Category: EPKs

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

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

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

0 EPK – Palooka – Save Yourself (2024)

December 22, 2023
by Asher
· EPKs · Palooka

EPK – Palooka – Save Yourself (2024)

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

For fans of Cheap Trick, Alice in Chains, AC/DC, Buckcherry, Aerosmith

Save Yourself (EP) – Release Date February 23, 2024
“Save Yourself” – Single Digital Release – 10/13/23
“Cut You Out of Me” – Single Digital Release – 1/26/24
Label: Big Thick Rock LLC
Distribution: CD Baby

“Save Yourself speaks to those moments in life where one comes to the realization that the way through a particular event or situation is purely up to us as individuals. The metaphoric cavalry isn’t coming, we are on our own and the only way forward is through.” – Palooka

Palookarocks.com | Facebook.com/palookarocks | Instagram.com/palookarocks | Youtube.com/@palookarocks

Linktr.ee/palooka | Palookarocks.bandcamp.com | Spotify | Apple Music

Found.ee/saveyourselfsingle

Found.ee/cutyououtofm

“Good old fashioned rock and roll..ferocious guitar work…. full of anthemic twists and turns.” – Glen Casebeer NW Music Scene (2018)

“Palooka brought a fire to the stage…playing a no nonsense brand of in your face rock music.”- NW Music Scene (2012)

“Combining one part attitude with three parts rock, this band will cross the boundaries between screaming guitar licks and soft acoustic ballads. They have given us exceptionally written songs peppered with intelligent and honest lyrics, incredible guitar playing, and an overall sense of talent that is occasionally too much to take in all at once.” – Rhonda Readence, Freelance Writer (2011)

“Fans of old-school rock will fall in love with Palooka’s classic feel and energetic pace.” – Nathan Liss, Target Audience Magazine (2011)

Save Yourself (EP) – Release Date February 23, 2024
“Save Yourself” – Single Digital Release – 10/13/23
“Cut You Out of Me” – Single Digital Release – 1/26/24
Label: Big Thick Rock LLC
Distribution: CD Baby

Track Listing:
1. Cut You Out of Me (4:00)
2. F Mind (4:13)
3. Save Yourself (4:01)
4. Far From God (3:09)
5. Bellflower (5:54)
EP Length: 21:19

Album Credits:
All Songs Performed by: PALOOKA,
Gretta Harley – Piano on “Bellflower”
Music Mixed & Recorded by: Jonathan Plum, London Bridge Studio
Music Produced by: Jonathan Plum and PALOOKA
Music Mastered by: Glenn Schick
Album Cover Art by: Chris Schanz
Cover Photo by: James Bennett

Album & Live Band Lineup:
Chuck Campbell: Vocals
Howard Binner: Bass
Jason Reaves: Drums
Glen Logan: Guitar
Chris Quinn: Guitar

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

About The EP Artwork

The EP artwork speaks to optimism, to seeking the light, even if dim, or distant, in the darkest of times. We felt the image resonated with these songs which were written in significant part during the pandemic. – Glen

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

Although not a concept EP, or focused on a single theme, I do believe The Save Yourself EP has a feel that moves through it. A feel that ebbs, and flows. It has highs and lows. It moves from loud and aggressive to quiet, plodding, introspective, then balls to the walls again. All of this is in significant part because of when and how these songs were written. – Glen

Track by track (LYRICALLY & MUSICALLY):

1. “Cut You Out of Me”
Although a relationship may be logically over, even for good reason, it isn’t always so easy to sever the deeper emotional ties that remain. It’s about the difficulty of that struggle. It’s about taking back one’s power to move through that and on to new possibilities. – Glen

2. “F Mind”
Musically, the nuts and bolts of F Mind are the guitar and drum groove in the verse, setting up a controlled swirling spiral down to the chorus where the lyrics hopefully create a connection that resonates with each listener.

F Mind is an observation, looking out the window or watching tv-the absurdity of it all sometimes. It’s an interplay of light and dark. – Chuck

3. “Save Yourself”:
“Save Yourself” emerged from the early days of the Covid pandemic, a period when I found myself newly single and residing alone on an island. In that isolated environment, the concept of self-reliance became an undeniable reality, which would then become the narrative for the song.

As I delved into the songwriting process, a distinctive vibe and feel began to crystallize.

I had wanted to experiment with a specific tuning for some time that I believed would lend itself to a drone, or pedal tone sort of vibe.

This involved tuning each string to Eb, and as soon as I made this adjustment, the song unfolded rapidly, almost as if it were a stream of consciousness. The initial composition was recorded in a spontaneous first run-through, capturing the rawness of the moment.

I recorded the first run-through just to get it on tape. While playing the 2nd verse I forgot exactly what I had done on the first verse. So, on that initial demo, the structure of the first and 2nd verses were slightly different. After hearing it back I actually appreciated that difference. I mentioned to the band that we could decide on one or the other and just repeat the same verse structure, but they liked the variations too. We collectively decided to maintain the unique structure, embracing the organic and slightly unpredictable nature of the creative process. – Glen

4. “Far From God”:
Musically Far From God is about guitars almost suggesting the feel of brass/ horns calling out for a response from the vocals. This guitar/ drum groove switches to a stabbing rapid-fire chorus that accentuates the lyric. Lyrically Far From God is a take on the loss of innocence, the wearing down of good people and good intentions. It’s also a take on institutions, power, and slingers of voodoo that hide behind their perceived purity. – Chuck

5. “Bellflower’:
“One bullet for my baby, one bullet for me.”

The shock from the first shot starts the song.

The rest of the music is a sonic journey through the realization of what has happened and the drawn-out feeling of bleeding until the inevitable….the slipping away.

Lyrically, the chorus is a proclamation of intent. The listener observes the absurd ramblings of the narrator, exposing the horror of the situation.

Overview: This is a song about mental health, toxic relationships, obsession and obviously gun violence.

Possession is not love, there is no ownership over other people. Jealousy is not love nor is anger, rage or violence of any kind.

Unfortunately, we seem to value instruments of death and destruction more than the mental state of the citizens of this country and until there is a change….. this is a fictional story but happens every day. – Jason

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

Fun Facts – Story Angles:

1. PALOOKA writes from a perspective of living this life, experiencing what we do and trying to connect with others who have similar real-world experiences.

2. PALOOKA are playing music in a significant part because we are music fans first. We’ve had the great pleasure of playing with a lot of great bands, some of which we’ve been fans of for years, even decades. Some of our favorite bands we’ve shared the stage with were Michael Schenker, TKO, Gilby Clarke, Buckcherry, Y&T to name a few.

3. Guitarists Chris Quinn and Glen Logan are big-time guitar and amp geeks.

4. The name PALOOKA comes from the working title of a solo project Glen Logan did after being out of music for years. It was a tongue-in-cheek reference to an old washed-up boxer getting back in the ring. The solo project turned into a band and the name stuck.

5. PALOOKA feels honored to have recorded our latest Save Yourself EP, as well as our 2017 full-length album, Turbo Excelente, at historic London Bridge Studio in Seattle, WA.

PALOOKA is a sonic hurricane of big, thick, two-guitar rock, the way God intended it. At the forefront of this musical tempest stands Chuck Campbell, a vocalist whose melodies are drenched in raw emotion and soaring tenacity. Flanking him are Chris Quinn and Glen Logan, trading flurries of devastating and searing guitar punches reminiscent of a barroom brawl. The band’s foundation is rock solid, built upon the talents of Howard Binner on bass and the percussive mauler, Jason Reavis, on drums.

PALOOKA brings together musicians who’ve been haunting the Seattle scene since the pre-grunge days (yes, there was a pre-grunge Seattle music scene). Their musical DNA draws inspiration from their past contributions to bands like Overlord, Bible Stud, Slaughterhaus 5, Debutant, Razrez, and Nylon Kincaid.

In addition to their rich musical history, PALOOKA’s influences span a wide spectrum: from the timeless sounds of Elton John and Louis Armstrong to the electric energy of KISS and Cheap Trick, to the adrenaline-fueled rebellion of Evel Knievel.

The journey of PALOOKA is a testament to the enduring power of hard rock, and they continue to push the boundaries with their unmatched energy, soul, and grit. Strap in and get ready to roll with PALOOKA!

Palooka is:
Chuck Campbell: Vocals
Howard Binner: Bass
Jason Reaves: Drums
Glen Logan: Guitar
Chris Quinn: Guitar

Discography:
2024 – Save Yourself – EP
2021 – All Those Things Left Behind – EP
2017 – Turbo Excelente – Album
2011 – What’s Wrong With Wanting Everything – Album

Shared Stage:
Buckcherry, Michael Schenker, LA Guns, Pat Travers, TKO, Gilby Clarke, Hell’s Belles, Enuff Z’Nuff, Beautiful Skeletons, The Guessing Game

Tours and Fests:
2018 – Sky River Rock Festival – Snohomish, WA
2018 – NW Metal Fest – Seattle, WA
2018 – White Center Jubilee Days – White Center, WA
2014 – KISW Redfest
2014 – Brewer’s Fest – Redmond, WA
2013 – West Seattle Summer Fest – Seattle, WA

Past Features:
2020 – KISW 99.9 Band of the Week
2014 – KISW BJ & Migs Loud & Local Band of the Week
2013 – URock Band of the Week

0 EPK – Super Monster Party – Dance Dance Revolution (Till The Death) (single) (2023)

December 18, 2023
by Asher
· EPKs · Super Monster Party

EPK – Super Monster Party – Dance Dance Revolution (Till The Death) (single) (2023)

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

For fans of Electric Callboy, Andrew WK, Slipknot, Dragonforce

“Dance Dance Revolution (Till the Death) is the second single we released from our upcoming new EP “Rage Quit” which will be released sometime in 2024. It’s a song inspired by the popular dance game of the same name. The song takes you on a journey as a player inside the game with some twists and turns.” – Super Monster party

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

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

Single Title – Dance Dance Revolution (Till the Death)
Release Date: December 18, 2023
Label: Super Monster LLC

Dance Dance Revolution (Till the Death) (4:03)

Single Credits:
All songs performed by: Super Monster Party
• All songs written by: Super Monster Party
• Produced by: Rei Sega, Matt LaPlant
• Mixed by: Matt LaPlant
• Mastered by: Matt LaPlant
• Album Artwork by: Rei Sega
• Member of ASCAP
Song Guests
Oleh Andrievsky – Lead Guitars
Hugo Lee – Saxophone

Super Monster Party is
Rei Sega – Vocals and Keys
Andy Alvarez – Guitars
Emilio Martinez – Bass and Backup Vocals
Fernando Lemus – Drums

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

FUN FACTS – STORY ANGLES

1. Super Monster Party writes original songs inspired by popular video games of our past and present.

2. Each song is dynamically different in musical composition, vocal arrangements and style. While the lyrics stay unique and true to the game’s lore while still providing a relatable connection to those who might be unfamiliar with the games.

3. Band is produced, mixed by Matt LaPlant (Non Point, Ellefson, Taproot, Skindred)

4. Members Emilio Martinez is the bassist of Ynwgie Malsteen and Fernando Lemus is the drummer of Lions at the Gate.

5. Oleh is from Ukraine and currently living there during the war. In fact, he has been recording all his parts during the war.

Super Monster Party is a video game-inspired Metal band from South Florida. Their albums consist of original songs based on classic games such as Altered Beast, Zelda, and many other retro titles with immersive storytelling in-between that places you, the listener, in the role of the “Champion” who must battle through video game worlds to save the realm of Permadeath from an unprecedented evil who is hell-bent on utter destruction. If that’s not enough, the band also has their own playable video game titled “Permadeath” where you can play the story in real-time.

The band is the concept of Singer / Songwriter, Rei Sega and features notable members Emilio Martinez (Ynwgie Maulsteem), Fernando Lemus (Lions at the Gate), Andy Alvarez. And are co-produced by Matt Laplant (Non-Point, Ellefson, Saliva).

Discography:
2020 – Permadeath (Album)
2021 – SideQuest (Album)
2022 – Game Genie (Album)
2023 – Up Down Die (Remix EP)
2023 – This is Doom (Single)
2023 – Dance Dance Revolution (Till The Death) (Single)
2024 – Rage Quit (Upcoming Album)

Shared Stage with: REX VIPER, Psychostick

Tours and Festivals:
Classic Game Fest – 2023 – Austin Tx
Too Many Games – 2022 – Philly
Otaku Fest – 2022 – Miami

0 EPK – Striker – ULTRAPOWER (2024)

December 12, 2023
by Asher
· EPKs · Striker

Striker – ULTRAPOWER (2024) (Record Breaking Records)

Release Date: February 2, 2024

LABEL: Record Breaking Records

DISTRIBUTION: CD Baby

For Fans of Iron Maiden, Judas Priest, Enforcer, Skullfist, Steelwing

PR Rep – Jon Asher – jon[@]ashermediarelations[.]com

Spotify | iTunes | Big Cartel | CD Baby

“If you liked the last three albums (as much as I did), Ultrapower will equally satisfy. I know this one will be in my top 10 albums of the year. And why hasn’t Striker been opening for the likes of Maiden, Priest, Metallica, etc. the last eight-ish years?? 8.5/10″ – Bravewords

“Striker are more-than-ready to show us all the power of heavy music with Ultrapower, and I’m sure you’ll enjoy the ride with one of the best (of the best of the best) bands of the current Canadian landscape.” – The Headbanging Moose

“Undoubtedly, “Ultrapower” will scratch your ‘80s itch with an Arena Rock sound shifting from Spaghetti Western, to Kenny Loggins, all the way to DRAGONFORCE. With all this in mind, it is safe to say that the album was written to be played live at max volume and its songs will sound even better in a concert setting. Are you ready to crank the volume up while spinning the best of the best of the best etc. set of songs of the year? 9/10” – Metal Kaoz

““Ultrapower” is quite frankly a magnificent album. It has a feel good 80’s movie soundtrack aura about it with the spirit of artists such as John Farnham and Stan Bush standing tall alongside pure 80’s metal throwback. If you love 80’s rock and metal then this album is going to have you grinning from ear to ear. I think I’m gonna be grinning for days after several listens. Some fans of Striker’s more speed metal inclined sound may find this album a bit jarring but I can safely say it is the best album they have done and they have released some corkers. For the pure joy it has given me, this album is going to be hard to top in 2024 and we are still in the early part of the year.” – The Razors Edge Rocks

“I’m giving this one an 8 of 10 “Flaming Fists”. You can tell there’s a lot of work put into the album, they don’t half-ass anything. The production was good, it’s really hard to make amazing Arena-style rock without a decent budget, but they did a solid job… if you liked the late 80’s and early 90’s bands you’ll really dig this. Overall, I’m really happy and thankful for this band continuing to do what they do.” – Rock You Radio

“For those that are looking to have a good time, forget their troubles, and headbang for 40 minutes, give Striker’s Ultrapower a listen.” – Metal Express Radio

“Striker are never short on talent and ability. Timothy Brown and John Fallon can rip it up with their axes, laying down thrashy and traditional metal riffs as the songs demand, and they can wail come solo time too.” – Angry Metal Guy

“Striker has been lying in wait for the moment to release this album. They’re at the forefront of the New Wave Of Traditional Heavy Metal, which is a genre that looks to turn the clock back to the ’70s and ’80s style of metal. However, that traditional style gets a bit of a facelift with ULTRAPOWER. Striker injects the whole thing with the traditional heavy metal you’d come to expect after a litany of great albums, but they also add some new things to their tool belt, like synth-wave, saxophones, and more. It all adds up to an album that feels more mature, while also retaining the somewhat sophomoric feel of the genre. This is a band that’s reaching the peak of its powers musically, and you can feel it on the tracks. Each track feels radically different from one another. You’ve got Yngwie Malmsteen-inspired speed metal shredding on “Circle of Evil”, full-on ’80s electric drums on “Live To Fight Another Day”, and saxophone on “Give It All.” – That Hashtag Show

“The commencement of the new year saw Edmonton, Canada’s heavy metal ensemble Striker unveiling their seventh studio album, “Ultrapower” (2024), marking a significant milestone following their independent release, Play to Win (2018). Established in 2007, the band’s musical style seamlessly melds the robustness of ’80s icons like Accept, Priest, and Maiden with the infectious melodies of bands like Europe. Adding to their allure, lead vocalist Dan Cleary channels the spirit of vocalists like Bruce Dickinson to deliver commanding backing vocals, infectious tunes, resounding percussion, and contemporary production. The guitar solos are infectious. Notably, “Ultrapower” represents the debut of guitarist John Simon Fallon within the band’s lineup. Ultimately, what sets Striker apart is their approach: rather than simply emulating their revered predecessors, they infuse classic heavy metal with a contemporary sensibility. While there is merit in faithfully crafting songs that evoke the spirit of the early to mid-’80s, there is also value in establishing a distinctive identity and standing out from the crowd while honouring their musical influences.” – Metal Roos

Track Listing:
1. Circle of Evil – (3:44)
2. BEST of the BEST of the BEST – (3:19)
3. Give it All – (4:14)
4. Blood Magic – (4:35)
5. Sucks to Suck – (3:15)
6. Ready for Anything – (3:56)
7. City Calling – (3:45)
8. Turn the Lights Out – (2:49)
9. Thunderdome – (4:01)
10. Live to Fight Another Day – (4:00)
11. Brawl at the Pub – (3:47)
Album Length: 41:30

Album Credits:
• All songs performed by: STRIKER
• All songs written by: STRIKER
• Produced by: Josh Schroeder
• Mixed by: Josh Schroeder
• Mastered by: Josh Schroeder
• Album Artwork by: Al Perez / Ramone Sketch (@ramonesketch)
• Member of SOCAN
• Canadian Content (MAPL)

Album Band Line Up:
Dan Cleary – Vocals
Tim Brown – Guitar
John Simon Fallon – Guitar
Pete Klassen – Bass
Jono Webster – Drums

Live Band Line Up:
Dan Cleary – Vocals
Tim Brown – Guitar
John Simon Fallon – Guitar
Pete Klassen – Bass

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

About The Album Artwork:

We wanted the album artwork to represent how we feel as a band right now. We are an engine that is fired up and ready to roll. We’re made of metal and our circuits gleam!

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

ULTRAPOWER is the amalgamation of 5 years of writing and exploring music. With influences from AOR to Speed Metal, Hardcore to Hair Metal, Steely Dan to Deathcore, you name it, it made its way into the album. In the end with the help of Josh Schroeder’s guiding hand, we melted it all together to present something uniquely Striker. Lyrically we’ve stuck to the Striker tradition of writing montage songs for movies that don’t exist, songs about our spiraling serfdom, and lyrics about the evils that lurk in the shadows.

Track by Track (LYRICALLY & MUSICALLY):

1. Circle of Evil – Circle of Evil is a Malmsteen-esque metal banger about secret societies and the evil dealings behind closed doors.

2. BEST of the BEST of the BEST – It’s right in the name. This one is about being the best of the best. Serving up some big riffs and hockey arena vocals that make you want to plow through the cars stopped in front of you making you late for work.

3. Give it All – Give it All is a song written for the soundtrack of an 80s action movie that doesn’t exist. It’s for the kid risking it all to win the big game, or the down-and-out cop that’s gotta push it to the limit to survive.

4. Blood Magic – Blood Magic is maybe one of Striker’s most “progressive” songs, taking cues from bands like King Diamond the song structure is unconventional and punctuated with guitar solos. How many guitar solos are too many? Guess you’ll find out.

5. Sucks to Suck – We wrote Sucks to Suck as a joke song about vasectomies in 2020 I think. We wrote it and forgot about it until one day I woke up with it stuck in my head. After 2 years without listening to it, it just appeared back in my brain. I took that as a sign, that we had to go back and see what we could do with it. Obviously, it’s not about vasectomies anymore but it’s still got the hooks! Now it’s about how people don’t realize how shitty they are and ultimately you’re one of those people yourself!

6. Ready for Anything – Ready for Anything is a song about taking life by the horns and kicking it’s ass. It’s a pounding Striker classic about keeping your head up and smashing through life even when things suck. Big riffs, big melodies, big vocals. Lets gooooo.

7. City Calling – City Calling is a song that came out of our obsession with late 80s AOR and pop rock. Bands like Toto or even Kenny Loggins put out these hook-powered albums and we’ve always wanted to take a piece of that style and mold it into our own creation. This isn’t a metal song. It’s an ode to 1987.

8. Turn the Lights Out – Turn the Lights Out is Striker checking back in with ourselves from 2010. “Hey dudes, are we still shredding?” This one is about having hope for the future, making it through another day, and getting back at it in the morning.

9. THUNDERDOME – The label called and said “You guys need a song about Mad Max Beyond Thunderdome!” and we said, “We already wrote a song called Road Warrior are you sure?” to which they said “Bring me pictures of Spiderman!” and slammed their fists on the desk. So we don’t know why it’s about that other than it’s sick! This one also has some of Dan’s strangest most ACDC/Accept style vocals ever.

10. Live to Fight Another Day – Originally this was just a regular Striker song. Tim had the idea that we should just try turning it into a synthwave track. It fits like a glove. We’ve always been into Synthwave but never had the guts to do it ourselves. Until now! This is our first attempt at it and we are stoked about how it turned out. This one is another track about keeping it together and taking on life one day at a time.

11. Brawl at the Pub – To close out the album, we’ve got the spiritual successor to the fan favorite “The Keg that Crushed New York”. This song is quite literally about a brawl at the pub. It’s weird, it’s fun, it shreds. Don’t take it too seriously, we’re just here for a good time.

Clockwise – L-R – Dan Cleary – Vocals, John Simon Fallon – Guitar, Pete Klassen – Bass, Tim Brown – Guitar
Photo Credit: Dana Zuk

Blending classic heavy metal, hard rock, and 80’s hair metal, Striker has been making shredtacular anthems since 2007. The band has toured multiple times across Europe and North America, chosen to open for Metallica in their hometown of Edmonton, AB, Canada along with many festival appearances that include 70,000 Tons of Metal, Wacken Open Air (Germany), Bang Your Head Festival (Germany), and more to add to the almost 1000 shows performed in their decade-plus career. The band has been honoured with multiple Best Album awards in their home country of Canada from the JUNO Awards(The Canadian equivalent to the American Grammy), Western Canadian Music Awards, and the Edmonton Music Awards.

Striker is kicking off 2024 with their seventh studio album “ULTRAPOWER”, which follows their Juno Award-winning self-released full-length “Play to Win” (2018) released on their label Record Breaking Records. The new album also features the band’s latest lineup addition of long-time friend and guitarist John Simon Fallon (The Order of Chaos). For the band’s seventh full-length, they teamed up with producer Josh Schroeder (Lorna Shore, Tallah, King 810), entering the studio in March 2023. With the band writing material since 2018, “ULTRAPOWER” is a collection of five years of Striker tinkering and exploring new avenues.

“ULTRAPOWER is the amalgamation of 5 years of writing and exploring music. With influences from AOR to Speed Metal, Hardcore to Hair Metal, Steely Dan to Deathcore, you name it, it made its way into the album. In the end with the help of Josh Schroeder’s guiding hand, we melted it all together to present something uniquely Striker. Lyrically we’ve stuck to the Striker tradition of writing montage songs for movies that don’t exist, songs about our spiraling serfdom, and lyrics about the evils that lurk in the shadows.” adds the band.

“ULTRAPOWER” follows Strikers six studio albums Eyes in the Night (2010, Iron Kodex), Armed to The Teeth (2012, Napalm), City of Gold (2014, Napalm), Stand in the Fire (2016, Record Breaking), Striker (2017, Record Breaking), and Play to Win (2018, Record Breaking).

CDs and digital downloads are available on Striker-Metal.com, iTunes, Amazon, Spotify, and CD Baby.

ULTRAPOWER Album Band Line Up:
Dan Cleary – Vocals
Tim Brown – Guitar
John Simon Fallon – Guitar
Pete Klassen – Bass
Jono Webster – Drums

Live Band Line Up:
Dan Cleary – Vocals
Tim Brown – Guitar
John Simon Fallon – Guitar
Pete Klassen – Bass

What the press has said:

“Play to Win, which might be their most balanced effort yet. It’s their most catchy, too: the likelihood you’ll be singing along with every song before they finish is very, very high.” – Metal Sucks

“expertly combined killer arena rock choruses with well-done, cleaner verses.” – Metal Injection

“Six albums in six years. That is something almost unheard of, even in the modern era of production that considerably lessens the time needed to record and mix albums. Striker always seems to provide a new album right around when I start to wonder, “Hey, I wonder what Striker is up to?”. PLAY TO WIN is the band’s 6th LP and to my ears, one of their best. Rest assured, the band has not altered their sound. This is still classic metal, mixed with modern elements that continues to leave all pretenders in a cloud of choking dust.” – Metal Rules

“You can hear influences ranging from Dokken to Metallica on Play to Win, and it’s all done with masterful songwriting, performances and production. This is a slick, aggressively-mixed record that drips with excitement and replayability… Striker have produced their best record since City of Gold, and all fans of straight-up hard rock and metal need to own this album.” – Heavy Music HQ

“Striker have knocked this one out of the park and into the stratosphere. You’d be hard-pressed to find a catchier slice of fine cheddar this year, and I’d highly recommend it.” – New Noise Mag

“STRIKER have done it again. They hath given unto thee one monster of a metal album that simply begs to be put on REPEAT.” – Amps And Green Screens

““Catchy choruses, well-crafted riffs and squealing solos are woven throughout… Play to Win is another solid effort from Striker.” – The Metal Crypt

“Each track is overflowing with riffs and hooks that captivate the listener. Each track stands strong enough on its own, but together create a strong contender for another Juno nomination. This is not an album you should overlook.” – Hellbound

“If you like 80’s rock with big guitars, or metal that’s fun in general, check out Striker and crank it up. You won’t regret it, I promise.” – Diary of A Music Addict

“Blending the music by Iron Maiden with Motley Crüe, Stratovarius and Van Halen, which in the end resulted in sheer awesomeness, Striker offer us the thrilling On The Run, showcasing a brilliant vocal performance by Dan while William keeps extracting that metallic sound we all love form his bass, whereas The Front is another classic song by Striker, also feeling as it was taken from an 80’s Hair Metal album…Striker are a band that keeps winning no matter what with each and every release and the flame of Canadian metal will remain alive and vibrant while we have those skillful metalheads from Edmonton among us, always playing to win. ” – The Headbanging Moose

“Striker gush with so much enthusiasm here, with explosive riffs swirling between the vibrant harmonies and choruses, that it’s hard not to notice…Tracks like “Former Glory” and “Born to Lose” are anthemic, catchy as hell and feature soaring vocals from Dan Cleary and terrific guitar work by Tim Brown…On Striker, the band take a host of influences and hone them into a sound they can call their own.” – Exclaim!

“From the first storm-summoning power chord on the opener Former Glory, Striker (CAN) proves their new album’s initial claim of not dwelling on the past, a high and appropriate cry of “Yeah, I’m back again!”… If you haven’t witnessed this inspiring resurrection of classic metal, the band plays Friday, April 14 at Starlite with Ravenous and Tylor Dory Trio, no doubt sharpened from the faithful overseas audiences.” – Edmonton Journal

“When a band releases an eponymous album it’s a statement of intent, a sign of confidence, everything being as it should be. For make no mistake, Striker are a special band. As the old Metal Gods ascend to Valhalla, new gods will arise. This is Striker’s fifth album and it’s just timeless. Not retro, not looking back, but taking everything that’s uplifting and glorious about heavy metal into 2017 and beyond…this album has to be in every writer and fan’s top ten at the end of 2017.” – Hellbound

“A less balls out, more aggressive record than its predecessor, STRIKER delivers another impressive collection of high energy headbangers….Regardless of what your heavy metal predilections may be, STRIKER offers something for everyone. Super catchy tunes dripping with shred gymnastics and all around technical prowess, Striker deserves a place on any metal fan’s playlist….If you have not experienced Striker yet, this album is a worthy place to start and should appeal to a wide range of fans, particularly followers of the Priest, Anthrax and Maiden.” – Metal Rules

2019 Canadian Loud Charts: Striker – Play To Win
Highlight #11 – National Loud Top 20 of 2018 – (Earshot)
Highlight: #2 – December 2018 – National Top 20 Loud Chart (Earshot)
Highlight #167 on Top 200 – November 2018 – The National Chart (Earshot)
Highlight: #12 – October 2018 – National Top 20 Loud Chart (Earshot)

0 EPK – Devolver – New Blood (2023) (single)

December 5, 2023
by Asher
· Devolver · EPKs

EPK – Devolver – New Blood (2023) (single)

Publicist – Jon[@]ashermediarelations[.]com

For fans of In Flames, At The Gates, Soilwork, Killswitch Engage, Lamb of God

Band Title: Devolver
Single Title: New Blood
Release Date: November 24, 2023
Label: Self-Release
Distribution: Symphonic
Single Length: 3:14

“This single (and album) are going to turn some heads and call back to late 90’s/00’s melodic death metal and metalcore while looking forward with a razor-sharp sound. We think people will find it to be a breath of fresh air, that still reminds them of their favourite bands. We think it will be exciting for any metal fans that hear it. We think we cover a lot of ground with our sound and will be appreciated by old-school metalheads, and younger fans of modern metalcore alike.” – Devolver

Linktr.ee/devolverab | Facebook.com/DevolverMusic | Instagram.com/devolvermusic | YouTube.com/@devolvermusic2843

Devolvermusic.bandcamp.com | Spotify | Apple Music

“Devolver uses melodies, intensity, and a variety of vocalists to hook you, reeling you from song to song making this such a welcoming and comfortable listen. I don’t mean they’re “easy listening,” there heavy as f***, I mean there’s always something different, you’ll never get bored while diving into this debut.” – Vulture Hound

“If After The Burial and The Ghost Inside had a lovechild, it would be Devolver. These guys blew me away with how professional, well written, and how well structured they’ve presented themselves with their SelfTitled record. Each song has its own personality, while still maintaining a signature sound. The breakdowns are simple, yet effective in each song. There is dynamic tension and then well-needed release throughout the record, and it’s downright masterful. This album is captivating, and I recommend anyone that is a fan of metal to check this out.” – Bucketlist Music Reviews

[Download Single Cover | Download Single Lyrics]

Band Title: Devolver
Single Title: New Blood
Release Date: November 24, 2023
Label: Self-Release
Distribution: Symphonic
Single Length: 3:14

Single Credits:
– All songs performed by: Devolver
– All songs written by: Devolver
– Produced by: Mark Lewis
– Mixed by: Mark Lewis
– Mastered by: Mark Lewis
– Single Artwork by: Jaylen Elias
– SOCAN members

Band Lineup:
Chris Brown – Vocals
Devin Babcock – Guitar (lead)
Jayde Penner – Guitar (rhythm)
Bevin Booth – Drums
Jaylen Elias – Bass

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

About The Track:

New Blood was an amalgamation of riffs written in a single sitting whilst Devin was sitting on a staircase bullshitting with Bevin. It was quickly developed into a skeleton structure at which point Bevin wrote drums for the song. After a tweak to the chorus the song was finished until lyrics were added and a solo was added after the first chorus per Mark Lewis’ suggestion. This song doesn’t sit down at all and goes right until it ends. With chugging riffs, interesting melodies, ripping solos and a catchy yet memorable chorus, we feel “New Blood” is putting our best foot forward.

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

Fun Facts – Story Angles:

1. For the New Blood video we just wanted to do something fun. We’re really just a bunch of idiots so we didn’t want this video to be too serious

2. We had someone actually make the Guitar Hero charts for New Blood and Jewels Of The Maw, so if you play Clone Hero on PC you can download and play our songs!

3. When we decided to work with Mark, we were scheduled to begin recording in March 2020. Obviously, the Covid-19 pandemic changed our plans. We decided to stick it out and wait til we could record with Mark. He was our top choice and we knew if we worked with him we could get the album we wanted without compromise.

4. After years of waiting we finally began recording in July 2022. We flew Mark in to record with us at our home studio and hosted him at our guitarist and drummer’s house for a few weeks. He left after guitars and came back for a few more weeks to do bass and vocals. Then our guitarist and drummer flew to his studio in Nashville to record drums and guitar solos.

5. We had the opportunity to play Loud As Hell in 2022 between Mark’s trips to record, and it was an absolute blast to play such an esteemed festival

L-R – Jayde Penner (Rhythm Guitar), Jaylen Elias (Bass), Chris Brown (Vocals), Bevin Booth (Drums), Devin Babcock (Lead Guitar)

Hailing from Grande Prairie, Canada, Devolver’s particular brand of metal can be described as “Gothenburg worship meets NWOAHM”. Formed by guitarist Devin Babcock and drummer/producer Bevin Booth, and later rounded out by guitarist Jayde Penner, vocalist Chris Brown, and bassist Jaylen Elias, Devolver blends groovy metalcore and melodic death metal, creating a unique sound that appeals to fans of modern metal genres while embracing their old school influences, wearing them on their sleeve. With their heavy-hitting new album in tow, and fueled by a passion that can only be understood by seeing their unbridled live performance, they are ready to make waves in Canadian and international metal scenes alike. The first look at their forthcoming sophomore album is the singles “New Blood” and “Jewels of the Maw” produced by Mark Lewis (The Black Dahlia Murder, Deicide, Devildriver, Whitechapel).

Discography:
2023 – New Blood – Single
2023 – Jewels of the Maw – Single
2020 – Unscathed – Single
2017 – A Life Lost – Single
2016 – Self-Titled LP

Shared Stage with: Protest The Hero, Bat Sabbath (Cancer Bats), Arrival of Autumn, Carcosa, Angelmaker, Neck of the Woods

Festivals: 2022 – Loud As Hell Fest – Drumheller, AB

0 EPK – Stages of Decomposition – Raptures of Psychopathy (2024) (Gore House Productions)

November 29, 2023
by Asher
· EPKs · Stages of Decomposition (Gore House Productions)

EPK – Stages of Decomposition – Raptures of Psychopathy (2024) (Gore House Productions)

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

“It has been 10 years since our first Piles of Rotting Flesh full-length album was unleashed and about 7 years since our Crawl Space Burial EP was released. We are beyond excited to finally have this long overdue full-length album out and ready for all our fan’s listening pleasure. It has been a long and grueling process to get all this done but we are proud to have completed everything just the way we wanted. Raptures of Psychopathy is an album to capture the minds of the psychotic as anything in life we as humans all can relate to in one way or another but nonetheless, we are all still humans and have aggression that needs to be released. For us, it is through music and this album truly defines the raptures we receive when going through our psychopathies.” – Stages of Decomposition

For fans of Mortican, Dying Fetus, Devourment, Suffocation, Kraanium

Band – Stages of Decomposition
Album Title – Raptures Of Psychopathy
Label: Gore House Productions
Release Date: February 2, 2024

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

Facebook.com/StagesofDecomposition | Instagram.com/stagesofdecomposition_official

Spotify | Stagesofdecomposition.bigcartel.com | Apple Music | Deezer

Album Pre-order/Pre Save – https://orcd.co/raptures-of-psychopathy

“On their new album Raptures of Psychopathy, Stages of Decomposition lean into the most violent and punishing aspects of their sound, and we have a prime example in the new album track we’re presenting today, along with a blood-spraying video… The song’s name is “Skid Row Slasher”. It’s based on true stories of serial killers, both of whom preyed on the homeless population of L.A…. The music is itself undeniably, and viciously, psychotic. The riffing is fast and frenzied, corrosive and cutting, and utterly crazed. The drums clatter at high speed, like automatic weaponry with a groove. The bass slugs like a heavyweight high on adrenaline. Equally rabid, the vocals expel raw guttural roars, crazed screams, and strangled gagging and gurgling excretions. It’s all macabre, and it’s all viscerally electrifying. But the band also make room for pulverizing slams capable of splitting concrete. It’s a kick to watch the band cut loose in the video, too, and of course there will be blood….” – No Clean Singing

“This is pure bang your head ‘till it pulps music. From growling guitars to smash the kit into pieces drumming, then snarling vocals, and a horror tinge (as we’ll see). It’s only right that they’re signed to Gorehouse Productions… Stages of Decomposition are tight, they can be felt as well as heard. The album (Piles of Rotting Flesh) is consistent with no weak moments. You will bleed, this will hurt. For proof check the official video below.” – Severed-Cinema

“It’s a brutal assault on your ears in the same style as bands like Cannibal Corpse.” – Games, Brrraaains & A Head-Banging Life (EP – Crawl Space Burial)

Band – Stages of Decomposition
Album Title – Raptures Of Psychopathy
Label: Gore House Productions
Release Date: February 2, 2024

Track Listing:
1. Drilling of the Cerebellum – 4:59
2. What Lies Within – 3:10
3. Beast of Jersey 2:42
4. Killing Under Possession – 3:36
5. Murder by Proxy – 3:26
6. Skid Row Slasher – 3:36
7. Carve out the Eyes – 2:37
8. Fetal Devourment – 3:04
9. Crawl Space Burial – 3:12
10. Human Extermination – 3:46
11. Mass Psychosis – 2:09
Album Length: 36:19

Album Credits:
– All Songs by Stages of Decomposition
– Recorded by Marco at Marco’s Studio
– Mixed & Mastered by Manu at Beat Crusher Recording Studio
– Album Artwork by Tony Cosgrove

Recording and Live Lineup:
– Daniel Smoo – Drums
– Salvador Rodriguez – Bass/Vocals
– Cesar Barajas – Guitar
– Marco Aromatario – Guitar

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

About The Album Artwork:

The Album Artwork depicts a scene of an Ominous figure who’s dragging a Body wrapped in a bag, saturated with blood in a dense forest setting. This pensive image demonstrates how a subtle design approach can convey a profoundly gruesome concept.

Album as a whole (LYRICALLY & MUSICALLY):

This Album explores the raptures of one’s Psychopathy.

Track by track (LYRICALLY & MUSICALLY):

1. Drilling Of The Cerebellum: This song offers a glimpse inside the mind of Jeffrey Dahmer.

2. What Lies Within: This song offers a glimpse into a mind harrowed by demons and the need for power/control through forced sex.

3. Beast Of Jersey: This song offers a glimpse into the mind of Edward Paisnel.

4. Killing Under Possession: This song is about the Amityville Horror Case and illustrates the psychosis of a corrupted psyche.

5. Murder by Proxy: This song is inspired by the tragic and twisted story of Gypsy Rose and her mother – and the events caused by Munchausen By Proxy.

6. Skid Row Slasher: This song is about the infamous Skid Row Slasher & the Skid Row Stabber who murdered homeless people in the streets of Los Angeles, CA.

7. Carve Out The Eyes: This song offers a glimpse inside the mind of Richard Ramirez.

8. Fetal Devourment: This song is about the devouring of a fetus (Inspired by a gruesome scene in the film “Mother”).

9. Crawl Space Burial: This song offers a glimpse inside the mind of John Wayne Gacy.

10. Human Extermination: This song is about the creation of the atomic bomb and the extermination of the human race.

11. Mass Psychosis: This song is about the phenomenon of Mob Mentality and how easily and largely the human mind can be corrupted /sheep herding.

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

TOP 5 STORY ANGLES/FUN FACTS

1. Marco Aromatario and Cesar Barajas took the time to craft and build a small yet very effective recording studio in Marco’s garage. This is where we recorded all our tracks and really spent a lot of time nailing every song.

2. Stages of Decomposition has constantly been touring and doing “one off” shows out of state and out of the country. Although it has taken the band a long time to get this second album out, Stages has always been active and supported by their fans worldwide.

3. Stages of Decomposition have been playing so many fests and shows that they wanted to start their own extreme underground metal fest in LA and then gave birth to the Los Angeles Extermination Fest which has been happening every year in LA since 2017.

4. Marco was originally in the brutal death metal band Exhumer from Italy but when he moved to Los Angeles, he kept Exhumer going with Sal on vocals but then eventually joined up with Stages as 2nd guitarist and helped complete the writing for Raptures of Psychopathy.

5. Stages has gone through it all. The ups, the downs, and the between, there were even moments where we felt like we just didn’t want to continue as a band anymore, but at the end of the day, we feel confident and proud of each other whenever we play shows because every one of us is absolutely crushing it and putting in their 100% effort to make this dream happen. We’re all brothers and our bond is way too strong to ever let this music go. Without each other, Stages cannot ever be the force that we are today.

Since their highly acclaimed debut album “Piles of Rotting Flesh”, Slamming Brutal LA Death Grind STAGES OF DECOMPOSITION have kept busy on the road. Since 2014, the band has performed at various festivals such as Bay Area Death Fest (Northern California), Bogota Grind Death Fest (Colombia), Philthadelphia Infest (Philadelphia, PA), SLAM FEST (Mexico City, Mexico), as well as toured the states coast to coast in under 10 days!

On February 2, 2024, they’ll be unleashing their sophomore full-length “Raptures of Psychopathy” from the label Gore House Productions. The record is a composition that is conceptualized by all things horror and will cater to fans of all things obscene and extreme. It offers a thought-provoking and alternative perspective into the deranged mind of a serial killer and explores the raptures of one’s Psychopathy.

Stages of Decomposition is known for its massive and impactful delivery of extreme brutality and invoking raw primitive energy from the crowd. From heart-splitting blast beats and corpulent riffage to sickening gutturals – fans can expect nothing less than a destructive performance.

Horror, True Crime Cases, Movies, and Media – anything relating to the Gore and Macabre! STage of Composition have ya covered!

Discography:
(2024) Raptures of Psychopathy – Full Length
(2016) Crawl Space Burial – EP
(2014) Piles of Rotting Flesh – Full-length
(2012) S/T 2012 – Demo
(2011) Stages of Decomposition – Demo

Shared Stage with Suffocation, Belphegor, Pathology, Mortician, Vehemence, Disgorge, Malignancy

Tour and Festivals:
2023 – GORED IN THE HEART OF TEXAS, DALLAS TX (USA)
2023 – BOGOTA GRIND DEATH FEST (COLOMBIA)
2022 – ROCK THE HELL FEST (SWITZERLAND)
2021 – LOS ANGELES EXTERMINATION FEST IV (USA)
2018 – CHICAGO DOMINATION FEST V
2017 – 25 YEARS OF INFECTING HUMANITY EU TOUR (FEAT. MALIGNANCY)

0 EPK – JUDICATOR – I Am The Void (2023)

November 23, 2023
by Asher
· EPKs · Judicator

EPK – JUDICATOR – I Am The Void (2023)

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

“‘I am the Void’ will scratch the itch of two different kinds of Judicator fans. Those who like the new direction of Judicator will enjoy the title track, while those who prefer our older “Cordisco-era” catalog will like “The Curse of Feanor.” There’s something in this EP for everyone.” – Judicator

For fans of Blind Guardian, Scanner, Iron Savior, Helion Prime

EP Title: I Am The Void
Release Date: December 8, 2023
Label: Self-Release

Judicatormetal.com | Facebook.com/judicatormetal | Twitter.com/JudicatorMetal | Instagram.com/judicatormetal

Judicatormetal.bandcamp.com | Spotify | Apple Music | Patreon.com/judicatormetal

“The Majesty of Decay is simply one of the best power metal albums released in the last few years, and potentially, my favorite Judicator yet.” – Angry Metal Guy

“This album is guaranteed that fans of Judicator will be talking about it for years to come. There are those which will utterly hate this album as a release that has gone too far in one direction. However, this is a gamble which has paid off and ‘The Majesty of Decay’ is not only arguably one of the best albums released this year, but also debatably the best album that Judicator have ever released.” – Metal Digest

“[Judicator is] unmatched when it comes to delivering an illuminating experience that is both energized and heartfelt.” — GBHBL

“Judicator is something new, but still something excellent. And we sing along, with open shirts and fists pointing to the sky.” — Devilution

EP Title: I Am The Void
Release Date: December 8, 2023
Label: Self-Release

Track Listing:
1. I Am The Void (9:01)
2. The Curse of Feanor (5:51)
EP Length: 14:51

EP Recording Credits:
Performed by Judicator (2022)
John Yelland (Vocals)
John Dolan (Bass)
Balmore Lemus (Guitar)
Jordy Elcess (Drums)
Guest musicians:
Alexander Bosson (Drums)
Francisco Pérez (Keyboards, orchestration)
Track 1: Music and lyrics by John Yelland and Austin Bentley
Track 2: Lyrics by Hansi Kürsch / Music by Andre Olbrich, Hansi Kürsch, Thomas Stauch, and Marcus Siepen)
Produced by John Yelland
Mixed by Carlos Alvarez at Dirty Viking Audio
Mastered by Brett Caldas-Lima at Tower Studio
EP artwork by Marc Whisnant
Member of ASCAP

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

About The Single Artwork

The artwork was created by Marc Whisnant, who created the artwork for other Judi albums like ‘The Last Emperor’ and ‘The Majesty of Decay.’

Marc collaborated with me on the artwork concept. The only guidance I gave him was that I wanted a sick, green color palette and something reminiscent of this scene from this scene in Annihilation.

About the EP (LYRICALLY & MUSICALLY)

This EP takes listeners through a roller coaster of emotions. “I am the Void” travels through isolation, courage, and triumph, and then “The Curse of Feanor” finishes out the EP like a thunderous cavalry charge.

Lyrically, “I am the Void” explores something all artists have felt at one time or another — a gravitational pull towards giving up, throwing in the towel. If you’ve lost that magic spark that made something special, how can you recover it? Is it even possible?

The song journeys through despondency, guilt, and shame, and plows through the fire, emerging like a phoenix reborn. The song takes you from “all is lost” to “I can do it.”

Finally, the EP concludes with a cover of Blind Guardian’s “The Curse of Feanor.” Our Patreon supporters voted on this cover song last year, and we are making it available to the public now. There isn’t anything especially groundbreaking or innovative about the cover, but it’s a nice break from the emotional heaviness of “I am the Void.” It’s good to conclude the EP with a cavalry charge like this.

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

Func Facts -Story Angles:

1. All of Judicator’s albums are concept albums. The two primary themes explored are (a) history and (b) cancer and death.

2. Judicator was founded by John Yelland and Alicia Cordisco, who met at a Blind Guardian concert in 2010. They became friends, and two years later they formed Judicator.

3. ‘Mandy’ is a Barry Manilow cover that infuses the atmosphere and tone of Panos Cosmatos’ 2018 film of the same name.

4. Judi singer John Yelland has worked with Hansi Kürsch (Blind Guardian) twice — once on Disforia’s song “The Dying Firmament” and again on Judicator’s song “Spiritual Treason.”

5. John Yelland: I’ve turned lots of heads at Judicator shows because I use fake blood to give my ears the appearance of bleeding. It’s not uncommon for me to get stopped shortly before and after performances by concerned people asking if I’m okay. I have to explain it’s just a stage gimmick. Oddly enough I’ve actually gotten more flak for performing barefoot on a couple of occasions!

Left to right: Chad Anderson (Guitar), John Yelland (Vocals), Dayton Andersen (Guitar), Dalton Jolley (Drums), John Dolan (Bass)

Photo Credit – Demii Photography

Hailing from Salt Lake City, USA, Judicator is a denim and leather-clad power metal act that will blow your hair back and excite your loins with its fervent riffs, wailing solos, and powerful vocals. Since their inception many years ago they have released six albums already and an EP “I Am The Void” is on the horizon. The EP features two heart-pounding tracks over 15 minutes that pack a punch. The song “The Curse of Feanor,” is a Blind Guardian cover as the band explains:

“Regarding “The Curse of Feanor,” this is a song that our Patreon supporters voted on. The cover has been available to them for some time now, and we chose to release it to the public alongside “I am the Void.”. There isn’t anything especially groundbreaking or innovative about the cover, but it’s a nice break from the emotional heaviness of “I am the Void.” It’s good to conclude the EP with a cavalry charge like this.”

In 2010, John Yelland and Alicia Cordisco met at a Blind Guardian concert. The two developed a friendship and formed Judicator two years later. Prior to Cordisco’s departure from the band, Yelland would write all the lyrics and Cordisco would write all the music.

Since 2022’s ‘The Majesty of Decay,’ however, Yelland has become the band’s primary songwriter and lyricist. Mostly focused on historical topics, Judicator takes a look at everything from Napoleon Bonaparte to the renowned Byzantine general Belisarius. They don’t shy away from heavy topics though, exemplified by the rollercoaster title track on this EP.

Judicator brings raw energy and enthusiasm to the stage. Through their performances, the band conjures imagery of both ancient battles and inner turmoil. They are recommended for fans of Scanner, Iron Savior, and Helion Prime.

Watch and listen to Judicator’s video cover of Blind Guardian’s “The Curse of Feanor” at

“I Am The Void” is due out on December 8th, 2023, and is available for pre-order at https://judicatormetal.bandcamp.com/

Discography:
2012 — King of Rome — Album
2012 — Heroes and Villains — Single
2013 — Wenn Kronen zerschmettert sind — Single
2013 — Sleepy Plessow — Album
2014 — Coping Mechanism — EP
2015 — At the Expense of Humanity — Album
2018 — The Last Emperor — Album
2020 — Let There be Nothing — Album
2022 — The Majesty of Decay — Album
2023 – Mandy (Barry Manilow Cover) – Single
2023 – I Am The Void – EP

Shared Stage with:
Exmortus, Striker, Riot City, Immortal Guardian, Paladin, Lords of the Trident , Crimson Shadows, Helion Prime, Theocracy

Tours and Festivals:
2019 — Western Crusade tour 2016 — American West (Utah, Colorado, Arizona, California, Oregon)
2019 — Mad With Power — Madison, WI
2019 — Hyperspace Metal Festival — Vancouver, British Columbia
2023 — Hyperspace Metal Festival — Vancouver, British Columbia

0 EPK – Never Reborn – Ashes of Our Past (2023)

November 21, 2023
by Asher
· EPKs · Never Reborn

EPK – Never Reborn – Ashes of Our Past (2023)

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

“Ashes of Our Past is a big step up from our previous release, we took more time on this one and it shows. The production is huge, Ryan at Homewrecker Studio did an outstanding job once again, everything sounds so big and clear. We used Audiosiege to master the album and it really shines. You can put the album back-to-back with anything out there and it will hold its own. We spent a lot of time comparing it to the greatest bands around, Kreator, Megadeth, Dark Funeral, you name it, we wanted to make sure the sound quality was not inferior to anything. The album has been met with great reviews, it’s been mentioned a few times that it could be in talks of album of the year, saying it is very original. We have been shopping it around to record labels, so hopefully, it gets picked up by someone. If not, we will continue to promote it ourselves. It’s hard to have a sound all your own these days, so when someone says that we don’t sound like anyone else, it’s the biggest compliment you can get. Those are the reviews of the album that we cherish the most.” – Never Reborn

For fans of Kreator, Carcass, Death, Dissection, Necrophobic

Band: Never Reborn
Album Title: Ashes of Our Past
Release Date: March 18, 2023
Label: Self-Release

Neverreborn.com | Facebook.com/NeverRebornBand | Instagram.com/never_reborn | Twitter.com/neverrebornband

Neverreborn.bandcamp.com | Spotify | Apple Music

“There is no other way to really describe ‘Ashes of Our Past’ other than excellent. It is an absolutely fantastic album and any fan of 80’s style black/thrash/death should get on this because it really is one of the best underground albums of 2023.” Adam McCann / Metal Digest

“Never Reborn plays a musical style that takes Black, Death and Thrash Metal and mixes it in with the melody of Classic Heavy Metal to create a sound of their own.” – John Larsen / Blackened Death Metalzine

[Download Album Cover | Download Album Lyrics]

Band: Never Reborn
Album Title: Ashes of Our Past
Release Date: March 18, 2023
Label: Self-Release

Track Listing:
1. Storms End – 0:44
2. Never Reborn – 5:49
3. Existence Denied – 6:16
4. Ashes of Our Past – 4:16
5. Haunted Eternally – 6:41
6. Deathmarch Armageddon – 5:12
7. Fallen One – 5:43
8. Children of Fire – 5:52
9. False Prophecies – 2:56
10. Requiem (World of Hurt) – 4:44
Album Length: 48:17

Album Credits:
• All songs performed by: Never Reborn
• All songs written by: Steve White
• Produced, Engineered, and Mixed by: Ryan Bram / Homewrecker Studios
• Mastered by: Brad Boatright / Audiosiege
• Album Artwork by: Simon Bossert
• Member of ASCAP

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About The Album Artwork:

We looked at a lot of different artists from around the world for this album cover and decided to go with Simon Bossert, out of Germany. His artwork really speaks to the music on this album. The cover has a very dark feel to it, and has just enough occult symbols without going overboard.

Album The Album:

Lyrically each song is a stand-alone piece, other than the final song of the album, which is part-2 of a trilogy. By stand-alone, I mean, we have a song about reincarnation and another one about no afterlife, some songs might contradict another song, the album is like a collection of short stories and we don’t feel like we need to stick to any rules. The music on the album is a sonic journey, each song was carefully placed in a specific order on the album to give it an even flow. We spent a lot of time arranging the order of the album tracks.

Track By Track:

Track-1: Storms End
This song sets the tone for the album, it’s a very tranquil 44-second instrumental…and as the Storm Ends the real Storm Begins, leading right into the song Never Reborn.

Track-2: Never Reborn
We took the name for the band from this song, it is a staple of our sound, to me it’s an album wrapped up in one song.

Track-3: Existence Denied
It’s classic alien abduction…about someone who is looking for signs of alien existence, not knowing that he has been getting abducted his entire life. The aliens are doing tests on this person to try and figure out why we exist as humans. You’ll have to read the lyrics to get the answer. We do have a lyric video for this song on YouTube.

Track-4: Ashes of Our Past
This is about reincarnation, about being cursed to remember past lives, loved ones that were left behind, and the torment of knowing that current loved ones won’t be forgotten in death.

Track-5: Haunted Eternally
It wasn’t written to be a modern-day “Romeo and Juliet” but there are some similarities, which were totally unintentional, I wrote the song on a more personal level. This is one of the songs that wasn’t meant to be on this album, but after dropping a song a week before entering the studio we agreed to record it, even though it had no lyrics or title. There was a lot of pressure on me to write the lyrics, and I had no concept at the time of what the song should be about. I’m completely happy with the outcome, it really rounds out the album.

Track-6: Deathmarch Armageddon
A possessed serial killer is on a rampage, you’d better beware…It was the first song I ever wrote in drop tuning, now half of our songs in drop tuning and the other half standard tuning. The reviews have been really favorable on this track.

Track-7: Fallen One
This one is about Lucifer’s fall from Heaven, the rise of the Antichrist, and the Final war of Armageddon. The first few verses are taken right out of the bible, word for word, it’s pretty evil. This a real crowd favorite and has a little bit of everything, it builds up gradually throughout the song, and climaxes in a fury of speed.

Track-8: Children of Fire
This was originally going to be the title track of the album. I began writing lyrics based on Dante’s Inferno, but not as some magical journey into hell, more of being alive and well one minute and in hell awaiting judgment the next, fully understanding that Heaven and Hell are real, and knowing you are doomed to burn forever. It wasn’t until jamming on Bathory “Enter the Eternal Fire” one night that l drew a connection between the songs, lyrically they could be brothers. I’m a lifelong fan of Bathory by the way, they are another band people will say we remind them of.

Track-9: False Prophecies
This is an instrumental, it was originally going to be acoustic guitar only but we decided to add percussion and bass. It’s not a song you’d expect to find by a band like us, but it brings balance to the album, it’s close to 3-minutes but feels much shorter. It really sets the stage for the album closer, “Requiem (World of Hurt)”.

Track-10: Requiem (World of Hurt)
This is part 2 of Heaven Shall Forsake, which was on the EP. It’s about the “child” in the first song, how he was exiled from the Church, and how he came back to do war with the Church. It’s our thrashiest song, and very 80s, in fact, I wrote it sometime around 1984, if there’s ever a pit going at our shows, this is definitely the song that gets it going. Expect an official full-band video for this one in early 2024.

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BAND STORY ANGLES / FUN FACTS:

1. Our bass player, Sam Kinghorn, played on our debut EP but left the band in 2020 to focus on his main band, Coppernicus. He rejoined the band in 2023 and has been a huge factor in the Never Reborn sound.

2. Ricky Williams recently joined the band and took over drum duties, his style is much more aggressive, and he is schooled in extreme metal, his playing style compliments our sound very well.

3. Expect a new single in early 2024, we will be releasing an old 80s punk/thrash song called “Suck it Anyways” which is heavily influenced by bands like SOD, Dr. Know, The Accused, etc. We tell people it’s a cover song when we play it live, but I wrote it way back in the 80s. The words are a little explicit, so it will remain a single.

4. We use two different tunings on the album. Half of the songs are in Drop-C# and the other half are in E♭ Standard. We have them separated throughout the album, which really adds some great dynamics, each song sounds so different from the next.

5. “Storms End” is another song that wasn’t originally going to be on the album. When we were setting up the mics to record the clean guitars on “Fallen One” I was playing random parts while Ryan adjusted the mic levels. I’d played the part before, years ago, and pretty much couldn’t remember it exactly, but I kept messing with it, by the time we were ready to record I decided to use it as an intro to the album.

L-R – Sam Kinghorn (Bass), Steve White (Guitar/Vocals), Ricky Williams (Drums)

Photo Credit by Never Reborn

Combining elements of Thrash, with touches of Black and Classic Heavy Metal, this 3-piece outfit from Arizona has an unmistakable sound all their own.

Independently released in March of 2023, their sophomore release “Ashes of Our Past” is a big step forward for the band. The maturity in their songwriting is evident, from the opening clean guitar passage of “Storms End” to the closing thrash attack of “Requiem (World of Hurt).

Sharing the stage with bands such as Soulfly, DRI, Master, Warbringer, Enforcer, Claustrophobia, Taipan, and Phobia, Never Reborn has refined their live performances and songwriting skills.

Discography:
2023 – Ashes of Our Past
2020 – What Darkness Brings

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