Category: EPKs

0 EPK – Dissona – Dreadfully Distinct (2023)

September 22, 2023
by Asher
· Dissona · EPKs

EPK – Dissona – Dreadfully Distinct (2023)

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

“This EP is uncharted territory for Dissona. Never before have we so strictly adhered to a thematic device and allowed it to fully take the reigns of the creation. We believe Dreadfully Distinct to be complete and powerful, a refined distillation of our capabilities to this point, and a guidepost for the future of the band. Press play and let us take you somewhere beyond, a voyage of soaring melodicism and roiling energy, violent and decisive” – Dissona

For fans of Opeth, Persefone, Ne Obliviscaris, Between the Buried and Me, Cynic

Band: Dissona
EP Title: Dreadfully Distinct
Release Date: November 10, 2023
Label: Self Release
Distribution: Earache

Facebook.com/Dissona | Instagram.com/dissonaofficial | YouTube.com/DissonaOfficial

Dissona.bandcamp.com | Spotify | Apple Music | Amazon

“Drawing inspiration from the Bladerunner movie series, specifically Agent K from Blade Runner 2049, “Skinjob” has an icy exterior musically, but definitely has the DNA of great mid-west electronica and industrial music inside of its veins. Their entire upcoming new EP Dreadfully Distinct, drops November 10th and follows this story.” – Ghost Cult Mag

“Dissona are, without a doubt, one of the most underrated bands in the prog-sphere. a perfect storm of genre-blending, prog technicality, and eclectic theatricality.” – The Progressive Subway

“What I love about this band’s sound is the way in which the rolling riffs are mixed with some highly technical playing, but without becoming complex for the sake of complexity alone. David Dubenic has a very dramatic way of singing, utilising different ‘voices’. That usually puts me off, and can sound rather fake and overtly theatrical. But David has the ability to deliver it very convincingly.” – DPRP.net

“This EP delves into the Blade Runner universe, with each track dedicated to a character from the iconic film. The first single, “The Prodigal Son,” explores the backstory of Roy Batty, one of the original film’s central characters. While their third full-length album is also on the horizon, listeners can get an early fix with their upcoming cinematically crafted progressive EP.” – Metal Insider

“Since I wasn’t yet familiar with DISSONA, this EP was a pleasant surprise for me, offering a consistent concept, wonderfully diverse compositions and great performances from all band members. I’m digging their kind of musical story-telling, where everything seems to be in the right place, perfectly supported by the well-balanced, yet full-sounding production. With the earlier mentioned already recorded album on the horizon, it feels like a good time to dive into their backcatalogue before the new opus will be released, which is highly anticipated now!” – Mostly-Metal

“Ethnic instruments bring “Renaissance” to life, a track that finds the band take on the character of Rick Deckard as he and Rachel escape from LA. Another powerhouse performance driven home by Drew Goddard behind the kit, it strikes a wonderful balance between the embellishments of synths and orchestration. Dubenic offers up a couple of unclean vocal moments which add contrast while the thought and vision that has gone into creating something this epic is abundantly clear. There is even a moment for 90’s breakbeats in the final moments. 8/10″ – Metal Noise

“The more times you listen to this EP, the more you pick up. It’s quite a fascinating release. Fans of the Blade Runner universe will get a lot more out of it than non-fans, but everyone can enjoy the imaginative prog noise Dissona create regardless. 9/10” – Games, Brrraaains & A Head-Banging Life

““Skinjob” is the shining star on the Dreadfully Distinct – walking a line between metal and brooding goth à la Depeche Mode. As David Dubenic (vocals), Matt Motto (guitars), Craig Hamburger (bass), and Drew Goddard (drums) create collaboratively, aligning to the overarching themes and narrative, their unity allows for both an aural and visual experience. Dreadfully Distinct is not dreadful but it is distinct, creative, and brilliant in its creation.” – Amplify The Noise

“a solid effort for the band. Short, sweet, and to the point. I’ve listened to Dreadfully Distinct several times now and I’m sure you will too on release day.” 8/10 – Ever Metal

“The core foundation of this band is a tight, quirky and technical variety of the form, the kind of progressive metal a band like Dream Theater kicks off with when they want to showcase their technical abilities. In between those quirky and hard movements the band use many electronic elements though, with several sections sporting more of an ambient expression, some world music elements find their way into one of the songs and on the concluding track the band appear to use mainly electronic instruments to create a more industrial sounding variety of their specific take on progressive metal… A production to seek out for fans of the more technical varieties of progressive metal as well as an EP that might be of general interest for fans of the Blade Runner universe.” – Progressor.net

[Downlaod EP Cover | Download EP Lyrics]

Band: Dissona
EP Title: Dreadfully Distinct
Release Date: November 10, 2023
Label: Self Release
Distribution: Earache

Track Listing:
1. The Prodigal Son (6:27)
2. Renaissance (5:33)
3. Skinjob (3:40)

EP Recording Credits:
– All songs performed by: Dissona
– All songs written by: Dissona
– Produced by: Dissona
– Mixed and Mastered by: Matt Motto
– EP Artwork by: Karo Gasiorwoska

EP and Live Lineup:
David Dubenic – Vocals
Matt Motto – Guitars
Craig Hamburger – Bass
Drew Goddard – Drums

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About The EP Artwork:

We wanted an image that spoke Blade Runner without being too immediately obvious. You may recognize the structure from a location in Blade Runner 2049, but in our rendition, the walls are folding paper containing details on virology that may have been of interest to Tyrell during his trials with the Nexus replicants.

About The EP as A Whole:

Dreadfully Distinct is a series of 3 character studies. Each song focuses on a character from the Blade Runner universe and delves into a compelling situation for each one. Since every character is so unique, every song we’ve created for this EP is also unique.

Track By Track explained:

1. The Prodigal Son focuses on the inception and development of Roy Batty, the so-called antagonist from the original Blade Runner film. The track opens with a newscast highlighting the release of the Nexus 6, Eldon Tyrell’s newest and most advanced replicants to date. We hear Tyrell address his technicians and “wake” Roy up for the first time. Roy is asked by Tyrell to tell him what he sees. After replying, “I see everything,” the track shifts energy to illustrate Roy’s immediate delivery into service. The band enters with an exciting instrumental section as Roy begins his journey. A transmission is heard, once again from Tyrell, stating that, due to the dire situation at “The Gate,” Roy will be stationed there to assist in the military efforts. David enters with his first vocal line over a rugged bass groove, stating Roy’s condition and condemned situation. As the song progresses, we experience an astonishing and awe-inspiring instrumental section that paints the delicate “C beams” Roy pleasantly describes witnessing. The situation turns, however, as new energies enter his mind. Why should I obey these weaker beings? Why should I “expire” after a laughable four years of existence? It’s simply not enough for him and he takes real steps to return to Earth and confront his maker. The track ends with Roy arriving at Tyrell’s “golden halls,” Tyrell most likely already knowing his fate.

2. Renaissance is Rick Deckard’s song. The situation we’re dropped into here is his and Rachael’s sweaty, twilight escape from LA. One of the most prominent underlying layers in this track, however, is the enticing question we’re presented with in Blade Runner: Is Deckard a replicant? The song opens with a hazy, elemental SFX intro. Flashes of stampeding hooves come and go, perhaps those unicorns poor Deck sees in his dreams (nightmares?). We shift to an exotic instrumental section, brimming with tension tones and odd time signatures. The band then enters instrumentally with an intricate, guitar-driven section, in yet another odd time signature. The colors shift to a delicate, yet strong, contrasting moment, displaying Deck’s protective spirit. His “whatever-it-takes” attitude, bad idea or not. David enters with the profound question: “Do you trust me?” and the race is off. We need to get out and get out NOW. As the track builds, we hear Deck implore his own psyche more than once, stressfully. “Dream, oh dream. What does it mean? Huh? What does it mean?” As the two descend into the dark, so does the music, paving the way for a dramatic bit of flashback dialogue between Deckard and Rachael (no doubt upon them learning of her impossible pregnancy). Deckard pleads with his own mind as the “dream” turns with certainty into a nightmare. He’s collapsing into himself: “Fold into a most peculiar/unfamiliar/paper figure.” Fed up, he demands to be shown the truth: “Can’t you show me what’s real?” The call goes unanswered and he’s reduced to revisit one of his most difficult moments with Rachael. In the final moments of the song, we feel Deckard command the dream to obliteration but, more than likely, that “dream” is sticking around.

3. Skinjob is a strong contrast from Renaissance and is written about Agent K from Blade Runner 2049. The track is purely electronic but still feels completely organic and authentic. It begins with an open, sub-driven verse section, painting a vision of life on the dystopian streets of LA. The section immediately following is completely elevating, with David stating “My mind and my body are yours to command.” Agent K is a replicant, make no mistake, and he is completely bent on doing as humans wish by their will alone. The second verse picks up steam while establishing a more regulated pulse. The questions from Agent K’s recent baseline test echo in his mind as he prowls the streets for his prey. Feelings of frustration build, feelings that shouldn’t be there. The music shifts to a much weightier, much more emotional feel. K contemplates what it might be like to disobey, to act completely out of character or programming. “Maybe I wanna watch you die this time” (the “you,” of course, being his replicant targets). The song drops to a filtered, sweeping build. “BAD DOG,” the words Luv so viciously threw at K are heard as we are transported to what will be his final confrontation with her. “A tall white fountain plays and the water rises.” Half nonsense, half observation. Wiring’s going bad maybe? Hard to tell but time’s up, Luv is here and ready to prove who’s the “best.” “Finger to finger and toe to toe” they size each other up and cut each other down during the song’s final climax. We close with a more affirmative chorus, this time with a blink-and-you’ll-miss-it lyric change (Chorus 1: “Maybe I wanna watch you die this time; Chorus 2: “Maybe I’m gonna watch you die this time.”).

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Band Story Angles/Fun Facts:
● While this is the first Dissona release that is based on an existing and widely-known intellectual property (Blade Runner), the band has considered both Dissona as well as Paleopneumatic concept albums in their own regard.

● Every Dissona release including Dreadfully Distinct has been recorded, engineered, mixed, and mastered in-house (sometimes quite literally) by our own Matt Motto.

● Dissona has self-released a number of covers on their YouTube channel. One of which, a rendition of The Whistler by Jethro Tull, was acknowledged and appreciated by Ian Anderson himself in a private email as well as on the Jethro Tull official website.

● Dissona has actually completely recorded a third, full-length album. However, those tracks were completed right as the world was shutting down for COVID-19 quarantining. The band made the very difficult decision to sit on the album and watch for a certain level of normalcy to return. During this interim, the band conducted weekly Discord meetings and, after a few months, the need for creative release began building once more. They made the decision to write and record a “tight EP” of 3 tracks focusing on the Blade Runner universe with the intent of stimulating the fans and whetting their appetites for the full-length LP. In typical Dissona fashion, the “tight EP” grew into 3 gigantic songs, each brimming with unique character. After realizing what the songs had become, the even bolder decision was made to helm the first set of professional videos from the band. A stringent search would ensue for the perfect cinematographer. That search ended with Darryl Miller, a veteran Chicago film professional who shared a surprising level of vision with the band. And now, we present the fruits of these immense labors to you!

● The name Dissona was originally a portmanteau of the words “dissonant” and “persona.” Contrary to what the public may think, the band does not possess any affinity for sea snails or designer handbags.

● The band’s guitarist, Matt Motto, was the winner of the Masters Of Shred: Shredder’s Challenge 4.

● Dreadfully Distinct is Dissona’s first musical release to feature voice acting.

● Drew Goddard, the band’s drummer, recorded all of his parts (including the Hellfire of Renaissance) for this EP at 4 a.m. in his home studio.

● Craig Hamburger, the band’s bassist, typically plays fingerstyle. The decision to use a pick or not is purely a tonal choice.

● During their 2016 tour with Leprous, Dissona stopped in a North Dakota gas station/convenience store. The only other store inhabitants were a few elderly gentlemen playing a game of cards. While the band was perusing the back freezer area, one of the gentlemen came back and bluntly asked “You from Chicago?” to which the band answered with great surprise “Yes! How did you know!” The man, without skipping a beat, replied “Because you look like criminals!”

● Tyrell’s lab footage was shot entirely at the band’s old high school’s green room and the “tech presentation” showcasing Roy later in the video was on the same high school’s stage.

● The part of Roy Batty in The Prodigal Son video is played by David Dubenic, the lead singer.

● Tyrell’s hazmat-suit-donning technicians are played by Matt Motto (guitars) and David Dubenic (vocals).

● The video for The Prodigal Son was shot in over 5 locations over a period of 6 months.

● All four videos attached to Dreadfully Distinct were directed by Dissona and edited by Matt Motto.

● In The Prodigal Son video, there are vials of a mysterious glowing fluid that can be seen. The fluid used would only glow at its brightest for a few seconds before dimming and being unusable for the film. David had to very quickly mix the fluid, fill the vial, and shake it vigorously before allowing the camera to get focused and shoot. The shot of the vial inside the cabin took between 10 to 15 takes to get right.

● The morning of the performance shoot for The Prodigal Son, a tornado touched down and tore through each of the band member’s towns.

● In the security camera footage of the lab showing the aftermath of Roy’s rampage against the technicians, Roy’s serial number can be seen in the lower-left corner of the frame.

● Eldon Tyrell dons a ring featuring the vesica piscis symbol, a symbol of significance to the Blade Runner source material’s author, Philip K. Dick. Later on in the cabin sequence, a portrait of Philip’s wife becomes replaced with a distorted image of the same symbol.

● The typewriter shown in the video is an authentic, working 1960’s IBM Selectric, one of Philip K. Dick’s favorite typewriters. After scouring marketplace sites for weeks, Matt found the typewriter at an estate sale 5 minutes from his apartment and was bought for $20.

● The macro footage of the posable dolls in Skinjob was filmed right in Matt’s apartment living room.

● The backdrop lighting array you see in the Renaissance performance videos was built by Dissona and Darryl Miller in a single afternoon. The panels were 8 feet tall and skinned with white paper. Large LED lights were shown behind the panels to give the impression of a “wall of glowing light.”

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

(Top Center – Drew Goddard – Drums/ Middle Left – Craig Hamburger – Bass, Middle Right – David Dubenic – Vocals / Bottom Center – Matt Motto Guitars)

Photographer: Ania Scheiman | Image Design: Ben Hewitt

Dissona is a progressive metal band based out of Chicago, IL. Since becoming active in 2006, they have become known for their diverse, imaginative sound and powerfully expressive performances. They take a dramatic approach with their music, creating robust yet intricate compositions with thought-provoking, often abstract lyrical content.

EP and Live Lineup:
David Dubenic – Vocals
Matt Motto – Guitars
Craig Hamburger – Bass
Drew Goddard – Drums

Discography
2023 – Dreadfully Distinct – EP
2016 – Paleopneumatic – LP
2012 – Self-Titled – LP

Shared Stage with:
Leprous, Cynic, Dark Tranquillity, Symphony X, Fates Warning, Sanctuary, Sigh, Unexpect, Persefone, Ne Obliviscaris, Black Crown Initiate, Warforged, Earthside, Twelve Foot Ninja

Touring History:
2016 – Opening act for Leprous’ full North American Tour alongside Binary Code and Earthside

Artist Endorsements: GraphTech, Fodera

0 EPK – Foetal Juice – Grotesque (2023) (Gore House Productions)

September 22, 2023
by Asher
· EPKs · Foetal Juice (Gore House Productions)

EPK – Foetal Juice – Grotesque (2023) (Gore House Productions)

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

Band: Foetal Juice
Album Title: Grotesque
Release Date: November 17, 2023
Label: Gore House Productions

“Everything seems to have worked amazingly on “Grotesque.” It turned out far better than we ever imagined it would. Everyone has brought their A-game to the table with this one. Then Chris Fielding (Producer) put the cherry on the top with the outstanding mixing/mastering. He really has made this album sound incredible.

Due to the lockdowns during Covid, Ryan, who is the main songwriter/Guitarist, has churned out hundreds of riffs and song ideas, which has meant we could be a lot more selective with choosing the final ideas than we would normally be able to. This has really helped us to find the best riffs and ideas to use on this album.

We always write the next song as if it has to be better than the last song we have written. This really pushes us to impress one another when it comes to our individual parts.

When we recorded the last album, Lewis had only been in the band for 2 months and pretty much had to copy the guitar parts with his bass lines. On Grotesque, he has really come into his own. The bass lines have added so much to each song as it’s not just the same as the guitar riffs.

With Foetal Juice, we push each other as far as we can to get the best out of each member. This is mainly because individually, we are all really difficult to impress, so when we have to impress one another, it really takes you to the next level of performance/writing.

We are so proud of everything about this album, from the artwork and songwriting to the performance, recording, and mastering. Even if no one likes it like we do, we can all hold our heads up high with this one.” – Foetal Juice

For fans of Deicide, Vomitory, Napalm Death, Terrorizer, Cannibal Corpse

Gorehouseproductions.com | Facebook.com/GoreHouseProductionsOfficial

Instagram.com/gorehouseproductions | Gorehouseproductions.bandcamp.com

Facebook.com/foetaljuice | Twitter.com/FoetalJuice | Instagram.com/foetaljuice | Youtube: @Foetaljuice

Spotify | Foetaljuice.bandcamp.com

Foetal Juice “Grotesque” UK Release Shows:
Dec 8 – Leeds – Boom Leeds
Dec 9 – Nottingham – The Chameleon
Feb 2 – Manchester – Aatma
Feb 3 – London – The Underworld Camden
Feb 17 – Glasgow – Audio Glasgow
Feb 23 – York – The Fulford Arms
Feb 24 – Birmingham – TBA

Events Info can be found here.

“Grotesque is an absolute maelstrom of sound that is satisfyingly punchy, chugging and impactful. It makes you want to hear more.” – Metal Talk

“The main impact of the album is to shoot terrific amounts of voltage straight into your brainstorm, to pump hearts, to convulse muscles, and to suck the wind from your lungs. See for yourselves.” – NoCleanSinging

““Grotesque” by name and definitely by nature this is 40 minutes of joyously twisted groovy Death Metal with hooks for days… in a year of excellent Death Metal it can still go toe to toe with the best of the bunch. This Christmas give someone you love the gift of gore. 8.5/10” – Ever-Metal

“Foetal Juice are recognized for their twisted and brutal amplification of virtuosic and violent musical assault. The album continues, said callous, promising a cataclysmic symphony of ferocity… The track (“Legion of the Grotesque”) moves more like a macabre exploration of the consequences of excessive cosmetic surgery. Despite the grim themes, Foetal Juice’s technical skillset is evident, which enhances the grotesque subjects, similar to writing a horror film. Their music, a relentless blend of grind and death metal, is unapologetic sonic devastation, recommended fans of Vomitory, Napalm Death, and Terrorizer.” – Metal Insider

“In the 3 years since the release of Gluttony, and I must say you have really seen a huge growth from the band and Grotesque is an absolute monster record, well deserving of anyone who has an interest in the genre. It has enough of the hooks and grooves which will be of interest to your more casual death metal fan whilst remaining absolutely mean with a viscous twist for those with a more hardened ear towards the underground.” – The Razor’s Edge

“Grotesque is a stonker of a record, completely worth your time and a strong contender for album of the year. Foetal Juice have made a rod for their own back now, having to try and top this with their next record, which I already look forward to. For now, another few listens to Grotesque will more than tide me over. 10/10” – Musipedia Metal

“with their intense, careening style of chaos hitting the spot time after time. Like a bludgeoning mace to your consciousness, ‘Grotesque’ is one of the more distatefully straightforward pieces of extreme music you’ll hear this year, and it’s all the better for it. A killer effort.” – The Killchain

“Your eyes will water, your ears will bleed, your muscles will ache, your sphincter will tighten, your guts will churn, and you may even vomit. It’s fucking Foetal Juice and it’s fucking Grotesque. Never change you lovable noise-mongers.” – Games, Brrraiiins & A Headgbanging Life

“While gore in name and song titles, it’s some good groovin’ death metal.” – The Mosh Pit – WORT 89.9FM (Madison, WI)

“Those of you that like your death metal fast, rough, and hard will have much to devour on album number three. This is extreme metal with no pit stops and no concern for your concentration levels. You either get it, or you fail the test and need to try harder next time. The velocity in the first ten seconds of opener, ‘Human Beach Master’, lets you know what to expect. Vertiginous tremolo guitars loop around your head under the rumble of violent double-timing beats and psychopathic vocal threats. It’s like Incantation with more gratuitous gutturals. Antagonistic bass guitar notes leap out at you in the middle-eight like apes shaking the bars of their cages. By contrast, the opening groove to ‘Mountain of Gore’ leaves you stroking your chin with your index finger. Foetal Juice waste no time repeating the song title as the chorus. This has all the makings of a future live favourite.” – Scream Blast Repeat

“Lovers of the best « Death Metal », you have to taste « Grotesque ».” – Broken Tomb

“the songs have everything from technical elements to more brutality that make it sound complex and unique, as in”Legion of the Grotesque”,”The Walking Groin”,”F. K. E. OR.”and the almost instrumental”Gruesome”that explodes furiously after slow melodic passages.8/10″ – Metallerium Magazine

“This eighth production is as dirty, dirty, as disturbing as it is deranged. No compromise here, we are in the domain of extreme metal which will delight fans of Deicide, Vomitory and other Napalm Death. Because FŒTAL JUICE has a powerful, massive and also very technical sound. Beyond the simple extreme Death that the group offers, with a few touches of Grind, you have very complicated passages to take only Human Beach Master or Legion of Grotesque, you have to manage to maintain the tempo and keep the clarity of the riffs to let their metal hit you with a sledgehammer. No sound mush here, but a multitude of scalpels that cut your ears with real meticulousness, the riff of Ghoul Amongst The Mouldering Dead is a model of the genre. Sensitive souls refrain. But just by looking at the cover, you are already well informed.” – L’Autre Monde Radio

“This year the gentlemen continue their crazy metal ride. They pour sharp, uncompromising death metal into you, in the style of such bands as CANNIBAL CORPSE, VADER, MASTER, ENTOMBED, MALEVOLENT CREATION. It’s an avalanche, a whirlwind, pressure and energy. The anger that we all have inside us and once in a while it has to come out. We have to scream, take a hammer in our hands and break down the wall. Clear your head, blow your brains out. That’s the main purpose of this record, and the gentlemen are doing a great job of it.” – Deadly Storm Zine

“it is rare for a genre this ingrained to be played straight with such eagerness and unrelenting energy, and that alone puts Foetal Juice ahead of the pack.” – 4/5 – Angry Metal Guy

“Gluttony shows us FOETAL JUICE at their fastest, heaviest and most aggressive. They’ve taken the fire and surging adrenaline of their live shows and have harnessed that power and it’s been manifested into their sophomore record. Full of grit and gristle that will not be for everybody, but if you fancy some gloriously grotesque death metal, look no further and indulge yourself in a bit of filth.” 9/10 – Distorted Sound Mag

“When the band says that they are at the top of their game and the album is death metal from the top tier, more capable of taking on the biggest names in the genre – and winning, it not just shallow brag. It’s completely true.” – The Razors Edge

“The punishment for gluttony is to be forced fed rats, snakes and toads. Foetal Juice make you swallow something far more repulsive.” – Moshville Times

“Dragging death metal kicking and screaming back to its putrid past (i.e. the late 80’s / early 90’s), the deviants in Manchester’s Foetal Juice deliver nothing but the finest old-school onslaught on their second album, Gluttony. Gorging on the very life-force of death metal’s founding fathers means that Foetal Juice share an undeniable kinship with the likes of Cannibal Corpse (think Bloodthirst era) and Master (circa On the Seventh Day god Created …Master) as they steadfastly go about their barbaric business. That is to say that Foetal Juice take the tastiest chunks of these bands and re-form them into a meaty platter of modern sounding death metal with an old-school twist.” – Worship Metal

Music Placements:
Foetal Juice did a program for Channel 4 in the UK called “Mark Franis’s Big Day Out” which was about a famous posh guy having different nights out with different underground music scenes in the UK. Foetal Juice were the Death Metal band chosen for that.

[Download Album Cover | Download Album Lyrics]

Band: Foetal Juice
Album Title: Grotesque
Release Date: November 17, 2023
Label: Gore House Productions

Track Listings:
1. Human Beach Master (3:50)
2. Mountain of Gore (3:10)
3.: Legion of the Grotesque (4:45)
4. Ghoul Amongst the Mouldering Dead (3:37)
5. Two Bongs Don’t Make a Right (1:26)
6. Cunt of the Litter (3:19)
7. Cemetery Leachate (4:39)
8. The Walking Groin (3:35)
9. Torn Apart (3:30)
10. F. K. E. O (3:59)
11. Gruesome (5:10)
Album Length: 41:06

Album Credits:
All Songs performed by: Foetal Juice
All songs written by: Foetal Juice
Produced by: Chris Fielding
Mixed by: Chris Fielding
Mastered by: Chris Fielding
Album Artwork by: Misathropic Art

Band Line Up:
Ryan Whittaker – Guitars
Rob Harris – Drums
Derek Carley – Vocals
Lewis Bridges – Bass

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About The Album Artwork:

We wanted artwork that showed the desperation of humankind. We wanted the face to look like he was truly disappointed in what humanity has become. A kind of anxiety-ridden depression that has made him rip his own face off. The creatures in the background are the thoughts and troubles in his mind and all of these have made him want to kill himself. He has no weapons, so he has to do it with his own hands.

You know, a really happy-go-lucky album cover.

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

We wanted to create something that was incredibly violent both musically and lyrically, but we also wanted to capture the “Foetal Juice Groove” and black humor we have used throughout our careers. We really wanted to push our abilities as far as we could with this one by introducing speeds and techniques we haven’t used in the past. I think overall we have accomplished this and even added other elements such as the intro to the last song. It’s a route we have never taken before but it has turned out really well. We are very happy with the results.

Track by Track (LYRICALLY & MUSICALLY):

1: Human Beach Master – Musically we are always a fan of the first track Vader does on their albums, with stabs and fills to really grab your attention. We thought we should start with a ferocious one that uses these elements to grab the listeners’ attention. Also, silence is a really good method to do this too. That’s why we decided to leave 4 bars of silence before it actually kicks in. We wanted to set a tone for the album with this one, so it needed to be ferocious throughout. Lyrically this is about Those big fat bastards who take their tops off to fight, making them look like Beach Masters (Walrus’) fighting in a David Attenborough documentary – So, it’s pretty much a description of that happening. Two massive human Walrus’ fighting for the attention of a woman who couldn’t give a shit.

2: Mountain of Gore – We wanted to change a few things up on this album and include some slower, groovier sections than we have before. The intro to the song is a result of that. Groovy drums over a simple riff. Then once the intro is over, we jump straight into an aggressive stab and attach technique which brings you into the song nicely. The style for this one is more Exhumed and Impaled influenced with rabid drum fills everywhere. I think this one includes one of the fastest bomb blasts on the album too. It is a really groovy bouncy song throughout to keep a crowd energized at live performances.

Lyrically it’s about two disgusting people shagging.

3: Legion of the Grotesque – This song was inspired by our love of Angel Corpse. Our guitarist wrote a riff that we loved so we thought “Why does it need to move to the next section every 4 bars?” So, we stay on the same riff for longer than we normally would with other elements of the song changing around it. Again, it’s something new that we have tried for this album, and for me at least, it works really well. We’ve thought it needed breaking up with something less blast-beaty in the middle as it has a lot of constant blasting in this one.

Lyrics – It’s about the legion of people who overuse cosmetic surgery and turn themselves into something disgusting. Botched Botox essentially. There are more and more of them these days so we thought it would be a good subject for us to delve into.

4: Ghoul Amongst the Mouldering Dead – This is the one we all enjoy playing the most. That’s the reason it is our main single. If we all enjoy it, it must be good. Right? Again inspired by groovy gore bands with a really good live bounce to it throughout. It’s at a really nice speed to play without too much exertion too. Our guitarist has worked on the running riffs quite a lot to make them sound complex enough without turning it too melodic. For the middle section, we wanted to make it really heavy for the headbangers at shows. Something for everyone in the crowd to enjoy, even the miserable cunt at the back with their arms crossed.

Lyrically this is a lot more serious than the others. It’s about the soldiers in the First World War who were stuck in no man’s land having to eat the flesh of the dead to survive.

5: Two Bongs Don’t Make a Right – Sometimes we think we are leaving our grindy roots behind and going into a more death metal direction. So, with this one we thought we should create a minute and a half grind song without many riffs. It’s also designed to be a good ending to side A of vinyl with an abrupt ending.

Lyrically it’s just about our singer not being able to smoke as much weed as he used to be able to and having a whitey.

6: Cunt of the Litter – We have tried to go groovy again with this song and avoid the ferocious blasting that some of the others have. It’s very much designed to make people want to fight each other at our live shows with the heavy middle sections. Very Cannibal Corpse influenced.

Lyrically it’s about the little arsehole in a group of pricks (in the UK we call them Scallies/Chavs). The one that is always shouting and starting fights with everyone. It’s always the smallest one with short man syndrome for some reason much like the smallest dog in the litter, the runt of the litter (just one letter makes all the difference). It’s about how that guy should never have been born.

7: Cemetery Leachate – This was one of the first songs we wrote for this album. The best way to crack a song off (in my opinion) is to have a good set of stabs with the cymbals and riff. In this song, we come back to that stabbing reference again and again as it’s a really good breakup technique. It’s been influenced by heavier bands like Motorhead and Malignant Tumor as they have these really groovy heavy simple riffs that get you moving. That heavy groove section is sandwiched in by blasting on either side.

Lyrically – Cemetery Leachate is basically the juice that comes from dead bodies as they decay. So this is just describing how disgusting that is really.

8: The Walking Groin – This is another one we wrote earlier in the session for this album. We have used the same stabbing technique as mentioned earlier with influences from the stabbing which bands like Aborted and Vader do quite a lot. The way to really knuckle down and start writing this album as we meant to go on.

Lyrically this is about the type of sleezy guy that we all know who thinks he is amazing. He makes women feel like shit by being super sleazy and leaching onto them all the time. A male chauvinist pig/slag who believes he is above everyone else when he is in fact a piece of shit.

9: Torn Apart – We ventured down a more Obituary-influenced slower death metal with this one. Loads of quick open E on slower riffs. Then the middle section really takes off into a feeding frenzy. Very violent blasting and fills.

Lyrically this is more of your bog-standard death meat and potatoes, does exactly what it says on the tin. It’s about someone being torn apart.

10: F. K. E. O – This stand for “Fucking Kill Each Other” It was a phrase that our singer came out with randomly at the biggest gig we have played to date (Bloodstock Festival – Main Stage). It’s a phrase that made us laugh because most bands tell the fans to “look after each other in the pit” etc. But he turned around and told them all to “Fucking Kill Each Other!” Because of that, we needed the music to be a good backing for a fight (as per usual). That is why we have got the aggressive Slayer-influenced ride 8’s stomp going on in the middle. Then we built the song around that, to be honest.

Lyrically, again it’s exactly what it says on the tin. It’s about fucking killing each other.

11: Gruesome – This one is where we have really experimented with a clean intro. This is something we have never done before but really enjoyed it when bands like Entombed have done it on albums. The clean intro is influenced by the film Lobster Man From Mars and we just thought it would be good to try a build a song up like that for one. After the intro we wanted it to go straight in as abrupt as we could make it. So, 6/8 blast it was. We wanted the song to be a sort of one after the intro but also make it incredibly groovy with skipping triplets on the guitars and a wandering bass. We are really happy with how this song turned out.

Lyrically this is meat and potatoes for super.

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

Fun Facts – Story Angles

1. The name Foetal Juice is obviously a pun on the film Beetle Juice. This band name came from us being very young and very drunk. We wanted a name that stood out in the Death Metal community. Most bands were named after a disease or another band’s song. We didn’t want that for us. Foetal Juice was the first name we came up with which made us all laugh and the first one we agreed on, so we kept it. We use the English spelling of the word “Foetal” because we are English, not American, where they would spell it “Fetal.”

Please don’t ask us “What happens if we say Foetal Juice 3 times” – The answer is we aren’t interested in your interview anymore.

2. We have always been a Death Metal band. We take influences from other genres such as Grind, Black Metal, Gore, etc. but we have always taken our main influence from early death metal bands such as Entombed, Deicide, Vomitory, Death, Cannibal Corpse, etc. We do not really have any association with Slam, even though we sometimes get put under that umbrella. I think that is mainly to do with the name though.

3. Foetal Juice was featured on the Channel 4 program, “Mark Francis – Big Night Out” as the Death Metal band for his Death Metal night out. It’s not something we particularly wanted to do. We just thought that we needed to take a bullet for the Death Metal community. Mainly because, if we didn’t do it, it would have been done by a way more cringy “METAL” band who would make Death Metal look ridiculous on TV as per usual. At least we know we don’t act like pricks.

4. Lyrically we lean more towards what has pissed us off within human society. Then we just add our normal humour to it, which is heavily influenced by dark old English humour such as League of Gentlemen and Brass Eye.

5. Although it might not seem it, we are always trying to be serious so that we get taken more seriously as a death metal band. The problem is that as soon as one of us says a funny alternative to what we have planned, we always go down that route. That’s why songs such as Human Beach Master and Cunt of the Litter exist.

(L-R): Lewis Bridges (Bass), Derek Carley (Vocals), Ryan Whittaker (Guitar), Rob Harris (Drums)

Photo Credit – Karen Carley

Since 2005, Mancunian stalwart of extreme metal FOETAL JUICE has made it an inexorable mission to corrupt the underground with its feast of deliciously graceless, diabolically grim, and downright pustular, pissed-off noise. Renowned in the UK underground, the indomitable talents of Derek Carley (BURIAL, WOLFBASTARD), RYAN WHITTAKER, ROB HARRIS (NECRONAUTICAL) and LEWIS BRIDGES (ex-OND) form FOETAL JUICE, ensuring that their individual exposure to diverse metal realms creates a band that delivers a seething, virtuosic, and violent audial assault. With a string of gigs, tours and festivals to its name, FOETAL JUICE has carved a niche in discharging revolting death metal to smaller, high-energy audiences, through to the hungry masses at the likes of Bloodstock, Obscene Extreme Festival, Extreme Fest Germany, Stonehenge Festival, Berlin Deathfest and Blastonbury, firmly ensconcing itself at the helm of the UK underground and making waves across the English Channel.

Underpinned by Floridian-inspired CANNIBAL CORPSE stench, smeared with the diabolically endearing dark humour of GOREROTTED and pulverising ferocity of INSECT WARFARE, backboned by the influence of death metal pioneers DEICIDE and VOMITORY, and dripping in subtle injections of the scathing bleakness of WIEGEDOOD, FOETAL JUICE orchestrate a sound that is both comfortably familiar, but contrastingly unique. The band blend the harsh nuances of grindcore, death and black metal, infusing them with inescapably high-quality musicianship and endearingly insalubrious lyrics, to produce superior, revolting extreme metal, and an audial experience akin to the pleasure of perforating a throbbing, rancid boil; immensely satisfying and intensely disgusting.

FOETAL JUICE is notorious for its catalogue of unpleasantries and musical vulgarities, with an EP in the form of “Big Trouble in Little Vagina” paving the way for the band’s stonking 2016 debut album release, “Masters of Absurdity”. But it was FOETAL JUICE’s grim death-meets-grindcore sophomore efforts in its 2020 full-length “Gluttony” that really imprinted itself on the scene. The buzzsaw bludgeoning of stinking, fat riffs, injections of relentless drum work and d-beat flirtation, combined with rabid basslines in the likes of “Take Your Face for a Shit” and “Septic Mollusc”, emit nothing short of something filthier than your incontinent grandma’s festering grots. The clobbering of “Manifestation of Falsity” is enough to get you foaming more than a pack of wolves with rabies, whilst “Venemous Domination”, “Nether Pandemonium” and “Antagonistic Bastard” are as relaxing as a hydrofluoric acid bath filled with piranhas. And then there’s the meaty snarl of “Gluttony” to get you salivating, chomping at the bit, and smacking your lips together more than a fat bastard creaming over the steak bakes in Gregg’s.

Despite the stench of FOETAL JUICE being like pheromones to randy flies over a manure pile, notwithstanding the abundant putridity spewed from its catalogue, and even with the latest release crammed with satisfyingly vituperative tracks, FOETAL JUICE deliver technical prowess that shouldn’t be overlooked. The band is recording a new album in November 2022 as a continuation of the slapping, chaotic insanity of “Gluttony”, retaining the same boisterous and balls-deep technicality of musicianship, intending to release the next hefty slab of FOETAL JUICE filth this coming November 2023 via Gorehouse Records.

Expect no apologies from these disgusting death metal maestros; remorseless sonic defecation is second nature to them and will always remain at the forefront of FOETAL JUICE’s viciously fetid maelstrom. However, FOETAL JUICE guarantees to slop up a blubbery banquet of meaty cuts to fatten your greedy lugholes and satiate your voracious appetite for chunky and filthy audial gulosity. And you’ll be begging for more.

Foetal Juice is:
Ryan Whittaker – Guitars
Rob Harris – Drums
Derek Carley – Vocals
Lewis Bridges – Bass

Discography:
2023 – Grotesque – Album
2020 – Gluttony – Album
2016 – Masters of Absurdity – Album
2015 – Foetal Juice / Human Landfill – Split
2014 – Rectal Implosion vs Foetal Juice – Split
2013 – Big Trouble in Little Vagina – EP
2013 – A Split Worse Than Death – Split
2010 – Foetal Juice – EP
2007 – Donna Kababy – Demo

Endorsements:
Czarcie Kopyto Drum Pedals

Shared Stage with:
Deicide , Napalm Death, Entombed AD, Anaal Nathrakh, Exhumed, Gutalax, Ghoul, Cannabis Corpse, Ingested, Party cannon, Severe torture, Evile, Wormrot, Beheaded, Cerebral bore, Desecration, Pyrexia, The Afternoon Gentlemen, Grunt, Raging Speedhorn, Defecal of Gerbe, Pighead, Cabral Decay, SSS, Leng Tche, The Rotted, Sarpanitum, Theoktony, Reth, Kastrated, Cancerous womb, Rompeprop, Rectal Smegma, Tools of the Trade, Living with Disfigurement, Putrid Pile, Gout, Abbgot, Ethereal, Analepsy, Ninkharsag, Burial, Nailed, Colts Blood, Diamanthian, Primitive graven image, Kraanium, Defeated sanity, Vomitous, Razorrape, Bloodshot Dawn, Scordatura, Necronautical, Prostitute Disfigurement, Teethgrinder

Tours and Festivals:
2023 – UK Slamfest – UK
2023 – The Great Squelch EU tour: Croatia, Slovenia, Hungary, Czech Republic, Germany and Slovakia.
2023 – Whammerfest – UK
2023 – UK Tour
2022 – UK Deathfest – UK
2022 – Stonehenge Fest – NL
2022 – Rotten Fest – CZ
2022 – EU Tour – Hungary, Czech Republic.
2022 – UK Tour
2022 – Incineration Fest -UK
2021 – UK Tour
2021 – Bager Fest – UK
2021 – Riff Fest – UK
2021 – Chimpey Fest – UK
2021 – Bloodstock Festival (Main Stage) – UK
2021 – Snuff Fest – UK
2021 – Solempnytys Fest – UK
2019 – Eradication Fest – UK
2019 – Vomfest – UK
2019 – Beermagedon Festival – UK
2019 – Doomsday Fest – UK
2019 – UK Tour
2018 – Incineration Fest – UK
2018 – Bilbao Deathfest – ES
2018 – Brutologos Fest – ES
2018 – EU Tour – Spain, France, Portugal
2018 – Pentre Fest – UK
2017 – Berlin Deathfest – DE
2017 – EU Tour – Germany, Belgium, Holland
2017 – Common Ground Fest – UK
2017 – Manchester Punk Fest – UK
2017 – Death to Cancer Fest – UK
2017 – Snuff Fest – UK
2017 – UK Tour
2016 – Bloodstock Festival (Sophie Stage) – UK
2016 – No Fun Intended Fest – UK
2016 – Mosh Against Cancer Fest – UK
2016 – Speed Hating Fest – UK
2016 – Riff Fest – UK
2016 – Mosh Against Cancer Fest – UK
2016 – Tombstone fest – UK
2016 – FOAD Fest – UK
2016 – Sophie Fest – UK
2016 – ‘Kin Hell Fest – UK
2015 – Fastival – UK
2015 – Obscene Extreme Festival – CZ
2015 – EU Tour, Germany, Holland, Belgium, Czech Republic
2015 – UK Tour
2015 – Incineration Fest – UK
2014 – Almost Fatal Fest – UK
2014 – Culture Shock Fest – UK
2014 – UK Tour
2013 – Dead Haggis Fest – UK
2013 – Blastonbury Fest – UK
2013 – The Yorkshire Riffer – UK
2013 – UK and Ireland Tour
2012 – Extreme Fest – DE
2012 – EU Tour, Germany, Holland.

0 EPK – Lost To The Void – Embrace in Disgust (2023)

September 18, 2023
by Asher
· EPKs · Lost To The Void

EPK – Lost To The Void – Embrace in Disgust (2023)

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

“This album means so much to us as a band. It is quite literally a collection of so much pain and tragedy intertwined with the reality that has this visceral feeling that in a lot of ways is hard for some of us to listen to. The loss and suffering endured to bring this album to completion was not worth it but regardless it’s there now for everyone to hear and feel. We just hope you all enjoy it as much as we do and most importantly hope that Colin is proud and somehow able to listen to this thing, we worked on for over 3 years. One thing that really hurts is he was never able to sit down and listen to this final product with us. Hope it came out just the way you wanted brother. FOR COLIN, FOR EVIL, FOREVER.” – Lost To The Void

For fans of Whitechapel, The Faceless, Organectomy, Beneath the Massacre, Despised Icon

Losttothevoid.com | Facebook.com/LosttotheVoid | Twitter.com/LosttotheVoid

Instagram.com/lost.to.the.void | YouTube

Losttothevoid.bandcamp.com | Spotify | Apple Music

Album: Embrace in Disgust
Release Date: September 1, 2023
Label: Self-Release
Distribution: Blood Blast Distribution

Track Listing:
1. Humanity Decays – 0:52
2. Malevolent – 3:53
3. Idyllic Dissension – 3:06
4. Poppy Place – 2:50
5. The Mirror – 3:52
6. Deadweight – 6:28
7. On the Fence – 2:07
8. Millimeter from Murder 3:48
9. Jaded – 4:38
10 A Welcomed Plague – 5:42
11. Sally – 11:04
12. Capital Punishment – 4:09
13. Embrace – 2:17
14. In Disgust 9:15
Album Length: 1:04:06

Album Recording Credits:
• All songs performed by: Lost to the Void
• All songs written by: Lost to the Void
• Produced by: Andrew Llewellyn and Paul Madrid of Angler Audio
• Mixed by: Andrew Llewellyn and Paul Madrid of Angler Audio
• Mastered by: Phil Pluskota of Sonic Assault Studios
• Album Artwork by: Andrew Llewellyn

Album Band Line Up:
Ivan Aguayo – Drums
Casey Gerlach – Vocals
Colin Gerlach – Guitar
Drew Llewellyn – Guitar
Paul Madrid – Bass

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

The album as a whole (LYRICALLY & MUSICALLY)

We always aim to have the album flow for those who still like to listen to albums in their entirety. As far as lyrics go I chose different subjects that I think our contributing to our species and planets demise.

Track by track (LYRICALLY & MUSICALLY)

Humanity Decays is not really a song but an intro to set an ominous tone for the album

Malevolent was an obvious opening track. It just had that feel of being socked in the fucking mouth right from the get-go, which you need as an opener for any Metal/Core album. We wrote it as a band rather than having a song that was already written so it is very collaborative. There’s even a riff that was basically written by passing the guitar back and forth between myself and Drew. We do this thing where we have each member lead at least one song per release. It allows everybody to feel their input and direction is heard. This song was led by our bassist Paul. What is really cool is that when writing the vocals, we had the idea of letting Paul write the vocal patterns for the most part. For 90% of our songs, I write the patterns before the lyrics because I look at metal vocals as a percussive instrument. While I am very proud of my lyrics, I know some may be hard to decipher and some people don’t care what’s being said. At the end of the day, it needs to hit sonically with the music. So, Paul and I met up one night and just screamed over the pre-pro and made noises. I then wrote lyrics to match those with some changes obviously. Lyrically the song serves almost as an opening paragraph to the essay that is our album. Basically, it is about how the human race is just engrained in violence all over the planet and not really the benevolent species we project.

Idyllic Dissension was the first song our guitarist Drew brought to the band, because he had limited writing on the debut EP, we wanted the first single to be something he wrote. When he pitched it to the band it was nearly perfect. It was fresh but sounded enough like our older material to not push fans away, while also being a very digestible track that flowed like a single would. With the pandemic shutting everything down and ruining all our tour plans for our EP in 2020 we decided to begin writing the follow-up immediately. It’s about the ugly side that so many showed during the pandemic with constant finger-pointing rather than trying to solve the issues at hand.

Poppy Place is a song about being stuck in an environment that will not allow you to heal while losing all emotion and becoming a numb empty vessel. The title was taken from an actual spot that Drew and Paul lived at during a rough patch of their lives. I’m pretty sure most people could relate to feeling stuck and unable to get back to a healthy state of mind at some point in their life. Drew and Paul had originally written this song for their old band Lechuza and when originally pitched I liked it but when brought up as a single I initially didn’t hear it. Boy, let me tell you how wrong I was. It’s definitely in my top three songs of the record maybe even number one. When I wrote the lyrics for it, I was coming back from an amazing out-of-town weekend. I felt clear-headed but something about returning to being confined to my place in the lockdown made the creative faucet start flowing. A lot of times you get writer’s block so when moments like that arise you have to capitalize. Lyrically I am very proud of these because they came so organically and literally felt like I nailed exactly what I wanted to say about detaching emotionally. Not to mention it is one of the few songs with singing. I wanted an almost gothic-type feel that was catchy yet still very dark sounding. I don’t write singing parts just to have them I usually hear a melody in my head over the music when it’s instrumental than write lyrics. This was a rare scenario that when first vocalizing the melody I came up with the words on the spot. I usually just say random words and weirdly enough I just came out with “I’ve been gone for far too long.” and then thought I needed to write that down and next came “To ever find my way out of this place.” Simple but effective.

The Mirror is a really cool send-off to our former keyboardist James. He left the band at the end of 2020 as we had wrapped up writing the album, but this was the song he led. He wrote the main theme which we built off of, arranged certain things including the solo, and even wrote the majority of the lyrics for it. He chose the topic of vanity and I quickly thought of the name the Mirror like a vanity mirror. It dives into the inability of many to be able to self-reflect and grow. To improve oneself you have to look in the mirror and see your flaws before you try to change them. Are you stuck glaring in the mirror of a positive projection created in your mind or can you see through the cracks?

Deadweight will hold a special place in all our hearts. It was led by our late guitarist and my older brother and best friend. When we finished writing this song despite it being longer than a usual single, we knew it had to be one. In my opinion, it has the heaviest part we’ve ever written and the most aggressive feel. It is about letting go of those that serve no purpose for you anymore except weighing you down. Often when someone who was once a good friend betrays you want to beat them or even kill them. This is about being torn between moving on or seeking vengeance. I won’t go into detail but the fact the lyrics were written before Colin passed is very eerie. This is also the only song that Colin actually recorded the solo. It was taken from a live set of the last show we played with him and the last time any of us saw him alive. In other songs, I had to recreate what Colin was doing. We also shot a memorial video for it in his birthday month at the venue he used to bar tend at which was released one year after his passing. .

On the Fence is an interlude that starts with a clean variation of the main theme of Deadweight that Colin wrote but we could not fit in the song.

Millimeter from Murder was led by our Drummer Ivan. Pretty straightforward heavy song. We love our technical side but every once in a while, you need a simple ass beater. This song is kind of an extension of Deadweight where retribution is chosen over letting go. The cool thing with this song is while we often build up to a breakdown or slam, this song we close it with a fast part that breaks apart into absolute chaos.

Jaded is a very collaborative effort between Paul, Drew, and Colin. I wouldn’t really call anyone a lead in this one as they all kind of handled their respective sections. The topic is about mental illness going untreated and how eventually it can lead to choosing death over life. I always joke about how I prophesize things as topics I wrote about almost seemed to come to fruition. There’s a line that’s repeated in the song “I just fucking want to die so I can finally get some mother fucking sleep at night” that gives chills down my spine to how accurately it depicted something that had yet to happen. In 2021 I had some severe neck problems that caused some horrible nerve damage. It was the most excruciating physical pain I ever dealt with and was keeping me up for multiple days in a row. If you’ve never been severely sleep-deprived it will make you go insane. There was a point when I thought about jumping off the Golden Gate Bridge it got so bad.

A Welcomed Plague was written unlike any other on this album. Early on in the writing process, we did a thing I like to call riff dumps. It’s where we record stand-alone riffs that can be taken for any song. I unloaded my arsenal as did my brother, which some riffs will be used in the future. It is awesome that Colin will always be a part of our actual music going forward. In this song Drew literally grabbed a riff or two of mine, wrote a riff or two of his own, and the rest were riffs recorded by my brother. So basically, the song was led by Colin but composed by Drew. The topic is about how the human race is a parasitic disease on this planet and that the only way for the Earth to thrive is for us to perish. Another one of those things that we kind of joked about that we brought on the pandemic. Please forgive us.

Sally is very special to me. For one the topic was created before the band was conceived and two it is about as close to a ballad as you will see us get. We also wrote this song with an organized song structure, which we have never done before. It starts off as an almost gothic, atmospheric, and melodic rock song. As the song builds so does the tension and the heaviness. It is supposed to go in line with the sanity of the antagonist losing his control. On our way to one of the very first Lost to the Void practices, I pitched this topic about a serial killer who is never satisfied with his partners and eventually kills and takes his favorite part of them to combine and build his perfect woman. Colin had the idea to have this weird electronic element over it and I said I wanted the title to be a woman’s name and Paul came up with Sally as an homage to Nightmare Before Christmas. The cool thing about the lyrics is that it can be taken as a physically putting a perfect partner together or it can be taken as an abuser building their perfect person’s personality to be perfect for them.

Capital Punishment: We wanted to make sure the next song followed Sally to fit in the story of this album and make it clear the abusers will not have a happy ending. This song is a call to put all sexual abusers down like the sick animals they are. One of the other members wrote the bulk lyrics for this song. I remember I had them send me the lyrics before I boarded a flight where I actually wrote lyrics for multiple other songs. This was a rare instance where we had the lyrics written before the patterns. It just so happened I was able to use virtually every lyric they had sent me which was not their intent. They thought I’d whittle it down, but I actually just added to it. The song kind of came out as a rap metal song of sorts.

Embrace: This along with the song that follows was written over 10 years ago for my old band Behold the Desecration. I am glad I was able to hang onto this one as I always envisioned Embrace in Disgust as the title of the album with this concept and thought it would be cool to split the title track and call the acoustic song Embrace and the follow-up In Disgust. Lyrically it serves almost as the protagonist is reflecting and seeing he too has become a monster as a means of survival in this current state of the world.

In Disgust: Well we are finally at the end. Much like Malevolent served as an opening paragraph this is the closing statement. Your hero now realizes that while still trying to fight the good fight he has become desensitized to his opposition and tries to unite those that also stand in the way. This is the only song where I recorded the guitars besides Embrace.

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

BAND STORY ANGLES / FUN FACTS:

1. This album was recorded and mixed by our guitarist Drew and bassist Paul

2. The entire band, aside from Ivan, have known each other or known of each other since high school including our former members.

3. At the inception of the band originally Casey was supposed to be the vocalist, Colin and Mike as the guitarists, Paul on bass, with a keyboardist and drummer. Mike was moving to the San Luis Obispo area and had to bow out in the infant stages of the band which moved Casey to guitar and finding another vocalist. For the first year or so the lineup stayed the same. Eventually, our original vocalist did not have the time we needed so we recruited Drew for guitar and Casey switched to vocals. After releasing our debut EP “Necrotic Ideology” and playing 3 amazing shows, the pandemic shut everything down which pushed us to write this record. Our keyboardist James opted to leave before recording the keys but as a band, we wanted to keep that element so we wrote the keys ourselves and decided to go on as a five-piece switching to click tracks and backtracks for the keys. After Colin passed the only guitarist, we felt would fit with us stylistically and personally was Mike. Luckily he had been settled into his area for some time at this point and he accepted the offer.

California has an inhuman and ruthless heresy that bloodthirsts for the unholy callous dissonance and barbarous brutality of which we have unseen, Lost To The Void has a mission of remorselessness and an intentional tenacity to diversify Death Metal. Featuring current and previous members of Saponification, Behold the Desecration, and Lechuza, they collaborate on an undeniable merciless sound that coalesces into beautiful mayhem. Needless to say, there’s no scarcity of talent. They easily exemplify technical blistering riffs that integrate with uncivilized heavy-hitting breakdowns and alleviate with melodies, this unformulated conclave is here to expel and annihilate.

Album Band Line Up:
Ivan Aguayo – Drums
Casey Gerlach – Vocals
Colin Gerlach – Guitar
Drew Llewellyn – Guitar
Paul Madrid – Bass

Live Band Line Up:
Ivan Aguayo – Drums
Casey Gerlach – Vocals
Mike Jones – Guitar
Drew Llewellyn – Guitar
Paul Madrid – Bass

Discography:
2023 – Embrace in Disgust
2019- Necrotic Ideology

Shared Stage with:
Ingested, Devourment, Extermination Dismemberment, Organectomy, The Faceless, Within Destruction, Moria, Archspire, Entheos, Inferi, Vulvodynia, Vale of Pnath, Gorod, Lorna Shore, Enterprise Earth, Body Snatcher, Alterbeast, Continuum, Pound, Spite, Arsis, Internal Bleeding, Pyrexia, The Zenith Passage, Within the Ruins, Aversions Crown, Currents, GrindMother, Wolf King, Waste Walker, Cyborg Octopus, Hatriot, Embryonic Devourment, Steaksauce Mustache, The Kennedy Veil

Tours and Festivals:
2022- Spring Meltdown- South Lake Tahoe, CA
2021- Titan Fest- Sacramento, CA
2020- Brian Shield’s Memorial show- Cupertino, CA
2019- Void Fest- Mountain View, CA
2019- Zombie Ball- South Lake Tahoe, CA
2019- Spring Meltdown- South Lake Tahoe, CA
2019- Mother’s Day Metal Fest- Cupertino, CA
2018- Ugly Sweater Fest- South Lake Tahoe, CA
2018- Bay Area Death Fest- Berkeley, CA
2018- Mother’s Day Metal Fest- Cupertino, CA
2018- Spring Meltdown- South Lake Tahoe, CA
2018- Brian Shield’s Memorial show- Cupertino, CA

0 EPK – Immortal Guardian – Unite and Conquer (2023) (M-Theory Audio)

September 17, 2023
by Asher
· EPKs · Immortal Guardian (M-Theory Audio)

EPK – Immortal Guardian – Unite and Conquer (2023) (M-Theory Audio)

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

Release Dates: October 27th, 2023 on M-Theory Audio and WARD Records / December 1st on Massacre Records
Label: M-Theory Audio (NA) / Massacre Records (Europe) / WARD Records (Asia)
Distribution: M-Theory Audio – Worldwide, outside Europe and Asia

M-theoryaudio.com | Facebook.com/salemrosemusic | Instagram.com/mtheoryaudio | Twitter.com/MTheoryAudio

Immortalguardian.net | Facebook.com/igmetal | Instagram.com/immortal_guardian | Twitter.com/igmetal

Spotify | ImmortalGuardian.bandcamp.com

“A mega-catchy prog-power anthem (Read Between The Lines) mixed with a blend of crushing performances that’ll leave you salivating for more.” – Metal Injection

“Immortal Guardian are a band that are so technically proficient that it’s infuriating. Gabriel Guardian is, as usual, the star of Psychosomatic with his self-dueling guitar/keyboard work, but the shiny new rhythm section is right there with him. The album covers a lot of ground. It’s power metal at it’s core but some moments sound very Dethklok, while others have a bit of a Latin flare, and you’re also getting classical influences.” – Metal Injection

“Psychosomatic, an album that will likely be viewed as one of 2021’s best releases, and a landmark record for Immortal Guardian. ” – Metal Nation

““Psychosomatic” is a super catchy (Prog) Power Metal album” – Metalheads Forever Magazine

“With this album (Psychosomatic) Immortal Guardian should no longer be seen as a promising band. Not only have they shown that they have an enormous compositional quality and an elite technical level, they have also shown that they are a band that faces difficulties and that they have all the will to continue. Making a high-quality second album two years after their dazzling debut tells us about the enormous inner power these musicians have.” – Metal Rules

““QUARAN-TAAAAAYN!” No matter what you think about Immortal Guardian, it’s refreshing to hear a band that plays their style while confronting modern life. Though there’s a lot of big, epic, technical stuff going on on Psychosomatic, it never devolves into a lot of bullshit about chivalry and orcs. As such, they feel poised to be the inheritors of Nevermore’s throne, a gritty power metal band who feel relevant even as they soar. Get this in your brain.” – The Pit

“If you enjoyed Age of Revolution, you are bound to be thrilled by Psychosomatic. The band continues to up their game with technical thrills, but grounds it in some darker and personal songwriting that gives it a slight edge over their previous material. An easy pick-up for those in the power/prog section.” – Dead Rhetoric

Release Dates: October 27th, 2023 on M-Theory Audio and WARD Records / December 1st, 2023 on Massacre Records
Label: M-Theory Audio (NA) / Massacre Records (Europe) / WARD Records (Asia)
Distribution: M-Theory Audio – Worldwide, outside Europe and Asia

Track Listing:
1. Ozona (4:44)
2. Echoes (4:50)
3. Roots Run Deep (5:21)
4. Perfect Person (4:07)
5. Divided We Fall (6:17)
6. Lost in The Darkness (4:38)
7. Southern Rain (3:58)
8. Unite and Conquer (6:03)
9. Un Dia A La Vez (2:39)
10. Rise of the Phoenix (5:51)
Album Length: 48:28

Album Recording Credits:
• All songs performed by:
• Gabriel Guardian – Keyboard Guitars and Backing vocals
• Carlos Zema – Lead Vocal and Backing vocals
• Joshua Lopez – Bass Guitar
• Justin Piedimonte – Drums
• Special Featuring vocalist on Roots Run Deep: Ralf Scheepers (Primal Fear)
• Special Featuring vocalist on Lost in The Darkness: Vicky Psarakis (The Agonist)
All songs written by:
1 – Immortal Guardian – Ozona (4:44)
– Music: Guardiola
– Lyrics: Guardiola / Zema
2 – Immortal Guardian – Echoes (4:50)
– Music: Zema / Guardiola
– Lyrics: Zema
– 3 – Immortal Guardian – Roots Run Deep (5:21)
– Music: Rivera / Guardiola
– Lyrics: Rivera / Guardiola / Zema
4 – Immortal Guardian – Perfect Person (4:07)
– Music: Guardiola
– Lyrics: Guardiola / Zema
5 – Immortal Guardian – Divided We Fall (6:17)
– Music: Guardiola / Piedimonte
– Lyrics: Guardiola / Zema
6 – Immortal Guardian – Lost in The Darkness (4:38)
– Music: Guardiola
– Lyrics: Guardiola / Vicky Psarakis
7 – Immortal Guardian – Southern Rain (3:58)
– Music: Zema / Guardiola
– Lyrics: Zema
8 – Immortal Guardian – Unite and Conquer (6:03)
– Music: Guardiola
– Lyrics: Guardiola
9 – Immortal Guardian – Un Dia A La Vez (2:39)
– Music: Guardiola
– Lyrics: Guardiola
10 – Immortal Guardian – Rise of the Phoenix (5:51)
– Music: Guardiola
– Lyrics: Guardiola / Zema

• Produced By: Gabriel Guardian & Joshua Lopez
• Mixed And Mastered By: Joshua Lopez At Widowmaker Studios Engineered By: Joshua Lopez, Gabriel Guardian, Jesse Zito
• Cover Artwork: Masiha Fattahi
• Booklet Artwork: Jobert Mello – Www.Sledgehammergraphix.Com
• Widowmaker Studios – Mcallen, Tx Usa: Bass Tracking / Re-Amping / Editing By: Joshua Lopez
• IG Metal Studio – Las Vegas, Nv Usa: Guitars / Keyboards / Vocals – Tracking By: Gabriel Guardian
• Truesonix Studio – Montreal, Canada: Drum Tracking / Engineered And Edited By: Jesse Zito
• Editors:
– Joey Diaz At Widowmaker Studios In Mcallen, TX
– Alex Nasla At Gear Gods Studio In Los Angeles, CA
– Choir Vocals Arranged And Conducted By: Gabriel Guardian
• The Guardian Choir:
Rachel G – Mary Zimmer – Maya Cohen – Mason Fleet
Carlos Zema – Gabriel Guardian
• Special Guests:
– Vocal On “Lost In The Darkness” By: Vicky Psarakis (Former The Agonist)
– Vocal On “Roots Run Deep” By: Ralf Scheepers (Primal Fear, Avantasia)
• All Songs Written By: Immortal Guardian
© 2023 Immortal Guardian
• Administered By Riffs Of The Rose Music (BMI)

Album Band and Live Band Lineup:
Gabriel Guardian – Keyboard Guitars and Backing vocals
Carlos Zema – Lead Vocal
Joshua Lopez – Bass Guitar
Justin Piedimonte – Drums

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

About the Album Artwork:

In Every Immortal Guardian album, we follow a sort of pattern, representing the Immortal Guardian itself or herself, in the graphic of the cover of each album. In Super Metal – Edition Z, the Guardian was simply: represented by Space, seen through a glass IG-band-logo-shaped window. Revolution Part I, represented by the Heavens, in front of a peace flag, standing at half mast, mourning for the end of 2 worlds, by a sole survivor. Age of Revolution, the Guardian is the Mother of Time, foreseeing a future for mankind, where artificial tries to mimic humans. Psychosomatic, talks about the force that controlled our body and mind through the pandemic period, so it’s represented by a Guardian which possesses the power that controls the mind, she’s the main character in the middle. In Unite and Conquer, Immortal Guardian is represented by Mother Earth, which is in the very center, on the back, gathering the humans and non-humans, to finally conquer. Understanding each other’s spaces and differences, is a powerful reflection, on the challenges of our modern world, urging us to remember the simplicity of unity and peace before the chaos of division and conflict took hold.

About the album as a whole (LYRICALLY & MUSICALLY)

Lyrics: Unite and Conquer, lyrically approaches several different subjects that all have one thing in common, Understanding each other’s spaces and differences, as a powerful reflection, on the challenges of our modern world. Nowadays technology in a sense, separates us from human interaction and presence at the moment we live in. Within our realities, we created obstacles and divisions, but that also made us come to this realization. Urging us to remember the simplicity of unity and peace, before the chaos of division and conflict took hold. Bringing us to the times before the wars.

Music: We embarked on a fresh creative journey for U.A.C., introducing innovative elements into our writing process and overall musical style. While experimenting with new approaches that Immortal Guardian hadn’t explored before, we also preserved elements of our signature sound. The album is a true reflection of the tumultuous life experiences each of us was undergoing during its creation. This time we dove deep into the essence of those real-time emotions and experiences. We worked really hard on representing it in every riff, groove, and melody created in the album, very carefully written with the nuances of the lyrics and motion of emotions

Track by Track (LYRICALLY & MUSICALLY):

Immortal Guardian – Ozona:

Lyrics: A few years ago, while we were on the road, we broke down in the middle of nowhere in a little Texas town called Ozona. We had no way of getting home, and no money to resolve our problem. We just wished and wished we could get home somehow…. While we waited we decided to write a song about our experience because we knew that weren’t the only ones going through times like this. This song is for all the traveling souls just trying to find their way back home. 

Music: This song was written to have a very heavy vibe and with a big sing-along chorus! A cry out for a return to a place that can be called home. The music carries on with a build-up melody and dynamic, very groovy and heavy into a more aggressive chorus, climaxing into a singalong at the end of the chorus. The whole melody and instrumental was built around the theme and dynamic of the song that comes from the lyrics, to make much more sense with the theme of the specific parts of the song lyrically.

Immortal Guardian – Echoes:

Lyrics: For generations, humanity has longed for a truth. The right to unite what has been divided. We long to be free from all our differences, genders, colors, nationalities, religions, beliefs, and any other type of separation. This real freedom relies on our minds, to be free from all these fears, repressions, oppressions, and everything else that stops us from being united. In the name of this truth, our voice will echo endlessly – Freedom!

Music: This song was a small taste of the new territory that IMMORTAL GUARDIAN was exploring and having plans to take their sound to. Very fast and powerful riffs! Lots of speed and remarkable melodies, with a taste of European power metal. Although the song leads to a very heavy breakdown, intentionally made without missing the BPM. The goal was for the song to lead into a glorious ending with a huge sing-along. Immortal Guardian – Roots Run Deep:

Lyrics: Roots Run Deep takes us on a journey back to a time when we were all united before our differences and conflicts divided us. It reminds us that we all share a common history and that as a society we must learn to survive the separations and unite to conquer. With a message of hope, unity, and perseverance, ‘Roots Run Deep’ encourages us to make the world a better place. So let us embrace our shared history and let this song inspire us to make a positive change in the world. This is about the levels of today’s division. Black and white, religion vs. religion, left vs. right, rich and poor, war and peace, etc.

The world is so divided right now and what we want more than ever is unity. This song is about putting our differences aside and remembering that we are all humans just trying to survive. We all just want a happy life, and that would be more likely to happen if we all just agreed to disagree respect each other, and celebrate the things that make us all so different and unique.

Music: This song has been written with the intention of breaking the band’s patterns, the vocals already start with the lowest pitch vocal recording that Carlos has ever recorded. The instrumental comes in super fast and intricate, very heavy in arrangements and bombastic melodies that come close to a huge clash building up to the chorus, in which we built the melody to be the perfect fit for Ralf Scheepers, which is our special feature in this song.

Immortal Guardian – Perfect Person:

Lyrics: Gabriel grew up in a very religious Mexican family. It was a big part of their lives, especially every Sunday morning when they went to church. But one day, the pastor had a heart attack while in the middle of a sexual act cheating on his wife, and died right there in the church after-hours. It was absolutely bonkers and they remember it really stirred up the moral point-of-views in our tiny Texas town. They stopped going to church after that and really started questioning why they were there, to begin with. You see, some Christians had such a bad taste of the church that they left religion altogether and felt lied to and deceived, while others said the Christian thing to do would be to forgive him and move on and find another church. It was super interesting how they grew up and watched both sides of this play out. This made a very interesting topic to write about and it definitely fueled the spark for ‘Perfect Person.’

At the end of the day, it is about NOT over-idolizing and over-glorifying religious figures, politicians, celebrities, even musicians, and the like. We wonder if that pastor had just lived his life and died a non-religious man, nobody would have been bothered, but because everyone sought this man’s advice every week, got baptized by him, got married by him, and put his words and lifestyle on a pedestal, it made it that much more devastating. Everyone can pin a local ‘icon’ in their minds as a perfect figure that could do no wrong and preach endless golden words when in fact, he is just a mortal man with a mortal sin.

Music: Perfect person for being a very dark song in terms of theme and lyrics, we built this structure in a very different way than the rest of the songs in the album, the whole song carries out with very dark melodies until the chorus comes with a more upbeat melody delivering the final message of the song in a more uplifting fashion.

Immortal Guardian – Divided We Fall:

Lyrics: These lyrics reflect a thought-provoking and socially conscious perspective on the challenges of contemporary society. Especially the biggest of the problems we face as a society is the lack of interaction locked in our social media and phones. The song begins by highlighting how some of the most ambitious dreamers can emerge from impoverished backgrounds, questioning the true meaning of wealth without aspirations. It then delves into the ongoing racial tensions, suggesting that a more harmonious world, represented by the color gray, might be the key to saving lives. The lyrics also touch on the theme of self-identity and societal

divisions, emphasizing the paradox of connecting through screens while deepening the divide. The song calls for a change in mindset and the need to explore different paths and perspectives to address the existing conflicts, ultimately emphasizing the importance of unity in the face of divisive choices presented by those in power.

Music: This song is a completely different song compared to the rest of the album, it has a very modern approach with a very different up and down in dynamics, and very intricate melodies as the song has a very unique passage within a very ethereal atmosphere, flirting between heavy and melodic, this is the song of the album that represents the doom of the whole theme of the album, divided we fall, instead of unite and conquer. Musically it also does make sense in being the most different song in the album. Immortal Guardian – Lost in The Darkness

Lyrics: These lyrics touch a very delicate subject, it was written for people who lost somebody very important in their lives, but still have a very strong connection with them, they convey a sense of haunting and introspection, touching on themes of loneliness, lost opportunities, and the possibility of redemption. The main subjects of this song reflect on the persistent presence of a ghostly figure that seems to accompany them through life’s trials and tribulations. The lyrics suggest a yearning for connection and a desire to find the light in the darkness, emphasizing the potential for reconciliation and healing despite the broken dreams and painful memories. The repetition of “together lost in the darkness” reinforces the idea of shared struggles and the hope of reuniting and finding salvation.

Music: This song was built in a very different structure compared to the other songs in the album, with the special feature of Vicky Psarakis, who also contributed with her own lyrics and improvisations over the original vocal melody, created a beautiful duet with Zema and made it a majestic masterpiece with highly remarkable melodies, bringing a very emotional atmosphere to this piece. The songs is still very heavy, but definitely with the focus on the vocal melodies to deliver this overwhelming emotional feeling to the final result.

Immortal Guardian – Southern Rain

Lyrics: For several moments in our history, we have doubted the humane side of humanity. Now, this is the moment we arise to say: ENOUGH! No matter how hard things get, no matter how south things go, we will never back down. We will not race against the races. We will not stand as victims

anymore. We will unite and persevere against all the bullets that our families dodge every day. Together as one, we stand against the next bloodstain in our history, at all costs.

Music: This is the ballad of the album, definitely one of the power ballads that the band wrote that made a remarkable impact. Especially in being super diverse and dynamic. Originally written as an acoustic song, this track took a completely different shape and form when recorded. The result is a very melody and arrangement-rich song, with a very spacious vibe. Immortal Guardian – Unite and Conquer

Lyrics: These lyrics express a poignant commentary on the modern age’s challenges, where our emotions are dulled by the constant presence of screens and technology. The singer questions our current state, yearning for a return to simpler times when dreams and peace were paramount. The repeated call to go back to that idyllic era underscores the desire for unity and conquering divisions in a world marked by mistrust and conflict. The lyrics encourage us to reflect on the consequences of our digital age and long for a return to a more genuine, harmonious existence. Music: We definitely took a new direction trying new grooves and riffs, that we have never jammed before together. At the same time, after jamming dozens of times together, we learned that we have a signature sound

Immortal Guardian – Un Dia A La Vez

Lyrics: Un Dia A La Vez, reflects a powerful theme of inner conflict and the struggle for balance in life. Running from past conflicts, facing our inner demons, and ultimately seeking love and hope despite the challenges. The repeated chorus “dying to live, one day at a time” reinforces the idea of taking life one step at a time, overcoming doubts, and striving for a better future, but also living the present, and being more present. The inclusion of phrases in different languages adds a multicultural dimension, emphasizing the universal nature of these struggles and the shared desire for a brighter tomorrow. We had 4 of our native languages spoken in the band, English, Spanish, French, and Portuguese, but we’ll speak a little bit of Italian if you ask us to, as well…

Music: Because of how deep this subject is, this song was written and arranged in a very different way, we didn’t even jam it as a band, this is a piano piece written by Gabriel, that he built into a huge arrangement-rich track, full of different emotions and atmospheres. It was perfectly made to be in between Unite and Conquer and as a build-up to the Grand finale, the Rise of The Phoenix.

Immortal Guardian – Rise of the Phoenix

Lyrics: This is a heartwarming tribute to Gabriel’s mother, conveying her challenging upbringing and the resilience she embodies. These lyrics paint a vivid picture of a childhood marked by hardship and sacrifice, with a sense of isolation and struggle. Despite the adversities she faces, the lyrics carry a message of hope and transformation, likening her to a phoenix rising from the ashes. The chorus powerfully encapsulates her strength and determination to overcome, emphasizing her ability to soar higher and stronger, even in the face of adversity. Overall, these words beautifully capture the theme of resilience and triumph in the face of adversity, dedicated to his mother’s inspiring journey.

Music: This track is a massive build-up and when you think it has gotten to the maximum, it will still surprise you. Remarkable vocal melodies with a very heavy sound, orchestrations, and very low riffs fulfill a huge massive, and harmonic colossus. This song is very riff-heavy as well as one of the most beautiful guitar and keyboard themes in the album. We could not see a better song to close Unite and Conquer.

Power/Progressive Metal band IMMORTAL GUARDIAN has slowly been teasing their forthcoming album since the spring of 2022 releasing new songs digitally alongside some great music videos every few months. Fans of the band have enjoyed the development and creativity of the album’s content and evolvement into a concept and final work. ‘Unite and Conquer’ finally has a release date, Oct. 27th, and preorders launch today.

“We definitely took a new direction with our writing process and overall sound on the new album. We tried some new things Immortal Guardian has never done, but also kept a taste of our classic sound in the process,” explains guitarist/keyboardist Gabriel Guardian. “We were all going through some crazy experiences in our lives while making this album and I think it really reflects in the music. As we did during our ‘Psychosomatic’ album, we were writing these songs in real time as we lived through these major events in the world and in our personal lives.”

‘Unite and Conquer,’ like the hailed and successful 2021 ‘Psychosomatic’ was written and recorded by the band themselves with credit going to Gabriel Guardian and bassist Joshua Lopez, who also mixed the album at his Widowmaker Studios. They enlisted the help of artist/photographer Masiha Fattahi (Threshold) with further design work by Jobert Mello (Sabaton, Primal Fear, Acid Reign), as well as guest vocalists Ralf Scheepers (Primal Fear, Gamma Ray) and Vicky Psarakis (The Agonist) to create a stellar new album.

“For generations, humanity has longed for a truth. The right to unite what has been divided. We long to be free from all our differences, genders, colors, nationalities, religions, beliefs, and any other type of separation,” elaborates vocalist Carlos Zema. “This real freedom relies on our minds, in being free from all these fears, repressions, oppressions, and everything else that stops us from being united. In the name of this truth, our voice will echo endlessly – Freedom!”

“Immortal Guardian’s ‘Unite and Conquer,’ lyrically traverses a multifaceted emotional journey, from introspection and self-discovery that passionately calls for unity and change. The poetic verses entwine seamlessly with the captivating melodies, delivering a musical narrative that resonates with the listener on a profound level, leaving an indelible mark on the heart and soul. With a simple message — this is the time to Unite and Conquer.”

Always lyrically insightful and pushing musical boundaries, the latest from IMMORTAL GUARDIAN will please fans of progressive, power, and traditional metal with so much tasty playing and melodies. Evidence is already apparent in the five songs released to date, but there is still another half of the album ready to enjoy.

Pre-order ‘Unite and Conquer’ now on limited-edition vinyl –- the standard retail version (250 copies on insomnia red and black splatter) or the exclusive to band/label variant (100 copies on bone/black mix), as well as CD and Digital. https://lnk.to/immortalguardian

IMMORTAL GUARDIAN – founded by Gabriel Guardian, whose uncanny ability to play guitar and keyboard simultaneously has been showcased on MTV’s “Amazingness” and on his unique dual-instrument covers of classics by the likes of Iron Maiden, Pantera and Guns N’ Roses that have garnered hundreds of thousands of views on YouTube – began building their following through multiple self-released EPs before signing with M-Theory Audio. The band has also performed live alongside some of the biggest names in metal, including Judas Priest, Dragonforce, Kamelot, Symphony X, Sonata Arctica, Slayer, Marty Friedman, Metal Church, Soilwork, and Steve Vai, and in countries such as Brazil and Russia, and during high-profile performances at ESPN’s X Games, South By Southwest, Mad With Power Fest and Fun Fun Fun Fest.

Immortal Guardian:
Gabriel Guardian – Keyboard Guitars and Backing vocals
Carlos Zema – Lead Vocal
Joshua Lopez – Bass Guitar
Justin Piedimonte – Drums

0 EPK – Rebel Priest – War Horse (single) (2023)

September 15, 2023
by Asher
· EPKs · Music News · Rebel Priest

EPK – Rebel Priest – War Horse (single) (2023)

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

For fans of Motörhead, ZZ Top, Rose Tattoo, Deep Purple, LA Guns

Single Title: War Horse
Release Date: September 15, 2023
Label: Thundermoose Entertainment
Distribution: Thundermoose Entertainment

“Hardened Steel Trash N’ Roll! This new single is our best yet and truest vision of what Trash n Roll really is, so with that said, I think anyone who didn’t get it before will be jumping on the bus for the ride. It’s gonna be the best song to light some new fires in “On the Fencers” and the new generation of rock n rollers. We want to tap into that adrenaline that is at the end of a shitty day or a shitty situation and this song is gonna be the wrecking ball to get you outta that funk and get those motors revving! ” – Rebel Priest

RebelPriestofficial.com | Facebook.com/rebelpriestofficial | Instagram.com/rebelpriestofficial | YouTube

Rebelpriest.bandcamp.com | Spotify | Apple Music

“Reminded me of the early Iron Maiden Days” – Metal-Temple

“This record is full of gritty, down ‘n’ dirty fun with a spiked metal grip” – Bravewords

“Great stuff for cracking open a cold one and blasting down the highway at an illegal rate of speed” – Rebelx

“Combination of AC/DC, Guns N Roses, and Motley Crüe would be how I describe them, with the added Motörhead to bring for flames to the fire on occasion” -The Razors Edge

“Pay attention to Rebel Priest’s rock n roll homily, because they preach rock n roll, you’ll be converted to their hard rock cult” – MetalTemple

“For fans of bands like Motley Crüe and the likes, Rebel Priest may be the right thing and if you are looking for dirty rock with beer loving lyrics for a night of drinking, you will find it at Rebel Priest” – Hellfire Magazine

“Rebel Priest stands for fast and hard rock n roll.” – Soundmagnet

“A blast of high-powered hard rocking energy” -Games, Brrrains & a Head-Banging Life

Rebel Priest ‘Whiskey & Wings’ Japan Tour 2023 w/ Barbarians
Oct 6 – Moon Step – Nakono, Tokyo
Oct 7 – Bar Kurostuki – Yokohoma, Kanagawa
Oct 8 – DOMe – Kashiwa, Chiba
Oct 9 – Kappunk – Shinjunku, Tokyo
Oct 12 – Mele – Namba, Osaka
Oct 13 – King Cobra – Shinsaibashi, Osaka
Oct 14 – Music Farm – Nagoya, Aichi
Oct 15 – Red Shoes – Minami-Aoyama, Tokyo

Single Title: War Horse
Release Date: Sept 15, 2023
Label: Thundermoose Entertainment
Distribution: Thundermoose Entertainment

Track Listing:
1. War Horse (3:56)

Single Recording Credits:
• Song written and performed by: Rebel Priest
• Produced and Mixed by: Rebel Priest
• Mastered by: Rene Garcia
• Single Artwork by: Jayme Black and Rimbaraw
• Member of SOCAN
• Canadian Content (MAPL)

Recording and Live Band Lineup:
Jayme Black – Vocals/Bass
Benny Kemp – Guitars/Vocals
Nate Pole – Drums/Vocals

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

About The Single:

This single is the first step into the true sounds of Trash n Roll, it’s a song that is full of teeth-gritting, fist-pounding primal aggression. It’s a statement without politics, it’s a feeling without emotions, it’s a way to move without moving. It’s the first taste of an amazing upcoming album.

War Horse was originally just an idea we had for a video we will never be able to afford hahaha. Our unnamed anti-hero is on a space bike cruising through the universe. It kind of embodies the idea of trash n roll in the sense that most folks don’t see vagabonds as equal people but we keep rolling, there’s always time for trash n roll! It’s our way of saying “fuck em” to everyone that doesn’t respect you or your path. If it’s you against the world, here’s the warhorse you can ride into battle!

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STORY ANGLES / FUN FACTS:

1. Benny has been practicing Muay Thai since the pandemic and trained in Thailand. Nate has watched 600 episodes of One Piece in one year. Jayme is an avid collector of comics, old Warhammer 40K, and vintage tales from the crypt memorabilia.

2. On a few different tours, I (Jayme) rolled under a moving semi-truck, Benny free falled out of a 40 ft tree hitting every branch on the way down, Nate broke his sticks and almost took out someone at front stage, Benny broke each of his knees on stage and finished the show. Once when we were on our way to play a show in Calgary, we got pulled over and when we got out, a bunch of whiskey bottles fell out and we convinced him that they were for candle holders.

Another time we were driving through the Rockies and we got caught in a forest fire, landslide, tropical storm(with cars and trees getting blown over), and finally almost totalled by a moose, all on the way home.

3. The band name came from a Tombstone of a Canadian Shaman, it’s said “*redacted* he was a Rebel, he was a priest, he was the storm, this will not stop him”

4. The band started out with stage attire that was Manowar meet iron fist era Motörhead, which we dropped early on because only one person a show would remember the outfit making it look like we were taking turns dressing up like a caveman.

5. One member is a successful jeweler

L-R – Jayme Black – Vocals/Bass, Nate Pole – Drums/Vocals, Benny Kemp – Guitars/Vocals

Rebel Priest is a no-nonsense, real-deal rock n’ roll band composed of three seasoned musicians who have been making their way through the Western Canadian rock n roll scene for years. Vocalist/bassist Jayme Black (Lust Boys, The Toxiks); guitarist/vocalist Benny Kemp (Lust Boys, Road Rash); and drummer/vocalist Nate Pole (Kill Matilda, The Toxiks) bring nothing but unadulterated, high energy grease infused Trash N’ Roll!

The band has had the pleasure of touring Japan, and performing alongside bands such as Udo (Accept), Lordi, Diamond Head, Crystal Pistol, Flotsam, and Jetsam along with playing many headlining gigs with the energy of Motorhead meets Motley Crue. Since forming in 2014, the band has released three studio albums “R’ley Heavy” (2019), Enabler (2017 ), and Self-Titled (2015) along with one live record “Dead Alive @ SBC (2017).

In June 2022, they offered up a slab of new music in the shape of a new EP “Lesson In Love” via Batcave Records/Thundermoose Entertainment to follow their 2021 EP “Lost In Tokyo”. The EP “Lesson In Love” was four tracks that ready fans to hear the band’s NWOTHM influences along with their brand of slurry heavy Rock n Roll.

Now in 2023, the band is crossing the Pacific to tour Japan in October working on a new album still in the works for release in 2024 along with giving fans a taste of what’s to come with their single “War Horse” being dropped in September 2023.

Rebel Priest is recommended for fans of Guns n’ Roses, AC/DC and Motley Crue.

Rebel Priest is:
Jayme Black – Vocals/Bass
Benny Kemp – Guitars/Vocals
Nate Pole – Drums/Vocals

Discography:
2015 – Rebel Priest(self-titled) – LP
2017 – Enabler – LP
2019 – R’lyeh Heavy – LP
2021 – Lost In Tokyo – EP
2022 – Lesson In Love – EP (Batcave Records)
2023 – War Horse (single)

TOUR AND FESTIVALS YOU HAVE PERFORMED ON.
2016 – La Chinga – Vancouver, BC
2017 – Lordi – Vancouver – BC
2018 – The Lazys – Vancouver, BC
2018 – Dirkschneider (Accept) – Vancouver, BC
2018 – Diamond Head – Vancouver, BC
2019 – Flotsam and Jetsam – Vancouver, BC
2019 – Hank Von Hell – Vancouver, BC
2019 – Subhumans – Tokyo, Japan
2019 – Kappunk Festival – Tokyo, Japan
2022 – Deadwolff – cross Canada tour
2023 – Turbofest – sechelt, BC
2023 – Fried Chicken Fest – Squamish, BC
2023 – Intersect Festival – High Prairie, AB
2023 – Hexvoid – Vancouver, BC
2023 – Kappunk Festival – Tokyo, Japan

Music Placements (Movies, Commercials)
2021 – Batwoman – season 2
2023 – Untitled Movie

0 EPK – Eshtadur – Umbra (2023) (single)

September 12, 2023
by Asher
· EPKs · Eshtadur

EPK – Eshtadur – Umbra (2023) (single)

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

“This is the purest and darkest song I’ve ever written, I am very honored for being able to add a real symphonic orchestra and arrange whole parts, but my favorite addition besides “Purhepecha” an ancient native language of America, is the participation of a very beautiful folk instrument, original from Colombia, the tiple.” – Jorg August – Eshtadur

Hypocrisy, Septicflesh, Behemoth, Dimmu Borgir, At The Gates, Arch Enemy

Single Title: Umbra
Release Date: September 5, 2023
Distribution: Blood Blast Distribution

Eshtadur.com | Facebook.com/EshtadurOfficial | Instagram.com/eshtadur | Twitter.com/eshtadur | YouTube.com

Eshtadur.bandcamp.com | Spotify.com

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

“Eshtadur have been one of my favorite melodic death metal bands for a while now. They’ve always had a unique sound, powerful vision and a driving death metal energy that has kept their sound exciting for years now. Their new single, “Cornered At The Earth,” is a perfect representation of what these Colombian death metallers have been concocting for years now. With stints touring with bands like Cradle Of Filth, Vader, and Abaddon, these guys clearly aren’t fucking around. Their upcoming record, Mother Gray, due out in May, is an absolute motherfucker of a release. In a world where metal seems to be increasingly intellectual and dorky, it’s somehow reassuring to have a song like this one that makes no aspersions about its At The Gates and Soilwork worship, blasting out of the gate and forcing us to choke on the bitter medicine that Eshtadur provide.” – Metal Injection (2017 – Mother Gray – Album)

[Download Single Artwork | Download Single Lyrics]

Single Title: Umbra
Release Date: September 5, 2023
Distribution: Blood Blast Distribution

Single Length: Umbra (6:22)

Single Credits:
– Song performed by Eshtadur
– Written by Jorg August
– Produced by Jorg August
– Mixed & mastered by Chris Clancy
– Artwork by Conceptual anonymous various artists and IA

Single Lineup:
– Guitars, bass, orchestral arrangement, tiple & vocals by Jorg August
– With Caldas Symphonyc Orchestra
– Drums by Michal lysejko
– Guitar Solo by Hubert Wiecek

Live Band Lineup:
– Jorg August (Guitars & Vocals)
– Andres Gonzalez (Bass)
– Johnatan Valderrama (Lead Guitars)
– David Lopez (Drums)

L-R Eshtadur Line Up: David Lopez (Drums), Johnatan Valderrama (Guitars), Jorg August (Guitars & Vocals), Andres Gonzalez (Bass)

Photo Credit by Jorge Muñoz

ESHTADUR was founded in the fall of 2005 by Jorg August releasing the ‘Timo Be Timo’ Demo with a sound in the vein of At The Gates, Dimmu Borgir, and Septicflesh. Since then, they have released a pair of EP’s and a strong four albums. ESHTADUR, meaning the rebellion of angels, can be most closely likened to bands such as Septic Flesh, Behemoth, Fleshgod Apocalypse, Carach Angren, and the like. Like their scene counterparts, the band embodies a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity. It seeks to rebel, in its darkened way, embracing the abject reality.

Their rich touring history includes performances across Colombia, Peru, Mexico, Germany, Netherlands, Belgium, France, Poland, Czech Republic, Hungary and Slovakia. They have shared the stage and toured with Cradle of Filth, Vader, Graveworm, Sepultura, Aborted, and Decapitated in Rock Al Parque 2016.

Their 2017 release, via Bleeding Music Records, “Mother Gray” is an expression of planetary death and putrefaction. The scathing release saw the band touring 8 countries in Europe through 2018, and then visiting the United States for the first time for the “Gray America Tour” including Mexico. Now the band has signed the latest album “From The Abyss” with Blood Blast Distribution (by Nuclear Blast) and distributed physically by Hateworks (LA).

In 2022, the band toured supporting Batushka and Diabolical, this time visiting Romania, Bulgaria, Greece, Austria, Slovenia, Italy, France, Spain, Portugal, and Switzerland.

In 2023, Eshtadur played at the 70000tons of Metal being the only band from Colombia. Eshtadur is gathering mist forces to fill your soul on their next visit with darkened despair as they set to release their new single “Umbra’ in September 2023 via Blood Blast Distribution.

Discography:
2023 – Umbra – Single
2021 – From The Abyss – Album
2017 – Mother Gray – Album
2016 – Oblivion – EP
2014 – Burning Heart – Single
2013 – Stay Away From Evil – Album
2011 – Dominated by Dummies – Album
2007 – Rebellion of Angels – EP

Shared Stage with: Graveworm, Cradle of Filth, Vader, Batushka, Diabolical, Bleeding Utopia, Sepultura, Anvil

Tour and Festivals
2023 – US Tour w/ Summoner’s Circle
2023 – 70,000 Tons of Metal Cruise
2022 – European Tour with Batushka 17 shows 10 countries
2019 – Gray America tour headlining USA and Mexico
2018 – European tour headlining 13 shows 8 countries
2016 – Rock al parque Colombia

0 EPK – Hatred Reigns – Awaken The Ancients (2023)

August 31, 2023
by Asher
· EPKs · Hatred Reigns

EPK – Hatred Reigns – Awaken The Ancients (2023)

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

“Unleashing an infernal symphony of brutality and precision! Our music is a testament to the raw power and intricate craftsmanship that defines death metal. Each member has their own barrage of styles and influences which created the unique twist that is Hatred Reigns. Sonically, we’ve been told we sound like Origin, Suffocation, Hideous Divinity, and much more. The face-melting riffs and licks that Jeff brings to the table, along with Mitchi’s enigmatic vocals, pairs perfectly with the aggression and agility of Neil’s grinds and gravity blasts with Adam on the low end making heads pop. Combined with their untamed raw energy from their live performances creates a formula that’s going to shift tectonic plates.” – Hatred Reigns

For fans of Cryptopsy, Suffocation, Origin, Carcass, Behemoth

Band: Hatred Reigns
Album name: Awaken The Ancients
Release Date: December 1, 2023
Label: Self-Release
Distribution: Distrokid

Facebook.com/hatredreignsband | Instagram.com/hatredreigns | Youtube.com/@hatredreigns1027

Hatredreigns.bandcamp.com | Spotify

Digital Album https://distrokid.com/hyperfollow/hatredreigns/awaken-the-ancients

“Hatred Reigns’ Awaken the Ancients is Brutality in Sound and Theme… For those of you who can’t get enough of their brutal technical death metal thematically based on What Dreams May Come, Dante’s Inferno, Milton’s Paradise Lost, and love wallowing in the murky anguish of life’s darkness, take an audio gander at the stream of the album.” – Decibel Magazine

“this is a slab of high density, very technical death metal that fans will love” – Real Gone Rocks

“Hatred Reigns’ core death metal is sturdy, with bass guitar leads and overactive blast beats giving a technical spark to the album.” – Heavy Music HQ

“Fast, barebones, guttural death metal is what Hatred Reigns offer us here, and it’s bound to awaken the ancients indeed… If you’re into death metal at all, chances are good that you’ve heard this kind of no-frills death metal before, but in this crowded genre, Awaken the Ancients is certainly worth a listen. 4/5” – The Metal Crypt

“Hatred Reigns play to their strengths on this album opener (Awaken The Ancients), delivering speed and fury, but impressive agility as well as aggression. They unleash madness in the viciously sizzling and skittering riffage and ruthlessness in the bone-smashing hammer blows that segment the frenzies, and the monstrous guttural growls expel the words in barks that are almost as fast as the backing instrumentation. But the band also switch things up, slowing the tempo and injecting weirdly swirling arpeggios and then hitting the accelerator to bring forth an even more demented and delirious escapade, this time fronted by crazed screams and screeches as well as gritty growls, and propelled to further heights of lunacy by a fret-melter of a solo and bursts of maniacal drum battery. When the band decelerate again, the chords elevate it into an otherworldly realm, both menacing and haunting, and the band also layer in a little bass solo, a few humongous bass drops, and a hulking, lurching stomp. But of course they go back into the fast lane for one last burst of high-adrenaline barbarity as the song surges to the end.” – No Clean Singing

“‘Departing Archeon’, grabs me where I didn’t expect (You can see the video for this at the bottom of this page). This time the vocal and lyrics are instantly engaging… accessible and menacing ‘Welcome… We’ve been waiting for You…’ which somehow made me smile from ear to ear. And just wait for that main riff – it’s f**king perfection. Simple, brutal and so utterly worthy of a headbang. Looking over the release notes they compare their release to ‘Origin’, Suffocation, and Hideous Divinity, but I’m getting vibes of classic Thrash and Death Metal. Think early Sepultura, Gorefest and Carcass, especially with that DIY ethos those thrown in too. It enables them to keep their influences close to their heart and do exactly what they want to. Overall, it took me a few listens to the album to appreciate how good it is. It’s a complex album that doesn’t hide behind overly technical playing … it knows how to keep the riffs simple, crunchy and heavy… Incredible stuff.” – Music Trespass

““Awaken The Ancients” is a well-built album, since when you listen to it on several occasions it offers you some different contexts to the first listeners, this implies a material riddled with nuances housed in the most brutal, technical and precise Death Metal; kind like the parents of this move like Suffocation, also if you like Cryptopsy or Aborted. This is the line of these insane Canadians who make an album quite to consider for this and upcoming releases. ¡Attentive that this looks good!” – MetalFriends

Metal Injection: My favorite Technical Death Metal EPs released in 2018 – Realm I: Affliction – Hatred Reigns – Article By Austin Weber

“”Planes Divide” vividly reveals the band’s ability to join together murderous brutality and impressive technical fireworks.“ – No Clean Singing (2018 – Realm I: Affliction – EP)

“And once again Canada is the country chosen to make me enjoy with the most technical death metal, this time in a more brutal and devastating side, although perhaps less surprising but much more neck-breaking.” – Necromannce (2018 – Realm I: Affliction – EP)

“The high pitched screams send shivers down our spine and the crushing finale feels as though we are slowly being dragged down into hell.“ – Spirit Level Magazine (2018 – Realm I: Affliction – EP)

“Hatred Reigns alerts us to the arrival of another innovative, brutal and exciting death metal band from Canada” – Eternal Terror (2018 – Realm I: Affliction – EP)

Band: Hatred Reigns
Album name: Awaken The Ancients
Release Date: December 1, 2023
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Awaken The Ancients (5:20)
2. Pain Leads To Nothingness (3:16)
3. To Depths Unknown (2:40)
4. Obsolarium (2:36)
5. Ushered By Charon (5:23)
6. Planes Divide (3:47)
7. Absentia (4:58)
8. Departing Acheron (3:43)
Album Length: 31:20

Album Credits:
All songs performed by: Hatred Reigns
All music and lyrics written by: Hatred Reigns
Orchestration created by: Hatred Reigns
Recorded at DMS Studios (May 2021 – Apr 2022)
Engineered & Produced by: Hatred Reigns
Mixed & Master by: Mitchi Dimitriadis at Dark Moon Productions (Oct – Dec 2023)
Artwork by: Pedro “Lordigan” Sena
Layout by: Neil Grandy
Canadian Content MAPL
Album and Live Line up:
Mitchi Dimitriadis – Vocals
Jeff Calder – Guitars
Neil Grandy – Drums
Adam Semler – Bass & Vocals

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

About The Album Artwork:

Pedro “Lordigan” Sena was the designer of our album’s artwork. He created a masterful piece with countless aimless souls wandering and preparing to face judgment. In many ways, the cover art represents the 9th song of the album with its vibrant color palette and depth of detailed imagery. The cover really conveys the music composed for this epic conceptual album.

The album as a whole (LYRICALLY & MUSICALLY):

Embark on a Sonic Odyssey with “Awaken The Ancients”

Prepare to be transported on an unparalleled auditory journey with Hatred Reigns’ upcoming release, “Awaken The Ancients,” set to unleash its sonic might on December 1, 2023.

“Awaken The Ancients” is not just an album, it’s a conceptual epic that traverses uncharted realms of sound and emotion. The album’s narrative follows a protagonist grappling with oppressive forces, leading to a summoning of the ancients who rise to liberate the tormented from their prolonged suffering. Plunged into an endless abyss, the tormented emerge upon a desolate shore, surrounded by aimless souls.

In a quest for liberation, the damned are ferried across by Charon who must navigate treacherous planes, confronting challenges from demons above and lurking waters below. Their odyssey takes them across the enigmatic river Styx, lured by the ancients towards Necropia, where ultimate judgment awaits.

Track by track (LYRICALLY & MUSICALLY)

Track 01: Awaken The Ancients

In a world where the forces of power wield their influence over the masses and various factions rise in rebellion, a hidden force emerges. The Ancients, beings of age-old wisdom and insight, remain concealed yet vigilant, observing the turmoil that engulfs the populace. They are attuned to the potential futures that unfold, especially those of the tormented souls who question their destined path amidst the anguish.

Track 02: Pain Leads To Nothingness

Our central character succumbs to the overwhelming forces that surround them, departing from this existence in a blaze of spectacular finality. This dramatic exit is precisely as they had wished and planned.

Track 03: To Depths Unknown

“Frantically falling, flailing to and fro,” the protagonist is caught in a whirlwind of uncertainty, grappling with the unpredictable twists of their destiny. Their ultimate destination remains shrouded in mystery as they descend into the abyss of the unknown.

Track 04: Obsolarium

The protagonist turns inward, grappling with profound existential questions. They contemplate the nature of their current state: Should they hold onto the belief that even though their physical life has ended, their ultimate fate is still malleable, waiting to be defined?

Track 05: Ushered By Charon

Awakening to a surreal reality, the protagonist finds themselves in a desolate wasteland at the water’s edge. Surrounding them are countless lost souls, adrift and purposeless. A vessel emerges on the horizon, guided by a disheveled figure at its helm—Charon, the Ferrier of souls.

Track 06: Planes Divide

Undeterred by the dangers that lie beyond the shoreline, the protagonist pays the fare required to embark on a treacherous voyage across the waters. Unbeknownst to them, their journey will lead them through realms that are far more perilous than anticipated.

Track 07: Absentia

As the vessel ventures onward, the treacherous waters prove to be a metaphorical battleground. The Ancients, masters of manipulation, distort the perceptions of the voyagers. The protagonist’s senses are tampered with, blurring the lines between reality and illusion.

Track 08: Departing Acheron

Approaching the shores of Necropia, the realm of judgment, the vessel sails closer to its destination. The Ancients intensify their efforts to deceive and ensnare the voyagers. Their intention is to imprison these souls, subjecting them to a fate dictated by the Ancients themselves, just before they face their ultimate judgment.

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

Fun Facts – Story Angles:

1. Mitchi Dimitriadis engineered and produced the album which was essential to achieving Jeff Calder’s vision for this concept album.

2. Jeff Calder and Mitchi Dimitriadis developed the orchestration soundscapes heard on the album and during our live show infusing capture percussive sounds and spoken word elements with digital sound samples.

3. Hatred Reigns was the first band to mix and master their own album at Dark Moon Productions whereby Mitchi Dimitriadis was manning the equipment with the masterful assistance of Joe “Moon” Lyko.

4. Our guitarist Adam Semler has been apprenticing with Luther Charbonneau to learn the trade and is creating custom guitars for the members of his various projects.

5. Neil Grandy moderates the band’s visuals, as well as the editing and production of our videos.

6. Hatred Reigns takes pride in being a DIY band. Each member is a valuable asset to the group outside of their role of playing their instrument.

7. This album is the collective contribution of each member to make this release possible.

Stories behind the recording sessions:

1. During a break while tracking guitars, Mitchi accidentally dropped his lighter into a hot tub that had Scuba Jeff had to dive into action and retrieve it for him. KRRR Splash!

2. Jeff is absolutely infatuated with United Cutlery The Lord of the Rings and The Hobbit memorabilia and replica collectibles. As well as being passionate about Howard Shore’s thematic scores for Peter Jackson films which may have been infused into our music.

3. The album, like many others, faced a lot of adversities in the recording process which caused a very lengthy recording process. Some of these included: COVID lockdowns, people being sick with COVID, soldering of one instrument’s electronics to disrupt their tracking, click tracks plagued the process, and Planes Riff 3 proved to be the most challenging riff of the entire album, 2nd would be the diminished riff in Ancients for Jeff to execute to all band members satisfaction.

4. The final day of tracking guitar solos proved to be quite a powerful day, literally. While on a break, the skies turned dark gray and we were sure a storm was definitely looming. While tracking the last solo of the album, the lights kept flickering. We didn’t think much of it until Jeff’s daughter and dog tore down the stairs saying the storm was violent outside. Incredibly, we managed to track the last solo without the power going out. Finishing the session we went to inspect the damage and didn’t see anything significant out back, but upon leaving the house we discovered that the front tree had been blown over but fortunately towards the pathway. While driving Mitchi home, the city was like a wasteland, as sections of roads were closed due to downed trees and snapped power lines. Mother Nature was demonstrating her power for sure.

We were grateful to the Metal Gods in order to complete tracking the album during such treacherous moments.

It’s possible that the Ancients were looming, yet extreme metal prevailed!

L-R – Jeff Calder – Guitars, Adam Semler – Bass & Vocals, Neil Grandy – Drums, Mitchi Dimitriadis – Vocals

Unveiling Hatred Reigns: Forging a Path of Extreme Musical Mastery

Introducing Hatred Reigns, an uncompromising force hailing from the Ottawa Capital Region of Ontario. With an exceptional lineup comprising Mitchi Dimitriadis on vocals, Jeff Calder on guitars, Adam Semler on bass, and Neil Grandy on drums.

Prepare to be transported on an unparalleled auditory journey with Hatred Reigns’ upcoming release, “Awaken The Ancients,” set to unleash its sonic might on December 1st, 2023.

Embark on a Sonic Odyssey with “Awaken The Ancients”

“Awaken The Ancients” is not just an album; it’s a conceptual epic that traverses uncharted realms of sound and emotion. The album’s narrative follows a protagonist grappling with oppressive forces, leading to a summoning of the ancients who rise to liberate the tormented from their prolonged suffering. Plunged into an endless abyss, the tormented emerge upon a desolate shore, surrounded by aimless souls.

The Confluence of Masterful Musicians

Hatred Reigns is a union of accomplished musicians, each with an illustrious background. Drawing from other renowned bands such as ‘A Scar For the Wicked, Harvested, Deformatory, Thalassophobia, Insyte, Misshapen, MIM and Dichotic. The band’s collective expertise creates a sonic tapestry that seamlessly weaves old-school death metal with modern technical elements.

A Labor of Dedication and Passion

“Awaken The Ancients” stands as a testament to years of unwavering dedication and unyielding determination. The album’s thematic inspiration derives from an eclectic mix of films, literature, and the visceral experience of facing a spectacular demise. Divided into two realms, “Affliction” and “Affirmation,” the album offers a profound navigation of the protagonist’s perspectives and trials as they embark on their voyage to Necropia.

Album and Live Line up:
Mitchi Dimitriadis – Vocals
Jeff Calder – Guitars
Neil Grandy – Drums
Adam Semler – Bass & Vocals

Discography:
2023 – Awaken The Ancients – LP
2018 – Realm I: Affliction – EP

Shared Stage with:
Defeated Sanity, Stabbing, Cryptopsy, Aborted, Archspire, The Agonist, Bookakee, Gland, Misshappen, A Scar For The Wicked, Jesse Leach (Killswitch Engage)

Artist Endorsements: Charboneau Guitars

0 EPK – HYPERIA – The Serpent’s Cycle (2023)

August 31, 2023
by Asher
· EPKs · Hyperia

EPK – HYPERIA – The Serpent’s Cycle (2023)

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

“The Serpent’s Cycle marks a new era for Hyperia. This album has some of the most aggressive thrash metal we’ve ever written paired with lots of melodic vocal and guitar work. It consists of everything Hyperia stands for shred, speed, and intricacy.

We have pushed boundaries on our music and evolved our sound into what we consider the pinnacle so far of what we’ve created. We’ve taken the elements that we’ve used in the past and brought them out even more, while at the same time creating a seamless interaction between all elements to create a signature sound for the band.

I’ve never personally been more proud of an album and can’t wait to release it to the world!” – Colin Ryley – Hyperia

For fans of Exmortus, Municipal Waste, Havok, Lost Society, Children Of Bodom

Band: Hyperia
Album Title: The Serpent’s Cycle
Release Date: November 17, 2023
Label: Self-Release

Facebook.com/Hyperiabandofficial | Instagram.com/hyperiametal

Hyperiametal.bandcamp.com | Spotify | Apple Music

#12 Hyperia – July 2022 – Top 20 – Canadian College Radio Loud Charts – !earshot

https://earshot-online.com/charts/2022/July/loud.cfm

“Hyperia Make Bolder, Darker Thrashier Moves with New Album The Serpent’s Cycle” – Decibel Magazine

“Based in Vancouver, Hyperia’s third full-length, The Serpent’s Cycle, represents their most ambitious vision yet. Whether it’s the noodling prog of Prophet Of Deceit giving way to crossover thrash, the homage to Municipal Waste-style party headbangers on Automatic Thrash Machine or the tongue-in-cheek closer Crazy On You – originally by Heart – it’s impossible to pigeonhole them. Sounds Like: A high-octane power-thrash variety show with technical flair For Fans Of: Crisix, Exmortus, Havok” – Metal Hammer UK

“Ten original tracks of intense, metallic fury are delivered with crisp precision, swathed by Colin Ryley’s dextrous lead work and spearheaded by some savage, unrelenting vocals from Marlee Ryley.” – Power Play Magazine UK

“Titled the Serpent’s Cycle, the album finds the band blending seriously aggro-thrash with complex, fluid guitar work alongside lead singer’s Marlee Ryley’s growling vocals. A frequent fan fave across such taste-making press as Metal Hammer magazine, the band formed in 2018 and has continually upped its sound with each album release and developed a healthy body of cinematic narrative music videos to go along.” – The Vancouver Sun

“On Our Radar: Hyperia’s “Automatic Thrash Machine” a clinic in plugging in and kicking ass… First reaction? Holy. Fucking. Shit. There are few things that impress more at On Our Radar than a band that plugs in and then rocks the fuck out. It’s the closest thing one gets to standing in the pit of the Cobalt, Red Gate, or Santa Ana Denny’s without leaving the house… Sonically Hyperia is beyond crazy-tight here, all relentless ride-the-lightning guitar riffage from Skyler Mills and Colin Ryley, rolling-thunder bass and drums from Jon Power and Aaron Bell. Whisky-chugging vocalist Marlee Ryley comes off, awesomely, like someone who can’t decide who she loves more: Vancouver’s 3 Inches of Blood or Austin’s mighty Die Spitz. Strap in, and hang on. As our unemployed two friends correctly note at the video’s end, “Whooa. What a sweet party, eh?” Fucking A.” – The Georgia Straight (Vancouver, BC – Weekly)

“Consistently taking that next step in establishing their own brand of melodic thrash/death with progressive tendencies, Hyperia through The Serpent’s Cycle should continue to make a bigger footprint beyond Canadian borders into international acclaim and appeal. Bang thy heads, grab your favorite denim jacket or bullet belt/studded arm band attire and get ready to slam hard to these tracks – it will leave you battered and bruised the right way.” – Dead Rhetoric

“an album which is melodic, fast, and aggressive but never sacrifices any of its integrity to be en vogue. 8/10” – Metal Digest

“I would say if you are into thrash metal/death metal then this album will certainly meet your expectations, as well as providing lots of energy and flair, so there is no way you could rate these guys too low. I did enjoy them and look forward to hearing more from them, so check them out by all means.” – Metal Temple

“With The Serpent’s Cycle, Hyperia have almost reached the ultimate zenith of thrash metal mastery. They have succeeded in delivering a ferociously wicked metallic soundscape, that frequently pushes the needle into the red zone (and beyond), but also dares to experiment with the tried-and-tested formula – all while warranting the band and its listeners a license to party and have fun. A truly incomparable achievement! 9/10” – Shield Maidens of Metal

“Hyperia do everything right. The plate rocks tremendously, the neck vertebrae hurt and you can hardly get this stupid grin out to your face. Only good thrash can do that.” – Art Noir

“Without a doubt, we have a thrash highlight from an up-and-coming Canadian band. Where I have hope, they may soon land a big deal and very soon cause the boards to burst in our part of the world. At the end of the year, Hyperia managed to create a really sophisticated thrash hit that consistently puts the competition in their place. Respect! 9.6/10” – Zephyrs-Odem

“From the opening ‘Ego Trip’ bolt cutter to the tarantula-stricken ‘Spirit Bandit’ to the final, very tasteful HEART cover ‘Crazy On You’, the song eleven reveals to us all the reasons why we actually love Thrash Metal. With razor-sharp riffs, a successful amount of melody, a penchant for the old school and that certain something extra in the form of Marlee’s vocal performance, you should write HYPERIA behind your ears as a metalhead from the world, because if the Canadian, revamped five-piece in this quantity and Above all, quality continues, nothing stands in the way of promotion to the first thrash metal league. I’m excited.8.5/10” – PowerMetal.de

“It’s a real pleasure witnessing the evolution of Hyperia through the years, carving their names in the Canadian scene and becoming one of the driving forces of the current Thrash Metal environment, with The Serpent’s Cycle definitely taking the band to new heights. ” – The Headbanging Moose

“is an excellent third outing from the band, they’ve certainly ratcheted up the intensity, power, and the complexity from the first two releases… This thrashtastic effort is well worth a listen for any metal fan, it’s fast, technical, and rather ferocious.” – UK Thrashers

“Boredom never occurs on “ The Serpent’s Cycle ”… the disc places the highest demands on the neck muscles and condition and is likely to be a welcome food for fans of dark thrash.” – Hellfire Magazin

“The band sound absolutely blistering with the lead guitar work at a very impressive level while Marlee puts in her best vocal performance to date with unhinged screams and demonic snarls mixed in with some more melodic vocals which remain aggressive and full of that unbeatable thrash attitude. “The Serpent’s Cycle” is a great thrash record which retains its old school sound whilst incorporating a melodic sensibility without diluting the aggression. Definitely the strongest material the band have released to date and a big step up for the band. Another great thrash release in what has been a very strong year for the genre.” – Ever Metal

“Hyperia play thrash that is virtuoso, melodic but also extremely aggressive, tracks such as Prophet Of Deceit are full of twin axe harmonies, shifting guitar riffs and widdly solos, it’ll have you getting your air guitar out in no time, but with Spirit Bandit they have also made sure that your neck will ache for weeks. Hammering out three albums in four years is a pretty impressive feat, especially when you consider the quality of these tracks.” Musipedia of Metal

“Hyperia are on The Serpent’s Cycle much more aggressive than in their last works and this time cannot be guided by any concept, but simply start playing. This makes the band look even more authentic and grown musically, which is not least due to the hammer voice of Marlee Ryley. 8.5 / 10” – Soundmagnet Magazin

“There’s no doubting the ability of the band, with the guitar work at times simply mind-blowing… “The Serpent’s Cycle” contains plenty to enjoy… if fast and furious is your bag, this is an album that you should spend some time with when it is released.” – Female Fronted Power

“It strikes me that this band is capable of providing so much variety as well as class, there is a lot to be interested in. So I would say if you are into thrash metal/death metal then this album will certainly meet your expectations, as well as providing lots of energy and flair, so there is no way you could rate these guys too low. I did enjoy them and look forward to hearing more from them, so check them out by all means.” – Metal Temple

“A consistent piece of work, that thrashes, bites and grabs your attention with power, hardness and a melodic under current. If you like hard hitting melodic thrash, then ‘ The Serpent’s Cycle ‘ is one to look out for. All through this record there are precise rhythm and lead guitars, hammering drums, the bass rumbling along in all the right places. The musicianship is excellent and Marlee Ryley’s vocals are brutal. The production is clear, the guitars are up front, maybe I would personally like clearer vocals, but maybe hard to have good intonation when screaming and growling. Having listened to this album more than a few times now, it is definitely a grower, these four are tight, the serpents cycle only gets better with every listen .” – The Metal Pit

“devilish energy and almost limitless power, playful skills, the outstanding performance of Fronterin Marlee Ryley, creative, improved songwriting as well as a threatening sound world of aggression and madness!” – Obliveon

“Nothing seems to be able to stop these wild and unbridled Metal maniacs, and I believe that the live campaign to follow is going to be a real butchery.” – MetalNews.fr

“HYPERIA really hit their stride with the track “Prophet of Deceit” , where the shredding guitar work is at its best. Other top tracks are “Spirit Bandit”, “Surge” and “Deathbringer”… “The Serpent’s Cycle” works pretty well as combination of classic and modern thrash metal.” – Wormwood Chronicles

“on The Serpent’s Cycle, HYPERIA play their strengths fully and create an album that definitely deserves a place on the shelf of every Thrash / Death Metal fan. Conclusion: With The Serpent’s Cycle, HYPERIA official lumberjacking is practiced in the Canadian thrash forest.” – MetalUnderground.at

“The quintet absolutely depends on the shredding and the speed, but the songs are complex. There are various rhythm changes in each song and the musicians use the complete spectrum of their skills to get variety despite the high basic pace. The song structure was quite successful, as with „ Automatic Thrash Machine “, where the drumming accents after the successful solo. The classic quote at „ Prophet Of Deceit “ is really original – there Bach’s Toccata is rooted in D minor, by far the most famous organ work by the virtuoso musician. However, „ Spirit Bandit “ is particularly intense, where the band changes from the absolute stick and vocals to the melodic thrash with clean vocals. The following „ Eye For An Eye “ is also intense and includes a technically demanding solo. The regular conclusion „ Deathbringer “ is really nasty again. After the band on the last album with their ABBA cover for „ Gimme Gimme Gimme “ have proven that they not only hear and live thrash all day, this time HEART´s „ Crazy On You “ is rooted – which loosens the album pleasantly and puts a great contrast…. The North Americans have succeeded in a varied melodic Thrash Metal album, which reflects the madness of the world with its speed, high musical standard and complexity. 12/15” – MyRevelations.de

[Download Album Cover | Download Album Lyrics]

Band: Hyperia
Album Title: The Serpent’s Cycle
Release Date: November 17, 2023
Label: Self-Release

Track Listing:
1. Ego Trip (4:41)
2. Automatic Thrash Machine (4:02)
3. Prophet of Deceit (4:16)
4. Psychosomatic (4:29)
5. The Serpent’s Cycle (5:04)
6. Trapped in Time (3:58)
7. Spirit Bandit (4:04)
8. Eye for an Eye ( 4:47)
9. Binge & Surge (3:44)
10. Deathbringer (5:31)
11. Crazy On You [Heart Cover] (5:03)
Album Length: 49:41

Album Credits:
– All songs performed by: Hyperia
– All songs written by: Colin Ryley, except Trapped in Time co-written with David Kupisz
– All lyrics by: Marlee Ryley
– Mixed by: Colin Ryley
– Mastered by: Mika Jussila
– Member of SOCAN
– Canadian Content MAPL

Album Recording Line Up:
Marlee Ryley – Vocals
Colin Ryley – Guitars
Jon Power – Bass
Ryan Idris – Drums

Hyperia Official Lineup:
Marlee Ryley – Vocals
Colin Ryley – Guitar
Jon Power – Bass
Skyler Mills – Guitar
Aaron Bell – Drums

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About The Album Artwork

The album artwork was created by our close friend Caitlin Delaplace. It portrays a shadow figure in a yellow apocalyptic, cloudy snake pit. In front of the figure is an Ouroboros, a symbol of a snake devouring its own tail representing the eternal cycle of death and rebirth. At the top is a snake’s eye in the form of a moon.

About Th Album as a whole (LYRICALLY & MUSICALLY)

This is the first album we’ve released that isn’t much of a concept album like our first 2. There are still underlying themes that recur throughout the record, but the album isn’t focused around it nearly as much as the previous releases. This album deals with different lyrical ideas such as the human condition, philosophy, psychology, partying, and much more.

Musically this album is insanely aggressive, technical, and fast. We have some of the fastest songs we’ve ever written on this album and during recording, we were all definitely pushed to, and sometimes past, our limits. In the end it all came together and I think everyone is very proud of the work they put into it.

Track By Track (LYRICALLY & MUSICALLY)

Ego Trip – This song starts off the album with a haunting clean intro and then explodes into heavy-hitting chaos. It sets the tone for the whole album, bringing lots of aggression while allowing space for melody to shine through as well. Super fast double kicks and heavy chugging are also prevalent throughout the track. Lyrics are regarding how the ego gets in the way of finding out the truth.

Automatic Thrash Machine – A tongue-in-cheek nod to our favourite party thrash songs, this is a track that shows the fun side of the band. It is also accompanied by a keg-fueled party music video that shows people what to expect when they see the band live.

Prophet Of Deceit – This track brings us back into a serious mood, starting off with blistering guitar into a full-force attack of drums. The working title for this song was “Shredlord Supreme”, which should give you an idea of what to expect. This song is about the problems we have with certain members of society and gaslighting.

Psychosomatic – This song might have one of the most complex structures of any song we’ve written. There’s lots of progression throughout, laced with a bouncy chorus and an intricate neo-classical C-Section – This song was written with the intent to express how the medical system does not take patients seriously.

The Serpent’s Cycle – This was one of the first tracks we completed and have played it at a number of shows across western Canada. It’s your typical Hyperia song, fast, thrashy, and heavy. It’s pretty balls to the wall and then releases at the chorus with a catchy melody. The title track of the album is about how we live the same life over and over again but sometimes we make a different choice which creates a new dimension.

Trapped In Time – Trapped In Time has a fairly straightforward song structure and has some pretty old-school thrash elements throughout it. It’s also the only song with pretty much all cleaner vocals and leans towards 80s heavy metal at some parts. The main character in this song gets trapped in time trying to redo their life choices.

Spirit Bandit – This song starts out with a cool classical melody that came from a random warm-up Colin used to play. It also includes the fastest vocals we’ve ever written. It’s super fast and just when you think it’s about to give up you get pounded with the next section. This song is about a narcissist that wreaks havoc wherever they go.

Eye for an Eye – This is hands-down the heaviest song we’ve ever written. The song starts with a slow death metal riff and continues its pace until the C-Section where a bass lead brings us into a more typical Hyperia riff. The antagonist of this story is being haunted by the ghost that they killed and the ghost is seeking revenge.

Binge & Surge – What’s a thrash metal album without at least 2 party songs? Binge & Surge is another insanely fast song about drinking and thrashing.

Deathbringer – Another unusual song from the band, this song has very strong black metal influences throughout. Lyrically it revolves around Maha Kali, a Hindu goddess of death and destruction.

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Story Angles – Fun Facts About The Band:

1. Singer Marlee Ryley and Guitarist Colin Ryley are married. They started the band in 2018 after returning from a 13-month honeymoon in Europe and Asia

2. This album features Ryan Idris on drums who is the touring drummer for Heathen.

3. Every Hyperia release has been almost fully produced, recorded, and mixed by guitarist Colin Ryley, whose main job outside of the band is Sound Design and Composing for TV Series and Films.

4. Hyperia moved from Calgary, AB to Vancouver, BC during Covid to reach a wider audience with their band, along with other personal reasons.

5. Much of the lyrical themes in Hyperia’s songs revolve around the psychological and mental illnesses that Marlee Ryley has experienced.

L- R – Skyler Mills – Guitar, Colin Ryley – Guitars, Marlee Ryley – Vocals, Aaron Bell – Drums, Jon Power – Bass

Photo Credit – Shimon Photography

HYPERIA is a Melodic Thrash Metal band known for their wailing vocals, shredding guitars, and fast, heavy drums. The band was formed in 2018 by husband-wife duo Colin and Marlee Ryley. HYPERIA combines elements of aggressive thrash with intricate guitar melodies alongside a wide variety of vocal styles.

In January 2020, HYPERIA released their debut full-length album “INSANITORIUM”. The band celebrated their release at a 300-person sold-out show in their original hometown of Calgary, Canada.

In 2022, HYPERIA released their sophomore album “SILHOUETTES OF HORROR”, which received rave reviews from both critics and fans alike. The album put the band on the list of Metal Hammer’s Top 10 Albums of 2022.

In June 2023, recording of their third album commenced which is scheduled to be released in November this year. HYPERIA has had the honour of sharing the stage with bands such as Soulfly, Toxic Holocaust, Omnium Gatherum, Exmortus, Paladin, and many more.

Hyperia Official Lineup:
Marlee Ryley – Vocals
Colin Ryley – Guitar
Jon Power – Bass
Skyler Mills – Guitar
Aaron Bell – Drums

Discography:
2023 – The Serpent’s Cycle – LP
2022 – Silhouettes Of Horror – LP
2020 – Insanitorium – LP
2019 – Fish Creek Frenzy – EP

Tour and Festivals:
2023 – Cosmic Horror Tour – Western Canada
2023 – Hyperspace Metal Festival – Vancouver, BC
2023 – New Year’s Winterfest – Vancouver, BC
2022 – Loud As Hell Festival – Drumheller, AB
2022 – Armstrong Metal Festival – Armstrong, BC

What the press said about Hyperia’s 2022 Album – Silhouettes Of Horror:

“If you prefer your metal loud, dark and just a touch campy (and who doesn’t?), then Calgary-turned-Vancouver rockers Hyperia are planning to deliver with Silhouettes of Horror, the follow-up to 2020’s equally furious and equally fun Insanitorium. First single “Operation Midnight” is an unrelenting barrage of riffage held down by Marlee Ryley’s throat-blistering vocals.” – Exclaim! – One of Exclaim!’s most anticipated albums of 2022

“With their second album Silhouettes Of Horror, Canadian thrashers Hyperia doubled down on the most ferocious elements of their sound to achieve a sound that owed more than a passing nod to Tetonic thrashers Kreator or Destruction. The fact vocalist Marlee Ryley can deliver blackened snarls with as much gusto as trad-metal histrionics helped them stand out from the crowd, firmly establishing Hyperia as promising up-and-comers in the wide world of thrash. RH” – Metal Hammer – The top 10 best thrash metal albums of 2022

“Recent Calgary-to-Vancouver transplants Hyperia are all about thrashing in a style inherent to ’80s basketball shoes, shredded denim, battle jackets and those studded gauntlets that may look cool, but are likely more responsible for forearm rashes than being a gateway to one-night stands. Imagine classic Megadeth, “Toxic Waltz”-era Exodus, Annihilator and Anthrax alongside Exmortus, Havok, Warbringer, Violator, Crisix and others with a new-school take on an old-school sound.” – Decibel Mag

“Energetic, melodic, fast, psychotic, and dynamic are just some of the elements that make Silhouettes of Horror an album that old and new fans of thrash, NWoBHM, and power metal will appreciate. The band even included a cover homage of Abba’s Gimme Gimme Gimme.” – Sentinel Daily

“All in all, Silhouettes of Horror gave me what I want for from a modern melodic thrash album. It’s fun, it doesn’t take itself too seriously, and it’s got cool stories to tell.” – Angry Metal Guy

“You can tell these musicians study at the foot of many legendary bands for influence – combining the intensity of Slayer, Exodus, and Death Angel with the innovative musicianship of Children of Bodom, occasionally allowing the bass play of Scott DeGruyter to garner a spotlight for “Experiment 77”. Session drummer Gord Alexander pummels his kit with controlled abandon, executing fine double kick/snare sequences that drive “Prisoner of the Mind” to swinging hair windmill tendencies, while throwing down standard thrash power principles for “Operation Midnight”. Beyond killer titles like “Hypnagogia” and “Pleonexia”, the icing on top of an already enticing package lies with the fierce clean to extreme growl/scream delivery from Marlee Ryley. Venomous and slithering, you never know when she will melt paint off the walls only to hit solid melodies from her soul.8.5/10” – Dead Rhetoric

“This is one of the most exciting thrash albums I have heard in a fair few years. Hyperia have absolutely smashed it delivering an album that just keeps giving insane quality, track after track. Silhouettes of Horror is a special album and one that is so relentless, so energetic and enthusiastic that I felt out of breath just listening to it. Amazing. Do yourself a favour an make sure you grab a preorder of this excellent release from Hyperia on Bandcamp. 9/10” – Games, Brrraaains & A Head-Banging Life

“Closing things out with an addictive-to-listen Abba cover, Hyperia ultimately showcase that while they’re here to bring all the notions of devastation and velocity to your current surroundings, they never forgot you need to have a little fun from time to time.” – The Razor’s Edge

“I have a long-running theory that any style of music can be immediately improved by making it just a little bit spookier, and Hyperia is the proof that it works for thrash. Regular thrash is all well and good, but add some spooky-ass melodies in there and it becomes instant Spear bait. The strings players are all on their A-game here, and there’s an inordinate amount of cool shit happening on the drums with regards to thrash, but the vocals are what hooked me off the bat. Marlee Ryley has a raw wail and a vicious scream that both play into this particular style extremely well, and it makes the whole package super enticing.” – Toilet ov Hell – Top Albums Ov 2022

“Silhouettes of Horror dropped early this year and quickly became one of my go-to albums for whenever I wasn’t sure what to put on. It’s an album that feels quintessentially “metal” to me, bearing all the traits that got me into the genre in the first place, distilled to their purest form and injected in perfectly measured doses. It’s riffs on riffs on riffs with tons of flashy shreds, a driving rhythm section, and some wild vocals. You’ve also got to respect them for being one of the only bands out there to put out a metal cover of a pop song that actually fucking rules.” – Tolet ov Hell

“It’s a vile concoction, but it bloody works. From the outset, introductory trio “Hypnagogia,” “Intoxication Therapy,” and “Experiment 77” righteously capture and highlight Hyperia‘s raison d’être: to regale us in tales of mental degradation, escapism by way of fermented imbibements, and inhumane clinical experiments. These three cuts slice and dice in quick, surgical slashes that will leave most listeners bleeding heavily and begging for more mauling. Thankfully, Hyperia had only onslaught in mind, as closing trio “Silhouettes of Horror,” “Operation Midnight” and “Pleonexia” close out the main story with a tempest of scalpels and scotch, infusing every moment of their horror-oriented exhibits with relentless fun and unhinged performances across the board. Even the cover of ABBA‘s “Gimme Gimme Gimme” that the band pinned to the tail of the record wins, thanks to faithful reproduction of that song’s big hook and an enthusiastic vocal delivery.” – Angry Metal Guy

“this album is the perfect blend of terror and thrash that blends well to create something uniquely familiar. It hits all the musical notes you’re after, while still indulging in a few out of this world solos and combos that are to die for. Favourite Tracks: Experiment 77, Silhouettes of Horror” – Metal Goddesses

“Classic metal / thrash / prog-ish metal, big voices, harsh thrashy stuff… great stuff!!” – The Mosh Pit 89.9FM (Madison, WI)

“this is neck-wrenchingly good riffage delivered through a neat production as tracks such as ‘Experiment 77’, ‘Terror Serum’ and ‘Operation Midnight’ show a band in full throttle having all the hallmarks of Havok and Warbringer and Exodus. Yet, there is so much more here than just another thrash album, the melodic death touches bring in elements of Arch Enemy whilst the virtuoso guitaring and powerful is a call to arms for Exmortus fans. However, what stands tall here are the banshee vocals of Marlee Ryley who brings all the energy of Noora Louhimo as well as fellow Canadian Brittney Slayes from Unleash the Archers.” – Metal Digest

“this 50-minute exercise in thrash really needs to be heard because this is some serious pummeling…. Silhouettes Of Horror is a rollicking opus and showcases the progression of the band. The stories contained herein are as thought-provoking as the musicianship, which literally strips the flesh.” – Metal Forces Magazine

“No question, the Canadians know exactly what they want and like each of the eleven tracks. The 50 minutes of playing time fly by without boredom” – Saitenkult

“HYPERIA have grit, they have fire and they have passion that you cannot buy. Their music is ferocious, at times wild to the point of anarchic but “Silhouettes Of Horror” is an album well worth checking out, especially if you like your female vocals with guts and your thrash with a dirty death metal undercurrent.” – Female Fronted Power

“She’s (vocalist Marlee Ryley) got quite the powerful screams that’ll rip your ears off at times… Overall the album is heavy and fast and packs a lot of punch…” The Metal Crypt

“Do you believe in government experiments and conspiracy theories? Are you a diehard fan of first-class Thrash Metal? If your answer is yes to one or both of these questions, then Hyperia have exactly what’s needed to put a huge smile on your face while you raise your horns to the demented music found in their excellent new album, leaving us all eager for more of their wicked creations in the nearby future. Best moments of the album: Intoxication Therapy, Experiment 77, Whitecoat and Operation Midnight.” – The Headbanging Moose

“Silhouettes of Horror offers an extreme range of musical strength, to which all musicians contribute their full strength. Vocals in the perfect alternation between growling and clean vocals complement the experimental solos and riffs to an hour of music that entertains the listener very well and leaves them with neck pain. Whopping 9 / 10” – Soundmagnet.eu

“I’m still amazed when discovering such a powerful band… the band is bringing us a very good album to set on top of the Thrash Metal pile to listen to every day.10/10” – The Metal Mag

“Silhouettes Of Horror is so damn good for me. For once no cheerful party thrash, but an old school dark, heavy album brimming with classic ingredients, each convincing for itself, and together they form a beautiful sum. As far as I’m concerned, Hyperia has done a great job” – Wings of Death

“There is a thrill, there is energy, there is a claw, and there is no shortage of interesting melodies or riffs. The album is aimed at those who long for real heavy metal power… This album is destructive and will be remembered for a long time. Hyperia has released a really thoughtful and refined album that will unite fans of heavy metal and thrash metal.” – Power Metal Warrior

“At the crossroads of thrash and death, Hyperia offers a solid album with “Silhouettes Of Horror”. The band shows great qualities and has the weapons to break through in the middle of the pack of young wolves who are candidates to take over from the old ones.” – Music Waves

0 EPK – Massive Scar Era – Metal Goes Egyptian (2023)

August 25, 2023
by Asher
· EPKs · Massive Scar Era

EPK – Massive Scar Era – Metal Goes Egyptian (2023)

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

“This EP possesses a distinct nature due to its special concept. It is particularly appealing to metal enthusiasts who appreciate a diverse range of folkloric influences. Fans who enjoy the fusion of metal and various folk elements will find great enjoyment in this EP. (I think maybe Myrath would the closer to this sound although the instrumentation and tuning are different they would be the closest). I want them to feel the intensity and energy of metal while being embraced by the melodic beauty and cultural nuances of traditional Egyptian Arabic music. It’s an opportunity for them to embark on a musical journey that transcends boundaries and creates a unique fusion of genres. I hope that this blend of musical elements will ignite their imagination, evoke emotions, and leave them with an experience that lingers long after the music stops.” – Cherine Amr – Massive Scar Era

Band: Massive Scar Era
EP Title: Metal Goes Egyptian
Release Date: November 3, 2023
Label: Self-Release

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

Massivescarera.bandcamp.com | Spotify | Apple Music

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

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

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

“the Egyptian-Western music cocktail has an almost hypnotic effect” – PowerMetal.de

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

Band: Massive Scar Era
EP Title: Metal Goes Egyptian
Release Date: November 3, 2023
Label: Self-Release

Track Listing:
1. Between Waves – 3:22
2. 30 Years – 4:43
3. Oblivious – 3:46
4. Back to the Sun – 3:41
5. Color Blind – 3:14
6. Endorphins – 2:37
EP Length: 21:26

Credits:
All songs performed by: Violins: Kristin Molnar, Zoé Dumais, and Rasha Masalkhi
Viola: Omar Abou Afach
Oud: Mohamed Masmoudi
Qanun: Nizar Tabcharani
Percussions: Phyras Haddad, and Bertil Schulrabe
Drums: Julia Geaman
Bass: Etienne Tremblay
Songwriting, Vocals, Guitar: Cherine Amr
Arabic Music Arranger: Weka Soliman
Music Copyist: Hugo Mayrand
Sound Technicians: Jacob Lacroix-Cardinal, and Nicolas Pétrowski
Music Producer, mix and master: Etienne Tremblay (La Machine à Mixer)
Recorded by Nicolas Pétrowski and Etienne Tremblay (La Machine à Mixer) at Studio Mixart, Montreal, QC,
• All songs written by: Cherine Amr
• Produced by: Etienne Tremblay
• Mixed by: Etienne Tremblay
• Mastered by: Etienne Tremblay
• Album Artwork by: Biggg Rock Films

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The album as a whole (LYRICALLY & MUSICALLY):

Metal Goes Egyptian is an EP and in-studio video sessions recorded and filmed with a traditional Egyptian Arabic music orchestra in Studio Mix Art in Montreal, QC. It consists of 6 songs: 2 brand- new and a rearrangement of 4 previously released songs.

Arabic music is typically known for its monophonic nature, emphasizing melodic lines. On the other hand, metal music frequently employs the riffing technique, where chords may provide little information about the melody. This compatibility is why metal is one of the most adaptable genres for incorporating Arabic arrangements without significantly altering the core composition.

In this project, Weka, the arranger of Arabic music, played a significant role in selecting the songs that would best suit to incorporate Arabic arrangement. Our collaborative process facilitated smooth decision-making through ongoing discussions and exchanges of ideas.

We selected songs with Egyptian-flavored vocal ornaments, and these naturally facilitated the harmonious integration of the Arabic arrangement. The intention was to avoid forcibly converting metal music into Egyptian music while ensuring the song’s foundational heaviness remained intact.

Track By Track explained:

1. Between Waves

Between the Waves was the first song that we worked on. It’s one of the oldest songs for MSE that wasn’t released digitally. In this song’s intro, a heavy riff is playing in the background, consisting of just two notes. Weka was free to incorporate the Hijaz scale without constraints, and he used maqam kord as a secondary “gens, ” a modern approach to this maqam. That’s how the song began. As the song progresses, it transitions into a new section with modulation on the G note, leading into maqam Rust. Finally, the ending of the intro (“Taslim” in Arabic) concludes with a return to the Hijaz scale, creating a glamorous ending.

I wrote this song when I was very young. It was even before I moved to Cairo in 2009. I was still in the process of discovering myself as a person before a lyricist and a songwriter. While I don’t resonate with the lyrics anymore, singing this song again reminded me of an entire lifetime.

2. 30 Years
This is a rearrangement of a previously released song under the same title. I wrote it when I turned 30 when I moved to Canada. I’m used to writing songs and then jamming on them with a drummer to try out different ideas. With the move to Canada, I didn’t know any drummer to jam with, and I wasn’t ready to network yet, so I had to navigate midi and drum machine, which was a pain – still a pain! But I wrote the drumline for this song on my computer, and with this added knowledge, it gave me a tool to finally express the beats I have in my mind, even if they don’t sound great.

3. Oblivious
Also, a rearrangement of a previously released song under the same title. I altered the way I sang the chorus to match the Arabic ornament played by the orchestra. I didn’t have to do this, but I just loved it so much that I couldn’t help not singing it. It’s a personal song, and its ending always gives me goosebumps. The song explores how people can sometimes misunderstand things without realizing it, either because they don’t have all the information or because they’re busy with other parts of their lives. It also looks at how our pride can affect how we take in information and how it can be really hard to admit when we’re wrong and face our mistakes instead of avoiding them.

4. Back to The Sun

“Back to the Sun,” the fourth track in the EP and the first single, holds a special place for me. It stands out for several reasons, including the captivating chorus sung on a Maqam Rust, which incorporates microtones. The song explores the theme of returning home, where home is not just a physical place, but a feeling of warmth and nostalgia—a place of ease and belonging.

The chorus of “Back to the Sun” beautifully utilizes the Maqam Rust, incorporating a microtone between the third and fourth degrees of the scale. This musical choice enhances the emotional and melancholic impact of the song, adding depth and expressiveness. Microtones, which refer to the pitches that lie between the conventional Western musical notes, allow for subtle variations in pitch within the Maqam Rust scale.

By incorporating microtones, the song achieves a nuanced and evocative melodic quality, capturing the essence of the emotional journey back home. These subtle variations in pitch within the Maqam Rust scale add an additional layer of depth and complexity to the music, enhancing the overall listening experience.

5. Color Blind
We decided to rearrange this previously released song for inclusion in this project primarily because of its numerous delicate vocal ornaments. These ornaments provided an opportunity for an Arabic arrangement. Once the Arabic arrangement was introduced, these subtle elements became much more pronounced compared to the original arrangement.

I wrote this song after I was denied entry to the USA to play at SXSW with MSE due to the Muslim ban implemented by Trump. Although Egypt wasn’t on the banned list, the border officer was cautious about bands from our region participating, fearing it could add to the ongoing protests at the festival. Fortunately, that’s all in the past now, and I’ve been able to perform many shows smoothly in the USA since the situation has improved.

6. Endorphins
This is a fresh song I composed during the pandemic using my keyboard. Needless to say how challenging the period of isolation was challenging for everyone, and on top of that, I was living alone in Vancouver. Zoom calls, online events, and even making music had become exhausting. I was struggling with feelings of depression and isolation. My career seemed to be at a standstill, and financial concerns weighed heavily on me.

In the midst of this, the middle section in the 9/8 time signature emerged. I had recently come across the Saz VST and was experimenting with it when the arrangement for this part just clicked.

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Story Angles – Band Fun Facts:

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

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

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

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

With an impressive six albums already, Massive Scar Era is ready to present its seventh “Metal Goes Egyptian” this year. The first look at this EP is the single “Back To The Sun”, which holds a special place for Amr, which she explains:

“It’s a reflection of the warmth and nostalgia we all carry within us. The chorus, sung on a Maqam Rust with its intricate microtone, adds a touch of melancholy and emotional depth to the music. This song is an ode to the feeling of belonging and the yearning to return to a time and space where we felt at ease.”

A truly enriching musical experience, Massive Scar Era is doomy and melodic metal suitable for fans of Nawather, Merkfolk, and Aeternam.

Amr also adds:

“As the leader of this project, I am humbled and elated to witness the realization of my long-held vision. It has been an incredible journey, collaborating with an exceptional team of musicians, producers, and video creators. Together, we have crafted a musical experience that merges the power of metal with the enchantment of Egyptian traditional Arabic music. This project has expanded my horizons as a composer and creative leader, and I am grateful for the guidance and expertise that Katia Makdissi-Warren, our consultant, has provided. From the remarkable orchestral arrangements by Weka Soliman to the dedication of the sound production team led by Etienne Tremblay, every individual involved has contributed their talent and passion, ensuring a seamless and extraordinary outcome. With heartfelt appreciation, I thank everyone who has made this dream come true, and I invite you all to join us on this remarkable musical journey.”

“Metal Goes Egyptian” is due out on November 3, 2023.

More Info:

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

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

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

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

0 EPK – Display of Decay – Vitriol (2023) (Gore House Productions)

August 25, 2023
by Asher
· Display of Decay · EPKs

EPK – Display of Decay – Vitriol (2023)

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

“Every song is so unique that it feels like a new experience every single track. We never go into the writing process under the expectation of writing something a certain way and I think this translates well in the songs as they flow cohesively from track to track while each having their own unique added elements.” – Display of Decay

For fans of Cannibal Corpse, Dying Fetus, Immolation, Pantera, Morbid Angel

Band: Display of Decay
Album: Vitriol
Release Date: October 20, 2023
Label: Gore House Productions

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

Displayofdecay.ca | Facebook.com/displayofdecayofficial | Instagram.com/displayofdecayofficial | Tiktok.com/@displayofdecay

Spotify | Displayofdecay.bigcartel.com | All Links – https://linktr.ee/displayofdecay

Album Pre-Order – https://orcd.co/vitriol

“Edmonton’s long-standing denizens of death metal” – Decibel Magazine

“Should have lots of these from previous record, here are a few “This three-piece, hailing from the Canadian badlands, are an absolutely crushing ode to no-frills, old-school brutality.” – Metal Injection

‘’Perfect for fans of Deicide and Cannibal Corpse” – Bloody-Disgusting

“death metal that is surely to snap your neck and crush your skull.” – My Global Mind

“From pit anthems to intricate playing identifiable sound and raspy deep growls, every reason you love death metal is inside the tracks that lay within “Art in Mutilation.” – Metal Temple

“This is pure North American death metal with a dosage of thrash, but it’s the effective songwriting that keeps your interest from start to finish.” – Dead Rhetoric

“This is Brutal Death Metal that wastes no time on pointless intros or messing around.” – Wonderbox Metal

““Created To Kill” is a monster itself — a blazing onslaught of thrashing death with a raw, old-school tone, loaded with riff savagery and anchored by a nimble bass line and a hard-hitting drum attack. The song’s dynamic tempos are sure to be gasoline for the mosh pit, and the punchy grooves in the music should get heads moving vigorously as well. On top of all that death metal goodness, the rapid-fire vocals are as bestial as this kind of instrumental ferocity demands.” – No Clean Singing (2015 – Dust of Existence)

[Download Album Cover | Download Album Lyrics]

Band: Display of Decay
Album: Vitriol
Release Date: October 20, 2023
Label: Gore House Productions

Track Listing:
1. Malicious Motorcide (3:17)
2. The Butcher (4:26)
3. Legion of Doom (4:04)
4. Familial Feast (3:26)
5. Harbinger (3:06)
6. Hot Lead Vengeance (4:01)
7. Slaughtercast (3:54)
8. Vitriol (3:19)
Album Length: 29:36

Album Recording Credits:
– All songs written and performed by Sean Watson,
Brandon Siefert, Logan Wilson.
– Drums performed by Tyson Travnik on ‘Hot Lead
Vengeance’ & ‘Vitriol’
– All lyrics by Display of Decay & Kland Kuly
– Mixed & Mastered by Christian Donaldson
– Assistant Mix Engineer by Dominic Grimard
– Cover art by Caelan Stokkermans
– Graphic design by Logan Wilson
– Canadian Content (MAPL)
– Member of SOCAN

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

The album as a whole:

‘Vitriol,’ was born of rage and spite fueled further by the chaos and uncertainty felt worldwide over the last few years.

The lyrical content covers a variety of topics ranging from pop culture references like Diablo & Mass Effect to darker undertones of the mainstream media’s obsession with school shootings and other acts of senseless violence that are continuously looped for ratings evidently posing a risk of reproduction.

Track By Track:

Malicious Motorcide: Malicious is a wild ride from start to finish. It’s a song about driving over hordes of people in a fit of rage, the elevation in tempo and chaos felt in the song flow together perfectly with the lyrical content which was based around real events a member of our band was nearly a victim of.

The Butcher: The Butcher to me is the most dynamic song on the record. Its tempo fluctuates so much throughout to build up with the story behind the song. Initially, it started out as someone who was taken hostage and held against their will, soon to be burned alive, but we couldn’t help but draw reference to Diablo’s notorious Butcher who’s been featured in several of their games. The sheer heaviness of that intro and the catchiness of the chorus are guaranteed to turn heads and blow minds.

Legion of Doom: We have songs about serial killers, school shootings, and otherwise brutal methods of dying. Deep down, we’re just a bunch of nerds who love playing heavy music and this song really captures that. We wrote this one about the ‘Death Knight’ in World of Warcraft, because it’s badass and because we can. Musically, this song was rewritten a number of times. I can remember a few minutes before a writing session, Brandon was on his way over and I was sitting there strumming along to warm up when I plucked the notes that would eventually become the chorus, and I thought to myself did I just write the best riff ever?!” Of course, I didn’t, but it’s a pretty damn great riff. This song is definitely more ‘progressive’ than the other ones perhaps, I feel there’s a definite nod to ‘Death’ in this one, but nonetheless, it’s about slaying monsters in Azeroth. FOR THE HORDE.

Familial Feast: This was the last and most unexpected song on the record. We had another tune initially on the record we ended up scrapping late as we felt it wasn’t up to par, but we had been jamming even newer stuff between recording sessions. Familial Feast just fell into place seamlessly and unexpectedly became one of our favorite tracks to play so it was a no-brainer to throw it on the record.

The lyrical content was written about Katherine Knight, an Australian-born murderer who in the early 2000’s killed and cooked her spouse with the intent of feeding him to his children. It’s a pretty wild case that never seemed to garner as much notoriety as one would expect with such gruesome details.

Harbinger: Harbinger is definitely one of the most technically challenging songs, if not the MOST technically challenging on the record. A frenzy from start to finish, this track features a wide range of dynamics stretching from sweep picking, and octaves, to full-on chaos!

Lyrically, it’s entirely based on Mass Effect and the Reaper invasion, because as previously mentioned, nerds.

Hot Lead Vengeance: This track was written right as we came back from the ‘Decimate the West’ tour in 2019. It was based on the growing number of senseless shootings going on around the world at the time. Every time you turned on the TV, every news network was covering a mass shooting somewhere, or some other act of senseless violence. It’s definitely an experience to sit and listen through and certainly not for the faint of heart.

Vitriol: The name of the track says it all. The lyrical content in this tune was written in a time of extreme rage and with that, the music just kind of followed. To me, it’s got the most powerful chorus of the entire record lyrically and musically because it’s simple yet effective.

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

L – R – Brandon Siefert (Bass), Sean Watson (Guitar / Vocals), Logan Wilson (Drums)

Photo Credit – Display of Decay

Formed in 2007, Display of Decay is widely noted for bringing a unique blend of old-school death metal, with tinges of thrash and doom metal. Hailing from Edmonton, the band has spread their infection across Canada, sharing the stage alongside other elite acts such as Kataklysm, Cattle Decapitation, The Faceless, Origin, Beyond Creation & more. After five well-received indie releases (two EPs and 3 full-lengths), Display of Decay is unleashing their fourth album “Vitriol” featuring eight aural assaulting tracks that set the mosh pits ablaze. “Vitriol” is due out October 20th, 2023 via Gore House Productions.

Discography:
2010 – Blood Borne – EP (demo)
2012 – Display of Decay – LP
2013 – Outbreak of Infection – EP
2015 – Dust of Existence – LP
2018 – Art in Mutilation – LP
2023 – Vitriol – LP

Artist Endorsements: EMG Pickups – http://www.emgpickups.com/artist/index/view/id/884

Music / Movie Placement: Bagman – Recycle or Die (2015)

Shared Stage with: Kataklysm, Cattle Decapitation, Defeated Sanity, The Faceless, Origin, Beyond Creation

Tours and Festivals:
2013 – Farmageddon Open Air – Ryley, AB
2014 – Loud As Hell – Drumheller, AB
2014 – Farmageddon Open Air – Ryley, AB
2015 – Armstrong MetalFest – Armstrong, BC
2016 – Loud as Hell – Drumheller, AB
2018 – Hamilton DeathFest – Hamilton, ON
2019 Las Vegas DeathFest – Las Vegas, NV
2019 Loud As Hell – Drumheller, AB
2020 Decimate MetalFest – Edmonton, AB
2021 Loud as Hell – Drumheller, AB

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