something complicated – something that rocks and is noisy. It’s heavy and then gets heavier. It’s describable; you can, but never capture everything going on.  And it crawls inside you with listen after listen after listen. If “heavy rotation” counts as a genre, well, this is it.

0 EPK – Foreshadow – Here Down On Earth (2026)

  • August 24, 2026
  • by Asher
  • · EPKs · Foreshadow

EPK – Foreshadow – Here Down On Earth (2026)

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

“The EP is a re-record of our first 1991 demo, which we never promoted because it sounded so awful. We skipped a ballad from that demo which I personally found too soft and which would have taken forever to record. Otherwise, we simply kept the original song order. I personally expect our music to have far more attention than when we were formally active 90-95. A lot of younger people listen to similar music, and many have shown interest. The demographics for metal are simply better now than they were then in the 1990s when we first came out.” – Patrick Loisel ( Guitars and Vocals) – Foreshadow

For fans of Testament, Queensryche, Metallica, Death Angel

EP Title: Here Down On Earth
Release Date: October 2, 2026
Label: Self-Release
Genre: Thrash Metal
Location of Band: Valleyfield, Quebec, Canada

Facebook.com/foreshadowmtl | Foreshadow.bandcamp.com

EP Title: Here Down On Earth
Release Date: October 2, 2026
Label: Self-Release
Genre: Thrash Metal
Location of Band: Valleyfield, Quebec, Canada

Track Listing:
1. Y? – 6:17
2. Decretei – 3:40
3. This Harvest That You’ve Sown – 4:39
4. As Heroes Die – 7:01
5. Here Down On Earth – 8:46
EP Length: 30:26

Album Credits:
• All songs performed by: Foreshadow
• All songs written by: Foreshadow
• Produced by: Foreshadow
• Mixed by: Patrick Knup
• Mastered by: Alberto De Icaza
• Album Artwork by: Kevin Secours and Martin Belair
• Member of SOCAN
• Canadian Content (MAPL)

Band Lineup:
Patrick Loisel – Lead Guitar, Rhythm Guitar, Vocals
Kurtis Clifford – Bass Guitar
Pierre Pitre – Drums
Patrick Knup – Lead Guitar, Rhythm Guitar

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

About The EP Artwork:

It is a 2.0 version of our original demo cover, which shows a few nefarious things occurring on this planet, i.e., violence, pollution, intolerance.

Things are so similar now that I feel like I am 21 again.

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

A bit hard. Let’s say an image frozen in time of where our minds were back then.

Track by Track (LYRICALLY & MUSICALLY):

1. “Y?”  (“Why?”)  It is pretty much death metal-like and describes the life of survivors of a nuclear war retreating underground and devolving.

2. “Decreței” was initially entitled “Merry Christmas Ceausescu” but back then the reference was far more relevant since he was executed ( on Christmas Day) the year before we wrote the song. The new title simply describes the children his natalist policies forced to live in squalid conditions.

This is the very first song we actually put together as Foreshadow, and the music was entirely written by Kurt.

3. “This Harvest That You’ve Sown,” which I wrote, is about ecological concerns. I was an activist during my youth, and I first started speaking publicly about environmental concerns in 1978 at the age of 8. So it is a lifelong vocation for me.

4. “As Heroes Die” was inspired by all the anti-military speech of the time; it was our “Disposable Heroes”.

I was heavily inspired by the movie “Jacob’s Ladder”. I took musical inspiration from local bands, especially Sword.

5. “Here Down on Earth” The title track is like a general synthesis of what went ( and still goes) wrong. These general patterns that keep repeating themselves regardless of whether we are a primitive or technological society keep us at a low evolutionary level. Musically, this song was very collaborative, and I kind of forgot who wrote what.

As a rule of thumb, I am more the dude who writes dramatic, classical-sounding riffs while Kurt is “Mr. Groove”.

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

L-R – Kurtis Clifford (Bass), Patrick Loisel (Rhythm and Lead Guitars), Pierre Pitre (Drums), Patrick Knup (Rhythm and Lead Guitars)

Top – L-R- Patrick Loisel (Rhythm and Lead Guitars), Kurtis Clifford (Bass)

Bottom – L-R – Patrick Knup ( Rhythm and Lead Guitars), Pierre Pitre (Drums)

Foreshadow was formed in 1990 and is composed of Patrick Loisel ( Augury), Kurt Clifford ( Vantablack Warship), Pierre Pitre (Arseniq33), and Patrick Knup (Clearwater Deathblow). Together, they released 3 demos and 1 full-length album in the 90s. Now, 30 years later, they have rejoined forces to record a 5-song EP slated for release on October 2nd 2026. Foreshadow opened for many Montreal acts in the 90s, some of which persevered and are now internationally acclaimed, including Unexpect, Quo Vadis, Martyr, Obliveon, and Kataklysm.

Discography:
1992 – The Green God (EP)
1994 – Revolt (EP)
1995 – Do We Disturb? (Album)
2026 – Here Down On Earth

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