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Category: EPKs

0 EPK – Lunar – Mechanical Animals (single) (2025)

  • October 1, 2025
  • by Asher
  • · EPKs · Lunar

EPK – Lunar – Mechanical Animals (single) (2025)

For fans of Opeth, Caligula’s Horse, Haken, Tool, Porcupine Tree, Ayreon

Facebook.com/lunarbandofficial | Instagram.com/lunarbandofficial | X.com/LunarBandOffcl | YouTube.com/@lunarbandofficial

Lunarbandofficial.bandcamp.com | Spotify | Apple Music

Band: Lunar
Single Title: Mechanical Animals
Single Length:
Release Date: September 12, 2025
Label: Saibot Reigns Records

Based out of Sacramento, CA, LUNAR is a progressive metal band formed in 2013 when longtime friends Alex Bosson (drums & percussion) and Ryan Erwin (guitars & vocals) decided to get together and write the style of music that was always in their hearts; genre defiant and free of restrictive influence. With the addition of Danny Stevenson (keyboards) the trio recorded their first EP, “Provenance,” in the Winter of 2014.  

Shortly after that, Danny parted ways with the band. Ryan and Alex added on Ryan Price (bass), Chandler Mogel (clean vocals) and Brian Lewis (growl vocals) and released their first full-length album, “Theogony,” through Divebomb Records in 2017.  

Not long after the debut’s release, Ryan Erwin, sadly, passed away. After some internal turmoil, Alex decided to take the grief and write an album surrounding it. Bringing on Balmore Lemus on guitar to replace Erwin, the band then released the 2nd album, “Eidolon.” 

With the addition of Alex Nasla (keyboards), and after a lengthy self recording process due to COVID lockdowns; the band released their 3rd full-length album, “The Illusionist,” in 2023. This album marked a huge leap forward in the band’s sound, being mastered by the legendary Jens Bogren at Fascination Street Studios. The album received high praise, including perfect 10/10 reviews, and was referred to as “The BLACKWATER PARK or SCENES FROM A MEMORY of the 2020’s.”  

In January 2025, the band released their latest effort; “Tempora Mutantur.” An album surrounding the concept of the passing of time. Once again, the album was received with overwhelming positivity, being called “perfect” and “the first must-have of 2025.”  

With a more solidified lineup and the success of recent albums, LUNAR is finally ready to take this formerly studio-only project to the stages! Making their live debut in Vancouver at the HYPERSPACE METAL FESTIVAL, and booking more festival appearances for 2026, the band looks forward to performing and spreading their music around the world! 

LINEUP:
RHYTHM GUITAR: Jason Ashcraft
DRUMS: Alex Bosson
GROWL VOCALS: Brian Lewis
LEAD VOCALS: Chandler Mogel
LEAD GUITAR: Jordan Price
BASS: Ryan Price
KEYBOARDS: Anthony Stahl

0 EPK – Dawn Vally – Graves (single) (2025)

  • October 1, 2025
  • by Asher
  • · Dawn Vally · EPKs

EPK – Dawn Vally – Graves (single) (2025)

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

For fans of Parkway Drive, Lamb Of God, Cancer Bats, Volumes, Of Mice And Men

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

Single pre-save – https://ampl.ink/ezq3P

Dawnvally.ca | Facebook.com/DawnVally | Instagram.com/dawnvally | Tiktok.com/@dawn.vally | Youtube.com/@DawnVally | X.com/DawnVally

Apple Music | Spotify

[Download Single Cover | Download Single Lyrics]

Band: Dawn Vally
Single Title: Graves
Release Date: October 4, 2025
Distribution: IndiePool
Length: 2:45
Genres: Metalcore
Location: Toronto, ON, Canada

Single Credits:
• performed by: Dawn Vally
• written by: Dawn Vally
• Produced by: Eli Heineman
• Mixed by: Eli Heineman
• Mastered by: Eli Heineman
• Single Artwork: Eightfold Visuals
• Member of SOCAN
• Canadian Content (MAPL)

Band Line Up:
Vocals – Zac Emmons
Bass – Jeff Bartolo
Guitar – Antonio Bratta
Drums – Joe Bartolo

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

About The Single Artwork:

Single art was done by Paul Padgett of Eightfold Visuals. It’s a jailhouse setting with horror-esque vibes, which we felt was necessary for a song like Graves.

About The Single:

Graves is a song about betrayal and the feelings that come with that experience. Musically, it follows a similar style to the previous album, Blueprints of the 416, but we feel it’s our heaviest song yet. Musically, it has high intensity with punishing breakdowns.

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

FUN FACTS – STORY ANGLES:

1. A lot of Zac’s lyrics are based on personal experiences. He goes into and relives those emotions to convey the aggression he feels complements metal music so well.

2. With the music, we have been on a mission to challenge ourselves as musicians to take our performances to the next level.

3. Jeff (bass) and Joe (drums) are twins who started the band together.

4. All of Dawn Vally’s music has been produced by Eli Heinamen, the bassist of hardcore band HEAT.

5. Anton is a classically trained guitarist with heavy jazz influence. He also teaches guitar.

6. Zac (vocals) was the guitarist for popular hardcore band Pound Of Flesh

7. Dawn Vally’s first album, “The DVP,” was only available on burned CDs; they wouldn’t drop music online until the Just Please Her album in 2013

L-R: Joe Bartolo (Drums), Antonio Bratta (Guitar), Zac Emmons (Vocals), Jeff Bartolo (Bass)
Photo Credit: Josh Vicente

Formed in 2007 by twin brothers Jeff (bass) and Joe Bartolo (drums), Dawn Vally erupted from the underground with a mission to deliver metalcore that’s unapologetically aggressive, emotionally raw, and sonically punishing. What began as a DIY project—burning CDs of their debut album The DVP before releasing music online in 2013 with Just Please Her—has evolved into one of Canada’s most relentless metalcore acts.

The band’s sound is a collaborative effort, shaped by the diverse musical backgrounds of its members. While metalcore and deathcore are the backbone, influences range from Anton’s jazz guitar finesse to Zac and Joe’s love for classic rock and Jeff’s hardcore roots. This fusion creates a sonic identity that’s both familiar and fearlessly unique.

In early 2025, Dawn Vally welcomed Zac Emmons as their new lead vocalist. Formerly the guitarist of hardcore outfit Pound Of Flesh, Zac left the band in February to pursue vocals. Already close with the group, he joined for a jam session—and things clicked instantly. His emotionally charged lyrics, often drawn from personal experiences, dive into the darker corners of the psyche, giving fans something visceral to connect with.

Their upcoming EP, expected in early 2026, marks the first release with Zac on vocals. Featuring tracks like “Graves” and “Orange,” the record promises 5–6 songs of refined brutality. “Graves,” the second single, is a standout, lyrically drenched in betrayal and musically ferocious. Zac describes writing it by tapping into a dark place in his mind, and the result is the heaviest Dawn Vally song to date. It channels the intensity of their previous album Blueprints of the 416 while pushing their sound to new extremes.

Live, Dawn Vally is a full-throttle experience: punishing breakdowns, wild leads, and a wall of sound that leaves no one standing still. With plans to expand their brand Canada-wide, the band is gearing up for tours both out west and east in the coming year.

Influenced by heavyweights like Whitechapel, Parkway Drive, BMTH, Get The Shot, and Hatebreed, Dawn Vally continues to challenge themselves as musicians, pushing their performances and songwriting to the next level.

Discography:
2025 – Graves (single)
2025 – Orange (single)
2024 – Blueprints Of The 416 (EP)
2017 – Still Bleeding (EP)
2015 – Bleed Through Your Ears (single)
2013 – Just Pleaser (Album)

Shared Stage with: MyChildrenMyBride, BrokeNCYDE, The Bunny The Bear, Cryptopsy, Bodysnatcher

Tours and Festivals:
Carter Brown Memorial Fest(Newmarket, ON) 2025
Laura-Palooza 2025 (Toronto, ON)
WalterFest 2024 & 2025 (Toronto, ON)
Road To Arby’s Tour (2023)
Weekend Slaughter Tour (2025)

Artist endorsements:
Collision Drumsticks. Soultone Cymbals. InTune Guitar Picks.

0 EPK – Discovery Through Torment – Telesynthetic Rebirth (2025)

  • September 30, 2025
  • by Asher
  • · Discovery Through Torment · EPKs

EPK – Discovery Through Torment – Telesynthetic Rebirth (2025)

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

“We are confident that fans will appreciate our more intense dive into Sci-Fi, storytelling, and even atmospheric vibes, while still keeping the brutality and the breakdowns as violent as we can. We feel this is a much more mature material, and we are super proud of it. We aim to deliver a punchy, no-frills, and highly effective listening experience that hits just as hard as a full front-to-back spin as it does when singles are dropped into a playlist. As the band’s first release as a five-piece, it reflects a higher degree of collaboration, resulting in tighter, more dynamic songwriting. It also marks the vocalist’s first dive into a narrative-driven, fictional lyrical approach, pulling listeners into a vivid, game-inspired storyline of divine collapse, human abduction, and engineered conquest.” – Discovery Through Torment

For fans of Abominable Putridity, Carnifex, Mental Cruelty, Lorna Shore

Band: Discovery Through Torment
Album Title: Telesynthetic Rebirth
Release Date: December 5, 2025
Label: Self-Release
Location:  Saint-Jean-sur-Richelieu, QC, Canada
Genre: Slam/Deathcore

Facebook.com/DiscoveryThroughTorment | Instagram.com/discovery.through.torment | Youtube.com/@discoverythroughtorment9227

Discoverythroughtorment.bandcamp.com | Spotify | YouTube Music | Apple Music | Discoverythroughtorment.myshopify.com/

“Discovery Through Torment ont ouvert la soirée avec leur interprétation de pièce Slam/Deathcore. On a été servie avec des Breakdowns crasseux et des grooves de cavernes. Musiciens talentueux et un chanteur qui contrôle très bien les tonalités de haut à très gras. En fait, c’est bien Alex Desroches qui est aussi chanteur de Ignominy. Leur setlist est disponible sur Spotify

Discovery Through Torment opened the evening with their rendition of slam/deathcore tracks. We were treated to grimy breakdowns and cavern grooves. Talented musicians and a singer who masters the tones from high to very fat. In fact, it’s Alex Desroches who is also the singer of Ignominy. Their setlist is available on Spotify” – Ondes Chocs (Kaboom Fest @ Foufounes Électriques, Mtl – September 29 and 30, 2023)

[Download Album Cover | Download Album Lyrics]

Band: Discovery Through Torment
Album Title: Telesynthetic Rebirth
Release Date: December 5, 2025
Label: Self-Release
Location: Saint-Jean-sur-Richelieu, QC, Canada
Genre: Slam/Deathcore

Track Listing:
1. Dethronement – (4:36)
2. Arcane Inception – (3:40)
3. Veil Unferling – (4:29)
4. Lesions – (3:35)
5. First Encounter Assault Regiment – (4:19)
Album Length – (20:39)

Album Recording Credits:
• All songs performed by: Discovery Through Torment
• All songs written by: Discovery Through Torment
• Produced by: Discovery Through Torment
• Mixed by: Maxime Lacroix of House of Gain Studio
• Mastered by: Maxime Lacroix of House of Gain Studio
• Album Artwork by: Mark Erskine of Erskine Designs
• Canadian Content (MAPL)

Album Band Line Up:
Charles-Étienne Lafrance – Drums
Samuel Fortin – Guitar
Frédéric Ricard – Guitar
Alexandre Desroche – Vocal
Alexis Lafrance – Bass

Live Band Line Up:
Charles-Étienne Lafrance – Drum
Samuel Fortin – Guitar
Frédéric Ricard – Guitar
Alexandre Desroche – Vocals

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

About The Album Artwork:

The artwork serves as an ominous portrait of the EP’s unfolding narrative. Its novel-like qualities mirror the grandeur of both the sound and the story, while the intense red hues radiate danger and the presence of a menacing force. The desolate landscape hints at the possible origin of the lone figure standing at its center, yet leaves the interpretation open for the listener’s imagination.

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

Lyrically, Telesynthetic Rebirth tells a video game-inspired story of collapse and replacement, following the downfall of a former entity and the rise of a new force that abducts humans, reshapes them into telepathic killing machines, and unleashes them in a genocidal conquest of Earth. The lyrics weave themes of experimentation and domination, closing with a cliffhanger that sets up the next chapter.

Musically, the EP blends the weight of slam with blackened deathcore. It follows a deliberate pattern of epic, heavy, epic, heavy tracks, keeping variety at the core and aiming to sustain the listener’s engagement from start to finish.

Track by Track (LYRICALLY & MUSICALLY):

1. Dethronement
Opening with an epic track, Dethronement sets the stage for the entire narrative. Lyrically, it announces the fall of the Mangled God, a barbaric figure defined by torture and violence, whose reign collapses to make way for something even greater. Musically, it leans into grandeur and scale, establishing the “epic” side of the EP’s alternating pattern.

2. Arcane Inception
With the old deity gone, Arcane Inception delivers a heavy and crushing shift in tone. The lyrics reveal the new force’s intentions—abducting humanity, beginning with the most impressionable, described as “malleable respondents.” Musically, this is one of the record’s most aggressive offerings, built on dense riffs and suffocating heaviness.

3. Veil Unfurling
The third track swings back to the epic side, combining a soaring chorus with lyrics that take on a more clinical, surgical quality. Inspired in part by medical jargon, the song romanticizes the transformation of captives into telepathic servants. Its balance of atmosphere and weight makes it a pivotal centerpiece of the EP.

4. Lesions
The most direct and punishingly heavy track, Lesions delivers rapid-fire, high-pitched vocal lines over a relentless backdrop. Lyrically, it signals to the unabducted that the enemy is closing in, urging them to recognize their demise even as they attempt to escape. The twisted chorus adds variety while amplifying the sense of inevitability.

5. First Encounter Assault Regiment
The EP closes where it began: in epic territory. First Encounter Assault Regiment unleashes the genocidal plan in full, as the telepathic legions march forward without restraint. Musically, it’s the most towering chorus of the record, matched by lyrics that end on a cliffhanger. What begins as a vision of a new lineage and rewritten history twists into the suggestion of regime reversal and a possible counterattack, leaving the story open for continuation.

========================================================
FUN FACTS – STORY ANGLES

1. This EP hides two nods to the first F.E.A.R. game! The 5th track title is a play on the game’s acronym, and in Veil Unfurling, you’ll catch a hidden line straight from Paxton Fettel.

2. Veil Unfurling’s lyrics were born during a full-on House M.D. binge from the vocalist. That’s why some lines have a cold, clinical edge.

3. Most of the synths on the album were just Sam in his pyjamas fucking around with Native Instruments.

4. All instruments were done in the studio in 4 days, except the vocals, which we did externally and partly by ourselves, since we wanted to really take the time needed to record what we had in mind.

 

 

Discovery Through Torment is an independent deathcore band from Montreal, Quebec, blending elements of brutal death metal, slam, and black metal into a sound defined by relentless aggression and technical intensity. Since their formation, the band has built a reputation in the Canadian underground metal scene for uncompromising heaviness, surgical precision, and a clear artistic identity rooted in themes of Sci-Fi, aliens, and existential decay.

The band’s debut album, Divine in Blood (2020), introduced their signature fusion of guttural vocals, pummeling breakdowns, and dissonant guitar work—setting a brutal foundation for what was to come. Their follow-up, The Mangled God (2022), marked a significant creative step forward, showcasing more refined production, layered songwriting, and thematic cohesion. The release earned them wider recognition within the slam and deathcore communities, bolstered by standout tracks like “Misery in Laments” and “Visions of Hell.”

In 2023, Discovery Through Torment entered a new chapter with the addition of vocalist Alex Desroches, replacing founding vocalist Mathieu Provost. This lineup change signals a bold evolution in their sound and live presence, as the band continues to push the boundaries of extremity and emotional weight.

Known for their commanding live performances, Discovery Through Torment has shared stages with other rising acts across Québec, contributing to a growing regional scene with a loyal fan base and strong DIY ethos.

As an unsigned and self-produced act, Discovery Through Torment exemplifies the raw potential of modern underground metal: ambitious, unfiltered, and driven entirely by passion. With new material in development and a sharpened lineup, the band is poised to carve an even deeper mark into the extreme metal landscape.

Discography:
2025 – Telesynthetic Rebirth – EP
2022 – The Mangled God – Album
2020 – Divine in Blood – Album

Shared Stage with: Purity in Perversion, Deadwood, Becoming the Bully, Flesh Shrine, Zero State, Braindown, Ignominy, Obscure Mantra, Kaonashi, Burn the Evidence, Eaten by Sharks, Phobocosm, Fracturus, Defeated Sanity, Chthe’ilist, Stabbing, Observants, Decerebration

Festivals and Tour Dates:
2024 – Richfest – Listuguj, NB
2023 – Kaboom Fest – Montréal, Qc
2023 – QCDM BBQ IV – Trois-Rivière, Qc
2023 – Riding the Leviathan Tour – Branford, Barrie, London, Quebec, Ottawa, Montréal

0 EPK – Brocarde – Feed My Soul ft. Ray Luzier (Korn) (2025 (single)

  • September 29, 2025
  • by Asher
  • · Brocarde · EPKs

EPK – Brocarde – Feed My Soul ft. Ray Luzier (Korn) (2025 (single)

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

“I want to take people on a journey musically and physiologically. I want people to feel something via my music. I want to conjure something within people and make them question everything that they see as normal.” – Brocarde

Band: Brocarde
Single: Feed My Soul ft. Ray Luzier (Korn)
Release Date: Sept 13, 2025
Label: Season One
Distribution: Ditto
Length: 3:18

Brocarde.com | Instagram.com/brocarde | Facebook.com/brocarde | YouTube.com/@brocarde | Youtube.com/@thebrocardeshow | X.com/thebrocarde.com

Spotify

“Electrifying, creative new artist…powerful stuff!” – David Coverdale

“I love Brocarde’s very unique style and vibe… she has mass aggression to sweetness & everything inbetween in her voice! The very interesting song arrangements & theatrical segments make the whole package a dynamic, fun adventure to listen to! I see great things ahead for her!” – Ray Luzier from Korn

Band: Brocarde
Single: Feed My Soul ft. Ray Luzier (Korn)
Release Date: Sept 13, 2025
Label: Season One
Distribution: Ditto
Length: 3:18

Single Credits:
Performed by: Brocarde
Written by: Brocarde
Mix/Mastered: Chris Collier
Drums: Ray Luzier
Artwork: Brocarde
ASCAP registered via PRS

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

FUN FACTS – STORY ANGLES:

1. Brocarde had a dramatic supernatural encounter a few years ago that saw her marry (and divorce) a ghost. This encounter has left her with the ability to see and communicate with dead people.

2. Brocarde now travels the world, visiting haunted locations for her website brocarde.com. She also has her own newspaper column with British newspaper The Daily Star, where she showcases her Terrifying Travels.

3. Brocarde has worked with Download Festival on a ghost hunt at the festival site; her investigation showed evidence of two ghosts from the Georgian era being present on-site.

4. Brocarde was invited to Wacken Open Air to perform a seance to connect with Lemmy from Wacken, where she spotted his apparition on horseback, eating a slice of pizza.

5. Brocarde has interviewed several bands, including Floor Hansen from Nightwish and Dani from Cradle of Filth.

Brocarde is the creator of an enchanting world where dark, haunting aesthetics meet passion-fuelled lyrics and design. Brocarde is a dynamic storyteller who marries both music and fashion in an orchestral explosion, designed to make the ears and eyes bleed. A one-woman horror story, if centuries aligned, Brocarde could almost be the secret lovechild of Edgar Allan Poe and Sylvia Plath.

In what could only be described as an effervescent melting pot, Brocarde’s bubbling cauldron is peppered with hints of Little House on the Prairie, and seasoned with remnants of the Addams family values: she’s an all-consuming artist who’s not for the faint-hearted.

Brocarde arrived on the music scene in 2019, presenting her debut single Last Supper. With its biblical relatability and an army of sinister pigs, the music video depicted a twisted fairy tale that whetted the appetite of her loyal supporters. She was hailed as “One to Watch” by Planet Rock Magazine and secured airplay on Kerrang!, Planet Rock, and BBC Introducing.

Since then, Brocarde has gone on to attract the praise of some of rock music’s biggest stars, with Whitesnake’s David Coverdale hailing her as an “electrifying, creative new artist” and describing her as “powerful stuff!” Brocarde’s follow-up single, Love Me ’Til I’m Beautiful, featured drums by Korn’s Ray Luzier. Ray praised Brocarde’s unique vocal style and was enthralled by her ability to capture extreme sweetness and mass aggression in her voice. He described her writing as a dynamic, theatrical adventure and hailed her as a future star.

As someone who’s hugely motivated by the creative process, Brocarde is truly alive when creating – she’s been quoted as crediting songwriting as the thing that got her through some of her darkest, most chaotic moments. As an adolescent, she struggled with fitting in and finding her place in the world, so she used to hide in the woods at school and write lyrics and poems to escape to an alternative dimension. As an adult, the skill still serves her as an outlet for her deepest, darkest, unspoken thoughts.

Speaking of the unspoken, recently Brocarde experienced life outside of our dimension when she found herself being introduced to the spirit world. One dark, stormy night when she was struggling to sleep, Brocarde was visited by Edwardo, the ghost of a Victorian soldier. Edwardo wooed Brocarde, and after a short whirlwind romance, the couple tied the knot on Halloween 2022. On the wedding morning, Brocarde made her second appearance on ITV’s This Morning, this time with her groom Edwardo, who scared Holly Willoughby with his haunting presence. Brocarde dedicated her song “Haunted” to her future husband and walked down the aisle to the spooky orchestral serenade. Her wedding ceremony was televised and appeared on an episode of Say Yes To The Dress with Tan France. The marriage was turbulent, Edwardo the ghost, continued to act like a free spirit and was endlessly untameable. After seeking marriage guidance from a spiritual medium, Brocarde concluded that after six short months of marriage it was time to call in an exorcist and banish her husband forever. Their romance went down in flames, and Brocarde released her menacing divorce song “Just Another Anthem” to mark the beginning of her next chapter…

Brocarde marked the start of single life with an appearance on First Dates on Channel 4.

It took a long time for Brocarde to break Edwardo’s spiritual attachment to her, and there were times when Brocarde never wanted to see a ghost again.

However, after delving into the world of mediumship and spirituality, Brocarde recognised that she had a gift for connecting with the dead and realised that once you marry a ghost, life doesn’t just return to “normal”.

Since her spiritual awakening, Brocarde has dedicated her time to learning and educating people about the paranormal world. She has travelled the world and conducted paranormal investigations in some of the world’s most haunted and terrifying locations. Brocarde has come face to face with the ghosts of malevolent hangmen, murderers, and outlaws, and she has even entered a coven of powerful witches to learn witchcraft, spells and magic.

Last year, Brocarde’s world of horror and music collided when she was invited to do a Ghost Hunt at Download Festival, taking to the Avalanche Stage in the dead of night she came face to face with some headbanging spirits who were waiting in the arena to catch a glimpse of Busted. Fresh off the Download Stage, she travelled to Germany to conduct a special seance in memory of Lemmy from Motörhead at Wacken Open Air. Festival season was a whirlwind for Brocarde, and she interviewed some of the World’s most profile rock bands, she also hosted interviews from the black carpet at the Metal Hammer Awards in Berlin.

2026 marks the launch of Brocarde’s debut album, after ten years in the making. She is set to share some of her most heartfelt songs, a musical story book of colourful emotions and experiences that have made her the woman she is today.

Discography:
2019 – Last Supper
2022- Haunted
2022 – Haunted (The Bare Bones)
2023 – Just Another Anthem
2025- Identity Theft
2025 -Last Supper (Reheated Radio)
2025- Feed My Soul ft. Ray Luzier

0 EPK – Cepheidae Variable – Primordial Reverie (2025)

  • September 27, 2025
  • by Asher
  • · Cepheidae Variable · EPKs

EPK – Cepheidae Variable – Primordial Reverie (2025)

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

“I think this album will have people who enjoy it as a whole piece, but also have two defined groups who are partial to either the first or the second half. I knew during the writing process that my choice might be divisive. I chose to use my own evolution of musical taste as the driving force behind the story and its tonality. Fans of symphonic metal, strong melody, and simpler song structure may enjoy the first half. Whereas those who enjoy a bit of chaos, uncertainty, and sci-fi influences will enjoy the second.

It also makes defining a genre quite difficult. I believe fans of progressive metal can all find elements they’ll enjoy. Not every song will fit the genre definitions of the listener, however, I think the album as a whole will be appealing. I’m trying to create a story through instrumentation. Heavily layered sections with orchestral instruments, synths, and guitars lead us through three distinct acts.

My hope is that fans of the album will appreciate the journey and find new things to enjoy with subsequent listens.” – Ryan Koepke – Cepheidae Variable

For fans of Dream Theater, Haken, Intervals, Wintersun, Caligula’s Horse

Band: Cepheidae Variable
Album Title: Primordial Reverie
Release Date: November 7, 2025
Genre: Instrumental Prog Metal
Label: Self-Release
Distribution: Distrokid
Location: Kelowna, BC, Canada

Cepheidaevariable.com/ | Facebook.com/cepheidaevariable | Instagram.com/cepheidaevariable_official | Tiktok.com/@cepheidaevariable | Youtube.com/@CepheidaeVariable

Spotify | Apple Music | Cepheidaevariable.bandcamp.com | Soundcloud.com/cepheidae-variable

“This was a solid album to listen to. Without vocals, the artist has to work harder to convey his feelings and emotions in his music, and Ryan did that well. Many of the melodies you can hum or sing along with, and that’s a testament to the instrumental album.” – Metal Temple

“Combining symphonic textures, sci-fi ambience, and progressive intricacy, Primordial Reverie explores the balance between chaos and melody, emotion and evolution. Through layers of orchestral arrangements, synths, and guitar-driven storytelling, Ryan invites listeners to experience a sonic voyage through creation, transformation, and reflection.” – Crannk

“It’s easy for instrumental metal, and for progressive metal, to lose their emotional punch in a pile of clever passages. Ryan Koepke does an excellent job maintaining poignancy throughout Primordial Reverie‘s hour-ish run time. This album does feel like a singular journey that takes the listener into different emotional headspaces as the music unfolds.” – Metal Utopia

[Download Album Cover]

Band: Cepheidae Variable
Album Title: Primordial Reverie
Release Date: November 7, 2025
Genre: Instrumental Prog Metal
Label: Self-Release
Distribution: Distrokid
Location: Kelowna, BC, Canada

Track Listing:
1. Overture (3:11)
2. Carving a Dragon (4:04)
3. The Waiting Storm (3:13)
4. Zephyr of Ouroboros (9:15)
5. Encounter (5:53)
6. The Conduit (6:03)
7. Chromatic Haven (5:11)
8. Entropic Harvester (10:27)
9. Singularity (11:32)
Album Length: 58:53

Album Credits:
All songs performed by: Ryan Koepke
All songs written by: Ryan Koepke
Produced by: Ryan Koepke
Mixed by: Ryan Koepke
Mastered by: Cole Millward
Album Artwork by: Alex Eckman-Lawn
BMI Member: Writer number 551220753
MAPL: Yes
Band: Ryan Koepke – Guitar, Bass

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

About The Album Artwork:

The album art is a piece by renowned collage artist Alex Eckman-Lawn. My own reaction to this art is a sense of loneliness and wonder. The abstract spatter gives me feelings of space and distant worlds. The flames organically grow off the character’s body, giving an otherworldly feeling to her.

I especially enjoyed this artwork because of the amount of interpretation it allows from the viewer. It was a heavy influence on the tonal shift this album undergoes.

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

Primordial Reverie started out as an exploration of my musical tastes as an artist. It quickly developed into a concept of establishing different biomes or “acts” through instrumentation. Void of any lyrics, this challenged my compositional abilities. Each song has a strong identity, and the album flows like a story. The underlying story was largely a visual outline that constantly grew and shifted in my mind. I wanted to leave this up to the imagination of the listener.

The album, from its inception, was meant to be listened to as a complete piece. The intro foreshadows the tonal shift it undergoes as we gradually go from a fantasy feel with natural orchestral elements to more synths and sci-fi elements. We also see an increasing level of complexity and scale as the tracks continue. I start to introduce odd time signatures heavily around “Zephyr of Ourobouros”, and we see a whimsical shift in “Encounter” to establish the sound that develops in the central act of the album.

Something I leaned into quite heavily is the recurrence of certain motifs and the mutation of past rhythm and melody. Most of the tracks undergo a lot of change throughout; however, upon subsequent listens, I think you start to pick up on just how much might be built around a single idea.

Track by Track (LYRICALLY & MUSICALLY):

1. Overture: Overture was the second last piece written for this album. It is the only track that is mostly made up of synthetic elements. Although the main arpeggio theme we hear is played through effects on a guitar. It is meant to foreshadow the sci-fi shift the album undergoes and establish a lot of the themes that develop.

2. Carving a Dragon: Carving a Dragon is one of the simpler tracks. Meant to be catchy and feel like you’re setting out on a journey. The song developed in a way that feels like it’s constantly driving towards something. It is also a demonstration of a more refined version of a track I would’ve written when I was younger. There are a lot of guitar harmonies and layers throughout, and a fairly simple but powerful solo section.

It also has symbolic meaning to me. The title itself was the first thing written for this album. It was derived from the book I was reading at the time, “Assassin’s Quest” by Robin Hobb. I enjoyed the themes developed of pouring your soul into something to give it life. Carving a Dragon is about taking the life I’ve built around music and setting out to create an album I’m excited to have people listen to.

3. The Waiting Storm: The Waiting Storm is the action scene of the album. It is a straightforward track that gets you moving. Other than a brief reprieve in the center, it doesn’t let up. Likely my favorite song to perform on this release. Its main riff is catchy and satisfying, and the chorus sections are very energetic.

4. Zephyr of Ouroboros: Zephyr of Ouroboros is where the album really starts to open up. It is the conclusion to the first act that has been developing. Opening with a windy soundscape and orchestral arrangement, it then goes into an engaging guitar riff that keeps you guessing. We start to see a lot of odd time signatures here, and some additional genre influences.

Violin and guitar interweave to create soaring harmonies. Each section is meant to feel like the leg of a journey. The structure of this song is quite traditional, with orchestration and lead guitar taking over the role of vocals. This allowed me to have a lot of fun in the center section with what would normally be an instrumental break. A bass solo is followed by a two-part guitar solo that eventually winds down into a reprisal of the earlier themes.

The song is also circular in structure. After a final chorus, we have an outro which breaks down the intro riff in reverse, before leading to our orchestral section being rearranged for soft piano over an evocative soundscape. This closes out the song and the first act of the album.

5. Encounter: Encounter is where we start to see a lot of the sci-fi elements that were foreshadowed in the opening track. Layered synths create an operatic melody that gives a feeling of isolation and melancholy. This is quickly shattered by heavy guitar riffing and an introduction to 8-string guitars from here on out.

I was listening to a lot of Haken when I started writing this track. I also received the cover art for the album. These outside influences really shone through here and marked the start of the album’s second act.

Highlights of this track are plucky synths and guitar riffing, creating what can only be described as an alien ho-down. As well as a very fun and whimsical bass and solo section. The outro of this does not resolve and leads directly into what may be my favorite track on the album.

6. The Conduit: The Conduit continues right where Encounter left off. Melancholic synths are soon met with layers of taiko drums and the main theme of the track. When the guitars are introduced, they are accompanied by a floaty, atmospheric harmony.

The driving energy of the song continues with a bit of tension release prior to dropping off into an unexpected synth interlude. This devolves into something darker and more sinister. The main theme comes back mutated before being met with a wall of guitar and blast beats.

More genre influences introduce themselves with a heavy breakdown. This releases into a slow and dissonant build as the tempo steadily climbs. The tension is relieved before going into a heavily layered outro that ends our second act.

“The Conduit” was visualized as a section of the story where the journey takes us through a portal in space that leads us to our final frontier.

7. Chromatic Haven: Chromatic Haven gives us a bit of relaxation after the last track. Opening with a joyous, whimsical synth melody, which is soon met with guitar unison and choppy rhythms. Some more prog rock elements then make their way in with a groovy bass and guitar section.

We then have the driving rhythm behind the start of our final journey. The joy and whimsy are broken as the song takes a darker turn. Heavy guitars are mixed with an atmospheric lead solo and sustained guitar harmony.

The song ends on a cliffhanger. It evokes a similar feeling in me to how “Carving a Dragon” ended. Giving a sense that our final act is underway.

8. Entropic Harvester: Entropic Harvester came from the idea of having a “villain” in an instrumental track. Guitars and synths interweave in a game of cat and mouse throughout. We have an evolving rhythm section followed by chorus sections that introduce new harmony and layering each time they reappear.

The central section goes completely off the rails. Dream Theater, Haken, and Meshuggah influences take over to create a combination of heavy guitar riffing, odd-time, and melody. The first solo leads into a keyboard solo meant to feel like an epic battle. With the Entropic Harvester supposedly defeated, we get a bit of a break with a happy feeling of harmony, which I aptly named “friends” as I was writing. This is soon shattered by an aggressive solo that leads into the song’s outro.

The outro mutates and evolves the themes that have built throughout the song. When you think it’s finally over, we hear the very first part written for this song, the Entropic Harvester shuts down, and we move on to the final leg of the album.

9. Singularity: Singularity was always meant to be the grandest track I’ve written. Writing began quite early in the album’s development. We open with an aggressive spacey-sounding synth section before guitars take over and solidly establish the themes in a strong intro riff.

After a cyberpunk feeling disco party, we go into an orchestral interlude that is heavily mutated from the main theme. This leads into some of the quirkier sections of the album. Rainsticks prelude heavy guitars and a driving guitar solo that trades focus between bass, rhythm, and unison.

The album then comes full circle. Taking the arrangement from “Overture” as our outro. Each synth and string section is given to a guitar or bassline. An emotionally larger-than-life soundscape is created with the use of reverb and moving instrumentation around the stereo field. The asynchronous harmonization creates a grand feeling that clearly defines the album as coming to a close.

Finally, we’re met with a peaceful yet desolate soundscape that gives us a feeling of closure to the album.

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

FUN FACTS – STORY ANGLES

1. The name “Cepheidae Variable” is a bit of nonsense. I wanted to name the project “Cepheid Variable”; however, I quickly realized every word and combination of words under the sun has been used at this point. So it became a play on words, and now it’s about a family of jellyfish.

2. All guitars, bass, and production are done in my home studio aptly named “Chromatic Variable Soundworks”.

3. Cole Millward performed mastering on this album. We connected after I named him in response to an online post asking who my favorite modern mix/master engineer was.

4. I consider myself a fairly mediocre guitarist. Local musicians have called me a “monster” in praise; however, I’ve never kept it a secret that I struggle to develop on the instrument.

5. I grew up disliking everything to do with metal. There was no local scene for it, and the people I was around thought classic rock was the end stage of musical development. This conditioning was undone when I first heard Dream Theater, and realized the levels that music could be taken to.

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

Photo Credit – Solo artist: Ryan Koepke – Guitar, Bass, Composition, Production

Cepheidae Variable is the solo progressive metal project of Canadian (Kelowna, BC) multi-instrumentalist Ryan Koepke, born from a deeply personal journey of transformation, resilience, and artistic evolution. Initially conceived as a casual creative outlet, the project took on new emotional weight following the news of Koepke’s father’s cancer diagnosis. This pivotal moment galvanized him to finally release music publicly after two decades of playing guitar and immersing himself in the local music scene.

The debut album, Primordial Reverie, is a sweeping instrumental odyssey that defies genre boundaries and embraces emotional complexity. Written and recorded entirely by Koepke, the album unfolds like a sonic narrative, divided into three distinct acts that traverse symphonic fantasy, chaotic sci-fi, and introspective melancholy. Drawing from influences like Dream Theater, Haken, Intervals, Wintersun, and Caligula’s Horse, Cepheidae Variable blends progressive metal, melodic death metal, and orchestral textures into a sound that is, by Koepke’s own words, “spacey, weird, melodic, melancholic, happy.”

Each track on Primordial Reverie is meticulously crafted to support the next, forming a cohesive whole that rewards attentive listening. Koepke’s writing process mirrors that of a novelist, beginning with visual themes and emotional arcs rather than isolated riffs or melodies. His compositions often evolve from improvisation into orchestrated complexity, with recurring motifs and rhythmic mutations that echo throughout the album.

The album’s artwork, created by collage artist Alex Eckman-Lawn, reflects the ethereal and otherworldly tone of the music. Its abstract imagery and organic flame-like forms inspired the album’s tonal shift and reinforced the sense of cosmic solitude and wonder that permeates the record.

Singles from the album offer high-energy, standalone experiences, but Koepke encourages listeners to engage with the full album to appreciate its thematic depth and emotional journey. With Primordial Reverie, Cepheidae Variable invites fans into a world of layered instrumentation, evolving soundscapes, and personal storytelling, without uttering a single lyric.

Looking ahead, Koepke plans to release a new full-length album every 2–4 years, potentially expanding the project beyond its solo roots and exploring vocal elements. As both a father and a daughter navigating life’s transitions, Koepke channels his experiences into music that resonates with introspection, imagination, and catharsis.

Cepheidae Variable isn’t just a band, it’s a living archive of one artist’s growth, grief, and creative awakening.

0 EPK – Juliet Ruin – Regime (2025)

  • September 25, 2025
  • by Asher
  • · EPKs · Juliet Ruin

EPK – Juliet Ruin – Regime (2025)

Publicist – Jon Asher – jon[@]ashermediarelations

“This EP Regime contains some moments that feel like a callback to our earlier style and some that push further in the heavier direction we have been moving. We think it’s stronger than our last EP and hope the fans will be in agreement. We have incorporated lots of different styles and vibes on this EP. We wanted an EP that feels empowering but also comes from a place of understanding, and we’d like people to feel that vibe when they listen to it.” – Juliet Ruin

For fans of Spiritbox, Alexisonfire, Killswitch Engage

Band: Juliet Ruin
EP Title: Regime
Release Date: Oct 24, 2025
Label: Self-Release
Distribution: Distrokid
Genre: Metalcore
Location: Edmonton, AB, Canada

Facebook.com/julietruinband | Youtube.com/@julietruin | Instagram.com/julietruin

Julietruin.bandcamp.com | Spotify | Apple Music

“Reactance Theory, the new one from Juliet Ruin’s upcoming EP “Regime,” kicks off with that big hard-rock energy — clean vocals cutting through, guitars hitting just right, the whole thing moving with confidence. But give it time; somewhere along the way it twists, gets a little meaner, a little heavier. Stick around for that turn.” – IDIOTEQ (2025 – Regime EP)

“JULIET RUIN returns with their most vulnerable and sonically ambitious release to date
‘REGIME’” – Amnplify (2025 – Regime EP)

“Juliet Ruin’s new EP features a modern sound and musical style that blends styles like metalcore, melodeath, rock, and even groove-heavy and progressive metal. Regime, a five-song EP, benefits from this musical diversity while maintaining clean, guttural vocals. Score 90/100” – Darkzen Metal Angels (2025 – Regime EP)

““Regime” is a superb EP with five powerful, dynamic and thunderous tracks that give the listener an almighty adrenaline rush and an unforgettable listening experience.  This record is totally compelling and you simply cannot just play it once and walk away.  This is a record that requires deep and concentrated analysis to find out what makes this band tick. Juliet Ruin have not only captured my attention with this EP, but my heart, soul and everything else.  This band is the real deal alright.  “Regime” more than proves it.” – Accidental Music Reviewer (2025 – Regime EP)

“All in all, what stands out most with Regime is how it can bounce between a number of influences that help to keep it sounding fresh. While the melodic and heavy dynamic is one that is utilized by many in metal, there’s still something to be said for how Juliet Ruin handles it without making it sound too commercial, even with full-blown pop influence. There’s some creativity at play that the band can harness, and should do them well as they continue to move forward, now with a full decade of experience to their name.” – Dead Rhetoric (2025 – Regime EP)

“…a fourth studio record from Canadian’s Juliet Ruin is an intriguing prospect. The five piece have long drawn comparisons to the likes of Jinjer, Infected Rain, Butcher Babies and even The Agonist with their hybrid blend of brutal breakdowns, pop-infused melodies and unfiltered emotion, their sound both technically sharp and progressive leaning… The only issue with this is that at just over twenty minutes it leaves you crying for more [8.5/10]” – Metal Noise (2025 – Regime EP)

“Celebrating a decade since their inception in style, Canadian Metal outfit Juliet Ruin will be unveiling a new EP in “Regime” on 7th November. The second advanced single from that is “Reactance Theory”, a song which explores the psychological concept coined by Jack Brehm, which explains why people resist threats to their personal freedom with acts of defiance and rebellion. Expect chunky riffs, soaring melodies and emotionally raw lyricism when this drops.” – Metal Noise (2025 – Regime EP)

“Regime is an EP document between empowerment and vulnerability – musically layered, lyrically honest and scenically relevant. JULIET RUIN deliver here a work that not only needs to be heard, but also felt.” – Metal Division Magazine (German) (2025 – Regime EP)

“Juliet Ruin’s biggest asset seems to be Jess’s very versatile voice, which can produce both strong grunts (that seem to come straight from the heart) and impressive screams, as well as having a fantastic clean voice. But the guys in the band also hold their own. The drums and bass sound really tight here and set the tempo and rhythm. The riffs are extremely powerful and naturally invite headbanging, while we would dare to call the guitar solos quite inventive and melodic. In short, with ‘Regime,’ this Canadian group delivers a very impressive EP that leaves you wanting a lot more. 91/100″ – Musika (Belgium) (2025 – Regime – EP)

“I always love getting to know and listening to new bands. Whether they necessarily suit my taste remains to be seen. „Juliet Ruin“ However, it’s one of the bands that I would also watch live. This sound, which uses metalcore mixed with alternative elements, can be described as awesome. The only complete album from 2019 „Old Stardust, Love and Chaos“ made people sit up and take notice. Now they want to do their second „EP“ „regime“, Introduce a musical treat to a mega energetic performance by your fan base. Which is certainly due to the strong vocal performance of Jess and thanks to the rhythms that are very exciting. Be it very dramatic, brutal „Chrysalis“ („Doll“) or the „stomping“ track „The Art of Being“ is. The passion Jess`s Voice just pulls along. All I can say about the disc is: huge, expressive and a hammer My review for „regime“ are hotte 8.5 out of 10 Hellfire points.” – Hellfire-Magazin (Germany)  (2025 – Regime EP)

“The band delivered an epic EP. Fans of the band know each performance by Juliet Ruin is outstanding. If you haven’t listen to the band yet, do yourself a favour and take a listen. For me a complete EP filled with outstanding songs.” – Project Metal Music  (2025 – Regime EP)

“Canada’s Juliet Ruin unveil new EP REGIME – 5 tracks of modern heavy metal. Clean and harsh powerful vocals, catchy metal riffs and energy and an uncompromised hard and heavy sound.” – Loud Enough Magazine (2025 – Regime EP)

“it cannot be denied that the band from Edmonton has a few really good songs in the pipeline that definitely have an impact with their bloated chorus passages. ‘Poems By A Poltergeist’ and ‘Chrysalis’ in particular are stuck straight away and are the new figureheads of the Canadian quartet. With front lady Jess Fleming, JULIET RUIN has a secret weapon” – PowerMetal.de (2025 – Regime EP)

[Download EP Cover | Download EP Lyrics]

Band: Juliet Ruin
EP Title: Regime
Release Date: Oct 24, 2025
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Reactance Theory (4:03)
2. Chrysalis (4:01)
3. Poems By a Poltergeist (3:02)
4. The Art of Being Wise (4:09)
5. Regime (5:02)
EP Length: 20:18

EP Credits:
Performed and Written by Juliet Ruin
Produced by Juliet Ruin and Diego Fernandez
Mixed and Mastered: Oracle Recording Studios
Artwork by: Feen Murray
SOCAN member
Canadian content

Album Line-Up:
Jess Fleming – Vocals
Kent Geislinger – Guitar, Bass
Wesley Rands – Guitar
Jesse Bauman – Drums

Live Line-Up
Jess Fleming – Vocals
Kent Geislinger – Guitar
Wesley Rands – Guitar
Jesse Bauman – Drums
Dale Myroniuk – Bass

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

About The Album Artwork:

The album art was created by our good friend Feen Murray. In this art, she uses abstract imagery of skulls and hearts to convey the tie between emotionality and overthinking while still leaving the deeper meaning up to interpretation.

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

Both lyrically and musically, this EP leans into our softer sides, both in vulnerability and in pop elements, making for a double-edged sword as we’ve also incorporated our heaviest subject matter and breakdowns. In the band, it’s everyone’s favorite EP so far because we all feel we’ve struck a good balance on this.

Track by Track (LYRICALLY & MUSICALLY):

1. Reactance Theory is a look into a theory invented by social psychologist Jack Brehm to help explain why people resist threats to their personal freedom. The song delves into the often funny but sometimes harmful impulses that are fueled by dopamine.

2. Chrysalis is a deep dive into Jess’s personal struggles with depression, relating it to the metaphor of a butterfly in a chrysalis. While it was difficult to be so vulnerable in this song, ultimately, we hope it can comfort anyone who happens to be going through anything similar, making it worth the vulnerability.

3. Poems By a Poltergeist is another song that explores mental health struggles and the feelings of depersonalization and the disconnection of feeling as though one is nothing more than an angry phantom haunting one’s own life.

4. The Art of Being Wise is a look at the end of friendships and relationships from a vantage point of love and respect. Despite the struggles it took to get to these points, there is the ability to acknowledge damage done and move forward peacefully.

5. Regime is the angriest track on the EP and the title track. This song is the biggest departure from the other songs, but for good reason. Regime reaches a hand out to community and friends in marginalized groups who sometimes feel the hopelessness a little bit extra. It’s also a general asking of why to those who would prefer to make life more challenging for those around them, rather than looking within. From what could seem like a sanctimonious high horse, we are actually truly leveling and coming at this issue with curiosity and passion.

======================================
FUN FACTS – STORY ANGLES

1 Legend has it that “the singer” can belch full sentences. Allegedly.

2. In 2019, we had 2 shows opening for Jinjer in Calgary and Edmonton, and it’ll always be one of our favorite moments

3. We have our very own artist! Disclaimer: She will do art for other bands. All our new album artwork and merch artwork has been done by our artist, Feen Murray.

4. Jess learned to really capture screaming during the first months of the COVID-19 lockdown using YouTube videos, lucid dreaming, and angst.

5. We got to meet Gene Simmons as a band once after winning a contest on the local rock station. He posed for a picture. And pointed. Cool.

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

L-R – Wesley Rands, Kent Geislinger, Jess Fleming, Jesse Bauman 

Phot Credit – Brittany Lealand

Formed in 2015 in Edmonton, AB, Canada, Juliet Ruin emerged with a mission: to amplify the contrast between heaviness and melody, and to create music that hits hard both sonically and emotionally. Based in Canada, the band has carved out a space in the modern metal scene with a sound that’s chunky, groovy, pretty, powerful, and catchy, a genre-fluid blend that appeals to fans of Spiritbox, Jinjer, Scion, and Alexisonfire.

Juliet Ruin’s music is a collaborative effort, with guitarists crafting riffs and instrumental foundations that vocalist Jess transforms into emotionally raw and resonant songs. Her lyrics — often pulled straight from her personal journals — explore themes of mental health, vulnerability, empowerment, and social reflection, making each track a deeply personal yet universally relatable experience.

Their latest and fourth studio offering, “Regime,” due out on November 7th, 2025, marks a new chapter in the band’s evolution. It’s their heaviest and most technically ambitious work to date, yet also their most vulnerable. From the introspective depths of Chrysalis and Poems by a Poltergeist to the explosive social commentary of the title track, “Regime,” the EP balances brutal breakdowns with pop-infused melodies and unfiltered emotion. The artwork, created by Feen Murray, uses abstract imagery of skulls and hearts to reflect the tension between emotionality and overthinking, a visual metaphor for the EP’s lyrical core.

Live, Juliet Ruin delivers a high-energy performance with studio-tight vocals and dynamic stage presence, setting them apart from their peers. Whether headlining local venues or sharing stages with acts from across the metal spectrum, they bring authenticity and intensity to every show.

With each release, Juliet Ruin continues to push their boundaries, growing heavier, more honest, and more connected to their audience. They’re not just a band; they’re a voice for those navigating the chaos of modern life, offering catharsis through crushing riffs and soaring choruses.

Discography:
2025 – Regime EP
2021 – Dark Water EP
2019 – Old Stardust, Love, and Chaos – LP
2017 – Juliet Ruin EP

Shared Stage with: Jinjer, The Browning, The Agonist, Wednesday 13, Royal Tusk, Arrival of Autumn

Tours and Festivals:
2023 – Loud as Hell Festival Drumheller, AB, Canada
2022 – Armstrong Metalfest Armstrong, BC, Canada
2018/19 – Loud as Hell Festival
2016/17/18 – Metalocalypstic Fest – Lone Butte, BC, Valemount BC

0 EPK – The Reticent – please (2025) – Generation Prog Records

  • September 24, 2025
  • by Asher
  • · EPKs · The Reticent

EPK – The Reticent – please (2025) – Generation Prog Records

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

“The wide variety of approaches to progressive metal that The Reticent is known for is present and will most likely satisfy fans of the previous albums. The intensely personal storytelling and tragic autobiographical concepts of previous albums are also present and will again take fans on a journey. I believe fans will hopefully be able to see themselves reflected in the experiences I try to describe in this album.

“please” is a journey through the many battlefields of mental illness. From hiding such conditions from others (“The Concealment”) to insomnia (“The Night River”) to panic attacks (“The Bed of Wasps”) to not being believed (“The Scorn”) to depression (“The Riptide”) to the edge of suicide (“The Chance”), the album takes them through these nuanced and explosive states of mind as Chris reveals to the listeners what it is like in his mind.” – The Reticent

For fans of Opeth, Cynic, The Contortionist, Wilderun, Devin Townsend

Band: The Reticent
Album Title: please
Release Date: November 13, 2025
Label: Generation Prog Records
Genre: Progressive Metal
Location: Charlotte, North Carolina

Thereticent.net | Facebook.com/thereticentmusic | Youtube.com/@TheReticent | Instagram.com/The.reticent.band

Thereticent.bandcamp.com | Spotify

“A taut, compelling progressive metal opus.” – Angry Metal Guy (2020 – The Oubliette)

“A narrative masterpiece. 10/10” – Rock Magazine (2020 – The Oubliette)

“Something all fans of music will want to experience.” – Metal Temple (2020 – The Oubliette)

“Prog’s most emotionally gut-wrenching band returns!” – Metal Storm (2020 – The Oubliette)

“One fact is incontrovertible: songwriter Chris Hathcock is a genius.” – Legacy Magazine (2020 – The Oubliette)

“Undoubtedly one of this year’s best albums, if not THE best album.” – Scream Magazine (Norway) (2020 – The Oubliette)

“As beautiful as it is sorrowful, masterful instrumentals and intense sounds accompany the story of this concept album that explores the slow descent into oblivion that sufferers of Alzheimer’s disease experience. Fans of metal will come for the riffs, and stay for the depth of atmosphere and storytelling. You’ll be left pondering existence after one of the best albums of the year.” – Cave Dweller Music (2020 – The Oubliette)

The Oubliette was included on numerous “best of” lists and was called The Most Essential Progressive Metal Album of 2020” by RTMBA Magazine. More recently The Oubliette was included on Metal Injections 10 Extremely Underrated Progressive Metal Albums list and their 10 Extremely Underrated Metal Albums of the 2020s list.

[Download Album Cover | Download Album Lyrics]

Band: The Reticent
Album Title: please
Release Date: November 13, 2025
Label: Generation Prog Records
Genre: Progressive Metal
Location: Charlotte, North Carolina

Track Listing:
1. Intake – 1:45
2. The Concealment (Those Who Don’t Want To Wake) – 6:06
3. The Night River (Those Who Can’t Rest) – 6:55
4. Diagnosis 1 – 2:18
5. The Bed of Wasps (Those Consumed With Panic) – 5:47
6. The Scorn (Those Who Don’t Understand) – 8:12
7. Diagnosis 2 – 2:39
8. The Riptide (Those Without Hope) – 6:09
9. The Chance (Those Who Let Go) – 6:52
10. Discharge – 2:56
Album Length: 49:45

Album Recording Credits:
All instruments and vocals performed by Chris Hathcock except
– Lead Guitar and Additional Acoustic Guitar by James Nelson
– Guest Vocals on “The Bed of Wasps” by Brian Kingsland
– Narration by Vienna Gloom
All songs written by Chris Hathcock
Produced by Chris Hathcock
Engineered by Chris Hathcock
Drums engineered by Jamie King
Mixed and Mastered by Jamie King
Album Artwork by Joscelyne Hauserman

Band Line Up:
Chris Hathcock – Vocals, Guitar
James Nelson – Lead Guitar, Backing Vocals
Paul McBride – Bass, Backing Vocals

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

About The Album Artwork:

Depression is like a riptide. Tireless and constant, a current pulling you away from shore. The water, the depression, calls to you to surrender and to let go.

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

“please” is a journey into the battles with mental illness that its author struggles with to this day. Mental illness is something that gets swept under the rug most often. People will often say after a suicide that they “wish they had known” or “wish the person had said something,” while frequently those who speak up face chastisement or even ridicule. Many disorders create a storm in their amalgamation as one piles on, having to hide one’s illnesses with sleeplessness and panic attacks and depression, and not being taken seriously when you do speak up – these all can contribute to a person feeling they have no way out. The epidemic of suicide is a reflection of this. “please” is chosen as the title because that is the universal term applicable to all of these experiences – it is a supplication as we beg for sleep, beg for attacks to stop, beg for help, beg for it all to end. The undertaking of this album was a means for songwriter Chris Hathcock to navigate his own intense suffering and find a way to keep going when what he wanted to do was just let go and vanish into oblivion.

Track by Track (LYRICALLY & MUSICALLY)

1. Intake – This introductory track sets the scene for the mental illness epidemic and what it is like to live with it, featuring audio from psychologists and suicide survivors. The piano previews the melody and progression in “The Concealment”

2. The Concealment (Those Who Don’t Want To Wake) – This track is about what those struggling have to do to survive: hide. We learn to say we’re fine so we can get along. But then at the end of the day, the emptiness, the pain, etc., it all washes over us like a tide. With 1 in 4 adults experiencing a mental health crisis yearly, but 70% of them not seeking or able to get help, the notion of “we are lonely” refers to how we may be suffering similarly in silence right next to others feeling the same. Musically, the song is a dynamic progressive metal song that features interlacing harmonies, all culminating in the final giant crescendo as the song reaches its emotional climax.

3. The Night River (Those Who Can’t Rest) – Insomnia can take many forms, so in this case, it is represented by the nagging thoughts (hence the constant whispers in the left and right speakers during the verses). The lyrics begin very verbose and articulate before the exhaustion and fear turn to the notion of never sleeping again. The music is a bit more animated in the vein of prog rock, with many sections being exclusively tapped before it gets more aggressive as the desperation sets in.

4. Diagnosis 1 – This is an examination of the symptoms of a panic attack and panic disorder. The sounds are meant to enhance the feeling of anxiety.

5. The Bed of Wasps (Those Consumed With Panic) – Aggressive, technical, and desperate, this song features the heaviest and most metal moments of the record pulling from death and black metal and near constant odd time signatures. The dissonant sounds and odd rhythms are meant to keep the listener uneasy so that they may feel some of the panic attack. The lyrics are actually made from cutting out pieces of statements made by patients who suffer from panic disorder. The song culminates in the desperate refrain of “please stop” – something any sufferer will have begged.

6. The Scorn (Those Who Don’t Understand) – This song is decidedly more groove-oriented in keeping with the almost mocking tone of the lyrics. Lyrically, the song takes the perspective of someone who does not understand what it is to have major depressive disorder or suicidal ideation. As such, they instruct the listener to “just get over it,” pointing out “it’s all in your head.” The presence of more major chords and straightforward grooves is the world that those who don’t understand live in. Exotic hand percussion and string instruments like the oud are introduced in this song, making it feel further removed from the others.

7. Diagnosis 2 – This is an examination of the symptoms of major depressive disorder. The sounds this time are more dull and listless, almost calm. The ocean can be heard slowly fading in as it goes on transitions to The Riptide.

8. The Riptide (Those Without Hope) – This song features the thinnest texture of all of the songs on the album, made up only of keyboard, guitar, and vocals. The theme of water plays out sonically and lyrically as depression is represented as both an undertow pulling someone under the surface of the water and a riptide pulling them far from shore. The depression washes away all hope and won’t let go, so the sensation of drowning begins.

The guitar solo in the song is also done with the tone knob completely rolled down, creating a more muted sound like we would hear underwater.

9. The Chance (Those Who Let Go) – This song is a perspective on suicide from the vantage point of someone who feels it is their only way out. As such, the song takes on a peaceful, almost hopeful feel in both harmony and melody. This is to represent the peace that comes from knowing that their suffering will soon be at an end. There remains conflict, however, in both how the narrator hesitates as well as distant pleas of “help me please,” indicating that this is something he is struggling with. Suicidal people don’t actually want to die; they just want to escape – they want the pain to stop. The lyrics begin painting pictures of a place without pain, representing the fantasy of release that people feel on the edge of suicide. The music is more intimate here with acoustic guitars and brushes on the drums that transition to a melody that repeats over and over but builds more and more each time, culminating in a large crescendo mirroring that of The Concealment, but it is suddenly cut short, and we are left with silence, suggesting that the narrator did, in fact, pull the trigger.

10. Discharge – The title here is a double entendre, and its meaning depends on how the listener wants to interpret it. A person could be discharged from a hospital or clinic, and a firearm can also be discharged. A broken piece of the melody from The Concealment (and Intake) plays against a more somber droning background while we hear from a suicide survivor describing losing her husband. From there, we hear from two different psychologists giving perspectives on what affects and impacts suicide. This piece is a reflection on the aftermath of suicide.

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

FUN FACTS – STORY ANGLES

1. The album was written in 6 months, drums were recorded for this album (and the next album) in one singe day, all other instruments (guitar, bass, keys) were recorded in two days, but the vocals took two weeks and at the end of it Chris had injured his larynx to the point that the fear was he would require surgery and potentially couldn’t sing again. He had to go over 6 weeks without speaking and even in his teaching job he had to communicate 100% nonverbally. Thankfully, he recovered for the most part.

During the filming of the video for The Concealment, one particular scene called for Chris to violently destroy a room. During this scene, Chris got a bit too into the moment and ended up breaking two toes, spraining three others, and partially tearing his left rotator cuff. To make things worse, he had to perform at Progstorm Festival in Canada only 6 days after the injury – he performed with the broken bones and tears and by the end of the set, he was doubled over in pain. Due to the emotional and painful nature of The Reticent’s music, most fans in attendance didn’t realize he was injured in multiple places.

2. This is the first Reticent album to be almost completely engineered by Chris Hathcock himself. The drums were tracked at The Basement Studios with Jamie King (who mixed and mastered the album), but everything else was tracked at Hathcock’s personal studio, Silent Muse Studio. He had to record and perform by himself, which led to a lot of frustration, especially when he was tracking vocals.

3. There are numerous references to the work of clinical psychologist Kay Redfield Jamison hidden throughout ‘please.’ For example, The Concealment includes a line that begins “Night falls fast…” This is a nod to Jamison’s 1999 book Night Falls Fast: Understanding Suicide. The Night River features a reference to “an unquiet mind,” which is a nod to Jamison’s 1995 book “An Unquiet Mind.” Samples of Jamison herself can be heard speaking about suicide and mental illness during Discharge.

4. With the exception of The Bed of Wasps, all the songs were recorded using 6-string guitars, which is the first time The Reticent used mainly 6-strings since before 2016’s On The Eve Of A Goodbye.

5. BONUS: The gap between The Oubliette and please (5 years) is the longest gap between albums since The Reticent began.

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

L to R James Nelson (lead guitar), Chris Hathcock (Vocals, Guitar, Drums), Paul McBride (Bass)

Photo Credit by Justin H. Reich

Hailed as “prog’s most emotionally gut-wrenching” band, The Reticent began as a solo side project for its founder – multi-instrumentalist, Chris Hathcock. Already a

Grammy-nominated music educator, Hathcock sought to find a way of expressing some of the more painful sides of his life and as such, The Reticent became known for its tragically autobiographical concept albums. Records such as “On The Eve Of A Goodbye” and “The Oubliette,” displayed an ever evolving progressive metal approach and gave audiences a sobering, emotional, often devastating experience finding favor in particular with fans of Opeth, BTBAM, Porcupine Tree, and Cynic. Hathcock recruited in eminently talented performers such as James Nelson (Nospūn) and Paul McBride (Voraath) to help not only bring the albums to the stage but to further enhance the studio recordings which have now been consistently produced by Jamie King (Between The Buried And Me, The Contortionist). The Reticent has played notable festivals such as ProgPower USA, of which Metal Injection said they had “one of the most

heart-wrenching performances in ProgPower history” further noting “Despite being the opening act on day one, The Reticent received a standing ovation from the seated audience, and there wasn’t a dry eye in the house.” Upcoming festival performances for the band include ProgStorm Festival 2025 in Montreal, Canada. The Reticent’s last album, “The Oubliette,” was hailed as “a masterpiece,” “genius,” “devastating,” and included on several “Best of” lists for 2020 and being named “the number 1 most essential prog metal album of 2020.”

 

Discography:
2025 – please LP
2020 – The Oubliette LP
2016 – On The Eve Of A Goodbye LP
2012 – Le Temps Detruit Tout LP
2008 – Amor Mortem Mei Erit LP
2006 – Hymns for the Dejected Demo

Shared Stage with: Cynic, Atheist, Into Eternity, Swallow the Sun, Doro, Insomnium

Tours and Festivals:
2026 – ProgPower USA XXV – Atlanta, GA
2025 – ProgStorm Festival – Montreal, QC, CAN
2023 – ProgPower USA XXII – Atlanta, GA
2023 – Forget Me Not Tour – US

Artist Endorsements:
James Nelson – Ormsby Guitars
Paul McBride – Arachnid Cabinets, GHS Strings, Tsunami Cables

 

0 EPK – Human Missile Crisis – Waste Away (2025)

  • September 19, 2025
  • by Asher
  • · EPKs · Human Missile Crisis

EPK – Human Missile Crisis – Waste Away (2025)

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

For fans of Idles, Fucked Up, Pup, Ty Segall, Queens of the Stone Age, Single Mothers, Cloud Nothings, Solids, The Dirty Nil, Propagandhi

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

Digital Pre-Save- https://distrokid.com/hyperfollow/humanmissilecrisis/snake-in-the-grass

Instagram.com/humanmissilecrisis | Facebook.com/missilecrisis | Youtube.com/@humanmissilecrisis

Humanmissilecrisis.bandcamp.com | Spotify | Youtube Music | Apple Music | Deezer

“When it comes to partying and being young, there are many “highs” and lows, as Human Missile Crisis draws our attention to in their new single “Too Long.”… The clip gives you a good look at these Dartmouth rockers in action. With fuzzed-out guitars and a garage rock spirit, these three young men know how to command a stage. The video captures what they do best: play live. The band members pride themselves on being a high-octane live act. That’s what the video is meant to emphasize: guys who can rock a stage like they rocked their parents’ garage growing up.” – V13

“With it’s thundering and infectious bassline, crunchy guitars, thrashing drums, and gritty heartfelt vocals, Human Missile Crisis easily achieved the powerful and memorable with “Blackwater”.” – Amplify The Noise

“Three friends and a long-standing passion for punk rock and garage, understood in their most jaunty and enjoyable expressions: they are human missile crisis, here grappling with their recording debut. What is striking right from the start is the light-heartedness that expert frequenters of the reference scene such as DJ VATERS, JUSTIN BOUTILIER and MATTHEW MACISAAC have been able to pour into the nine, lightning-fast moments that make up the album; the verve is ironic and semi-serious, the aim is fun, sarcasm and provocation: all elements which, mixed properly with direct and immediate sounds, come to compose a picture that is nothing short of caustic and full of sparkling ideas. The creativity released by the band is contagious: Liquor Store Stories echoes that kind of spontaneity traditionally inherent in the reference genres. And it offers half an hour of healthy entertainment in the name of bombastic pieces in which technique gives way to the desire to play together, to a sense of friendship that emerges with vigor from the grooves of the work and to a spontaneous and genuine approach. A debut that follows the dictates of tradition, proudly claiming its brilliant originality” – Rock Hard Italy

“I had a weird sensation while listening to the massive punch and swagger of “Liquor Store Stories” by Dartmouth, Nova Scotia based Human Missile Crisis. Not only is the title amazing and sounds like an anthology series on Hulu, the crunchy assaulting guitars, the nimble hyper bass lines, atomic drumming and strident vocal scowling aesthetic had me thinking of a 70’s Mod revival rock band instead of a punk outfit, namely, the iconic JAM. Maybe it is the major 7th and miner chords I think I am hearing, maybe it is the vocal countenance that does have a heavier sort of iteration of Weller, and maybe it is the fury of the bass and drums, of everything really. And it also might be the sense of talking about the inner workings of hometowns. By the way, sonically, I also thought of an amalgam of early punk like the Buzzcocks and more current bangers like Prince Daddy & The Hyena.” -Robb Donker Curtius / American Pancake

“Merging elements of Garage Rock and Post-Punk, they end up delivering an exciting song to the listener, with great melodies and which stands out mainly for its great rhythmic work, with its striking bass line and vocals with great melodies.” -Leandro Vianna / Roadie Metal

“Maybe “Blackwater” from Dartmouth, Nova Scotia based Human Missile Crisis is about wishing those who disappeared from your life well, maybe not. Maybe it is all about the glorious noise, the throttling bass bottom heaviness that kicks you in the gut, maybe not. Maybe it is about finding what you are searching for and not dive deep into the blackness to find it, maybe not. In the end, maybe Human Missile Crisis feels like Black Sabbath, The Dead Kennedys, Coachwhips, Bass Drum of Death atom smashed together into something else entirely, something visceral and impactful.” -Robb Donker Curtius / American Pancake

“”Liquor Store Stories” is a single recently dropped by Nova Scotia-based band, Human Missile Crisis. Boasting an infectious energy equipped with melodic vocal flows and anthemic instrumental work, this is a powerful new tune that delivers a unique blend of styles. Elements of punk, garage rock, indie, and emo are all present here, and the band shines brightly by creatively blending all the influences into one full sound.” -Havoc Underground

“”Too Long” is a melody that will really provoke something powerful and luminous in you with its most violent and rhythmic rhythms, capable of awakening the monster that you keep inside of you, this band will shake you with this crazy song bathed in the best alternative sounds and aggressive sounds of punk fused with the darkness of a more balanced rock.” -End Sessions

“‘Too Long’ by Human Missile Crisis is an energetic, aggressive and dark punk and rock whose instruments provide an auditory explosion in the best of the senses, causing a piece of music full of rhythm to be manufactured. While listening to the song I couldn’t stop moving my head back and forth because of how catchy it is, it’s one of those songs that you fall in love with in a second. I loved the song from start to finish and I hope you do too.” -Javier Alfonso / La Caverna

“The album begins with “Do you Remember”, a song that has a powerful guitar in its intro and remains that way, but from the beginning you say this album is not going to stop, it is going to maintain that hard and aggressive rhythm, although They also have California punk songs like “The Spark”, and of course they also have songs like “Distant Memory”, with a slower rhythm, but with the same strength in the voice. This album really has 9 incredible tracks for those who like garage and punk, and also get into slam.” -Miguel Castillo/ La Caverna

“Opening the record is ‘Do You Remember’, a three-minute romp that must be powered by Jack Daniels because the vocals have that tinge of Lemmy about them. The track ebbs and flows for those 180 seconds but always comes back to the punchy punk-rock vibe that is at the core of Liquor Store Stories.” -Dan Hemming / Hard Beat Magazine

Band: Human Missile Crisis
EP Title: Waste Away
Release Date: Nov 14, 2025
Label: Self-Release

Single Title: Snake in the Grass
Single Length: Snake in The Grass – 4:22
Release Date: September 19, 2025

Single Title: Mona Lisa
Single Length: Mona Lisa – 5:23
Release Date: Nov 14, 2025

Track Listing:
1. Snake in the Grass – 4:22
2. Mona Lisa – 5:23
EP Length: 9:46

Singles Credits:
Recorded at Sound Park Studios by Jamie Foulds on June 1st, 2025
Mixed by Jamie Foulds
Mastered at Audiosiege in Portland, Oregon by Brad Boatright.
All songs written and performed by Human Missile Crisis.
DJ Vaters (Guitar/Vocals)
Justin Boutilier (Bass/Backups)
Matthew MacIsaac (Drums)

About the single:

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

EP Art Description:

The album art was designed by @sourrgrrrl designs. A local up-and-coming artist in our scene. After seeing a sticker of hers on a telephone pole, I loved the art style, so I reached out. I sent her the two unmastered tracks and basically just said Have a listen to these and see what you come up with. When working with artists, I prefer not to give too much instruction and just let them work their magic, and that’s how this one came to be.

About the singles, lyrically and musically:

This was our first time working together with Jamie in over 20 years. We originally worked with Jamie back in 2005 after our old band (Violent Theory) won an East Coast Music Awards battle of the bands that awarded us studio time with him.

These two songs are very different from each other, but overall convey the dynamic sound of Human Missile Crisis. Snake In the Grass is more on the upbeat, dancy side with some fun slidey guitars accompanied by lyrics about being on the lookout for those horrible people in life who are nice to your face but will turn around and stab you in the back at any chance they get.

Mona Lisa is a little more of a traditional rock song with a singer-songwriter vibe mixed with our style of loud, powerful, punk rock choruses. The words speak about things a lot of shift workers or traveling musicians can relate to, being gone for long periods of time and up and about during weird hours of the night for work when you could be home resting in bed next to your loved one. It speaks of a world where we’re all living, struggling to get through it to get back home to our loved ones. It’s something I think we all can relate to.

Track by Track. Lyrically and musically:

Overall, I like to keep my lyrics vague in a sense so that the listener can ultimately come to their own conclusions on what these songs mean, but here’s some insight.

Snake in the Grass has multiple themes within it and is the more dancey, upbeat song of the two. At first, when writing it, memories returned to me of a time when I found myself in the desert of Canada. A place called Osoyoos, British Columbia. When walking through a vineyard, I noticed “Danger rattlesnake crossing” signs posted around, and you could see their slithering trails in the sand. A friend said to me, “Look out for snakes in the grass,” and it always stuck with me. This phrase, used for hundreds of years, describes a treacherous person, a person you think is your friend, or even lover, who could turn around and stab you in the back at any moment. We all have encountered them in our lives and have stories to tell regarding how they hurt us or attempted to hurt us. This one is part of my story.

Mona Lisa is a more traditional rock song with a heavier punk rock chorus. Written about my own life and vampire-like schedule, working late-night shifts, and being away from loved ones who work the regular day shift. It’s a song I think a lot of people can relate to, especially touring musicians and any shift worker. Having to be away for long periods of time when you just want to be home in bed with your loved one is a tough thing to work through, but it’s something a lot of us do experience.

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

Band story angles / Fun facts

-Worked with award-winning engineer Jamie Foulds for the first time in over 20 years on these two new singles

-Both songs recorded and mixed in one single 10-hour day at Soundpark Studios in Sydney, Cape Breton

-Our album release show in Sydney was double-booked by the promoter. We advertised a 9PM start time for a month leading into the show, and upon arrival, we came to find out that the venue double-booked a sold-out stand-up comedy show that started at 8pm and ran until 930… They also refused to let anybody into the venue at 9pm who arrived for the normal start time of our show.

-The debut album was mostly recorded over two days back-to-back. 10 hours a day, live off the floor.

-The very first song we released back in 2021, “Humble Creatures,” was also recorded by Braden Kamermans. I first met him when booking his band into our shared rehearsal spac,e and he mentioned he was looking for a band to record for his music recording program at the Nova Scotia Community College. I liked what he did so much that once he graduated, I approached him to do the full album with us.

-We have been friends going back as far as 1991 and playing together in bands in one form or another since 2003. We’ve also all lived together as roommates for extended periods of time.

-DJ has a tattoo of Hank Hill that says, “She’s alright, she’s alright, she’s alight… Propane. He also has a tattoo of a goat. Wearing a bandana, with braids… a willy goat if you will. You know? Like Willy Nelson. Willy, Billy… Willy goat… get it?

-Matt and Justin once played in a dinner theater together, and this is where Matt started to play drums. He was always the lead guitarist prior to this in our old band, and DJ was the drummer. In the dinner theater group, nobody could play the drums, so Matt stepped up and basically just learned as the dinner theater went along. Matt and Justin also once played in a one-night-only “The Band” tribute band… called “Crazy Chester” Take the load off fanny, take the load for free…

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

L-R – Matthew MacIsaac – Drums, DJ Vaters – Guitar/Vocals, Justin Boutilier – Bass

Human Missile Crisis is the sound of chaos finding catharsis. Born from the grit of Cape Breton Island and now rooted in Dartmouth, Nova Scotia, this trio blends punk urgency with garage rock swagger to create music that’s raw, real, and relentlessly honest. Their songs are a lifeline for anyone teetering on the edge of their thirties, still trying to make sense of relationships, addiction, depression, and the absurdity of modern life.

Frontman DJ Vaters has been crafting music since his teenage years, first thrashing through punk sets with his best friends, then diving into electronic experimentation in solitude. But when the digital world lost its spark, DJ turned inward, writing songs that reflected the heavier truths of his life. That introspection laid the groundwork for Human Missile Crisis.

Reuniting with longtime friends and former Violent Theory bandmates Justin Boutilier and Matt MacIsaac—also known for their work in Halifax’s garage rock duo Elk Lodge—the band found its pulse. Together, they transformed DJ’s raw sketches into fully realized sonic explosions. Their sound is a collision of fuzzed-out guitars, bouncing basslines, and unpredictable rhythms, channeling influences like Idles, Fucked Up, The Hives, and Television. Think punk with a post-rock brain and a bluesy heart.

Their 2023 full-length release, “Liquor Store Stories showcased the band’s dynamic range. Now, in 2025, the band returns with two follow-up singles to create the EP “Waste Away”. From the danceable paranoia of “Snake in the Grass” to the aching, nocturnal longing of “Mona Lisa,” Human Missile Crisis proves they can swing between moods without losing their edge. Every lyric is pulled from the DJ’s lived experience, and every riff is shaped by the trio’s collaborative fire. Whether it’s a fast punk beat or a mid-tempo groove, the band lets the music lead—and the result is always electric.

Live, Human Missile Crisis is a celebration of connection. They treat every show like a house party with friends, loud, sweaty, and full of laughter. They don’t want fans; they want family. And whether you’re screaming along or just soaking it in, you’ll leave knowing you weren’t alone in the chaos.

For fans of PUP, Ty Segall, The Dirty Nil, and Cloud Nothings, Human Missile Crisis is more than a band; it’s a reminder that music can still punch you in the gut and pull you back to your feet.

Previous Release
Humble Creatures – (Single/June 26TH 2021)
Liquor Store Stories – (Single/07/28/2023)
Blackwater – (Single/08/11/2023)
Too Long – (Single/08/18/2023)
Liquor Store Stories – (Album/August 25th, 2023)

Shared the stage with.
Propagandhi, Botfly, Chastity, Single Mothers, Elk Lodge, Analog Signal, Dazor, Fungus, The Hellfiends, The Scoop Outs, Artificial Dissemination, Designosaur, Dimension Boys, Shelly, Bullet Bill Club, The Bombed Solid, Chosen Lung, Rootabagga, Heavy Early, The Cathartics, Holly Snappers, The B+ Players, Hemineglect, Rad & Subtract, Vulpine, Topless Models, Backyard Action Heros, More Amour, North Of Nowhere, All Honesty, The High Tide, The Goodbye Summer, Suspex, Squander, Denacious T, Baited, High October, Johnny C, The Bloody Hell, Columns Of Clouds, The Screaming Seaman, Radio Roulette, Fire Valley Fire, Customer Service, Kyle Sveinson Band, Juice Box, Vormir, Dirtmouth, Bring Me Sleep, Conductor, Sleepless Nights, Book Buddies, Atay & Jax, Electric Spoonful, Pretty Alrights, Girls With Guns, Hushmetal, Novichok, Lazyhorse, Bologna Colorado, Half-Dead Serious, Acid Wash
Festivals:
July 22nd, 2022 – Halifax Havoc – Halifax, NS
June 2nd, 2023 – Spoonapalooza – Halifax, NS
July 6th,  2024 – Halifax Havoc – Halifax, NS
October 12th, 2024 – Gobblefest – Sydney, NS
July 5th, 2024 – Halifax Havoc – Halifax, NS

0 EPK – Outlying – Oblivisci (2025)

  • September 13, 2025
  • by Asher
  • · EPKs · Outlying

EPK – Outlying – Oblivisci (2025)

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

“Hopefully, people will feel and understand the dark thoughts and experiences that influenced the lyrics and music. We also hope people will consider this a ‘no skipped tracks’ album, where every song matters and nothing was written as a filler.” – Fred A. Dubeau – Outlying

For fans of Dark Tranquillity, At The Gates, Testament, Evergrey, Machine Head

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Outlying.ca | Facebook.com/outlyingband |  Youtube.com/user/OutlyingBand |  Instagram.com/outlyingband | Tiktok.com/@outlying.band

Spotify | Apple Music

“Outlying offers a solid Swedish-style melodic death metal sound with their own personal touch.” – MetalUniverse.net

“With a biting energy and a relentless intensity, [Pitch-Black Serum] hits with an uncommon ferocity while keeping a dynamic, melodic and catchy structure.” – MetalUniverse.net

“I had never heard of this band before, so I was all the more amazed by the high level of performance the band had already achieved in 2012 [Scars Of Daylight album]. They are reminiscent of Scandinavian melodic death metal bands of the late 1990s.” – Ammo-underground.at

“The three gentlemen serve us finely spun melodies; the musicians tie everything together into a flowing, detailed unity. A bit of clean vocals are sprinkled in here and there, and so a lot happens in this largely whipping smasher. A few threatening vibes and thrashy, straight-ahead tactics are also effectively employed, as is polyphonic vocals – everything just fits! Raising fists, enjoying details, headbanging – it’s a mystery to me why these all-rounders are still so unknown!” – Ammo-underground.at

[Download Album Cover | Download Album Lyrics]

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Track Listing:
1 – The Raven Is Gone – 5:27
2 – Stigma – 3:49
3 – Snow – 6:02
4 – Streets Of Rats And Vultures – 4:47
5 – Pitch-Black Serum – 4:36
6 – November – 5:56
7 – Sentinel – 5:43
8 – Impaired – 5:32
9 – Dreamless Nights Part I: A Lullaby For The Insomniac – 4:19
10- Dreamless Nights Part II: From Velvet Skies – 5:13
11- Dreamless Nights Part III: Walking Out Of Eden’s Ashes – 4:25
Album Length: 55:49

Album Credits:
All songs performed, written and produced by Fred A. Dubeau and Martin Reithler
Mixed and mastered by Fred A. Dubeau
Album Artwork by Fred A. Dubeau

Album recording lineup:
Fred A. Dubeau – Guitar, Bass, All Vocals Martin Reithler – Drums
Guest musicians for the album:
Steph from “Exotoxic” – Auxiliary percussions
Marilyn from “Chained By Illness” – Female Vocals
Sim from “Lancaster” – Guest Guitar Solo
Hardcore Band “Northwalk” – Gang Vocals

Lineup for live:
Fred A. Dubeau – Guitar, Vocals
Charles Alex Bilodeau – Bass, Back Vocals
Martin Reithler – Drums

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

About The Album Artwork

A post-apocalyptic version of our home city

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

The album is called “Oblivisci,” which means “to forget” in old Latin. It’s been chosen to reflect the tendency to withdraw from reality and “forget” society and the existence you live in, so to speak. The songs express oppressive feelings of trauma, alienation, grief, loneliness, and the album ends with three-part songs about Fred’s experience with alcohol/drug addiction. The music is melodic, even with only one guitar player in the band. Compositions are intended to keep the listeners’ adrenaline level high, with fast parts, heavy parts, while sticking to trying to deliver certain emotions and messages.

Sometimes, clean vocals are used, as well as some guitar effects, to add texture and dynamics.

Complexity has never been important, as we don’t believe in self-indulgent playing. Sometimes there are trickier parts that require skill, but it’s all because the music asks for that kind of intensity.

Track by Track (LYRICALLY & MUSICALLY):

1. The Raven Is Gone – Fast, heavy, catchy, and epic, the song talks about escaping chaos and trying to find refuge somewhere.

2. Stigma – Old-school melodic death style, catchy choruses again, the song is about overcoming all the judgements that happen to you when you act in a way that doesn’t necessarily harm others, but is considered socially unacceptable and frowned upon. Like being part of a subculture, not getting married or having children, drug use, etc.

3. Snow – Epic, story-telling structure, with female vocals, lyrics are the tale of a young girl abused by her father.

4. Streets Of Rats And Vulture – More old-school thrashy and punk approach, the song is about how you should always be careful who you trust, as many people out there want to backstab you.

5. Pitch-Black Serum – Creepy and dark melodic death metal, the lyrics are about how some people just give up on society, and are infected by a sort of venom that makes them defeatist and just makes them spend their lives indulging in easy pleasures such as porn, food, and video games.

6. November – Catchy, epic, melodic death metal song, the song is about a crazy obsession for someone who isn’t available or doesn’t exist.

7. Sentinel – Now this one is, like on the other albums, the power ballad type of song. Even though Outlying is a mostly aggressive type of band, it seems like these kinds of songs always end up being some of the audience’s favorites. (“Scars Of Daylight” had “The Last Time”, and “Frameworks For Repression” had “Alicia’s Tales”). Slower, lots of clean vocals, the song surprisingly has a fast, aggressive bridge. Lyrics are about grief, and how your lost ones end up staying in your head like some sort of sentinel.

8. Impaired – Dark, aggressive, and melancholic, the lyrics are very pessimistic and about how you can feel rejected by society and driven to suicide.

9. Dreamless Nights Part I: A Lullaby For The Insomniac – First of all, the title “Dreamless Nights” refers to when you sleep while intoxicated by alcohol and drugs. Since this is low-quality sleep, you mostly don’t have any dreams. This three-part song is about the cycle of addiction, which keeps going over and over. This is from Fred’s actual struggles with past (mostly alcohol) addiction. Now Fred has been sober for years, but this is one of many reasons for the delay between the last album and the release of new music. The first part is fast, melodic, and heavy, with a mysterious-sounding ending. Lyrically, it’s about feeling powerless about all the chaos and struggles of life and wanting to find escape, which is, of course, the way a lot of addictions start.

10. Dreamless Night Part II: From Velvet Skies – Now entering the fake paradise, the song builds up with a bit of a Tool-esque intro, then atmospheric black metal, and then heavy and epic. The lyrics are about the bliss of escaping the real world and floating around in this bubble of brain manipulation. The song then fades away into the darkness.

11. Dreamless Nights Part III: Walking Out Of Eden’s Ashes – When Part II ends in near silence, Part III abruptly kicks in with very heavy parts, influenced by brutal death metal. Lyrics are about the ‘hangover’ part or ‘day after’ part, so to speak. It’s about how this was all fake; not only is reality still there, it’s only gotten worse because of all the abuse. The song and album end in a more epic and melodic manner, with various instruments and a bass melody.

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

FUN FACTS – STORY ANGLES:

1. In Outlying’s most recent lineup, everybody in the band was introduced to Fred as a pure coincidence. Martin “Frenchy” was listening to a metal podcast from Drummondville while still living in France and heard an interview with Fred saying he was looking for a permanent drummer. Frenchy already intended to move to Quebec and decided to send Fred a message saying he’d be interested in playing in the band. When Fred read the message, he thought it was either spam or a joke.

2. In a more recent time, Fred got contacted by a woman he knows, who was asking if she could borrow his soldering iron to fix her friend’s bass guitar. Fred then drove to the lady’s apartment with his soldering iron and was then introduced to Charles Alex. A couple of weeks later, Fred was trying to find a new bass player since J-D was gone, and remembered Charles Alex.

3.  Founding Outlying drummer Guy Provencher now plays bass in Strigampire and guitar in Hopeless Nation. Fred played bass and rhythm guitar in Strigampire for a couple of years, many years ago. Steve, who is the vocalist for Strigampire and drummer for Hopeless Nation, also played drums on Outlying’s “Scars Of Daylight” album, and played live drums in Outlying when Frenchy was back in France for a little while. Trois-Rivieres’ metal scene is small.

4. Back when the band started, it was very hard for Fred to find a job and money, so he found counterfeit versions of audio and graphic software and tried to make his own records by himself. He eventually really got into audio production and graphic design, and to this day still does all that work for the band, as well as for some local bands.

5. The city of Trois-Rivieres is known for the Trois-Rivieres Metalfest, and also, the most well-known band from the city is a tech metal band called Martyr. Martyr’s drummer played in Gorguts and Beneath The Massacre, and their vocalist and guitar player now also plays in Voivod. Voivod’s bass player is also from Trois-Rivieres.

6. Despite being based in Trois-Rivieres, none of the band members grew up there. Charles Alex is from around Victoriaville, Fred was raised in a town near Becancour, and Martin “Frenchy” is from a suburban area near Paris, France.

 

L-R: Charles Alexandre Bilodeau (Bass, Back Vocals), Fred A. Dubeau (Guitar, Vocals), Martin Reithler (Drums)

Photo by Sandy Champagne

Outlying, founded in 2007 by lead vocalist/guitarist, as well as producer and writer, Fred A. Dubeau, is based in an old industrial city in the province of Quebec, Canada. Their first EP, titled ‘Within The Jail Of The Unfortunate’, was released in 2008. In 2012, after a few line-up changes, the band released a full-length album titled ‘Scars Of Daylight’. Later that year, bassist JD Poirier and French drummer Martin Reithler joined the band. In 2016, the trio released ‘Frameworks For Repression’.

In 2024, after many years of writing, creating, performing, and managing various issues, the band recruited Charles Alex Bilodeau to be their new bass player.

Outlying is now completing another full-length album, while releasing new singles along the way, such as ‘November’ and ‘Pitch Black Serum’.

Discography:
2025 – Oblivisci
2024 – Pitch-Black Serum – Single
2023 – November – Single
2016 – Frameworks For Repression – Album
2012 – Scars Of Daylight – Album
2008 – Within The Jail Of The Unfortunate – EP

Shared Stage with: The Agonist, Gone In April, Augury, Burning The Oppressor, Mass Murder Messiah, Lancaster, Last Dance Among Wolves

Tours and Festivals:
2021 – Breakout Tour – Quebec Tour
2015 – Trois-Rivieres Metalfest – Trois-Rivieres

0 EPK – In Virtue – Age of Legends (2025)

  • September 13, 2025
  • by Asher
  • · EPKs · IN VIRTUE

EPK – In Virtue – Age of Legends (2025)

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

“I think they’ll be pleasantly surprised, because although it builds on our past releases, it’s really the ultimate form of the same beast. The casual listener will be able to enjoy all of it without clocking the story, but anyone who wants to go deeper will be rewarded with the dark journey of a deeply flawed character on a quest to forgive himself by asking the big questions, making mistakes, and doing the hard work. It’s an emotional deep dive, a rollercoaster of textures and colors, but a cohesive trip that doesn’t just feel like a series of disconnected singles. A true concept album, the kind you should turn your phone off and light a candle to listen to on your bed with headphones from start to finish. A relatable protagonist who seeks what we all seek, to love himself in spite of himself and his flaws, to know himself deeply, and to win his battle against crushing self-doubt.” – Trey Xavier – In Virtue

For fans of Soilwork, Amaranthe, Shinedown, Symphony X, Bad Wolves

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40

Facebook.com/invirtue | Instagram.com//invirtue | Youtube.com/@InVirtue

Invirtue.bandcamp.com | Spotify | Apple Music

[Download Album Cover | Download Album Lyrics]

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40
Track Listing:
1. Ascent Glorious (00:36)
2. Sisyphus Awakening (4:55)
3. Karma Loop (ft. Charlotte Wessels) (3:35)
4. Push That Rock (2:46)
5. Purgatory (4:39)
6. Exposed (3:27)
7. Scream (3:40)
8. Where The Edges Meet (3:16)
9. Gunslingers of the New American Desert (4:42)
10. Desolation Throne (3:03)
11. Thoughts in Freefall (ft. Dave Davidson of Revocation) (4:10)
12. The River (2:24)
13. Tempus Fugue (ft. Chaney Crabb of Entheos) (8:05)
14. Descent Limitless (1:22)
Album Length: 50:40
Album Credits:
Produced by Trey Xavier
Mixed by Mazen Ayoub and Miami Dolphin
Additional mixing by Alexander Backlund
Mastered by Jens Bogren and Tony Lindgren at Fascination Street Studios
Cover art by Niklas Sundin
Additional vocal engineering by Eyal Levi on “Purgatory” and “Where the Edges Meet”
Guest vocals on “Karma Loop” by Charlotte Wessels
Guest vocals on “Tempus Fugue” by Chaney Crabb of Entheos
Guest guitar solo on “Thoughts in Freefall” by Dave Davidson of Revocation
Additional background vocals by Court Henson
Tracked at 1008 Studios, Prairie Sun Studios, West Alley Studios
Member of ASCAP
Album Lineup:
Trey Xavier – Guitar, Vocals
Alex Nasla – Keyboards, Vocals
Rami Khalaf – Lead Guitar
Jamie Hush – Bass
Mazen Ayoub – Drums

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

About The Album Artwork:

When I saw the cover for Dark Tranquillity’s “Character” album, I knew I had to have something like it. So I looked up the artist, who turned out to be their (now former) guitarist Niklas Sundin. I commissioned him to create the cover art, which depicts Sisyphus breaking out of his eternal punishment of rolling a boulder up a mountain forever. He is returning to the real world, and the boulder rolls down the hill behind him. Niklas was excellent to work with, and he took the concept I gave him and really brought it into reality with such a unique flavor.

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

On this album, the lyrics are extremely personal. It’s a story about a character, but he’s just the proxy for my own experiences and ideas. It’s a concept album about someone who has made poor choices in the past and is on a journey of self-forgiveness. The character in the story is based on Sisyphus, who was a terrible, tyrannical king who was deserving of punishment – but is there truly anything someone can do to deserve eternal punishment?

In it, this Sisyphus character decides (with a little help from a character called The Catalyst) that after thousands of years of torment, he’s done his time and that he’s going to seek forgiveness from the most important person we all need it from – ourselves.

I wrote it as a way of working through my own self-imposed punishment for my own failures and shortcomings, a catharsis to carve a way forward for myself. Realistically, none of us will ever do anything nearly as horrible as Sisyphus or any equivalent monster. But we still often hold the regret and guilt over our heads for so long.

As I wrote in the song “Purgatory”,

“Paper handcuffs and shadow walls

Shackled here by guilt alone”

So it’s about releasing ourselves from this state and moving on with our lives, because until you do, you can’t do any good in the world, for yourself or anyone else.

Musically, it’s built on a classic foundation of heavy riffs and groovy drums, but with layers of cinematic elements like synths and orchestration to transport the listener and elevate the songs at key moments. It’s not symphonic metal in the traditional sense like Nightwish or something – the orchestration isn’t there as an end unto itself, or to just make it epic. Vocally, it covers a lot of range, from gritty powerful cleans to more guttural growls and screams, and a lot in between. There are a fair bit of guitar and keyboard solos, but none overstay their welcome.

Track by Track (LYRICALLY & MUSICALLY):

1. Ascent Glorious
This is the album intro – it’s purely orchestration, and it introduces the primary melodic theme, as well as what I call “The Sound” – a sort of bell-like tone that represents The Catalyst’s awakening of Sisyphus from his torment.

It’s a bit Disney, but I love the melody so much. It comes back several times throughout the album, in different forms and variations.

2. Sisyphus Awakening
This song is one of the first I wrote for the album. It has an extremely strong opening, and it segues nicely from the intro track, I think. Since it’s one of the older ones, it still has a bit of leftover prog ambition, which I think is apt for it to be so early on in the track listing, then as we move into the future, we move away from it.

It represents exactly what the title says – it’s Sisyphus awakening from the endless grind of his torment, and breaking his shackles to escape from his eternal punishment.

3. Karma Loop
This was actually the last song to be written for the album, I think. It features my friend Charlotte Wessels on vocals, and she brought so much energy and beautiful harmony to the song that it wound up becoming my favorite.

It was actually based around a guitar part (the opening lick of the song) that I wrote a long time ago for a guitar demo for my YouTube channel, and our former drummer, Mazen (Ayoub, who plays on the album) sat down and turned it into a song one day.

Lyrically, it’s a conversation between Sisyphus and The Catalyst, in which she is convincing him that his punishment is self-inflicted, and  he is worth doing the work to redeem himself.

Fun fact: The lyrics make reference to an old song by the Kingston Trio called “M.T.A.”, in which a man can’t get off the train because he doesn’t have money to pay his fare, of which he is a nickel short (“one more nickel”). It also references the “buy the ticket, take the ride” quote from Hunter S. Thompson.

4. Push That Rock
In which Sisyphus goes from the lowest possible point in his life to a place of high hope. It consists almost entirely of one line of lyrics: Push that rock back up that hill. It’s a mantra that we’ll revisit later in the album, and between now and then, the meaning will transform – but at this point, it’s his entire existence, it’s all he knows. It’s the torment he brought on himself, and he hates it.

Fun fact: I recorded some of the vocals for this in the Tom Waits room of Prairie Sun studio, on the mic that he sings into on his albums. I thought it fit the vibe pretty perfectly, and we recorded drum tracks there for Purgatory and Where The Edges Meet, so it worked out.

5. Purgatory
This was the first song we recorded and released with the new lineup, when the plan was for Age of Legends to be a 3-song EP. We road-tripped up to Prairie Sun studios in Cotati, California, to track the drums because initially, I was going to record a different drummer for these songs before we found Mazen, and it was too late to get my deposit back.

In this song, he describes the depth of his torment and what he longs to escape from.

6. Exposed
This is one of two songs we worked on with my friend and producer Sahaj.

Lyrically, it describes Sisyphus’ relationship with The Catalyst, and the gift she’s given him by not only setting him free, but by giving him a reason to want to even bother to try.

7. Scream
This is the second of the two songs we worked on with Sahaj, who provided some much-needed perspective on the songs, much like The Catalyst does for Sisyphus.

In this song, we get a closer look at the message from The Catalyst to Sisyphus in his state of eternal punishment. She can’t free him – only he can do that. No one else is coming to save him.  In order to break free, he first has to believe he’s worthy, and then he has to care enough to try. He can’t just be complacent – he needs to be angry enough to SCREAM.

8. Where The Edges Meet
This was the second single we released, and the second song we recorded with the new lineup.

Sisyphus is at last free and returns to the real world to find a divided people.  He reflects on his personal struggles that led him to act the way he did in his past life, and considers how to move forward in this new world.

This song introduces the album title – Age of Legends – which references a concept I borrowed from The Wheel of Time series. In the Age of Legends, mankind enjoyed peace, prosperity, and technology that became lost due to humanity’s inability to be content and coexist.

Sisyphus again becomes a leader in the modern world by championing this concept, inspiring people to be good to each other and lift each other up. But it won’t last…

9. Gunslingers of the New American Desert
…because power calls to him. In Gunslingers, Sisyphus can’t resist the call, and the song details his breaking bad arc. He sees the opportunity to seize the kind of power he once held, and takes it by force, falling back into his old ways.

I had actually once conceptualized a whole album of sort of post-apocalyptic sci-fi steampunky space Western songs with the same title, and this was the only thing that actually came from it.

This is by far the slowest song in the entire In Virtue catalog, and in my estimation, the heaviest thing I’ve ever written. The lyrics are also very emotionally heavy, describing the tradeoff of humanity for the empty promise of power, and the human toll such a deal takes.

10. Desolation Throne
In which Sisyphus ascends to his throne of evil, convincing himself that he’s earned it by his suffering.

I was trying to channel Russel Allen in my vocal performance, to make it sound mean and evoke a gangster-like quality similar to the Symphony X Underworld album. I also put in a little 2005 metalcore chugging to hearken back to my days watching bands like Unearth and Killswitch Engage at small venues throughout Massachusetts.

The bridge of this song is my favorite single moment on the whole album. It simultaneously shows his emotional insecurity and how small he feels, and how he reacts to that by lashing out at the world that doesn’t understand him and trying to dominate it.

It also features one of my favorite guitar solos.

11. Thoughts in Freefall
In Desolation Throne, he is ascending to power, climbing upwards ever higher without considering how high above the ground he is. He comes to the highest peak possible – there’s no higher he could go.

Consumed with his lust for power and insane, in Thoughts in Freefall, he posits that “If I fall forever, I will never hit the ground”.  He thinks himself invincible and needs little provocation to demonstrate that fact. “I am immune to gravity”.

Naturally, he is about to make contact with the consequences of his actions.

Features an absolute dickripper of a guitar solo by Dave Davidson of Revocation.

12. The River
The “find out’ in Thoughts in Freefall’s “fuck around”.

Where previously he said, “If I fall forever”, we begin with “I fell forever”.

He loses everything, including The Catalyst, those who believed in him. He

Generally, I’m not a fan of ballads. The River started life as a suggestion from Mazen that we include a ballad of some kind on the album, which I initially resisted. But I realized that I didn’t have to write a Diane Warren-type ballad, or something corny, and that the moment called for something stripped down. So Alex and I sat down with a very vague concept of what we needed to achieve, and came up with what I consider to be a very powerful and understated moment on the album. It’s almost entirely just piano and one vocal, whereas I tend towards maximalism in my writing, with layers and layers of orchestration, synths, and vocal harmonies. It’s a bare naked moment for both Sisyphus and I, where he is broken by his own hand, once again at the bottom of the mountain, having pushed the rock all the way to the top, only to fall to the bottom again.

Literal rock bottom.

13. Tempus Fugue
“Tempus fugit” is a saying that means “time flies”, and a fugue is a musical form. On past In Virtue albums, I have included long-winded overtures of the album’s musical themes (“Underture” and “Afterture” ) that were both ill-conceived and poorly received, self-indulgent. On this album, I wanted the chance to make a meaningful tour de force of the motifs while wrapping up the story and tying it all together. This is the longest song on the album, and covers a lot of ground.

In this song, Sisyphus addresses the futility of time and its cyclical nature, to which he has had the most painfully vivid relationship. He also recognizes the healing power of time, to which we owe his entire redemption cycle, in fact.

He finally comes to an important conclusion about life on earth, and the value of true intention and effort – the work of life. Pushing the rock is something we all do, every day – we wake up and we try. We all have our own boulder and our own hill, and even in the apparent futility of time, we create something meaningful and beautiful from our struggles to ascend to something higher and better than ourselves.

And that we need to forgive ourselves, so we can push the rock again tomorrow.

We once again reprise the “Push that rock back up that hill” mantra.

Features a devastating vocal spot by Chaney Crabb of Entheos.

14. Descent Limitless
The outro of the album, with the triumphant motif from the intro once again, in its final form, as Sisyphus takes up his boulder, but with new meaning and understanding this time. We hear “The Sound’ one last time as the album wraps.

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

FUN FACTS – STORY ANGLES:

1. The band is fronted by Trey Xavier, who you may know from his YouTube channel or the website Gear Gods. He’s also the singer on the viral (2 million views) YouTuber collab song “Dread Machine” (https://www.youtube.com/watch?v=kJfraNCvR8s)

2. 3 of the band members (Alex, Jamie, and Rami) are software developers.

3. Trey has a music degree in composition and teaches several online courses on songwriting and composition.

4. The album took 6 years from when we started tracking it to get done because our producer ghosted us with like 10% left to finish. We thought he was dead or something. Just straight up vanished. I sent him hundreds of texts and online messages with no reply. I had to re-track many of my vocal parts in my home studio to get it done.

5. The band has only played live once with the current lineup.

6. During the recording of the album, I got so mad at the drummer/producer that I lifted my laptop over my head and smashed it on the floor of the studio and kicked a chair, which is VERY out of character for me (we made up and it’s all good now).

L-R Bruno Valverde (drums), Jamie Hush (bass), Trey Xavier (guitar/vocals), Alex Nasla (keys), Rami Khalaf (guitar)

Phot Credit: Felix Martin

Los Angeles, California’s In Virtue is a band forging a new path, abandoning outdated conceptions of what heavy music is to redefine metal for a new era. Although In Virtue was initially formed in 2004 in California’s Bay Area, the band’s rebirth in 2015 is where the real story begins.

That’s when founding guitarist Trey Xavier made the difficult decision to take over lead vocals, move south to LA, and start the band over with a new lineup. This was the catalyst they needed, and the band’s final form took shape. Adding keyboardist Alex Nasla (The Mourning, ex-Witherfall), guitarist Rami Khalaf, and bassist Jamie Hush, their new sound was freed. 

 “I was tired of other people singing what I was writing,” says Trey (who you may know from his popular YouTube channel). “We had some pretty good singers, but it always felt like a compromise. It was pretty scary – I was 28 and I had never seriously sung before. But all the work I put in paid off, because now I can create my music as I envision it.”

And what a vision it has become – the band’s forthcoming album Age of Legends, due out in 2025, tells a haunting tale of Sisyphean struggle and redemption through a modern lens. This new era of In Virtue brought their first new music, 2019’s single “Purgatory”, which gave the world a brand new sound. Combining elements of power metal, groove, progressive metal, and pop, but somehow sounding like none of the above, “Purgatory” defined the sonic future of the band. 

The singles “Where The Edges Meet” and “Scream” followed soon after to expand on the story, each moving the story forward and bringing new life to the characters and their pain. 

With way more to come on Age of Legends, In Virtue is looking forward to the next chapter and bringing their story to the world.

Discography:
2025 – Age of Legends
2012 – Embrace the Horror
2008 – Delusions of Grandeur

Artist Endorsements: Kiesel Guitars, Revv Amps, Sennheiser Wireless

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