Category: EPKs

0 EPK – Cell Press – Cages (2024) (The Ghost Is Clear Records)(Ancient Temple Recordings)(No List Records)

January 23, 2024
by Asher
· Cell Press · EPKs

EPK – Cell Press – Cages (2024) (The Ghost Is Clear Records)(Ancient Temple Recordings)(No List Records)

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

“We think (and hope) that folks who enjoyed our first EP will be pleased with this offering and the next evolution of our sound and auditory trajectory. We are trying to offer a full-length album with no filler from start to end and are appealing to our listeners to embrace an almost passe era where bands present collections of songs that are meant to be listened to altogether and that fit and tell a complete story, with each song being individual chapters to that story.” – Cell Press

For fans of KEN Mode, Unsane, Keelhaul, Burnt By The Sun, Yautja

Band: Cell Press
Album Title: Cages
Release Date: March 8, 2024
Label: The Ghost Is Clear Records (Vinyl), Ancient Temple Recordings (Vinyl), No List Records (Cassette)
Distribution: Distro Kid

Facebook.com/cellpressmtl | Instagram.com/celllpresss | Twitter.com/celllpresss

https://linktr.ee/cellpress | Cellpress.bandcamp.com | Spotify

Canadian Campus Radio Charts – The National Top 50 – #34 – Cell Press (Earshot) – For the Week Ending: Tuesday, March 19, 2024
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Canadian Campus Radio Charts – The National Loud Chart – #3 Cell Press (Earshot) – For the Week Ending: Tuesday, March 19, 2024

“An album that prides itself on being an old school sludge-fest and manages to deliver the goods from start to finish, Cages finds one of Montreal’s best live acts in fine form. With blistering riffs, gut-wrenching vocals and a few unexpected twists, Cages captures Cell Press at their height, the ultimate sludge metal experience that captures their on-stage fury… Cages is a no bullshit record, an exciting new chapter in the story of Cell Press that promises a bevy of possible avenues. Sludge rarely sounds so invigorating.” – Exclaim!

“Are you looking for the perfect soundtrack for a grueling weightlifting session on Doomsday? Well, look no further, as Montréal’s Cell Press concocts an edgy-yet-sophisticated ooze of jazzy punk, grindcore, noise rock, and sludge on the debut LP Cages, that’ll have your muscles burning hotter than the world around you.” – Pan M 360

“The song (Original Uranium Baby) is indeed a hook monster that will get your muscles jumping, but the hooks are mangled and the beats don’t consistently follow a straight line. It sounds stripped-down, as lots of catchy music often does, but it mutates as it goes. There’s a heavy throbbing and punching quality to the bass lines, and the riffing seems to blare, quiver, and lurch in differing phases of derangement, while the drumming comes off-kilter just enough to enhance the song’s bamboozling qualities, and the swift fills add to its electric effects. As the music works its odd magic, and begins to seem like a big ugly bulldozer out of control, a voice howls and screams in a throat-shredding combination of fury and madness.” – No Clean Singing

“An abrasive set of songs, Cages is a brutal listen which musically leans more on influences from the rougher side of the hardcore and metal worlds. Tracks like “Dark Side of the North” and “Recoil (A Collective Behaviour of Violence) tackle subjects like the lack of clean drinking water in the Northern Communities of Canada (the former) and gun control / American Mass Murder (the latter). Unsurprisingly, this raw, honest, ugly look at life, is sonically matched by a soundtrack that is equally as harsh.” – V13

“‘Kissed by a Morose on Mont Royal’ is a banger.” – Overtone Magazine

“Cages is nothing if not pure sonic chaos distilled into a surprisingly palatable if not refreshing listening experience. It opens with “Adult Baptisms” and hits you with as much force as the cops taking an Enforcer to the door of the wrong person’s apartment, knocking out at least two of your teeth and bruising your sternum. A blistering meditation on the zealous way some people buy into the lies sold by the media to influence our thoughts and opinions, it perfectly encapsulates what it feels like to be constantly tasked to dig through the mud to find the truth and then to fight for your life to defend it. In short, for an opening track, this one is absolutely brutal.” – Noob Heavy

“These guys promised good things on their debut EP and “Cages” sees them following through in workmanlike style. A band that fans of EYEHATEGOD and CHERUBS both can appreciate.” – Wormwood Chronicles

“a muscular nine-song full-length titled Cages. Drawing on a gnarly mix of metal, hardcore, and sludge” – Some Party

“The head f*** that is “Blue Royale” is a backwards tune with a sample that might make you feel like your brain is about to implode but feels in keeping with the straight jacket wearing patient depicted by Sean Arsenian in the cover art. They say that art reflects life and that’s perfectly true with this… Mark McGee saves his finest kit performance until the albums grand finale with “Things They Do in France“, a song about love lost and how good it could have been if it wasn’t so toxic to which we can all relate. Playing with textures and tempos, this one twists and contorts with alarming regularity before the downtempo finish which can only be described as a Chef’s Kiss moment. Heed the warning. Cell Press have something to say. – Metal Noise

What the press has said about Cell Press’ 2020 Self-Titled EP:

“From the grooves on “Piss Police” to the odd-timed melodic chords of “Blacked Out in Verdun,” everything moves in unexpected ways. All of this is perfectly set to the backdrop of PQ’s uniquely cackled screams… Cell Press is a great sludge metal EP that reminds the listener of the best aspects of this sub-genre. This EP makes the future appear bright for what is to come from this band. 8/10″ – Exclaim!

“You know that feeling, when you spin a new record for the first time and it just fucking destroys you? Well today I am happy to report, Cell Press outta Montreal have truly delivered the goods with their debut self titled EP. I mean fuck, is it any wonder this band rules, when they can boast members from the likes of The Great Sabatini, Biipiigwan, I Hate Sally, Architect. With their self-titled release, Cell Press give zero fucks about accessibility, instead they focus on delivering punishing aggression with a melting pot of sludge metal, noise rock, and grindcore.” – The Sludgelord

“a perfect showcase of their unique sound and style and leaves you wanting to hear more from the band. Their total disregard for the limitations of genres and boundaries results in the EP blending noise, grindcore, sludge, punk, groove and dark ambient among other influences. They perfectly blend raw aggression with groove and melody and aren’t afraid to shift gears to play with ambience and noise.” – Cave Dweller Music

“Warm fuzzy guitar tones bring a touch of the Sabbath to “Piss Police” with broken chords and momentary pauses giving the kind of sound that Raging Speedhorn look for to accompany the rampant venting screams of the vocals that unapologetically roar along during the montage.” – Metal Noise

“Cell Press’s debut self titled EP is definitely an interesting listen. I didn’t expect it to take me on the journey which it did. An aggressive sound runs throughout showing that this band don’t play by the rules, they’re making music the way they want to.” – The Independent Voice

“Noisy and enjoyable, I give this Cell Press effort high marks. I am a Punk fan from the beginning, and I hear those roots here, certainly in the attitude, even if the category is technically off. The disenfranchisement is very appealing. Recommended.” – Flying Fiddle Sticks

Canadian College Radio Loud Charts for – Cell Press – Self-Titled (EP) (2020) :

#1 – National Loud Chart For the Week Ending: Tuesday, February 2, 2021 (Earshot)

#3 – January 2021 – Top 20 Loud – National Loud Chart (Earshot)

#6 – National Loud Chart For the Week Ending: Tuesday, January 26, 2021 (Earshot)

#1 – National Loud Chart For the Week Ending: Tuesday, January 19, 2021 (Earshot)

#1 – National Loud Chart For the Week Ending: Tuesday, January 12, 2021 (Earshot)

#5 – December 2020 – Top 20 Loud – National Loud Chart (Earshot)

#2 – National Loud Chart For the Week Ending: Tuesday, December 15, 2020 (Earshot)

#3 – National Loud Chart For the Week Ending: Tuesday, December 8, 2020 (Earshot)

#10 – National Loud Chart For the Week Ending: Tuesday, November 10, 2020 (Earshot)

Track Listing:
1. Adult Baptisms (3:12)
2. Kissed by a Morose on Mont Royal (3:14)
3. Original Uranium Baby (2:48)
4. Dark Side of the North (4:02)
5. JOI to the World (4:01)
6. Disco Naps on the Devil’s Bedpost – (4:08)
7. Blue Royale – (3:31)
8. Recoil (A Collective Behaviour of Violence) – (3:51)
9. Things They Do in France – (4:35)
Album Length: 33:22

Album Recording Credits:
• All songs performed by: Cell Press
• All songs written by: Cell Press
• Engineered by: Sean Pearson (Cursed, Shallow ND, Fiftywatthead) @ Boxcar Sound Recording
• Additional guitars tracked at Unfamous Audio; engineered by Paul Edwards
• Mixed by: Scott Evans (Kowloon Walled City, Town Portal, Great Falls) @ Antisleep Audio
• Mastered by: Carl Saff (Ken Mode, Blacklisters, Fu Manchu, Childbite) @ Saff Mastering
• Album Artwork by: Wurmzilla
• Music is Canadian Content (MAPL)

Album Band Line Up:
PQ – Vocals
Sean Arsenian – Guitar, Bass, Vocals
Mark McGee – Drums

Live Band Line Up:
PQ – Vocals
Sean Arsenian – Guitar, Vocals
Mark McGee – Drums
Tristan Dorrington-Meehan – Bass

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About The Album Artwork:

The cover art is a painting made by guitarist Sean (aka Wurmzilla) depicting an inpatient in a psychiatric ward. The style of the rendering is attempting to express the fragility and mania of the person, and some of the ideas in the songs.

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

Cages as a whole album is a collection of songs with different themes and vibes. Written over the span of two years (2021-2022) when the world was changing rapidly as was our personal lives. Certain peaks and valleys through those years influenced the songs and the songwriting. Cages is an angry, gritty unapologetic look at the world through our eyes and expressed through our voices and instrumentation for your ears.

Track by Track (LYRICALLY & MUSICALLY):

Adult Baptisms – Questioning modern media and misinformation in a world in which a tsunami of news and information bombards us every waking hour. What is real and what is not? Adult Baptisms would refer to people developing a religious fervor and cult-like view based on lies influenced by the opinion of a news corporation or the editorial take of a media personality.

Kissed by a Morose on Mont Royal – Opining on the contagiousness of mood and depression and the cloudiness of perception when in such a state.

Original Uranium Baby- A dystopian tale set in the town of Elliot Lake, Ontario in the year 2088.

Dark Side of the North- Expressing fury over the lack of clean drinking water for the northern communities in Canada which has been promised and then ignored over several election cycles and calling for change now.

JOI to the World is a song about hopelessness and the acceptance that things will never get better.

Disco Naps on the Devil’s Bedpost- a song about addiction and pushing the line of consumption more and more. Testing and tempting death by sticking one’s finger right in its face, daring it to make the move.

Recoil (A Collective Behaviour of Violence)- Exploring and questioning American-made mass murder and gun culture, broken promises by politicians, and the willful blindness and gross ignorance of 2A advocates and political lobbyists.

Things they do in France – A song about lost love and what could have been had it not been so toxic.

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Fun Facts:

The members of the band have individually recorded at Boxcar Sound Recording in Hamilton, Ontario with sound engineer Sean Pearson a combined total of one dozen times between this band and their other projects (The Great Sabatini, Swarm of Spheres & Cruickshank).

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Cell Press is a Montreal-based band that formed in 2019. They play a sort of burly noise-rock that leans more on the hardcore and metal side of the swamp. They took their name from the 2001 Russian prison documentary “The Mark Of Cain”. The brutal humanity of that film is reflected in the music… on the surface, it’s raw and punishing, but there are complexities and nuances revealed once the surface noise has been embraced. Members have played in a myriad of punk, metal, and hardcore bands such as The Great Sabatini, Biipiigwan, I Hate Sally, The Chariot, Animal Ethics, Architect, Swarm Of Spheres, and Angles. Cages is their first full-length album, recorded at Boxcar Sound Recording in Hamilton, ON, and due out in early 2024.

“We are very happy to announce our first full-length album “Cages”. This album has been in the works for the last three years, taking two years to write and one year to record, mix, master, and find the right partners to work with on the release. This album jumps all over the place thematically from demanding clean drinking water for the people in the northern communities in Canada to dystopian fiction in which the radioactive bones of the dead are used as currency, to addressing the current state of “truth” and what we consume as information on a daily basis and how it has been dividing society to the point that it is almost reminiscent of a holy war with men and political affiliations taking the place of gods.

Despite this diversity in lyrical themes throughout the album, the music pulls it all together from start to finish with relentlessly punishing guitars and drums. The aesthetic of our cover art is once again designed and painted by our guitar player, Sean Arsenian (aka Wurmzilla) who has a real knack for visualizing what the music on our album would look like translated into art. We are very proud of this album and are looking very forward to releasing it to your ears!”

Discography:
2024 – Cages – LP
2021 – Split LP w/ Anthesis, Botfly, Greber & Clouds Become Oceans
2020 – Self-titled- EP

Shared Stage with: Greber, Ken Mode, Frail Body, Diner Drugs, Fuck the Facts. Glowing Orb, Skumstrike

0 EPK – Metro Society – The London Conspiracy Chapter I 1898 (2024)

January 18, 2024
by Asher
· EPKs · Metro Society

EPK – Metro Society – The London Conspiracy Chapter I 1898 (2024)

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

For fans of Dream Theater, Porcupine Tree, Threshold, OSI, Pain of Salvation

“We feel that fans who have been following the band over the years are in for a treat. The production and songwriting have taken a big step forward in overall quality and there is a dark storyline involved that we think listeners are going to want to know “What happens next?” after each song. Each member of the band has moments throughout the songs that are rooted in the Progressive Rock / Metal style and really showcase what the band is capable of on their respective instruments/talents. Guitarist Chris Mangold has some amazing lead guitar work in the songs “City Streets” and “Society” for example. Vocalist George Margaritopoulos gives an impressive vocal performance throughout the album that showcases his dynamic range of vocal styles. The rhythm section consisting of drummer Will Mangold and bassist Ian Ringler provides a thunderous and intricate backdrop that drives each song forward while not skipping out on complex technical nuances.

We are going for the full album front-to-back listening experience with this album. This is a story-based album that we are hoping listeners will dive into the full album experience. The songs are really meant to be listened to together as a whole, however, we also feel that any of the individual songs could be listened to on their own and still tell their own story. Hopefully, after listeners hear one or two songs they’ll want to jump into the full album to hear the rest.” – Metro Society

Band: Metro Society
Album Title: The London Conspiracy Chapter I 1898
Release Date – March 1, 2024
Label: Metro Society Records
Distribution: Distrokid

Metrosociety.net | Facebook.com/MetroSocietyBand | Metrosociety.bandcamp.com | Spotify | Apple Music

“”Pieces of the Past: It’s the epic track on the record and ranges from up-tempo heavy hitting to progressively synced parts and superb lead vocals and vocal harmonies.” – Sonic Perspectives

“an ambitious album and Metro Society have some hits (the vocal lines on “Underground” for one)…The London Conspiracy Chapter I 1898 is an enjoyable album,” – The Metal Crypt

““The London Conspiracy Chapter I 1898” is a captivating album that is convincing both musically and conceptually. Metro Society proves to be a talented band that knows how to bring a story to life through their music. Fans of progressive rock and metal should definitely keep this album in mind and embark on a thrilling journey to Victorian London.” – BetreutesProggen.de

“a captivating second album that explores the darker side of London’s history.” – Maximum Volume Music

““Inferno” closes the album, and it wraps up the tale with an edge in the vocals and music. The bassist and guitarist exchange leading parts in the vein of RUSH, and it is here that you can really take in their musicianship…. They tell the tale with enthusiasm, energy, and spirit.” – Metal Temple

“Musically, The London Conspiracy Chapter I 1898 is very reminiscent of similar ones like 2112 by Rush or Metropolis Part 2 by Dream Theater, or Ziltoid the Omniscient by Devin Townsend. So, if you’re a fan of them, have a listen. I know I’m looking forward to chapter II.” – DPRP.net

“After the intro ‘London 1898’, which incorporates the distinctive ringing of Big Ben, each number lasts between five and ten minutes, giving enough time to unfold and give listeners the opportunity to adjust to the atmosphere. But the band lets it rip on the metallic ‘Lost Souls’, and it’s not just on this track that the rhythm section’s class proves itself. The most melodically interesting piece is ‘Pieces Of The Past’, which switches between metallic, poppy and dark passages with considerable ease and also features a clean guitar solo. The pretty instrumental ‘Society’ could be a bit nostalgic for the prog fan, as it reminds a little of the early phase of DREAM THEATER, when the men around John Petrucci were able to do something like that quite effortlessly.” – PowerMetal.de

“You can be sure to get some heavy riffing, I tell you that. The first part of ”Pieces Of The Past” for example, has Chris Mangold pretty wild at the strings. In the more commercial moments, I actually think of Kansas and some of their ex-vocalist Steve Walsh’s solo works. Margaritopoulos is a quite good vocalist. In the higher range he impresses the most, especially when he manages to keep the voice fairly clean.” – Melodic.net

[Download Album Cover | Download Album Lyrics]

Band: Metro Society
Album Title: The London Conspiracy Chapter I 1898
Release Date – March 1, 2024
Label: Metro Society Records
Distribution: Distrokid

Track Listing:
1. London 1898 – 2:59
2. City Streets – 7:34
3. Lost Souls – 6:29
4. Pieces of the Past – 9:25
5. Society – 6:37
6. Underground – 5:33
7. Inferno – 7:23
Album Length: 46:02

Album Credits:
Album Recording Credits: Chris Mangold, Ian Ringler, Will Mangold, George Margaritopoulos
All songs written by: Chris Mangold, Ian Ringler, Will Mangold
Produced by: Chris Mangold, Ian Ringler, Will Mangold
Mixed and mastered by: Rob Murray and Kyle from Wilderfox Studio, Vermont
Album artwork by: Harley Velasquez at Infinity NucleartStudio

Album Band Line Up:
Chris Mangold – Guitars / Keys
Ian Ringler – Bass
Will Mangold – Drums
George Margaritopoulos – Vocalist

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About The Album Artwork:

Late 19th century Victorian London. A mix of intrigue, mystery, Old London cityscapes, conveying the investigative story of a Detective in 1898 London.

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

This album is based on a conceptual story written by Chris Mangold and Ian Ringler. The music and lyrics are formed around the dynamics of the storyline. The main theme running through the album and lyrics is the following: There is a very thin line that separates the thirst for knowledge and the addiction of obsession.

Story setting:

Set in the city of London during the year 1898, a new century approaches as the Victorian age draws to an end. It has been ten years since the horrific murders of Jack the Ripper gripped the city in fear. The darkness of those gruesome events still casts a grim shadow over the city and its citizens. An up-and-coming detective is thrown into a murder mystery involving the suspicious death of his former mentor the now-retired Metropolitan Police Commissioner. The Detective has vowed to solve this case and begins to discover far more than he ever imagined. Clues and raised suspicions all lead to a twisted tale of betrayal, secret societies, and murder all seemingly linking back to the Ripper. Will the Detective uncover the long-hidden secrets of London’s sorted past or will he become a victim of his own unrelenting obsession?

Track by Track (LYRICALLY & MUSICALLY):

1. London 1898 (Instrumental)
– This song is a shorter instrumental track that is meant to place the listener into the setting of the story which is the city of London in the year 1898.

2. City Streets
– This song is the first song on the album with lyrics. This is a Prog rocker with driving guitars and catchy melodic vocals.

3. Lost Souls
– This song features heavy crunchy guitar riffs with heavy-hitting drums. The song transitions from the heavy into sober moments then back.

4. Pieces of the Past
– This is the epic of the album. This song ranges from up-tempo heavy hitting to Progressively synced parts and incredible lead vocals and vocal harmonies.

5. Society (Instrumental)
– This is the 2nd instrumental song on the album. This is a heavy heavy-hitting Prog Metal song with many guitar riffs and intricate drum and bass work, this also features an extended guitar solo from guitarist Chris Mangold.

6. Underground
– This song takes on perhaps the most unique sounds recorded for the album. The tone of the instruments and lyrics are very much reflective of the underground tunnel-like setting of the storyline. Lots of layered dark keyboard work from Chris Mangold and the chime/crunch tones from bassist Ian Ringler’s 12 String Bass work.

7. Inferno
– This is the heavy hitter’s final song on the album. Lots of heavy guitar and drum work on this song along with heavy melodic vocals.

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Fun Facts – Story Angles:

1. Chris Mangold initially recorded guitars to click tracks to get the vibe down for the feel and flow of the tracks for London. This did cover a longer span of time than normal; 2019 until 2023. We came up with 115+ minutes of music, so we are going to carve that up and do 2 releases for the London album in 2 chapters. When we were tracking the main elements for Chapter I, Chris would share this to see what the guys thought. If I got riffs and verses stuck in my head, I knew those were it. All the music was inspired by the London story. Would constantly envision the story in the feel of the songs. Some themes were captured on acoustic initially and then transcribed over to electric guitar. With the exception of tracks Society and Underground, most of the songs were guitar-driven. Recording did take longer; band members were across multiple states, and George was overseas. All music was tracked and recorded through ProTools pulling in tracks and sessions over online share drives. Needed to pull them down. Guitars and Keys were recorded in Missouri, Drums recorded in Montana, Bass in Colorado, and George’s vocals from his studio in Europe. Brought that all together in ProTools later to be mixed/mastered online. A true product of the digital age.

2. One special track is Underground. If you know Metro Society, the underlying theme is based on the Metro train systems of the world, influencing story and emotion into the music. Paris album was based in 1996 around the Metro system, while London is based in 1898 and shrouded in mystery encapsulating the origin of the London subway system post Jack the Ripper murders. The underground track was based on a keyboard idea Ian Ringler came up with. Chris Mangold took that idea and wove that very small idea into a dark flowing track. It’s a song of transition, unknown, and the pathway for the Detective to venture to the next place and phase of his investigation. It’s amazing when a small sequence of sound unfolds into various parts, connected to form a whole, layered into a complete song. The sound of the track was inspired by some of Queensryche’s darker tracks from Rage for Order and from the track Pulse by the band Wolverine.

3. Bit of a story and concept around the track Society, from the London album. An idea that we had was to have an instrumental track on each album. The track, Metro, was on A Journey in Paris emphasizing the sounds and darkness of the Paris metro. For London, we came up with the idea of Society. When you listen to them back to back, you’ll notice some riffing carried over. Chris Mangold was inspired by the motion and sound of the Metro subway cruising down the tracks. Gives it that driving fast-moving riffs to give the listener that feeling we were after. We will see what the future holds, but we have done a storyboard idea for a future album based on New York and was potentially having an epic instrumental track called, Metro Society.

4. What has been amazing is the collaboration between Ian and Chris when it comes to various song structures and ideas. Chris has a tendency to come up with endless riffs where we usually have more than needed, and Ian has an uncanny way of reducing or expanding sections to give them better flow. We bounce off of each other, talking about song structure and how it applies to the story. We keep things free-flowing for the most part, but because we are not 100% married to some of the parts, we can rearrange when needed. Creating a story, sprawling concept album helps with creating songs. The songwriter needs to have an idea in mind beyond coming up with a melody or a jam section. The story and concept drive the making of the song and truly inspire the emotion we are shooting for. Yes, we are truly engrained and focused on more complex progressive appealing tracks, but having enough structure that still keeps the element of a song.

5. Something we were striving for on the London album was the feel. When someone thinks of British music, we incorporate that rock and the swagger. That driving, flowing, and pumping feeling. What Chris Mangold took into account when coming up with the main riffs of City Streets, Lost Souls. England has come out with endless music gems and when you pluck out that driving feeling from Billy Idol, Porcupine Tree, The Beatles, Def Leopard, Threshold, and Rolling Stones you get a plethora of ideas to work with. Chris Mangold, inspired by the Deadwing album by Porcupine Tree, truly inspired the track City Streets. Listen carefully and you’ll get it. Check out, Pieces of the Past, and there are sections in there inspired by bands The Who and Boston (okay, not British but damn good) and many other great bands. Inspiration comes from the story, the bands we know and love, and what album you’re working to achieve. Mold these varying styles into a genre such as progressive metal and you end up with quite the song you were hoping for. Trust the process!

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

Metro Society, the brainchild of guitarist/songwriter Chris Mangold and bassist Ian Ringler (MAGNITUDE 9 / PSYCO DRAMA), is set to send shivers down the spines of progressive rock/metal enthusiasts.

“The London Conspiracy Chapter I 1898” revolves around a gripping story penned by Chris Mangold and Ian Ringler, exploring the thin line between the thirst for knowledge and the addictions of obsession. Set against the backdrop of London in 1898, the Victorian age draws to a close, but the horrors of Jack the Ripper’s murders continue to cast a grim shadow over the city.

The album features an exceptional lineup of musicians, including vocals from George Margaritopoulos (WARDRUM) and Will Mangold, Chris’ father who contributed his talent to the drum tracks. The final recording, production, and mixing was a joint effort between the band and Rob Murray and Kyle from Wilderfox Studio. It is recommended for fans of Dream Theater, Porcupine Tree, and Threshold.

“The London Conspiracy Chapter I 1898” is due out on March 1, 2024, via the band’s own label Metro Society Records.

Album Band Line Up:
Chris Mangold – Guitars / Keys
Ian Ringler – Bass
Will Mangold – Drums
George Margaritopoulos – Vocalist

Discography:
2024 – The London Conspiracy Chapter I 1898
2007 – A Journey in Paris

0 EPK – Confined To Oblivion – “Les Étoiles Filantes” (Les Cowboys Fringants) (cover single) (2024)

January 15, 2024
by Asher
· Confined To Oblivion · EPKs

EPK – Confined To Oblivion – “Les Étoiles Filantes” (Les Cowboys Fringants) (cover single) (2024)

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

“For this song, we wanted to emphasize the catchy melody of the original by Les Cowboys Fringants. Starting with a tribute to the song, taking liberties by adding a modern breakdown, and concluding with an epic build-up. We tried to bring an epic and heavy version of a classic Quebec song. The same singalong choruses but we added a renewed energy that’s perfect for a metal Saint Jean Baptiste party.” – Confined To Oblivion

For fans of In Flames, As I lay Dying, The Agonist, Arch Enemy, Parkway Drive

Facebook.com/confinedtooblivion | Twitter.com/forgottencto | Youtube.com/c/ConfinedtoOblivion | Instagram.com/confinedtooblivion

Confinedtooblivion.bandcamp.com | Apple Music | Spotify

“Confined To Oblivion has everything to be serious. Resumption is only their first album, but it showcases every element of a mature band, which knows to melt its influences to create a vortex of heady intensity.” – Acta Infernalis

“c’est toujours de plus en plus lourd” – Ondes Chocs

“Heavy as fuck, catchy when it shouldn’t be, immense instrumentation and tons of energy, this is a very fine melodic death metal release.” – Games, Brrraaains & A Headbanging-Life

[Download Single Cover | Download Single Lyrics]

Band: Confined To Oblivion
Title: Les Étoiles Filantes – Cover from Les Cowboys Fringants
Release Date: 2024-01-12
Label: Self-Release
Single Length: 4min25

Credits:
• Song performed by: Confined To Oblivion
• Song written by: Les Cowboys Fringants
• Produced by: Antony Lepage
• Mixed and Master by Antony Lepage
• Artwork by Jean-Charles Carrère
• Socan FORTIN JEAN YANNICK SOCAN ID. 7640772 IPI No. 710206402
Line Up:
Jean-Charles Carrère – Vocals
Yannick Fortin – Lead Guitar
Simon Chenard – Rhythm Guitar
Antony Lepage – Bass

Originating in Montreal, Canada, Confined to Oblivion emerged onto the music scene in early 2015, drawing inspiration from Melodic Death Metal and Extreme Metal genres. Following the release of their debut EP, “The Cycle,” in 2016, the band returned to the studio in 2018 to craft their second EP, titled “When Did We Stop Listening?”

Confined to Oblivion actively toured and performed at numerous shows across Canada, sharing stages with notable bands such as Unearth, Darkest Hour, The Agonist, and Beyond Creation. The addition of their new vocalist, Jean-Charles Carrere, marked a shift towards a darker musical trajectory for the band. This transition involved the incorporation of more intricate compositions, along with the introduction of black, death, and progressive elements.

The culmination of this evolution is evident in their latest album, “Resumption” (2021), a product of two years of meaningful collaboration. The album, mixed and mastered by Henrik Udd (known for his work with Architects, Bring Me The Horizon, At The Gates), showcases the band’s commitment to pushing musical boundaries and exploring new dimensions in their sound.

FRENCH

Confined to Oblivion a débuté à Montréal en 2015, puisant son inspiration dans le Death Metal mélodique et le Metal extrème. Après la sortie de leur premier EP, “The Cycle”, en 2016, le groupe est retourné en studio en 2018 pour produire leur deuxième EP, intitulé “When Did We Stop Listening?”.

Le groupe a joué au Canada, partageant la scène avec des groupes comme Unearth, Darkest Hour, The Agonist et Beyond Creation.

Avec l’arrivée de leur nouveau chanteur, Jean-Charles Carrere, le groupe a emprunté un chemin musical plus sombre, créant des morceaux plus complexes et introduisant des éléments black, death et même progressifs dans leur composition.

Leur dernier album, “Resumption” (2021), mixé et masterisé par Henrik Udd (connu pour son travail avec Architects, Bring Me The Horizon, At The Gates), est le résultat de deux années de travail.

Shared Stage with: Unearth, Darkest Hour, The Agonist, and Beyond Creation

Festivals:
2019 – Farmfest, Vankleek Hill, ON
2019 – Breakdown Fest – Montreal, QC
2018 – Homefest – Saint Honoré, Qc
2017 – F*CK off fest – La Source de la Martinière, QC

0 EPK – The Risen Dread – Betrayal (2023)

January 12, 2024
by Asher
· EPKs · The Risen Dread

EPK – The Risen Dread – Betrayal (2023)

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

Management – Represented by EMG Group. Joel Spielman – emg.joel.spielman[@]gmail[.]com

“I think the new single will shock some people. No one is expecting The Risen Dread to release something without a drummer. Also, it’s the fastest and heaviest song we’ve written so far. I guess for this single we wanted to deliver a quick message. Among all the new songs we have. “Betrayal” was the one that had everything. A song that shows a new version of the band. The fans can expect a lot more from where that came from. Based on the pre-production of the new songs to follow. We’ll be bringing more elements such as choir, orchestra and so on.” – William Ribeiro – Guitarist – The Risen Dread

Band: The Risen Dread
Single Title: Betrayal
Release Date: January 11, 2024
Label: Self-Release

For fans of Lamb Of God, Sepultura, Deicide, In Flames

Facebook.com/TheRisenDread | Instagram.com/therisendread | Youtube

Spotify | Apple Music

“Silent Disease The single drives hard as hell with tons of straightforward grooves and meaty riffs, though with a very pertinent message and accompanying music video” – Metal Injection

“There is a lot for any metal fan to get their teeth stuck into with this impressive release and the fact that this is self produced by the band makes ‘Night Hag’ all the more impressive.” – The Razors Edge

“Night Hag is a banger. One with a lot more depth than you might initially think. Memorable music with all the head-banging trappings you could dream of.” – GBHBL

Band: The Risen Dread
Single Title: Betrayal
Release Date: January 11, 2024
Label: Self-Release

Track Listing:
Betrayal – 3:32

Single Credits:
Performed by: William Ribeiro, Marco Feltrin, Mat Maher and Vasilis Nanos
Written by: Marco Feltrin
Produced by: The Risen Dread at Trackmix Studio in Dublin. Drums recorded at Symbolic Π Studio in Ilioupoli – Greece.
Mixed and Mastered by Andy Classen

Band Lineup:
William Ribeiro – Guitarist
Marco Feltrin – Vocalist
Mat Maher – Bassist
Vasilis Nanos – Drums (Session drummer)

Live Lineup:
William Ribeiro – Guitarist
Marco Feltrin – Vocalist
Mat Maher – Bassist
Drums is always a different session drummer

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

About The Single Artwork:

We wanted something dark, black and white. That would reflect the lyrics. And the artwork catches that.

About The Single (LYRICALLY & MUSICALLY):

The lyrics are about Blanche Monnier. A socialight daughter who was locked in a tiny room by her mother and brother at age 25 because they disagreed with her relationship. She was locked for 25 years in a room without light. She barely had water or food.

Musically, it’s a Death Metal song as simple as it gets. No beating around the bush. Heavy and catchy riffs. Fast double bass and blast beat. With a rest in the middle before we got back to the last chorus.

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

Fun Facts – Story Angles:

1. We got lost in a ferry back from the UK to France during the tour. We just couldn’t find the Van among all the trucks. It would’ve helped us if we were on the correct floor. But that was fun because they were about to open the gates and claustrophobic at the time.

2. During the tour with Vader and Marduk. The local promoter in Birmingham messed up badly with the schedule. He’d announced the doors would be open from 6:30 pm and we were scheduled to be on the stage. They opened the door at 6 pm the way supposed to be, but no one had realised that and everyone was standing and checking the merch area. So, there was no one in the venue when we started playing. It was towards to end of the first song when people realized we weren’t sound-checking anymore and they started to come in. We only found out about the promoter’s mistake after when people were talking to us. Almost the same thing happened the next day in Manchester. But we spoke to the Tour Manager said it was 6:05 pm people were lining up outside and the promoter hadn’t opened the door. They opened the door and we were allowed to start playing a little bit later than the schedule because of that.

3. When we played at Wacken Open Air in 2022, we were “all” getting to be taken to the stage. We got all gears ready to do. A van came to pick us up and we had everything planned and everyone knew what had to be done at the of stage. For warm-up, prepare the side banners. We’re on our way to the stage in the van and Marco asked: “We’re getting back to the dressing room, aren’t we?”, I was like “NOOO”. He hadn’t changed his clothes, we got to the back of the stage and he went looking for a place to change clothes. And he is supposed to be setting up the side banners. When I looked around I saw Marco behind a truck changing clothes.

William Ribeiro (Guitar) | Marco Feltrin (Vocal) | Mat Maher (Bass)

The Risen Dread is a metal band from Dublin, Ireland, and has successfully established themselves as one of the country’s most promising metal acts in recent years. Formed in 2019, the band has evolved from the Irish underground to an international touring act. In 2022, the Irish quartet played in Wacken Open Air and joined Vader and Marduk for their EU/UK United Titans tour. After their praised EP “Delusions” (2019), the band took it to the next level in 2021 and used their time locked down during the global pandemic to write and record, delivering their debut album “Night Hag” in January 2022. Three singles, “White Night feat. Andreas Kisser (Sepultura)”, “Silent Disease”, and “Sound Of The Unknown” were released from this album and premiered on Metal Injection, Midlands Metalheads, Kerrang! Radio, and Primordial Radio. The Risen Dread is a powerhouse of Death Metal and Groove Metal, drawing upon a variety of influences from Metalcore to Black Metal to hone their signature sound.

Discography:
2024 – Betrayal (single)
2022 – Night Hag – Album
2020 – Delusions – EP

Shared Stage with: Vader, Marduk, Nephylim, Impalment, Neon Empire, Following the Signs

Tours and Festivals:
2022 – Wacken Open Air – Wacken, Germany
2022 – United Titans European/UK Tour with Vader and Marduk

0 EPK – Kelevra – Oneiric (2024)

January 10, 2024
by Asher
· EPKs · Kelevra

EPK – Kelevra – Oneiric (2024)

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

“More than anything we are excited to hear how Oneiric will be received. Every track on the album contributes to a very unique product overall that is hard to categorize within a specific metal subgenre. Current fans of the band will be greeted with a familiar taste of past material while experiencing a stronger, mature sound. With this album, which was both deliberate and coincidental in the writing process, we will be providing listeners with an experience that leaves them on the edge of their seats. Each song is crafted to take the listener on a progressive metal journey from beginning to end. Despite each song being very unique from the rest, together the tracklist presents itself as a cohesive and complete package.” – Kelevra

Band: Kelevra
Album Title: Oneiric
Release Date: March 8, 2024
Label: Self-Release

For fans of Threat Signal, Chimaira, Lamb of God, Unearth, Gojira, In Flames

Facebook.com/KelevraSK | Instagram.com/kelevraband | Youtube.com/@kelevrask1916

Kelevrasask.bandcamp.com | Spotify | Apple Music

“The music in “Cleanse With Fire” is a true sonic kaleidoscope spinning at high speed. With spidery fingers flying fast, the three dexterous string-benders whose performances you’ll see in the video execute intricate darting and swirling maneuvers with eye-popping aplomb, creating a head-spinning and uplifting listening adventure. – No Clean Singing

“Kelevra’s debut album Oneiric is an uproarious combination of progressive, groove and death metal.” – Heavy Music HQ

“Have a listen to their album and check them out live when they roll through your town. Kelevra will have you double fisting invisible oranges in a state of metal ecstasy.” – North Sask Zine

“An excellent addition to the already rich harvest of musical works in the year 2024.” – Rock Portaal

“The momentum shows no sign of slowing down, with a more melodic attack in ‘No Voice’ similar to that of Parkway Drive during their “Deep Blue” phase. Led by some scorching lead guitars and the continuing theme of ambient mid-sections, this is a winning combination for me and any other fan of melodic metalcore. Another highlight for me was that gorgeous atmospheric soundscape that opened ‘Self-Extinct’. That definitely got a few rewinds! Though if that’s aesthetic, ‘The Mad Wind’ is anything but, as there’s nothing pretty about this song, just primitive rage!” – Ever-Metal

“With Oneiric, Kelevra emerges into a new era of consciousness, pushing the boundaries of progressive music while staying true to their ferocious brutality and invites one to join them on a journey through ecstatic dreamworlds and hellscapes of the mind.” – Amplify The Noise

“The album has eight songs, and “Atoned” is first. There is a dark ease in to the heavy and aggressive sound, and the vocals are tortured screams.” -Metal Temple

“Wow, this “Oneiric” by Kelevra has many interesting things musically” – Metallerium

“a diverse palette of aggressive excesses, but also an inescapable amount of melodies.” Zwaremetalen

“KELEVRA has put together a brutal and at the same time melodic metalcore crusher that occasionally increases its level of sophistication with progressive twists” – PowerMetal.de

[Download Album Cover | Download Album Lyrics]

Band: Kelevra
Album Title: Oneiric
Release Date: March 8, 2024
Label: Self-Release

Track Listing:
1. Atoned (5:34)
2. Cleanse With Fire (6:02)
3. No Voice (6:13)
4. The Distance (5:36)
5. Self-Extinct (6:31)
6. The Mad Wind (4:33)
7. Despite What You Owe (4:56)
8. Lifeblood (5:49)
Album Length: 45:29

Album Credits:
– Composed & Performed by Kelevra
– Produced by Kelevra & Sean Folk
– Engineered & Mixed by Sean Folk
– Mastered by Acle Kahney
– Artwork by Shane Rice Studio
– Member of SOCAN
– Canadian Content – MAPL

Kelevra is (Album & Live):
Dylan Dobrescu (Drums)
Brett Forst (Guitar)
Matt Fraser (Vocals)
Adrienne Mahoney (Bass)
Mat Yarotski (Guitar)

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

About The Album Artwork:

The album is entitled “Oneiric”. Oneiric comes from the Greek word oneiros, meaning a dream. In Greek mythology, the Oneiroi, or Dreams, were the brothers (or sons, depending on the author) of Hypnos (Sleep). Depicted in the artwork is a fictional concept of dream or memory harvesting.

The album as a whole (LYRICALLY & MUSICALLY):

In general, the album is aggressive musically, yet also very epic and heartfelt at times. The lyrics aim to support this style. Song, meaningful, and personal lyrics demand a powerful and diverse sound that enforces our message and storytelling.

Track by Track:

1) Atoned

“Atoned” is a fearful revenge story, trying to convince oneself to follow through by planning on atoning for your “sin”. Song written from the perspective of someone who has had enough.

2) Cleanse With Fire

“Cleanse With Fire” describes the fall of man and the destruction of the world, specifically with reference to the growing obsolescence of humans versus mother nature. The song speaks of resentment for how humans continue to mistreat their host; taking more than what is earned and leaving the world in a desolate state of flames.

3) No Voice

“No Voice” was written as a rallying cry to anyone who feels oppressed and like they have no voice. Figuratively “ascending” onto those above you with violence, believing you have no other choice.

4) The Distance

“The Distance” is a story of hateful endings and love lost. But despite the distance they try to keep, they are still drawn to each other in an endless cycle. Only having one way out.

5) Self-Extinct

“Self-Extinct” tells the story of one’s struggle with anxiety, to the extent that worry has taken over and entirely replaced their consciousness. This consternation has become its own being in a sense. The effort required to conceal this quiet monster causes further anguish and the ability to think, act, and live independently of such inner turmoil no longer exists.

6) The Mad Wind

The Mad Wind is a song based on events of the Darfur Conflict in western Sudan in 2003. The title of the song comes from an infamous nickname that local villagers used to describe the Janjaweed, a ruthless militia group, responsible for the destruction of hundreds of villages and what has been known as a modern-day genocide of the ethnic Darfuri people. The Janjaweed, translated in English to “Devils on horseback”, would raid and burn villages, killing men, enslaving boys, and raping women and children both young and old. Terrified locals called the Janjaweed “The Mad Wind”, as they would sweep through villages causing mass destruction, as quickly as the wind blew. The song tells a fictional story from the perspective of a helpless mother living in the center of the conflict, whose village will soon be swept by The Mad Wind. With imminent death facing her and her baby son, the young mother decides that they will not be subject to pain and torture at the hands of the Janjaweed. Instead, she will travel to a nearby river where her family keeps a small paddle boat. With no hope left for the life she once knew, mother and baby will embark on a float downstream. They will soon be thrown over the treacherous falls and die peacefully together in suicide.

7) Despite What You Owe

“Despite What You Owe” is about denying the societal norms of social media, being enslaved by it, and masking who we truly are. In doing so, reclaiming our real life and trying to convince others to do the same, but doing so unsuccessfully. The blind lead the herd.

8) Lifeblood

“Lifeblood” describes the loyalty of a lasting group and how its strength lies in its unity. This fellowship does not back down when challenged.

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

Fun Facts – Story Angles:

1. The band has been around for over a decade at this point, so the stories are endless. With that being said, this band has been through a lot over the last 5 years, specifically our bass player, Adrienne. She has an extremely rare autoimmune disorder that is known as EGPA (Eosinophilic Granulomatosis with Polyangiitis) or Churg-Strauss Syndrome. This disorder killed the entire left side of her heart resulting in less than nine percent heart function.

In 2017, she was flown on life support to Edmonton and it would take doctors and surgeons weeks to diagnose, treat and stabilize her in order to survive. This disorder is typically diagnosed post-mortem in an autopsy, so it was rather rare that she was still living. After undergoing multiple open heart surgeries, some bumps in the road and complications along the way, Adrienne returned to Regina with an implanted device in her heart called an LVAD (a left ventricular assist device). This machine powered her dead heart, pumped her blood and sustained her life 24 hours of the day.

Regardless of everything that had happened, Adrienne was determined to continue with the band. Kelevra embarked on a tour to the Canadian west coast that summer, merely weeks after Adrienne was cleared by doctors. Even though the rest of the band was hesitant and very worried about our mate, there was no stopping Adrienne from continuing on. That summer we played a ton of shows, each time rushing to the next venue; not to set up our gear, but to ensure Adrienne’s external batteries could be charged to keep her alive. Despite the seriousness of the situation, it was almost comical how this became so normal to us at that time. We made light of a dark time of unknowns and kept on with music.

A year and a half later, Adrienne was gifted with a heart transplant. The LVAD could not support her permanently, she required a donor’s heart. Though Adrienne’s heart transplant was a success, to this day she still faces daily complications and struggles due to her condition. The road has been tough, but she has demonstrated to everyone around her what true strength is. Adrienne is a powerhouse on stage for Kelevra and has become a true role model for young girls who aspire to be involved in heavy music.

https://www.cbc.ca/news/canada/saskatchewan/heart-transplant-churg-strauss-syndrome-1.5131979

2. Kelevra’s 2024 full-length was recorded by Kelevra and Sean Folk at Odin Sound. The album was mastered by Acle Kahney of Tesseract at 4D Sounds in the UK.

L-R – Adrienne Mahoney (Bass), Mat Yarotski (Guitar), Matt Fraser (Vocals), Brett Forst (Guitar), Dylan Dobrescu (Drums)

Photo Credit: Mac Ulmer

Formed in 2009 in Regina, Saskatchewan, Kelevra continues to supply a serious dose of progressive metal to the masses. Since releasing their debut EP “Overthrown” in 2013, and follow-up EP entitled “Lividity” in 2016, the band has developed a loyal, local fan base, and continues to spread the noise outside of their prairie hometown. A distinct and unique approach to metal, accompanied by a high-intensity live show, has provided great opportunities for the band over their existence. This includes performing at several Western Canadian music festivals, embarking on multiple Western Canadian tours, and sharing the stage with a long list of legendary acts.

Most recently, Kelevra has taken time away from performing live and touring to step back into the studio. With tons of new material, together with an ever-evolving fast-paced, melodic, and heavy sound, Kelevra is set to take Canadian progressive metal to all-new heights with a new release in 2024.

Discography:
2024 – Oneiric – LP
2016 – Lividity – EP
2013 – Overthrown – EP

Shared Stage with: The Faceless, Job for a Cowboy, Carnifex, Dying Fetus, Rivers of Nihil, Devin Townsend, Death Angel, Cryptopsy, All Shall Perish, Without Temptation, Kenmode, Revocation, Veil of Maya, Obey The Brave, Devildriver, Into Eternity, Threat Signal, Sludgehammer, Lost Nebula, Flashback, Detherous

Tours and Festivals:
Loud As Hell 2015
Calgary Extreme Metal Radio Festival 2017
Wacken Metal Battle Canada 2015
Hammering Westward Western Canadian Tour with Sludgehammer
“Tiny” Western Canadian Tours 1-5

Music Placements – “Praise” featured in Cagefighter (2020 Film)

0 EPK – Opium Death – Genocidal Nemesis (2024)

January 10, 2024
by Asher
· EPKs · Opium Death

EPK – Opium Death – Genocidal Nemesis (2024)

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

“We think Genocidal Nemesis will be received it very well. Especially the variety that the album expresses in terms of tempo dynamics, song structure flow, lyrical themes, and overall, a different experience with each track while maintaining a heavy sound through it all. We think there is at least one song that each listener will love since we dive into some subgenres like black metal, thrash metal, and death metal, and incorporate technical and progressive elements into them. It has something for everyone.

The experience we want to give to the fans is that there is a common and personal connection between these songs especially with the lyrics. We want to bring forth a sense of commonality knowing that we all have been through experiences that anger us whether direct or indirect and are in it together and showcasing a clear-cut execution of our passion for extreme music.” – Opium Death

For fans of Death, Gojira, Cannibal Corpse, Cattle Decapitation, Dying Fetus

Opiumdeathofficial.com | Facebook.com/OpiumDeathOfficial | Instagram.com/opiumdeathofficial | Twitter.com/OpiumDeathBAND | Youtube.com/@opiumdeathofficial9166

Opiumdeath.bandcamp.com | Spotify

“It’s an angry album, focused on hubris and its role in the downfall of humankind. The album’s cover art itself draws on this theme…. The band explain that “The Condemned” isn’t really a new song, since they’ve been playing it since 2017, but it’s been re-recorded, remixed, and remastered, and tweaked to bring it more in line with their current sound. The result is a track that’s ugly, mutilating, and rabidly murderous — it shows not even a whisper of mercy to the condemned, and eventually it revels in the delirious slaughtering it metes out.” – No Clean Singing

“Death metal with a pinch of everything… melting pot “ of many sub-genres comes out. You can find quick and rough on the album Death metal, mixed with influences from the Black Metal, Prog and that Thrash the eighties. With vocals reminiscent of Deicide and Cannibal Corpse and the various influences, there is at least one song for every death metal fan that appeals to them.” – Moshpit Passion

“Opium Death is a brutal concoction of extreme metal, sent forth from the suburbs of Chicago, USA to lay waste to metalheads around the world with their first full-length album Genocidal Nemesis. The album delivers a lot of variety in terms of tempo dynamics, song structure flow, lyrical themes, and overall, a different experience with each track while maintaining a heavy sound throughout. The Condemned is a track that’s ugly, mutilating, and rabidly murderous — showing no mercy and reveling in the slaughtering. The band erupts on Vesuvius – a very nice blend of thrash and death metal a breakdown that constructs the the disaster.” – WRUV 90.1 FM – Burlington, VT

“This is an intense record. The Illinois band mixes thrash, groove, death metal, and even hardcore with a raw production for this album. On a song like the eight and a half minute “Ozymandias” I am reminded of the great Skinlab. “The Condemned” is groove oriented with shouted vocals, while “Extinction” is desperate, “Shattered” is chaotic, and “Vesuius” is absolutely relentless with those raw vocals. Opium Death deliver on this debut.” – Transcending The Mundane

“Deathy blackened metal and a bit of a techy thash thing too” – The Moshpit – WORT 89.9 FM (Madison, WI)

“Musically, there is absolutely nothing to complain about in “Genocidal Nemesis”” – PowerMetal.de

[Download Album Cover | Download Album Lyrics]

Band: Opium Death
Album Title: Genocidal Nemesis
Release: April 19, 2024
Label: Self-Release

Track Listing:
1. Cower (1:16)
2. Genocidal Nemesis I: Fear (3:01)
3. The Condemned (4:32)
4. Ozymandias (8:40)
5. Flatline (1:18)
6. Extinction (5:31)
7. Chronic (4:22)
8. Deadweight (3:28)
9. Shattered (5:36)
10. Vesuvius (3:45)
11. Fe56 (2:07)
12. Genocidal Nemesis II: Desolation (9:29)
Album Length: 53:10

Album Credits:
All songs performed by: Opium Death
All songs written by: Opium Death
Produced, Mixed, and Mastered by: Donald Nadzieja
Album Cover Artwork by: Caio Caldas at CadiesArt (www.CadiesArt.com)

Album Lineup:
Dennis Blanke – Drums
Donald Nadzieja – Bass and Vocals
Irvin Gonzalez – Guitar
William Burchfield – Guitar

Live Band Lineup:
Dennis Blanke – Drums
Donald Nadzieja – Bass and Vocals
Irvin Gonzalez – Guitar and Vocals
Luis Torres – Guitar

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

About The Album Artwork:

For the significance of the album artwork, to us, it represents hubristic suicide, self-end caused by something you were foolishly convinced was a good thing. Obvious heroin reference but the guy on the needle was addicted to money and power. It is a common theme that happens throughout the album and we thought this represented that very well.

The album as a whole (LYRICALLY & MUSICALLY):

Don: Genocidal Nemesis is an album that is primarily about hubris and its role in the downfall of humankind.

Track by Track (LYRICALLY & MUSICALLY)

(Don and Irvin) Genocidal Nemesis I is about the birth of the antichrist as a result of man worshipping money. Money revolves around all our lives and is constantly in our faces so we reflect this musically to start the album with a bang and have an odd-time riff that helps catch the listener’s attention which over time is something they can grab onto the rhythm real quick.

(Irvin) The Condemned – At the time that I was writing this song, especially coming up with the lyrics, there was a trend of stories coming out in the news and social media about school bullying being an increasing phenomenon amongst children and how the victims ended up committing suicide. This angered me to write a song for those victims but in a way that reflects their thoughts and feelings in the afterlife. I treated the idea of bullying as a physical figure that needs to be taken out in the same manner and fashion if not more because it infects many children’s minds and causes this terrible widespread epidemic. Musically, it is a straightforward metal track and has a groove that I hope captivates the listener to look into the lyrics to know what it is about because this bullying sickness is never taken seriously. It is talked about yes, but it is still happening. While I do not condone responding back with life-taking intent, I hope it brings forth a feeling of anger and disgust for these kinds of actions taking place in learning environments and social gatherings.

(Don and Irvin) Ozymandias is about pride and wrath and the importance of keeping them in check during your life against the inevitable decay of information over time. One of our longest songs on the album, we felt it was a track that could benefit from utilizing exotic scales and vocal layering as it comes up later in the song to bring up this sense of immortality to a concept that will forever be ingrained in our human ego.

(Don and Irvin) Extinction – Extinction is about mankind panicking and acting shocked when they get exactly what they have been striving towards. Musically, the repetitiveness of the riff helps bring this constant fight we have in ourselves and amongst other people that we want to provide a sense of urgency that needs to be resolved which I believe the chorus of the song delivers that really well.

(Don and Irvin) Chronic – Chronic is about the difficulty experienced in trying to achieve and maintain spiritual enlightenment in an increasingly superficial world. Musically, one of our mid-paced songs in the album helps the feel and pace of the album feel balanced and concise as we now have gone past halfway through the album.

(Irvin) Deadweight – Lyrically, it goes into the idea of corporate and manipulative human beings that are contributing nothing to the world but pain and suffering. They bring no sense of tranquility to the community and so they are just emotionless bodies of meat and bone. Musically, it was the most tedious track I have written on a song as it starts off pretty intense with the variation of triplet and steady-paced palm muting and tremolo picking. Going into the blast beat section before the new tremolo picking section, I wanted to build up the intensity before settling into the verse that lays out the message I wanted to deliver. This is then repeated but I break the song into an odd-time section that definitely brings out the musicianship of the band and was very happy with how it turned out. As the song progresses, you will tell how not one section is repeated until the very end with the eighth note palm muting and the blast beat underneath it. I wanted this song to be fun yet challenging as it is my philosophy that such songs should be enjoyed both listening and playing.

(Don and Irvin) Shattered – Shattered is about losing all hope and succumbing to the evil within yourself as a result. Musically, this song has the most thrash influence in it with the juxtaposition of a melodic chorus that brings this feeling of sadness and tragic defeat.

(Don and Irvin) Vesuvius – Vesuvius is a review and representation of the famous disaster in Pompeii, the themes of self-demise present in the rest of the album do not really apply here. Musically it has this very nice blend of thrash and death metal throughout the song and one of our favorite sections in the song is the breakdown that helps construct the explosion of the disaster. We are hoping it becomes a fan favorite.

(Don and Irvin) Genocidal Nemesis II – Genocidal Nemesis II is about hypocrisy and the denial of the desire to die. Our longest song in the album and powerful finisher, we are extremely proud of how this turned out and believe that the pacing and mood of the second half of the song help summarize the overall theme of the album.

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

L-R – Donald Nadzieja – Bass and Vocals, Luis Torres – Guitar, Dennis Blanke – Drums, Irvin Gonzalez – Guitar

Photo Credit – Michael Gonzalez

Opium Death is a brutal concoction of extreme metal, sent forth from the suburbs of Chicago, USA to lay waste to metalheads around the world with their first full-length album “Genocidal Nemesis”. The band expects it to be received positively as it brings a lot of variety in terms of tempo dynamics, song structure flow, lyrical themes, and overall, a different experience with each track while maintaining a heavy sound through it all.

With “Genocidal Nemesis”, Opium Death wants to bring forth a sense of commonality knowing that everyone has been through experiences that anger us whether directly or indirectly, and are in it together. They showcase this relatability with a clear-cut execution of their passion for extreme music.

Opium Death was born from a wide variety of influences and they carry over into this album, they dive into subgenres like black, thrash, and death metal, and incorporate technical and progressive elements into them. It has something for everyone and is most recommended for fans of Death, Gojira, and Cannibal Corpse.

“Genocidal Nemesis” is due out on April 19, 2024 and is available for pre-order – https://opiumdeath.bandcamp.com

Discography:
2023 – Genocidal Nemesis (2nd LP)
2022 – Genocidal Demo (Demo)
2017 – Opium Death (Demo)

Shared Stage with: Crusadist, From Those Ashes, Orinoco, Triguna, Her Worst Nightmare, Cereviscera, Pantheon, Ruptura

0 EPK – Novichok – Geo-Desiccant (2022)

January 9, 2024
by Asher
· EPKs · Novichok

EPK – Novichok – Geo-Desiccant (2022)

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

“We’re trying to give something that’s good to listen to while working out or driving. We try to switch up the energy throughout each song so they don’t get boring. Def keep it heavy, tempos and time sigs vary but don’t let it sound technical.” – Novichok

Band: Novichok
Album: Geo-Desiccant
Release Date: September 15, 2022

For fans of Megadeth, Pantera, Sacrifice, Iron Maiden, Voivod

Linktr.ee/novichokband | Novichok.ca | Facebook.com/NovichokMetal | Instagram.com/novichok_canadianmetal

Novichokmetal.bandcamp.com | Spotify | Apple Music

Band: Novichok
Album: Geo-Desiccant
Release Date: September 15, 2022

Track Listing:
1. Thrash Free or Die – 5:06
2. First World Poisons – 5:31
3. Tire Fire – 3:18
4. Apes with Sticks – 4:41
5. Freedom Fighters Manual – 4:59
6. Dead Weight – 3:30
7. Predicting Terror – 5:52
8. Geo-Desiccant – 7:17
9. Heat Death – 6:10
Album Length: 46:28

Album Credits:
All Songs Written and Performed by: Novichok
Produced by: Novichok
Mixed by: Novichok
Mastered by: Jamie King
Album Artwork by: Matt Saxton
Members of SOCAN
Music is Canadian Content MAPL

Album Lineup:
Vocals: Jeff MacDonald
Guitar: Lindsey Dicks
Bass Guitar: Jason Young, Brady Hallet (Dead Weight)
Drums: Andrew MacIntosh

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About The Album Artwork:

Our German artist friend Matt Saxton listened to the album and we gave him full creative control. The front side is a toxic elemental representing the environmental havoc mankind has brought upon ourselves, while the rear holds optimism as the spirit of Mother Earth stands ready to repair the damage once we’re ready to step back and allow it.

Track by Track (LYRICALLY & MUSICALLY):

01 Thrash Free or Die:
This is an ode to metalheads everywhere who refuse to succumb to societal norms. The Bridge section features Guitar and Bass Solo trade-offs which eventually combine for a frenzied duel tapping harmony.

02 First World Poisons:
People in high society will expend great effort fretting over frivolous things…this song discusses some pathetic wastes of privilege. Musically this song is pure controlled rage.

03 Tire Fire:
Have you ever wondered what happens to old disused tires? They usually end up in massive heaps eventually to be burned for energy or by accident. Either way, an environmental disaster ensues. This short ripper features a Dimebag-inspired solo and a heavy breakdown in the middle section.

04 Apes With Sticks:
An anthem about mankind’s prehistoric urge to kill for self-gain. The song starts with a sound bite of a hominid bashing in the head while blood spatters can be heard with each blow. The chorus features a gang-style backing vox.

05 Freedom Fighter’s Manual:
The CIA deserves songwriting credits for this track; The lyrics were taken directly from American propaganda airdropped over Nicaragua in the 1980s. The FFM is a comic strip encouraging various acts of terrorism attempting to weaken the communist regime of the time. This is “Sneaker Metal” inspired by Sepultura’s style.

06 Dead Weight
This song is the narration of an actual nightmare in which a scuba gear malfunction seals your fate as the eager sea life begins to feast even before you are dead. Inspired by an early Cannibal Corpse, it’s thrash bordering on death metal.

07 Predicting Terror
Since day one metal bands have been telling us of impending doom. This anthem is paying homage to their warnings and encourages the metal community to pay attention as the future unfolds.

08 Geo-Desiccant
The word “Mortgage” literally translates to “Death Pledge”. This song is about early settlers building on hard work and hope, and how Money-lenders steal generational wealth as future generations abandon the dreams of their ancestors. The slow tempo of this track only emphasizes the heavy weight of its riffs.

09 Heat Death
It’s theorized that the universe will eventually expand so much that matter and energy will scatter apart, eventually unraveling in an ever-lasting eventless homogenous vacuum. All things that ever were will cease to exist and there will be no possible record of anything that has ever happened. The song features rich percussion sections and a haunting guitar lead.

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Fun Facts – Story Angles:

1. We had a live show interrupted by Jim Lahey from Trailer Park Boys. He came on stage mid-set wearing a Novichok hat with a big bottle of whiskey. He berated the crowd for enjoying heavy metal, then he went into the crowd to steal people’s food. It was hilarious.

2. When recording the drums for Geo-Desiccant we built a full make-shift studio in our singer’s living room. We lived here for 9 days until everything was perfect. Our guitar player/recording engineer slept on the same couch he worked from all day. By the end, the drummer’s hands were covered with bandages and blisters, but everything was perfect going into mixing.

3. When filming the video for Heat Death, we had planned a bunch of shots with the room filled with a smoke machine and our Singer wearing a full scuba suit. Unfortunately, this was cut short when the building’s fire detector went off for the next 3 hours ending our filming session. We put what we got in the video, just a short bit.

4. The songs Geo-Desiccant, Heat Death, and First World Poisons weren’t fully written when the album started being recorded. Some sections were rearranged for the lyrics to flow and make sense.

5. At the end of the “song Geo-Desiccant” there is a harmonica section. When tracking this we had to pitch the album ½ step, then when mixing we had to pitch the harmonica back down to match. We’ve since purchased a custom-tuned harmonica to play it live.

Back L-R – Adam Hersey (Drums), Lindsey Dicks (Guitar), Brady Hallet (Bass) – Front – Jeff MacDonald (Vox)

Photo Credit – Alicia Montague (thephotoninja.ca)

Halifax, Nova Scotia, Canada’s Novichok is a bunch of pissed-off salty thrashers here to narrate the collapse of the world around us. Is there still hope? Well yes, but it’s not looking good. We don’t sound like other bands but we’re heavily influenced by Megadeth, Pantera, Sacrifice, Iron Maiden, and Voivod.

Discography:
2022: Geo-Desiccant Album
2009: Novichok (Album, Self-Titled)

Shared Stage with: Sacrifice, Cryptopsy, Dayglo Abortions, Castle, The Insurrection, Mortorleague, Sanktuary

Tours and Festivals:
2023 – Merciless Metalfest (Stanley, NS)
2023 – Mayham Mountain (Pictou, NS)
2019 – Wacken Battle (Halifax, NS)
2015 – Maritime Metal & Hard Rock Festival (Windsor NS)
2014 – Maritime Metal & Hard Rock Festival (Fox Mountain NS)
2014 – Riverfest Music Festival (Bridgewater NS)
2013 – Riverfest Music Festival (Bridgewater NS)
2011 – Winter Meltdown Music Festival (Yarmouth NS)
2010 – 2014 – Riverfest Music Festival (Bridgewater NS)
2010 – 2019 – April Assault Music Festival 2 -10 (Dartmouth NS)

0 EPK – Omnivide – A Tale of Fire (2024)

January 3, 2024
by Asher
· EPKs · Omnivide

EPK – Omnivide – A Tale of Fire (2024)

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

“We think people who either have heard us live or are discovering us for the first time will at the very least view the album as something original, and often not following common metal tropes. It’s not to say that we don’t have some more typical riffs or that we are reinventing the wheel, but our song structures are very progressive with less straightforward repetition, as we instead focus on evolving musical motifs and concepts throughout the songs in a way that binds them together. We think people who enjoy prog will enjoy that form of songwriting.

With this album, we are trying to provide a musical journey that people can listen through from start to finish while remaining engaged. The highs and lows in intensity and the various emotional tones of the songs, which range from dark and brutal to emotional and beautiful, provide contrasts that keep things interesting and moving. We are trying to cover lots of grounds musically, as we are all fans of progressive music, ranging from the 70s until today, in which a common element is this feeling that a complete story is told in each album. We want listeners to feel the pure excitement and energy of our heavier sections, and moments later vibe to a beautiful clean section, and have the compounding effect of those contrasting parts result in a unique experience that is deeply satisfying and rewarding musically.” – Omnivide

For fans of Obscura, Black Daliah Murder, Opeth, Alkaloid, Devin Townsend

Band: Omnivide
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid

Omnivide.ca | Facebook.com/OmnivideBand | Instagram.com/omnivide_band | YouTube

Linktr.ee/omnivide | Omnivide.bandcamp.com | Distrokid.com/hyperfollow/omnivide/holy-killer

Omnivide – A Tour of Fire
March 29th – Moncton, NB @ Xeroz Arcade/Bar *
March 30th – Fredericton, NB @ The Cap *
April 5th – Saint John, NB @ The Panic Room *
April 6th – Halifax, NS @ Gus’ Pub
April 10 – Edmundston, NB @ Microbrasserie Ateepic
April 11 – Trois-Rivières, QC @ La Taverne Royale
April 12 – Montreal, QC @ Traxide
April 13 – Quebec City, QC @ Source de la Martinière
April 14 – Sherbrooke, QC @ Le Murdoch
April 15 – Oshawa, ON @ The Atria #
April 16 – Guelph, ON @ Red Papaya #
April 17 – Ottawa, ON @ Dominion Tavern #
April 18 – Toronto, ON @ Hard Luck #
April 19 – Waterloo, ON @ Dive Bar #
April 20 – Newmarket, ON @ The Spot #
* With BLEVK
# With Sentiment Dissolve

“The compositions on the album are as tenacious and imposing as the angles in the band’s logo. Each song packs a list of surprises that are like colorful candy being fed to you just when you are beginning to get hungry. Obviously talented, the quartet never lets their talent outshine their songwriting, although the flashes they do show will leave you speechless. How is this band not signed to a major record label?” 9/10 – Metal-Temple

“The vast swirling and shimmering sounds that open the new song (Csomic Convergence) quickly encompass the expanse and wonder of the cosmos, but the heavy punching throb of the bass and electrifying percussive acrobatics presage something different on the way — and the change arrives in a sudden flurry of rapidly darting notes, furiously hammering drums, and scalding snarls — which suddenly trade places with sky-high singing. It’s a head-spinning experience, with many moving parts that spin and shift with thrilling speed, eventually overlaid with keys that resemble a glorious heavenly choir whose tones contrast with the ravenous growls and manic instrumental intensity beneath them. Although the rhythm section continue to kick up a storm, the music seems to become even more magnificent and sweeping — until the intensity erupts in blistering blast-beats, unhinged screams, synths that sear, and a thoroughly mind-bending guitar solo at the finale. It’s the kind of closing spectacle that will put your heart in your throat.” – No Clean Singing

“Canadian quintet Omnivide started life as an Opeth tribute band before changing lanes and writing their own music. A Tale Of Fire is the band’s debut album, promising to deliver engaging progressive metal that fans of Alkaloid, Obscura, and, yes, Opeth will enjoy. There are a lot of styles and influences at play here, and Omnivide aim to keep the listener engaged throughout. The band succeeds wonderfully – and no, despite their history they do not come off merely as old Opeth imitators. The symphonic element present is tastefully done, the arrangements are all what one would expect from a more established band, and the performances are all outstanding. Overall, A Tale Of Fire is an excellent debut, and Omnivide are firmly on my radar going forward. In fact, if it wasn’t for Big Big Train this would have been our pick of the month. 4/5” – The Progress Report – Heavy Music Headquarters

“With “A Tale of Fire”, Omnivide have crafted a bold, layered and compelling debut album marking themselves as a worthy addition to the Heavy Metal ‘Omni’ bands/albums and to the thriving Death Metal scene in Canada. Through clever songwriting and outstanding musicianship (seriously, check out the band’s ‘Opulence’ playthrough), they combine elements familiar to the genre in an engrossing way that rewards repeat listens. It may still be early in the year, but OMNIVIDE have put forth a very strong entry for Tech/Prog Death in 2024.” – Mostly Metal

“I enjoyed A Tale of Fire, as it was lively, cerebral, and still intense to-boot with the wailing guitar leads, proggy synth section, and harsh death metal vocals. I think that people who enjoy melodic synth death metal will flip for this album. It’s got the harsher elements of Obscura and Black Daliah Murder with the musical eccentricities of Haken and Devin Townsend, something that makes for an enjoyable listen.” – Metal Epidemic

“Throughout A Tale of Fire, Omnivide showcases their musical diversity and storytelling prowess, providing one with a deeply satisfying and rewarding listening experience. From the highs of intense heaviness to the lows of emotional introspection, A Tale of Fire invites one to immerse themselves in its intricacies and complexities.” – Amplify The Noise

[Download Album Cover | Download Album Lyrics]

Band: Omnivide
Album Title: A Tale of Fire
Release Date: March 22, 2023
Distribution: Distrokid

Track Listing:
1. Clarity – 6:44
2. Opulence – 4.48
3. Desolate – 7:35
4. A Tale of Fire – 5:05
5. Cosmic Convergence – 5:04
6. Holy Killer – 5:06
7. Death Be Not Proud – 6:32
8. Stoned Dragon – 7:45
Album Length: 48:44

Album Recording Credits:
• All songs performed by:
Samuel Frenette (Lead & Rhythm Guitar, Vocals, Bass)
Nicolas Pierre Boudreau (Lead & Rhythm Guitar, Bass)
Marc-André Richard (Drums)
Samuel Lavoie (Keyboards)
• All songs written by: Samuel Frenette and Nicolas Pierre Boudreau
• Produced by: Samuel Frenette and Nicolas Pierre Boudreau
• Mixed and Mastered by: François Fortin – La Boîte Noire (Facebook.com/studiolaboitenoire)
• Album Artwork by: Marcel Leblanc (Facebook.com/MarcelLeblancart)

• Member of SOCAN
• Canadian Content (MAPL)

Album and Live Band Line Up:
Samuel Frenette – Guitar/Vocals
Nicolas Pierre Boudreau – Guitar
Alex Cormier – Bass
Samuel Lavoie – Keyboards
Marc-André Richard – Drums

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About The Album Artwork

The album artwork is a representation of the overarching themes of the album. At first glance, it’s quite obvious that it’s a fantasy-inspired art piece, and as mentioned we do use fantasy as a vehicle to tell some of the stories in our songs. On a deeper level, the fire-breathing dragon and the general abundance of fire in the artwork represent death in all its brutality, as well as its cleansing power and the potential for rebirth that it also brings. The cloaked wizard in the lower center and the burning planet in the middle of the artwork represent the channeling of the hardship and pain that death brings into growth, showing that we can become better, wiser, and more powerful beings by harnessing the lessons from the harshest realities of life. As a whole, the artwork represents the constantly moving process of death, rebirth, and growth.

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

Musically, the album is a blend of our favorite elements from progressive metal, technical death metal, death metal, and symphonic/power metal. There are some very heavy/dark riffs, some very grandiose/more epic sections with lots of orchestral instruments, as well as lighter/cleaner sections with clean vocals. From these various elements, the pacing of the album is that of a rollercoaster ride in terms of intensity, but we definitely lean much more toward the heavier side than the lighter side overall. The song structures are very progressive, with fewer repeating parts, though we do use repetition, and if we don’t we bring back similar melodic or rhythmic ideas throughout songs to make them feel more like complete pieces of music. Our goal with the songs is to make listeners feel an overwhelming urge to headbang to the heavier sections, feel the strong emotions of the more grandiose/epic sections, and feel the mysterious energy of the cleaner/more laid-back sections.

Lyrically, the songs on the album are broadly about us trying to understand death, both as a tragedy and a natural part of life, the pain it brings, and the resilience that can be born from it. This can mean the physical death of an individual, our planet, the universe, or a person’s internal fire and lust for life. We use storytelling in some songs as a vehicle for this, and since we love fantasy media, the content of these stories has fantasy elements, while also weaving in deeper concepts of death, hardship, regret, and growth. Other songs revolve around historical figures, while others are mostly metaphorical, but all are linked together by this exploration of all aspects of death.

Track by Track (LYRICALLY & MUSICALLY):

1. Clarity
This song was written by Sam Frenette. Musically, Clarity has more of a melodic aspect to it, starting with a clean intro that evolves into a grandiose opening to the album with the full band and orchestral instruments. The song then descends into progressive death metal madness, oscillating between dark/evil sections and more melodic and epic sections. There is a haunting clean section before the final outro of the song, and is composed first by a blackened death metal riff, followed by a melodic outro and an epic, heavily punchy ending. Generally, the riffs of this song are heavy yet melodic, with heavy orchestral and synthesizer layers complimenting the interactions between the guitar, bass, and drums.

Lyrically, the song is about the disillusionment one experiences when growing up regarding the harsh realities of life, and the suffering that the difficulty of accepting these realities can bring. It’s written from the perspective of an individual, and from these realizations come the awareness that they have not led a perfect life themselves, and the pain of knowing how they might have hurt others adds to this suffering, ultimately leading them to refuse to continue living, with the last lyrics being

“Tearing my own flesh down to the bone
Such pain to erase all I’ve ever known
Nothing left of me but a longing for home
I will return by shedding this form”

2. Opulence
This song was written by Sam Frenette. Musically, Opulence is a more straightforward death metal song orchestration-wise, with fewer orchestral instruments and synthesizers than most songs on the album. It is a more brutal song with lots of groovy riffs and no clean sections. It maintains the progressive approach to songwriting, however. It starts with an in-your-face fast alternate picking lead melody, and transitions into groovy death metal with a progressive edge to the riffs, culminating in a chorus that is the same progression and melody as the intro of the song. Then comes a riff that starts at an increased tempo with drum punches only, embracing the classic old-school death/thrash metal trope, which transitions through chaotic riffs with vocals, into a final, groovy ending with a dissonant guitar solo.

Lyrically, the song is about our planet, and how humans were born from it, yet have reached a point where they are essentially consuming it to death. Hence the name “Opulence”, which alludes to the fact that humanity is living in the best, richest conditions in history, at the cost of consuming our planet’s resources in a way that can only be described as gluttony. The last lyrics of the song illustrate this sentiment:

“Will we stop gouging our dying mother?
Or be gluttons with her flesh and blood?”

3. Desolate
This is a song that Nicolas started when he was 19, and the intention was to write a heavy/fast song any young metalhead would mosh and thrash to. The goal was to write a theme that you hear in the intro and have it come back in different writing styles throughout the song. The theme appears in the intro, the clean sections, and at the end. The goal was to write a song that kept evolving within its own ideas whether it be through the orchestral arrangement or the guitars. Eventually, all the riffs were arranged together to make it flow as if it were one gigantic riff.

Lyrically, Nicolas drew inspiration from Marcus Aurelius along with historical figures that became too powerful, something most people can’t relate to in modern times. There are a lot of hints of stoic ideas in the lyrics that can be relatable to anyone striving for self-improvement during chaotic times.

4. A Tale of Fire
This song was written by Nicolas and begins with a choir and orchestral intro that slowly builds into developing melodies in a manner similar to classical music. The intro makes the listener anticipate the arrival of the rest of the band, and when the full band does kick in, there is a sense that the song is going to metaphorically explode. There are a lot of old classical music techniques like counterpoint and dual melodies that make this song very tech-death until it slows down in the middle to make it more thrash sounding. The goal was to write more melodies with the keyboards and orchestral instruments to have the song be less guitar-oriented compared to the other songs on the album even though the guitar definitely has a lot going on. This song starts and ends with an orchestral arrangement only, almost like a storm passing by.

Lyrically, this song is a metaphor for someone or something who has completely lost control of themselves, being completely overwhelmed by their emotions, like a fire destroying everything in its path.

5. Cosmic Convergence
This song was written by Sam Frenette and begins in a relatively tame manner with a sweep-picked arpeggio melody accompanied by guitar, bass, and a choir/strings, with a drum buildup that transitions into a polyrhythmic riff over the same melody. From there, the song is composed of some fast/technical riffs, some more straightforward, but all very melodic with heavy layers of orchestration, and a lot of clean vocals compared to most songs on the album. This song is extremely high-octane in a melancholic and epic way, that tries to communicate the sense of desperation and urgency of the lyrics, with the song being about the end of the universe. It culminates in a final chorus before going into a dark melodic outro, built up with the band doing groovy punches over a distorted arpeggiated chord progression, and finally transitioning into an all-out ending section with tremolo picked guitars, blast-beating drums, an epic choir, and string arrangement, screaming vocals, and a melodic guitar solo to top it all off.

Lyrically, this song is about the Big Crunch, the opposite of the Big Bang, when astrophysicists predict that the universe will stop expanding and instead collapse on itself back to a single, infinitely small and dense point of matter. The lyrics describe this process in a poetic way in the first section of the song, with the final chorus shifting perspectives from that of the universe itself to a single human witnessing this process, with the lines “One final cry / Begging not to die / As all we are is swallowed by stars”. The last part of the song focuses on this human perspective, and the pain/anguish of realizing that not only their own life, but the universe and existence itself is coming to an end.

6. Holy Killer
The song begins with a dark orchestral intro that was inspired by anything that is kept away in the dark, like the bottom of the deepest oceans. It is followed by relatively a simple chord progression with brutal screaming vocals, that then goes into a soft clean guitar interlude accompanied by a Mellotron, after which the song goes into full death metal mode. It’s the only song where we have dual solos between guitars and keyboards, almost like a conversation between the two of them. The song then ends with an outro that repeats a few times but builds up in terms of the vocals and orchestral layers.

Lyrically, this song is about someone who dies and is in limbo or in search of the afterlife he was promised by the gods he worships, but is instead brought to hell to atone for the evil deeds he performed throughout his life in the name of the very religion he worshipped.

7. Death Be Not Proud
This is a song written by Nicolas, who wrote most of the guitar on a classical guitar and wanted to write a prog metal song influenced by all the classical music he’s studied over the years. A lot of the guitar is influenced by a musician named Augustin Barrios Mangore, which is why a big portion of the song cannot be played with a guitar pick and must be finger-picked. This song is mainly composed of death metal with a lengthy clean section in the middle, which features Nicolas’ fingerpicking and some clean vocals.

Lyrically, this song is about a person meeting the Grim Reaper and begging the ghostly figure to kill the person they’ve become, so that they can be reborn and given another chance at a good life, avoiding the mistakes of their previous lifetime.

8. Stoned Dragon
This song was written by Sam Frenette and is the slowest song on the album. The first half of the song is overall dark and haunting, beginning with an ethereal choir intro that then goes into a slow, hypnotic riff with growling vocals. The chorus that follows is dark and melodic, increasing the energy a bit before going back through the verse and chorus. There is then a transition riff that ups the aggression quite a bit, leading to a double-time riff that starts with one guitar accompanied by full band punches. This section builds up for a few repetitions before ending in a very heavy and aggressive breakdown. The end of the song is then a long buildup sprinkled with guitar solos and synthesizers, culminating in a final epic section with rhythmically intricate guitars and a grandiose choir to give a big dramatic ending to the album.

Lyrically, the song is a story about a dragon whose duty is to protect a village. He used to be human and the leader of that village but had to sacrifice himself and become a dragon to protect his people. Centuries have passed since then, and the villagers have forgotten that the dragon is their ancient leader and meant to be their protector, and instead fear him and view him as a monster. This angers the dragon over years and years until he loses control and burns down the village in anger, ending his own life at the end in deep regret at his loss of control that led him to murder the people he was meant to protect.

There are a couple of lines in the song about the dragon smoking weed in an attempt to calm himself:

“Inner fire restrained, herbs burning”
“Herb no longer soothing, he will hurt his kind”

Hence the name “Stoned Dragon” but the title can also be interpreted as the dragon being stoned to death by the villagers (by throwing actual stones at him) or even the dragon turning to stone when he dies.

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FUN FACTS – STORY ANGLES:

1. All recording was done in the band members’ home studios, save for drums which were recorded by François Fortin at Studio La Boîte Noire. François also mixed and mastered the album.

2. The band was born from the ashes of an Opeth Tribute band called Sunbird which three of Omnivide’s members were a part of (Samuel Frenette, Samuel Lavoie, and Nicolas Pierre Boudreau). After a year of playing shows with this band, the three members wanted to write their own music that combined their biggest influences in metal, one of those bands, of course, being Opeth alongside others like Obscura, Black Daliah Murder, Alkaloid, and many bands blending orchestral elements and synthesizers into their music like Wintersun and Devin Townsend.

3. Omnivide once played a show that was so badly promoted that only 5 people were present at the beginning of their set. However, a few more people arrived up and stayed during the show, and they explained afterward that they were a country band who’d just finished playing a show in a venue close by. They heard the band playing as they were walking past the bar and apparently enjoyed it enough to stay for the rest of the set! This made the evening feel meaningful even though the band had not played in front of many people.

4. The symbolism of fire on the album cover and album title relates to the central theme of death & rebirth in the lyrics throughout the album, as the destruction that fire brings leaves a clean slate for new things to take place.

5. The members of the band all knew each other and collaborated together on various levels before the band was first put together. Three members went to high school together, and there were multiple musical projects that had some combination of Omnivide’s members before this project. The members therefore know each other very well and have learned to collaborate efficiently together over the course of many years, sharing similar musical intuitions and tastes that make the writing process smooth and exciting.

L-R – Alex Cormier (Bass), Nicolas Pierre Boudreau (Guitar), Samuel Frenette (Guitar & Vocals), Samuel Lavoie (Keyboards), Marc-André Richard (Drums)

Photo Credit – Deepti Suddul – DeeptiSuddul.com

Formed in 2020, Omnivide was formed by the members of a previous Opeth Tribute project called Sunbird. The members wanted to move on from paying homage to one of their greatest influences and to begin writing music of their own. They had in mind to write progressive metal that combined the sound of all their favorite groups such as Obscura, Opeth, Alkaloid, Devin Townsend and more into a sound of their own. After a few early line-up changes, the current lineup was formed, save for bassist Alex Cormier who replaced Alex Olmstead in 2023.

The band spent the years 2020 and 2021 writing the songs for their first album, sculpting their sound down to the fine details, while also sharpening their audio engineering skills that would enable them to achieve their sonic vision. They worked to strike a balance between heavy, technical, progressive and symphonic elements, in the hopes of delivering a unique sound that would stand out amongst the ocean of bands that populate the music industry.

2022 and early 2023 were spent recording the songs for their debut album, which were all done in their home studios save for the drums which were recorded by François Fortin at Studio La Boîte Noire. The band also started playing live shows that year, performing all over Atlantic Canada in staple venues such as Xeroz and Broken Record, and remain active today, expanding their fanbase with every show they play.

The band is now preparing for the release of their debut album “A Tale of Fire”, which is set for March 2024.

Shared Stage with:
– E-Force
– Carrion Vael (Indiana)
– Deadwood (QC)
– Aepoch (Ontario)

Local bands:
– Mistwalker (QC)
– Obelisk (QC)
– Dischord (NB)
– Tactus (NB)
– Zach Leger (NB)
– Ibex (NB)
– Elevate The Virus (NB)
– Yhorm (NB)
– Anthesis (NB)
– Ancient Thrones (NS)
– Pale Ache (NS)

0 EPK – Backstabber – Patterns of Domination (2024)

December 29, 2023
by Asher
· Backstabber · EPKs

EPK – Backstabber – Patterns of Domination (2024)

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

“Loosely based on James Redfield’s The Celestine Prophecy, Patterns of Domination delves into the 4 patterns that serve as means to canalize someone else’s attention and energy. Together, they form an endless cycle of consumption that completely breaks down the victim from the inside out. Like fresh air. These are the first songs with the new members of the band and they contributed a lot to this album.” – Backstabber

For fans of Revocation, Hypocrisy, Kataklysm, Lamb of God, Mors Principium Est

Band: Backstabber
EP Title: Patterns of Domination
Release Date: March 15, 2024
Label: Self-Release

Facebook.com/BackStabberMetal | Instagram.com/backstabbermetal | Youtube.com/@Backstabber

Backstabbermetal.bandcamp.com | Spotify

The lead single is Harvesting the Weak which the band has a new music video for.

“We chose Harvesting the Weak as the main single because it is the most brutal pattern; Intimidation. It hits you right in the face while teabagging your knocked-out sack of bones in front of your friends. We’re talking Death metal from old-school riffs to slamming brutal death.” – Backstabber

“the entire EP is spectacular — a forward-rushing union of bone-smashing belligerence, vicious but technically impressive riffing, moving and jaw-dropping solos, monstrous and unhinged vocal rage, and melodic accents that give all the songs their own distinctive character.” – No Clean Singing

“Patterns of Domination is a relentless and catchy four-track EP. The musical style and lyrical content will appeal to fans of Hypocrisy.” – WRUV 90.1 FM – Burlington, VT

“From the beginning of the song (Snitches Get Stiches), you can hear the more technical side of the group. I would say it’s the fastest and most technical song in terms of guitars. It is also a piece in which there is orchestration. This is very present and brings a rather sordid dimension. What literally threw me off was the ending of the song. There is really crazy progress. A fast guitar riff, drumming that transitions from blastbeat to a more relaxed upper body beat with basedrums that are in “the carpet”. All with a beautiful orchestration which gradually takes over the instruments. Really, to finish an EP, it’s just perfect. 8.5/10″

“From sharp riffs, which are influenced by old school death metal, developed and mixed with contemporary. Blistering rhythms and the very good production ties and highlights the diversity and uniqueness of the compositions. It’s worth listening to and I’m sure you’ll stick around!” – Metal War

“A fat bridge between Death Metal and its modern siblings! 8/10” – PowerMetal.de

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What the press has said about Backstabber’s 2019 album “Conspiracy Theorist”:

“Powered by drumwork that resembles a ferocious mix of machine-gun and mortar fire, Backstabber mount the attack with flurries of vicious, seething riffery and nail-gunning jab-fests, with the lyrics voiced in heartless, imperious roars. The devastation is pushed to further heights of frenzy with a shrill, eerily spiraling solo, and concludes with a hint of off-planet mystery.” – No Clean Singing

“Out of northern Quebec comes the Men In Black, melodic death metal band Backstabber. Last year, these guys dropped their debut album Conspiracy Theorist and it still stands as one of the best albums of the year. Full of tinges of Hypocrisy from style and sound, to the obvious connection of alien themed lyrics. A little over a year later now, Backstabber are dropping a music video for their song “My Disclosure” and it’s essentially nothing you would expect from a small independent band only on their first album.” – Metal Injection

“Fast, frantic, politically minded and heavy” – Exclaim!

“Backstabber’s death metal is more of the modern variety (in a good way) with a very clean yet brutal sound and speed aplenty. The playing is insanely tight at times and it’s often hard to believe that this is only the first album of a relatively young band, their first demo having been released in 2016. Some passages are a little on the thrash side but for the most part, this is heavy, pounding, fast death metal driven by a drummer who is really asking for a speeding ticket. ” – 4/5 – The Metal Crypt

“The songs are heavy, and the death and thrash influences make for some fairly easy to get into head bobbing as each track progresses… Conspiracy Theorist is a solid beginning for Backstabber… Solid for those that want some new, well-rounded death metal.” – Dead Rhetoric

“Backstabber’s Conspiracy Theorist is a self-released album that makes one wonder how they haven’t been signed to any label yet… Backstabber have on their hands the first essential death metal release of 2019.” – 4/5 – Heavy Music HQ

“BACKSTABBER deliver aggressively systematic silver lining lacerations of rip-roaring screams of vengefully vicious old-school Death ‘N’ Thrash Metal professionalism – simply put – recommended.” – Metal-Temple

“The tracks that attracted my attention the most were ‘Ink Spill’, ‘My Disclosure’ and ‘Banksters’: continuing the old-school texture, these tracks, as well as the entire full-length, include no clean vocals nor breakdowns; all that is contained is substantial and complete death-thrash metal led on by a superb stream of undeniable thinking and design. Backstabber’s music can definitely be cherished over time by fans of Decapitated, At The Gates, Deicide and Hypocrisy as the band grows in following. This release shows glory in blending their musical layout with dynamic and spirited riffs.” – Metal-Rules

“Conspiracy Theorist has a real face crushing, devastatingly great death/thrash metal feel to it…” – Crannk

“This album is hard as nails. They do not care for making the music too melodic. It is hard-driving, grooving-thrashing pounding metal. The vocals are super aggressive and abrasive on the ears. The guitars, bass and drums work in marching unison with the purpose of making you form a moshpit or to jump into one or to make you think that you are going to bench press 500 pounds today and do 100 pull-ups at the gym… No melodic singing. No sweet whispers in your ears, just aggro-angry metal to rile you up even more about politics, the government and the extraterrestrials.” – Metal Bulletin Zine

““Conspiracy Theorist” is a very refreshing listen, I’ve no favourite track, each stands solidly alone on its own individual merits, and should appeal to fans of the likes of Kataklysm, Hypocrisy, Decapitated, Deicide, and At The Gates.” – The Metal Wanderlust

[Download Album Cover | Download EP Lyrics]

Band: Backstabber
EP Title: Patterns of Domination
Release Date: March 15, 2024
Label: Self-Release

Track Listing:
1. Harvesting The Weak (4:06)
2. Langues Sales (4:34)
3. Crawling Through Your Bones (5:03)
4. Snitches Get Stitches (5:46)
EP Length: 19:29

EP Recording Credits:
• All songs performed by: Backstabber
• All songs written by: Backstabber
• Produced by: Christian M. Thériault
• Mixed by: Christian Donaldson
• Mastered by: Christian Donaldson
• Canadian Content (MAPL)

EP and Live Band Lineup:
Christian M. Thériault: Guitar/Vocals
Philippe B. St-Jacques: Guitar
Eric Séguin: Bass/Back Vocals
Keven L.-Hull : Drums

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About The Album Artwork:

A single soul surrounded by the destruction of the world hoping for better days.

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

Lyrics are loosely based on James Redfield’s The Celestine Prophecy as we explore the four patterns meant to consume someone’s attention and energy. Each track digs into a specific pattern giving for a wide array of emotions throughout the EP. It can also be felt musically as each song has a very distinct style while the production makes a good wrap up keeping it as a whole.

Track by track (LYRICALLY & MUSICALLY):

1. Harvesting the Weak: it is the most brutal pattern; Intimidation. It hits you right in the face while teabagging your knocked-out sack of bones in front of your friends. We’re talking Death Metal from old-school riffs to slamming brutal death.

2. Langues Sales: French for dirty tongues, it represents a vicious pattern, the poor me. These people are always complaining about everything, every day, every time. It’s like they don’t really get to live, life is inflicted upon them. It’s trash, thrash, and breakdowns.

3. Crawling through your bones: This is the most vicious one of all, interrogation. Everything you say can and will be used against you, and we will make you say everything and anything. That’s Melodeath, because it hooks you right in without you noticing.

4. Snitches get Stitches: Describing this pattern shouldn’t be allowed. Indifference didn’t call for this! That’s why we went blindfolded in the mist musically ending up in places we might never have gone to otherwise.

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Hailing from Rouyn-Noranda in northern Quebec, Canada, Backstabber is a formidable death/thrash band inspired by conspiracies, new technologies, philosophy, and history. Covering a vast number of themes throughout their aggressive music, Backstabber can be likened to a ‘loose cannon’ with no foreshadowing of what direction they will take next, musically and lyrically.

Starting with themes and gradually adding riffs, drums, bass and finally vocals, they pride themselves on complimenting their compositions with energetic and interactive live shows, the entire reason for them writing their songs.

Eager to bring raw and fierce metal to the ears of listeners, Backstabber has recorded their next EP “Patterns of Domination” produced by Christan Donaldson (Cryptopsy) for release in 2024.

Discography:
2024 – Patterns of Domination – EP
2019 – Conspiracy Theorist – Album
2016 – Revenge – EP

Shared Stage with:
Cattle Decapitation, Kataklysm, Depths of Hatred, Augury, Introtyl, Burning the Oppressor, Unbreakable Hatred, First Fragment, Get the Shot, Blinded By Faith, Insurrection, Abitabyss, Anonymus, Nova Spei, Spirit of Rebellion, The Flaying, Your Last WishTours and Festivals:
2023 – AlienFest – La Sarre
2019 – FRIMAT – Val-d’Or
2018 – FME – Rouyn-Noranda
2018 – FGMAT – Rouyn-Noranda

0 EPK – SRAI – Faith (single) (2023)

December 27, 2023
by Asher
· EPKs · SRAI

EPK – SRAI – Faith (single) (2023)

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

“The song Faith and the music video has a deep meaning, the song describes how hard life can be and no matter how much life throws at you, you must fight back your demons and get back on your feet.” – SRAI

For fans of Bring Me The Horizon, Bad Omens, Architects, Sleep Token

Linktr.ee/sraiband | Facebook.com/sraiband | Twitter.com/sraiband | Youtube | Instagram.com/sraiband

Spotify | Apple Music

[Download Single Cover | Download Album Lyrics]

Single: Faith
Release: December, 11, 2023
Label: Self-Release
Distribution: DistroKid

Faith (single) – 4:30

Single Credits:
– Song preformed: Srai
– Written by: Srai
– Prod: Srai – Ahmad Callousmind – Follow the hunter – 7MND
– Mixed: 7MND
– Mastered: Alyazpro
– Artwork: Konr.work

Lineup:
Abzy Angels – Vocals
Ahmad Ani – Guitarist
Nawaf Mubarak – Drums

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Story Angles – Fun Facts

1. Abzy and Nawaf formed a band 16 years ago when Abzy was only 16 and Nawaf 14 years only, fast forward 2022 they formed the band Srai.

2. Abzy and Nawaf met Ahmad at a music festival and became close friends.

3. The first song Understand was first made by Abzy to be a single for his own solo project, but then Abzy decided to form a band and turned the song into Srai’s first single.

4. The Trauma music video was shot in Abzy’s bedroom.

5. Sometimes we include our fans in our project to help us in the writing process on live TikTok/Instagram.

Discover the boundless sounds of SRAI, a Kuwaiti rock band that illuminates the way with their music. Formed in January 2022, our band was born from the desire to share our personal experiences living in a closed-off society through the universal language of music. In the Kuwaiti dialect, “Srai” translates to “lantern,” which held a significant role in the past, guiding people’s paths in houses, shops, and roads. Keeping it traditional, we embraced this meaningful symbol and incorporated it into our band name as it resonated deeply with us. Meet the talented members behind SRAI: Abbas (Abzy): Lead Singer and Guitarist Nawaf: Drummer Ahmad (Ani): Guitarist Join us on this musical journey as we combine our passion for rock and storytelling, using our songs as beacons of light in a world that knows no bounds. Let SRAI’s music be your guiding light!

Discography:
Faith – Dec, 11, 2023 – Single
Trauma – May, 23, 2023 – Single
Alien – Dec, 25, 2022 – Single
Understand – Sep, 20, 2022 – Single

Page 20 of 72

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