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Category: EPKs

0 EPK – DOLL – Snakes and Ladders (2026)

  • May 29, 2026
  • by Asher
  • · DOLL · EPKs · Uncategorized

EPK – DOLL – Snakes and Ladders (2026)

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

“We would say that following the reception we had to the first few songs in the Animal Crackers trilogy, with ‘Shark Bait’ and ‘Bear Claw’, we feel like we’ve hit a stride where our fans expect the unexpected at this point. ‘Snakes and Ladders’ is the final piece, and we think (and hope) its going to be received as a really cool mix of the Doll evolution, going into a D standard tuning as a throw back to the grunge sound of old and incorporating the elements of the new darker tone and feel, sprinkled in with a bunch of harmonics, and of course the signature Christina vocal style, Snakes and Ladders provides the rasp, the drive and the bang to be a banger. We’ve always said this project was about having fun and exploring new sounds and styles. We’re confident that ‘Snakes and Ladders’ will land just as hard—if not harder than Shark Bait or Bear Claw.” – DOLL

For fans of SoftCult, Amyl and the Sniffers, Scowl, Nobro, The Pretty Reckless

Doll.bandcamp.com | Facebook.com/dollband | Spotify | Youtube.com/@insidethedollhouse

All Digital Platforms – https://distrokid.com/hyperfollow/doll14/snakes-and-ladders

What the press has said about DOLL:

!earshot – August 2025 – Top 20 Loud – #5 – DOLL – Canadian Campus Radio Charts (2025 – Better Days, Better Times)

!earshot – August 2025 – Top 200 – #55 – DOLL – Canadian Campus Radio Charts (2025 – Better Days, Better Times)

“#1 Doll – Zach’s Picks of the Week – July 7 – 12, 2025 – Canadian Beats (2025 – Better Days, Better Times)

“In one of the best comeback stories in music in 2025, Canadian Alt-Rock duo DOLL will release their first new collection of material since 2011’s The Ragdoll Diaries… In addition to five slamming originals, DOLL chips in an inspired take on the Deep Purple classic rock anthem – “Smoke On the Water!” “- Ghost Cult Magazine (2025 – Better Days, Better Times)

“Doll sharpens their grit with new muscle and melody. Their return after more than a decade is not a nostalgia trip but a rebirth. The Ottawa band’s forthcoming EP Better Days, Different Times (July 18th) expands their core formula of raw energy and no-frills honesty by inviting new players and broader sonic choices into the mix. But even with cello flourishes and genre jumps, their identity remains firmly intact.” – Amplify The Noise (2025 – Better Days, Better Times)

“The new track ‘Shark Bait’ from Doll is a blast! The world has been celebrating the 50th anniversary of “JAWS” and now we have a brand new punk-fueled bite in the pants to go along with all of the bloody hoopla. ‘Shark Bait’ is basically straight ahead hardcore riffage with razor sharp teeth, fun lyrics and a precursor to their new EP, ‘Better Days, Different Times’ set for a July 18th release. Catch it on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll (2025 – Better Days, Better Times)

“DOLL has returned as potent and as impressive as they were before but with greater impact we suggest, Better Days, Better Times quite simply a must exploration for punk and feral rock hearts.” – The Ring Master Review (2025 – Better Days, Better Times)

“Christina Kasper’s changeable voice is impressive.” – Keep On Rocking (2025 – Better Days, Better Times)

“‘Bleeding’ is a colourful mixture of Hard and Alternative Rock, paired with influences from Punk and Gothic, in a very melancholic sounding melody. The powerful voice of singer Christina Kasper dominates like a siren. ” – Metal Heads Forever Magazine (2025 – Better Days, Better Times)

“The Rag Doll Diaries” is the story of a road weary/world weary band with so much to say and share. Its the combination on heartache and despair offered with a hand meant for holding. In other words here is real music for the real world.” – Heavy Metal Time Machine (2013 – The Ragdoll Diaries)

“Doll was conceived as a bridge between punk and rock, a bridge that was fulfilled in the early ’90s by bands like Nirvana and the mid-’90s by Foo Fighters… A good punk band doesn’t write about the joys of picking daisies and Doll is no exception.” – The Whig Standard (Kingston, ON) (2013)

“Doll provides a missing link between punk and rock.” – The Intelligencer (Belleville, ON) (2013)

“The four-piece are definitely reminiscent of the grunge era and have provided a concise four-word biography of the band: “Rock N’ Fucking Roll.” – Exclaim! (2011 – The Ragdoll Diaries)

“One of the most striking aspects of Inside The Dollhouse, after Christina’s whiskey-and-hell voice, is a fictional character by the name of Sally created to carry the songs. A concept completely unexpected given the band’s twentysomething youth, immediately reminiscent of Alice Cooper’s infamous character Steven, introduced on Welcome To My Nightmare in 1975.” – Bravewords (2010 – Inside the Dollhouse)

“The debut from Ottawa’s Doll caught me instantly like a fish on a hook. This is serious music. Dark, intense and magnetic, this is the kind of gritty ’90s grunge that doesn’t fuck around. Fronted by the vocally vicious Christina Kasper, Doll recall an angry and confused era of music devoid of pop but not catchiness. Kasper howls in the vein of Courtney Love and Brodi Dalle, and while the lyrics are simple and not exactly fresh, they are impacting. Songs like “Perfect” deal with trying to live up to society’s standards, while “Sally Lost Her Shoelaces” and “Daddy’s Little Girl” deal with hurt, confusion and heroin against a backdrop of chunky guitars, assaulting drums and badass attitude. Julie-Anne Madore’s backing vocals add a whispered, haunting feel to this record. If the dirty rock’n’roll alone doesn’t reel you in, nothing will.” – Exclaim (2009 – Inside the Dollhouse)

Band: DOLL
Single Title: Snakes and Ladders
Release Date: May 29, 2026
Label: Grunge Never Died, You Did Records
Distribution: DistroKid
Genre: Hard Rock, Punk, Grunge
Location of Band: Ottawa, Ontario

Single Recording Credits:
• All songs performed by: Doll
• All songs written by: Doll
• Produced by: Josh Hart
• Mixed by: Josh Hart
• Mastered by: Josh Hart
• Single Artwork by: Mark Kidd
• Member of SOCAN
• Canadian Content (MAPL)

Single Band Line Up: Pete Kasper, Christina Kasper, Josh Hart

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

About The Single Artwork:

Oh, this one is super crazy; it’s almost like we manifested the opportunity by picking the song title to be Snakes and Ladders. We were walking through a thrift store, and out of nowhere, a full-on board game version of the game, with the classic packaging from who knows when. We took a photo of the original box, and it was perfect.

Really makes you wonder, are we living in some video game simulation itself? As soon as you start thinking about something, it always seems to appear in some form, it’s like when you never notice a certain car or shirt, but then the moment you get one, its like you see them non-stop.

Finding that board game, at exactly that moment, it’s a coincidence that just played out so perfectly, there was no point in going a different direction. This was the cover art that was meant to be.

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

Musically, Snakes is a real fun one for us to play, we did a lot of harmonics which we never did a lot in the past, we brought in a lot of the classic feel with the in your face quick riffs, and vocally with the performance dialing up the grit and angst in the delivery, it’s a great song to move to and get some issues out.

Lyrically, it’s a classic tale of boy meets girl, girl kills boy. LOL.

Just kidding.

The messaging is an uplifting anthem fighting back against the bullshit, whether that be the snakes in suits that pretend to want to help you, but are just in it for a paycheck. This was our take on hopefully giving some sense that no matter what, you have to be yourself and never give up.

As the song says, “I refuse to play your game.” Remember to always ask questions, keep things in perspective, and don’t just drink the Kool-Aid blindly.

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

Fun Facts:

1. Christina and Pete are married.

2. They have been supporting and pioneering the Ottawa local scene by organizing shows in the area for over 20 years.

3. On tour, we always had hot and sour soup in every city.

4. Our first out-of-town runs of shows, we didn’t even have a band van, which we ended up finding late night the day before, purchased off someone privately, and had insured and plated the next morning before driving off in our amazing two-tone brown GMC Safari (RIP), the best van ever created.

5. Everyone was a huge fan of Sonic Youth

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

After a long hiatus, Doll returned in 2025 with a brand‑new album, and they’re keeping the momentum going with a follow‑up 2026 single, “Bear Claw,” releasing January 16th.

Doll is a Canadian alternative rock band from Ottawa, Ontario.

In 2009, Doll released their first album, Inside The Dollhouse. A video was filmed for their debut single, “Daddy’s Little Girl,” which aired on MuchMusic and MusiquePlus. A second video was filmed for their next single, “Sally Lost Her Shoelaces.” Madore left the band a few years later, with Paquette returning to take her place.

In 2011, they released their second album, The Ragdoll Diaries. Two singles and videos emerged from this release: “FMO” and “Youth of Today, Hope for Tomorrow.” The album was issued on both CD and vinyl. Soon after, Alex Vance joined the lineup as the new bassist.

Over the years, Doll has shared the stage with an impressive roster of artists, opening for Three Days Grace, Lacuna Coil, Danko Jones, Spinnerette, Protest the Hero, Band of Skulls, Anvil, Halestorm, SNFU, Hanzel Und Gretyl, Civet, The Creepshow, Die Mannequin, and many more.

Discography:
2025 – Better Days, Different Times
2011 – The Ragdoll Diaries
2009 – Inside the Dollhouse

Tours and Festivals:
2011 – Ottawa Bluesfest
2011 – IndieWeek
2011 – NXNE
2011 – Montebello Rockfest

0 EPK – Pythonic – Laws of Karma (2026)

  • May 29, 2026
  • by Asher
  • · EPKs · Pythonic

EPK – Pythonic – Laws of Karma (2026)

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

For fans of Lamb of God, Morbid Angel, Devildriver, Black Dahlia Murder

Band: Pythonic
EP Title: Laws of Karma
Release Date: July 10, 2026
Label: Self-Release
Distribution: Distrokid
Genre: Groove / Death / Thrash
Location: Saskatoon, SK, Canada

    Pythonicband.com | Facebook.com/pythonicband | Instagram.com/pythonicband | Youtube.com/@pythonicband

Pythonic.bandcamp.com | Spotify | Apple Music

Tour Dates:

May 28 – Regina, SK, Club side of The Exchange
May 29 – The Pas, MB – venue TBA
May 30 – Brandon, MB – The Hall
May 31 – Winnipeg, MB – Sidestage
June 5 – Calgary, AB – The Rock Shop
June 6 – Edmonton, AB – Starlite Room Temple Stage  

“Pythonic’s Decomposition EP: Rebuilt, Refined, and Ridiculously Relentless” – North Sask Music Zine

“A nice blast of heaviness to see out the year. Pythonic throw their all into delivering a memorable showcase of thrashing death metal. An EP of five tracks that shows off plenty of creativity, has moments of exciting flair, and undeniably delivers the hefty ‘one-two’ punch of death crossed with thrash metal. 8/10″ – Games, Brrraaains and A Head-Banging Life (Decomposition – 2025)

“PYTHONIC does command respect. The way they have approached the music is impressive. I hear Metalcore, I get Metal Hardcore, I receive Groove metal and I hear Heavy Metal. Sometimes one of the four, at other times two or more of the four ingredients on offer. And what is even more impressive; they work well together.8/10″ – Metal Temple (Decomposition – 2025)

“Pythonic assuredly on fine footing based on the reinterpretation of older songs for Decomposition. Strap yourself in for a modern mix of groove metal with thrash, death, and metalcore components which leaves you battered, bruised, and craving more.8/10” – Dead Rhetoric

“The first thing that grabs you about this second stab in the dark from Pythonic is Warriner’s shrill screams which are as nasty as a low budget horror movie from the 1980’s but in a good way. That’s not to say he doesn’t have a death growl of course but it’s not all that deep, his preference being to shred your ear canals as he screeches like a lunatic awaiting asylum on opening gambit “Guiltfeeder“. A track with a sinister urge and classy bit of lead towards the end from Hunter, it’s something that has that classic Morbid Angel about it while there can be little doubt the band love a bit of Swedish Death Metal.” – Metal Noise

““EP 1” is a testament to Pythonic‘s dedication to their craft and their refusal to be confined by sub-genre limitations. Each song is a blend of technical prowess and raw emotion, offering listeners a chance to experience the full spectrum of the band’s capabilities. It is recommended for fans of Machine Head, Trivium and Pantera.” – Metal-Rules (EP01 – 2024)

 

“Pythonic comes from Canada with ‘Epica’, a track that features fast-paced guitar riffs, heavy drums and an engaging, torn vocal that delivers to listeners the essence of metal and subverts such as alternative, thrash and even melodic, being perfect to the circle and not to leave anyone standing still.” – Os Garot Os Deliverpool (EP01 – 2024)
 
“Pythonic has an EP for you. Blending Thrash with Old School Swedish Death Metal, the band manages to sound like Entombed but without losing its unique style… So if you have a few minutes of anger to drain, these guys are going to cover you!” – Metal Eclipse Reviews (EP01 – 2024)
 
“Overall I’m a pretty big fan of this record. If you want something that sounds maybe like an Anthrax or a Slayer record then you really want to check this out. The most dynamic and unique part of this EP, in particular is the vocals are double-tracked and they’re very high in the mix which is something that is somewhat different than a lot of the other metal releases this year which I greatly appreciate. If you want something that has a lot of the thrash guitar element then you’re really going to want to check this out. The guitar and drum parts are fantastic, they really keep the songs very tight even though the vocals are very in your face and they’re usually the the first thing that you would notice with this kind of record but overall this is very strong.” – Brutally Delicious (EP01 – 2024)

 

Band: Pythonic
EP Title: Laws of Karma

Release Date: July 10, 2026
Label: Self-Release
Distribution: Distrokid
Genre: Groove / Death / Thrash
Location: Saskatoon, SK, Canada

 

Track Listing:
1. Laws of Karma (3:17)
2. Feed The Flames (3:52)
3. Set You Free (4:07)
4. Sentience (4:36)
5. Venom (2:59)
EP Length: 18:51

 

EP recording credits
All songs performed by Pythonic
All songs written by Pythonic
Produced by Pythonic
Mixed by Reid Paraszczynec / Lucid Distortion Audio
Mastered by Reid Paraszczynec / Lucid Distortion Audio
Album Artwork by Apocalyptic Nuke

 

EP and Live Lineup:
Morgan Warriner – Lead Vocals
Ryan Hunter –  Lead Guitar
Vincent Kohut – Rhythm Guitar and Backing Vocals
Max Hiske – Bass
Jayden Warriner – Drums
==================================================

About the EP Artwork:

The artwork depicts a guy screwed onto a liberty scale in a hell scape background. We called the EP “Laws of Karma,” hence why we used a liberty scale to impale the figure onto. The artwork was done by @apocalyptic.nuke. The model is of no specific person to name, but holds a deep connection to the band as they were served the karma they deserved, as portrayed in the song “Laws of Karma.” The ending verse highlights the main points tying together the art and the song. They go very hand in hand with each other. We also updated our logo for this release to better align with our new direction in sound. The logo was also done by @apocalyptic.nuke. We are quite happy with how the art turned out and think it matches our brutal leanings as of late.

About The EP: Lyrically and Musically

Lyrically answered by Morgan, “Laws of Karma is the first set of music I have written that has been fully me. To say that I am proud of it is an understatement. The entire set of 5 was written when I was in a very dark place, recovering from surgery and being unable to walk/move. The entire album reflects on Vincent’s, Jayden’s, and Morgan’s struggles with disabilities and surgery. We made music to make you move when we ourselves at times could not.”

Musically, these songs have been written over a wide span of time. Lots of personal struggle and hardship can be heard throughout the riffs. These riffs are a culmination of living through life, and on the toughest days, you can still rip out a killer song through the ashes of despair.

Track By Track: Lyrically and Musically

All lyric content answered by Morgan

1. Laws of Karma – The Laws of Karma guide your fate. This speaks no matter how holy a person views themself they will forever be chained to the laws that guide this world. Karma is a real thing, and it comes to bite some people in the ass. Laws of Karma was written about the ex-member of Pythonic who was in the band for many years. It really highlights Vincent’s personal relationship with him, how the band would have people talk to us about his shitty behaviour and lack of respect. We found it fitting to use him as the object of karma.

Musically, this song was written by Ryan. It was one of the first tracks written to start leaning into a heavier sound and has been a part of our live show for many years. The riffs have not changed over the years, as the song is quite a solid piece of work. We saw it fitting to take the song and not change the name from its predecessor, and to keep the structure exactly the same as it rips.

2. Feed the Flames – Feed the Flames is the second half of Liturgy. Everyone talks about summoning the devil, but rarely discusses what the consequences may be. Demons walk this earth. They are greedy, powerful monstrosities that will take anything offered to them and then some. It speaks on the fire’s voice, which is a popular scripture in the bible (Exodus 3:2). Hearing the fire’s command, obeying, and feeding the flame. Only to have the beast take more than what was offered, terrifying those who summoned it. Eventually claiming the person themself. The beast has finally won.

Feed the Flames came to Vincent while he lived in a fairly haunted house. A solid chorus riff mixed with some other weird yet haunting riffs. The jump in the BPM near the end of the track is supposed to capture the franticness of being pursued, and the abrupt stop is you finally being caught. These go hand in hand with the lyrical content of the song. Stopping abruptly right as the lyrics “ The beast has finally won” are being spoken really helps join the music to the lyrics.

3. Set You Free – Set you free from this holy lie is self-explanatory in itself. It speaks of how religion has changed, how it is not true to itself and how so many people have suffered at the hands of “god”. If any book tells you to hate a fellow human being, that book is completely wrong and should be burned. People gather in mass to listen to people who are continuously getting flak and having people come out and speak about how they were sexually abused by a priest. Religions telling us to hate each other have no place in this world. Religion spreads hate, Pedophiles rule the world, and the bible is blasphemy.

Musically, this is another mostly Ryan banger track. This track has been developed over a long period of time and has had many iterations that have been played live. The core riffs of this track never really changed, like the intro and the verse riffs. They were just such solid riffs over the years and got the crowd moving. The rhythm over the solo is also just an absolute demon of a riff. This was another one of the songs that was written around the time of “Laws of Karma” and was a push for us to sound heavier.

4. Sentience – Lyrically, the song ” Sentience ” was written regarding the viewpoint that a majority of society is not sentient yet, what happens when someone gains sentience and questions the current narrative and the internal turmoil of not wanting to understand the way that the world works “, in ignorance there is bliss”. The entirety of sentience is filled with contradictions as well as unrest of questioning one’s very existence; it’s as though sentience itself is calling out to you, telling you that you can not escape it. Its darkened proposition of guiding you through fractured identity and internal struggle really highlights the personal pursuit of inner peace, but never being able to find it.

What makes a person sentient? Why do some people seem although they are not sentient and do not have souls? Some questions may never be answered. Will one ever find inner peace?

Musically, Sentience comes from a very raw, emotionally charged area for Vincent. It was the first song he had written after being able to play guitar again after an almost two-year hiatus due to not being able to physically play. The riffs dug into his psyche at the time of being relieved to be able to play again, but also releasing the tension of will I ever be able to play again and enjoy music as I had prior. The hiatus had brought up questions of whether I should just call it and start selling all my gear? Am I going to lose all my friends in the band, not being able to do what we enjoy together anymore? The existentialism of these questions harboured the riffs for “Sentience”, making it the heavy-hitting headbanging song you hear today.

5. Venom – Lyrically, Venom is about my personal struggles of being in an abusive relationship. How I was hit, tormented, and gaslit. I thought that I had found the one, and if I had just stayed, things would get better. It speaks to my inability to understand why I was ever treated in such a way. When it comes to abuse, there is never a rhyme or a reason for the way someone treats another person. I gave myself like a devotion or sacrifice to a person who sucked me dry of everything. Later on in Venom, it speaks on how I found myself again after finding the truth and how the person only has themself left to betray.

Musically, Venom comes from a very similar place as the lyrics did. Vincent wrote the majority of this song in a half-hour sitting after breaking up with an abusive ex. Gaslighting and mental torment at the pinnacle of having enough is what brings these riffs together with the lyrics. Originally, the riffs were titled “Drain” as Vincent had felt drained by the relationship in every aspect. A true cathartic release of being abused by a partner.

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

Fun Facts:

1. After we played the Into Eternity show this past November, Morgan received some very flattering compliments on his vocals from Stu Block. This had the band very excited. Ryan and Vincent also received a handshake of approval from Matt Cuthbertson on how well our sound and set have come along. It was a very amazing time to share the stage with such legends in the scene and to be noticed by them as well.  

2. Shortly after the amazing Into Eternity show, we got to be the opener for Slaughter Fest in Edmonton. This show was quite a wild ride. Being able to play the main stage at the Starlite Room felt so surreal. As we performed, more and more people just kept flooding in. The response after our set was also amazing. We had people surprised by the fact that we got people to mosh, saying, “It’s like a rule here that no one moshes for the opening band,” yet that rule was broken. We also received very kind words from Sean Watson, the leader of Display of Decay. He said, “Why didn’t you guys tell me you were so good we would have put you in a later slot?” We honestly didn’t think we were that great to be asking for that, but the crowd’s response never lies.

3. Shortly after the Slaughter Fest show, we would be contacted to be on Serenade Metal Fest once again. We donated our set once to the show, as it helps raise funds for cancer and MS research. And we like to help out with benefit shows even when we have a fairly substantial cost input for getting out to Edmonton.

4. Not long after Serenade happened, we were contacted by Exit Wound out of Calgary to do some tour dates with them. We were all very surprised by this and also excited, as some other touring for the spring had fallen through. We were surprised because we had only played with Exit Wound one other time last year, in June at a Saskatoon date for their tour. This was the third show with Morgan on vocals, and during the middle of the set, Morgan was trying to get the hype up for Exit Wound, and with the amount of air he was pushing for vocals, he had a moment of forgetfulness and forgot the name of their band. Lacking experience and oxygen made us look unintentionally a little bad, but we obviously have the chops and demeanor to show that it was an unintentional accident. Exit Wound later went on that night to play a ferocious set and later invited us on some dates for their upcoming tour.

May 28 – Regina, SK, Club side of The Exchange
May 29 – The Pas, MB – venue TBA
May 30 – Brandon, MB – The Hall
May 31 – Winnipeg, MB – Sidestage
June 5 – Calgary, AB – The Rock Shop
June 6 – Edmonton, AB – Starlite Room Temple Stage  

5. After sharing the stage with Brain Stem at Slaughter Fest, we were later joined by them at Serenade. While we were at Serenade, Jess Leduc, the vocalist, came up to us before the show and jokingly said, “We never heard of you guys before Slaughter Fest, now we are on almost every show this year,” because we later would be sharing the stage with them once again during the Edmonton date of the tour with Exit Wound. Brain Stem is also an amazing band, and if you have never listened to them, you should really check them out. They have been on our band’s radar for a while, and it’s nice being able to play with an awesome band, like they are so many times!

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

L-R – Ryan Hunter (Lead Guitar), Morgan Warriner (Vocals), Max Hiske (Bass), Vincent Kohut (Rhythm Guitar & Backing Vocals), Jayden Warriner (Drums) 

Pythonic is a Canadian death-groove metal band hailing from Saskatoon, Saskatchewan. Drawing inspiration from groove and death metal giants like Lamb of God, The Black Dahlia Murder, Morbid Angel, and Devildriver, the band blends crushing riffs with unrelenting energy. Striving for the tightest live sound possible while delivering an electrifying stage presence, Pythonic is truly a sonic force to be reckoned with. Over the years, the band has seen many lineup changes, but two core members have remained constant. Lead guitarist Ryan Hunter, the resident guitar prodigy, shreds some of the grooviest riffs and most blistering solos. Rhythm guitarist Vincent Kohut brings a machine-like precision, combining thick low-end riffing with razor-sharp tremolo picking.

The 2026 and beyond lineup:

Jayden Warriner – skin slapping powerhouse on drums

Morgan Warriner – a vocalist with a beastly range that will leave your head spinning

Max Hiske – locking down the low end and slappin’ da bass with fury

Together, this lineup delivers the full-throttle sonic assault that defines Pythonic.

 

Discography:
2026 – Laws of Karma – EP
2025 – Decomposition – EP
2024 – EP01 – EP
2020 – Negative Thoughts – Single

 

Shared the stage with:
200 Stab Wounds, Beguiler, Art of Attrition, Insurrection, YEGG, Untimely Demise, Ravenwitch, Hatchet, Hazzerd, Into Eternity, Display of Decay, Brain Stem, Age of Ashes, A Modern Prometheus, Cell (MB), Exit Wound, Kelevra, Augurium, Widows Peak, Protosequence, Agony Spawn, Wasted Heretics, deadsunday, Alien to the Ignorant, Balrogath, Kryotic

 

Fests
2026 – Serenade Metal Fest – Edmonton, AB
2025 – Slaughterfest – Edmonton, AB
2025 – Serenade Metal fest – Edmonton, AB
2019 – Shockerfest 26 – Edmonton, AB

0 EPK – Shroud – Pax Nocturna (2026)

  • May 24, 2026
  • by Asher
  • · EPKs · Shroud

EPK – Shroud – Pax Nocturna (2026)

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

“The album, front to back, is structured to be a ride. Black Metal and Thrash Metal are the driving genres, but we incorporate elements of Death and Melodic Metal as well. It goes fast, sometimes it slows down, but it’s meant to be a rollercoaster of heavy metal that takes you on a journey with a bit of everything while maintaining the sound of ‘Shroud.’” – Matteo Conti – Guitar and Vocals – Shroud

For Fans of Watain, Dissection, Hellripper, Skeletonwitch, Necrophobic

Facebook.com/profile.php?id=100086688022343 | Instagram.com/shroud.mtl

Shroudmtl.bandcamp.com | Spotify

“Imagine the ferocity, the grit and attitude of ‘Power n Pain’ era Whiplash, add the nocturnal melodic majesty of Necrophobic, and then a heaping helping of D-beat (always appreciated). Vicious, limb twitchin’ and about as infectious as something you believe you might have picked up on a recent European vacation, but wish you hadn’t. Recc for fans of SkeletonWitch, Necrophobic, Hellripper and others who successfully manage to imbue ragin’ Thrash insanity with an exquisite sense of darkness. This scatches the itch, then successfully obliterates it!” 94/100 – Cult Metal Flix

“A definite early AOTY candidate with strong claims, 5 star Black/Thrash!… There’s a high amount of crushing chugging riffs across this full length and the leadwork is absolutely scorching across the board, shreddy solos with that classic heavy metal, Thrash phrasing with a few mid-paced ones thrown in that are topped off with a couple of whammy bar accents and tremolos in them. Some of these riffs just will absolutely pummel you, as they’re fast and unrelenting as hell; also, there’s one or two solos that appear in a single track too. The vocals on this aren’t just high black metal screams, but there’s creepy deep spoken word vocals, chants and a few death growls also; if you’re into absolutely groove filled Blackened Thrash then absolutely look no further than this masterpiece, absolutely don’t sleep on it, a definite AOTY contender personally. Rating: 10/10!” – Drako’s Metal Reviews

“With Pax Nocturna , SHROUD makes a striking statement that will allow them to carve out a prime spot among the new Canadian bands to watch.” – Ondes Chocs

“The debut album from the thrash/death newcomers goes hard from start to finish! Right from the opener ‘The Eternal Void’ this thing is heavy, urgent and awesome, and it keeps its momentum for its full 45-minute runtime. The fact that it’s only nine songs in that time as well means that everything gets time to breathe, and everyone in the band gets time to shine. Highlights include ‘Merciless Tyrants’, ‘Diablivion’ and the epic closer, but the whole album is great from start to finish! It certainly won’t be everyone’s cup of tea, but if you are into the heavier end of metal, this is absolutely worth a spin. The band have a bright future ahead of them, and in years to come people will look at this release as their big launching pad. 8.5/10″ – Overtone Magazine

“Shroud’s latest offering, ‘Pax Nocturna’, is a relentless onslaught of blackened thrash metal that will leave listeners in awe of its sheer intensity. The album exudes a dark and foreboding atmosphere, with haunting melodies and aggressive riffs that create a sense of impending doom. Standout tracks such as ‘The Zealot’ and ‘Merciless Tyrants’ showcase the band’s ability to seamlessly blend black metal fury with thrash metal aggression. The production quality on ‘Pax Nocturna’ is top-notch, with every instrument cutting through the mix with clarity and power. This album marks a significant progression in Shroud’s career, solidifying their position as one of the leading forces in the extreme metal scene.” – MetalStorm.com.au

““Fans of extreme metal will find a record crafted for them. It’s intense, tightly executed, and overflowing with raw energy. Its lyrical depth explores philosophy, anti‑religion, the abyss and the darkest corners of human existence. The overarching concept is Satanic Gnosticism, a rejection of imposed order and corrupt leadership, and an embrace of the chaos from which humanity originates.” – The Black Metal Archive

“With Pax Nocturna, the Montreal quartet Shroud delivers a particularly compelling debut album. From the very first notes, the band establishes a strong identity thanks to powerful riffs, inspired solos, and a constant energy that permeates every composition. The tracks are well-constructed and demonstrate a solid mastery of musical composition. The overall effect is both impactful and memorable, showcasing the musicians’ talent. Pax Nocturna serves as an excellent calling card for the band. A name to remember and a release that richly deserves the attention of metal fans.” – World Metallum QC

“Blackened Thrash Metal from the Canadian band Shroud and their newest album called ‘Pax Nocturna’. The combination of Black Metal and Thrash Metal always makes me happy, especially when done right, like this band does. Within the first few songs, they got me hooked immediatetly with their riffs, those are just so fun, addictive and heavy as Hell. It has alot of energy that is cloaked in the Blackened darkness, it fits just so well together. Especially the drums on this album are so clear and well-performed that it blew my mind actually. Vocals too, they are these Black Metal screams of anguish and rage, it’s really sickening in a good way. I could go on and on about this album but check it out for yourself, you’ll understand my hype! Rating: 9,1/10” – Evert’s Band Page Promotion

“Shroud  are  a  very  great  sounding  melodic  mixture  of  black,  death  and  thrash  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  “The  Eternal  Void”  “Darkest  Night”  and  “Abaddon”.  8  out  of  10.” – ADifferentShadeOfBlackMetalZine

Band: Shroud
Album Title – Pax Nocturna
Release date: June 4th, 2026
Label: Self-Release
Genre: Blackened Thrash Metal
Location of band: Montreal, Quebec, Canada

Track Listing:
1. Pax Nocturna (0:43)
2. The Eternal Void (5:09)
3. The Zealot (5:15)
4. Merciless Tyrants (5:59)
5. Darkest Night (4:45)
6. Diablivion (5:28)
7. Death Blows Over (4:18)
8. All Creation (5:29)
9. Abaddon (7:55)
Album Length: 45:05

Album Recording Credits:
– All songs performed by: Matteo Conti, Zack Osiris, Jordan Barillaro, Justin Cournoyer
– All songs written by: Matteo Conti and Zack Osiris
– Produced by: Shroud and Jordan Barillaro
– Mixed by: Jordan Barillaro
– Album Art by: Justin Cournoyer
– Mastered by: Tore Stjerna

Album and Live Band lineup:
Matteo Conti – Guitar and Vocals
Jordan Barillaro – Guitar
Zack Osiris – Drums
Justin Cournoyer – Bass

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

About The Album Artwork:

It’s a representation of our love and admiration for the occult. The colours themselves, the circular position of the characters involved, the full moon in the center, etc., are influenced by the dark fantasy artworks of Yoshitaka Amano and the Surreal Horror art of Zdzislaw Beksinski. There is also an element of The Lord of the Rings involved with the imagery. It’s symbolic in the sense that the 4 of us (depicted on the left) are at the worship of the Demonic Lord Murmur (on the right), who is the Archduke and Lord of Hell, representing philosophy and music.

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

The overall concept of the album is Satanic Gnosticism. It’s the rejection of order and the corruption inflicted upon earth and its people by organized religions and corrupt leaders. It’s embracing the chaos that we naturally come from and acknowledging that we are sons and daughters of the black flame and born from the abyss to which we long to return. A higher form of consciousness and what lies beyond this place. It’s a fuck you to the enemies of the planet and acknowledges we are our own gods and masters, and to embrace that power for ourselves

It’s the fascination and worship of death and the beyond while rejecting what is acceptably taught to most of the world’s population.

It is peace within the night.

It is Pax Nocturna.

Track by Track:

1. Pax Nocturna
The instrumental opening of the album. It features piano and uses the two minor chords heard most often throughout the rest of the album. Meant to be thematic and draws an influence from the intro of Metallica’s ‘Blackened’.

2. The Eternal Void
We used to call this one “The Punk Song” before it was given its official title. It has an element of Punk Rock but presented in a Blackened Thrash fashion. Lyrically, it deals with existentialism and a consistent feeling of emptiness that calls to a presence referred to as ‘The Eternal Void’.

3. The Zealot
The first song Matteo and Zack wrote together. Musically, it was the birth of what would follow as Shroud’s sound. The lyrics’ subject matter is based on the Spanish Inquisition of the Medieval and Renaissance ages, and how terrifying they were towards Christians and Non-Christians alike. There were no rights and no fair trials. Basically, a witch-hunt for anyone who didn’t conform to what the Church at that time believed was the appropriate way to behave as a true Christian. ‘The Zealot’ represents one of its heads, Tomas De Torquemada, who was responsible for sending 10,000. People are unjustly sent to their deaths.

4. Merciless Tyrants
This song’s lyrics are about a Warhammer 40000 faction known as “The Necrons”. They’re an ancient, terrifying race of undead androids driven by their goal to conquer the galaxy. Known for brutal tactics and unending hordes, they are actual merciless tyrants. They have an Egyptian-like theme to them, and the song’s music represents that being heavily based on the Phrygian Scale.

5. Darkest Night
This song’s subject matter deals with the abandonment of one’s faith. Although scary to realize in oneself that there is no higher power or afterlife, there is a sense of relief and liberty in attaining true enlightenment.

6. Diablivion
A song that deals with Religious crusades conquering and colonizing lands to spread the word and faith of their god. It is done in a way that paints the crusaders as the true terrifying oppressors and is told from the perspective of those being subjected to their will.

7. Death Blows Over
A song we used to call “Fasty Thrashy” before its official title. It’s a super fast-paced, all-out assault of Thrash Metal with darker elements that give it a Black Metal vibe. It features lots of guitar solos as well. The subject matter deals with having the worst hangover you can possibly imagine.

8. All Creation
A song that’s about the formation of the Earth. Not the one in the biblical sense, but in the more scientific reality-based version of the Planet forming from dust and debris, being constantly pummeled by asteroids that would eventually form its shape and would cool to have Oceans and Continents.

9. Abaddon
A song about mortality, its subject is about how all things are destined to die, and we do it in a symbolic way through the perspective of one of the lords of Hell, Abaddon. It’s the slowest and longest song on the record, and makes its way to an outro we felt fitting to tie the finale together for Pax Nocturna.

L-R – Justin Cournoyer – Bass, Matteo Conti – Guitar and Vocals, Zack Osiris – Drums, Jordan Barillaro – Guitar

Emerging from the depths below, Shroud is set to make their full-length debut with ‘Pax Nocturna.’

Formed in 2022 by Guitarist/Vocalist Matteo Conti and Drummer Zack Osiris, the band quickly solidified its lineup with the addition of Jordan Barillaro on Guitar and Justin Cournoyer on bass. Each member brought a blend of technical prowess and raw intensity, setting the stage for Shroud’s relentless sonic assault.

Drawing inspiration from the bleak and obscure corners of existence, Shroud embarked on their musical journey, crafting compositions that reflect the darkness and chaos of the human psyche. Their sound, characterized by blistering riffs, thunderous drums, and raspy vocals that echo through the void, resonates deeply within the metal community. Overall, the general perception of the band would be closest to the style of Blackened Thrash Metal.

After honing their craft through intense and electrifying live performances in the Quebec music scene, Shroud is set to unleash their debut album ‘Pax Nocturna’ on June 4th, 2026.

Discography:
2026 – Pax Nocturna (LP)
2024 – The Eternal Void (Single)
2025 – All Creation (Single)

SHARED STAGE WITH:
Exciter, Midnight, Wraith, Goatwhore, Vitriol, Necrofier, Wormwitch, Spiter, Gudsforladt, Tomarumvoid, Angelus Apatrida, Sorguinazia

TOURS AND FESTIVALS
2026 – Speed Trap vol 2, Montreal, CA
2024 – Woods of Gallows V, New York, USA

0 EPK – Levinia

  • May 15, 2026
  • by Asher
  • · EPKs · Levinia

EPK – Levinia 

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

For fans of Within Temptation, Amaranthe, Nightwish, Lacuna Coil, Delain

“We believe fans will appreciate not only the heaviness, but the versatility. These songs push Levinia into new territory while still maintaining the cinematic drama and emotional weight that listeners know us for.” – Levinia – Vocals – Kourt Henson

Leviniaofficial.com | Facebook.com/LeviniaOfficial | Instagram.com/leviniaofficial 

Tiktok.com/@leviniaofficial | Youtube.com/@leviniaofficial

Spotify | Apple Music

“The mixing was just absolutely incredible for the guitars. I really like that.” (referring to the complex rhythm). This was, I mean, I was super impressed. Really impressed.  I love the chorus. That’s what we really love. (about catchy choruses). I love that. It was so good (about the operatic vocals), super super cool. What a good job. I’m happy that she’s back with her band. They all look like they were having a great time. That was super cool. (about the live setting) I love it. Yeah. Yeah. I love it.” (about headbanging). This was perfect. Right up my alley.” “It was very good. Very high rating. This was really cool, and I’m very happy we did this one.”- YouTube Reaction Video – The Rockin’ Roundtable (2026 – The Thorn (single)

“Overall, Liberation is a thoroughly impressive EP that should find appeal with both the modern metal and symphonic crowds, especially those craving a little extra heaviness in their material. Levinia are onto something great here, best to catch them here at the ground level and watch them explode to the next level in the near future.” – Dead Rhetoric (2018 – Liberation) 

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

““The Blank Page” may be the biggest shock. It opens in a slower, more vulnerable, and almost haunting space, which is not what some listeners may expect at first, but once the chorus hits, it erupts into something crushing. We think that contrast will make it one of the more memorable tracks emotionally.” – Levinia – Vocals – Kourt Henson

Band: Levinia
Single Title: Blank Page – 4:29
Release Date: July 17, 2026
Label: Self-Release
Distribution: Symphonic
Genre: Modern Symphonic Metal
Location of Band: Los Angeles, CA, USA

Single Credits: Blank Page
Vocals – Kourt Henson
Guitars – Alon Mei-Tal
Bass – Chris Collier
Drums – Dylan Suierveld
Writers: Brandon Friesen, Courtney Henson, Alon Mei-Tal, Ben Robinson, and Dylan Lawrence Suierveld

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

About the single artwork:

The Blank Page: The artwork for “The Blank Page” was intentionally designed to mirror the haunting atmosphere established in the music video and within the song itself. Kourt wanted the visual to feel isolated, eerie, and emotionally hollow, almost as if the listener is staring directly into the haunting weight that inspired the track. At the center of the image sits a single house, standing alone in an otherwise desolate space. The house symbolizes isolation and the mental confinement that often accompanies creative paralysis: being trapped with your own thoughts, unable to escape the silence. Paired with that is the image of a burnt page, which serves as a direct representation of destruction within the creative process. Rather than a page filled with ideas, it is ruined, charred, empty, and unusable. Together, those elements create a visual metaphor for writer’s block itself: loneliness, frustration, and the feeling that inspiration has been consumed before it ever had the chance to fully exist. The artwork is sparse, but that emptiness is exactly what gives it its haunting weight.

About the single:

“The Blank Page” was born out of one of the most frustrating parts of the creative process: writer’s block. At the time, Kourt was feeling an immense amount of pressure to produce something meaningful and compelling, but every attempt seemed to hit a wall. What should have been a moment of inspiration instead became a battle with self-doubt, overthinking, and the fear of not being able to create something worthy. Rather than hiding from that frustration, the song leans directly into it. “The Blank Page” captures the mental spiral that artists often face when creativity feels just out of reach: the silence, the pressure, and the growing panic that comes from staring at an empty page waiting for something to come. In many ways, the song became ironically therapeutic: the very struggle of being unable to write became the subject that finally broke the block. It stands as both a reflection on artistic paralysis and a reminder that sometimes the most honest songs come from the moments when nothing seems to flow at all.

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

““Bite” is going to satisfy the listeners who crave Levinia at its heaviest. It is dark, aggressive, and relentless, with a ferocity similar to “Push and Pull,” so we expect fans of our harder material to gravitate toward it immediately.” – Levinia – Vocals – Kourt Henson

Band: Levinia
Single Title: Bite – 3:30
Release Date: June 12, 2026
Label: Self-Release
Distribution: Symphonic
Genre: Modern Symphonic Metal
Location of Band: Los Angeles, CA, USA

Single Credits: Bite
Vocals – Kourt Henson
Guitars – Alon Mei-Tal
Bass – Chris Collier
Drums – Dylan Suierveld
Writers: Brandon Friesen, Courtney Henson, Alon Mei-Tal, Ben Robinson, and Dylan Lawrence Suierveld

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

About the single Artwork:

Bite: The artwork for “Bite” ties directly back into its Dracula inspiration and the darker themes woven throughout the song. At first glance, the image is minimal, but every element is intentional. The single drop of blood serves as the focal point, a clear nod to vampirism, seduction, and the lingering mark left behind after an encounter with something toxic or consuming. More symbolically, that drop of blood represents the shedding of a former self. It signifies the death of vulnerability, passivity, and fear, making way for something stronger to emerge. The image reflects the painful but necessary process of being wounded, changed, and ultimately hardened by the experience. Rather than portraying blood simply as horror imagery, the artwork uses it as a metaphor for rebirth. There is a sense that something has been lost, but something far more resilient has been gained in its place. In that way, the visual becomes an extension of the song itself: dark, elegant, and rooted in transformation.

About the single:

“Bite” was heavily inspired by Dracula, particularly the character of Mina Murray (later Mina Harker). In much of Victorian Gothic and Romantic literature, women are often positioned within the “fragile” or endangered female archetype, figures who are watched, pursued, manipulated, or rendered powerless by the forces around them. Mina initially appears to fit within that tradition; she is threatened, psychologically tormented, and used as a vessel for darkness. However, what makes her compelling is that she ultimately transcends that stereotype. Rather than remaining a passive victim, Mina becomes a symbol of endurance, intelligence, and quiet resilience, playing a crucial role in overcoming the evil that seeks to consume her. “Bite” takes that literary transformation and channels it into a modern emotional context. The song explores the experience of being drained by a toxic force, whether that be a person, a relationship, or a controlling influence, while also discovering the inner strength necessary to fight back. Kourt connected deeply with Mina’s journey, finding parallels between that struggle and her own experiences with the process of reclaiming personal power, especially in the music world. In that sense, “Bite” is not simply a retelling of Dracula, but a reimagining of Mina’s resilience through a darker, modern metal lens.

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

“We think fans are going to have a strong reaction to these upcoming releases because each song reveals a very different side of Levinia. “Silver Tongues” will likely catch listeners by surprise with its groovier, more rhythm-driven feel. It is a bit more restrained melodically on the surface, but the lyrical message is sharp and unsettling, which we think fans will connect with once they sit with the song. Overall, we believe fans will appreciate not only the heaviness but the versatility. These songs push Levinia into new territory while still maintaining the cinematic drama and emotional weight that listeners know us for.” – Levinia – Vocals – Kourt Henson

Band: Levinia
Single Title: Silver Tongues – 3:37
Release Date: May 17, 2026
Label: Self-Release
Distribution: Symphonic
Genre: Modern Symphonic Metal
Location of Band: Los Angeles, CA, USA

Single Credits: Silver Tongues
Vocals – Kourt Henson
Guitars – Alon Mei-Tal
Bass – Chris Collier
Drums – Dylan Suierveld
Writers: Brandon Friesen, Courtney Henson, Alon Mei-Tal, Ben Robinson, and Dylan Lawrence Suierveld

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

Describe Single Artwork:

Silver Tongues: The artwork for “Silver Tongues” was inspired by a behind-the-scenes performance photograph of Kourt taken by Matt Martinez of Red Hare Images. In that original shot, he captured a striking moment, an intense, almost piercing glare that perfectly embodied the darker, more scrutinizing tone of the song. That image became the visual jumping-off point for the single’s overall concept. While the woman featured on the final artwork is not literally Kourt, the piece serves as a clear homage to that captured expression and energy. The blonde woman, dressed in black leather, mirrors that same commanding presence, but with an added layer of mystery. Her finger is pressed to her lips in a “shh” gesture, as though she is concealing something from the listener or inviting them into a dangerous secret. That visual choice ties directly into the song’s theme—deception, manipulation, and the seductive nature of voices that appear glamorous on the surface while hiding something much darker underneath. The artwork is meant to feel alluring, confrontational, and slightly unsettling all at once, much like the message behind “Silver Tongues.”

About The Single (LYRICALLY & MUSICALLY):

Silver Tongues: At a deeper level, “Silver Tongues” explores celebrity and influencer worship through almost religious undertones. In modern culture, public figures are often elevated beyond admiration and into something resembling idolatry, placed on pedestals where their opinions, lifestyles, and approval begin to carry more weight than an individual’s own inner compass. People begin following blindly, accepting what is said as truth simply because it comes from someone with visibility, status, or fame. That dynamic becomes spiritually dangerous. The song examines what happens when a person starts placing an idol above themselves, surrendering independent thought, moral judgment, and personal identity in exchange for the false comfort of belonging to whatever narrative that influential voice is selling. It becomes less about inspiration and more about submission. There is a false sense of peace in that blind obedience. Following someone else’s instructions can feel easier than wrestling with one’s own convictions, but that ease comes at a cost: the slow erosion of self. “Silver Tongues” acts as a rebellion against that surrender. It is a rejection of the polished voices that promise certainty while quietly demanding conformity. Beneath the groove and melody, the song is ultimately a warning not to confuse fame with truth or sacrifice individuality at the altar of public influence.

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

Fun Facts/Stories

1. Our working titles are all courtesy of Alon, which means they are rarely normal and rarely make any logical sense to anyone but him. You can usually tell exactly where he pulled his inspiration from… and then where his brain took a sharp left turn. For example, we were recently inspired by The Divine Conspiracy’s song Chasing the Dragon, and instead of giving the demo some dark, majestic placeholder name, he lovingly titled it “Pursuing the Worm.” Same energy, significantly less threatening. It sounds less like a symphonic metal anthem and more like an unfortunate gardening problem.

2. One time, we drove out to Las Vegas for a show, and after surviving the performance and the questionable post-show exhaustion, Kourt and our former bassist Arron crashed at a friend’s house. Said friend owned two very important residents: a French bulldog puppy and one full-grown bulldog built like a snoring cement block, who slept downstairs in a crate. The Bassist took the pullout couch, while Kourt slept upstairs.  Now, Kourt is unfortunately a morning person, so while the rest of humanity was unconscious, she got up at dawn to grab some water. The house was dead silent… until she heard this demonic snore. Naturally, her first thought was, “Dear God, the dude is louder than I remember.” She stood there in complete horror, trying to process how one bassist could produce sounds usually associated with a malfunctioning chainsaw. It was only after a few confused seconds that she realized the snoring was not, in fact, our bassist on the couch, though the resemblance was alarmingly believable, but the full-grown bulldog in the crate. To this day, we still maintain that there was a very concerning overlap in their sleep acoustics.

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

L-R – Dylan Suierveld – Drums, Alon Mei-Tal – Guitars, Kourt Henson – Vocals, Liam Alexander – Bass

Photo Credit – Dream of Mirrors Photography

Levinia was born from the ashes of Los Angeles power metal outfit Aerius, founded in 2015 by former bandmates John Pinon and Dylan Suierveld. Seeking a fresh start and a more melodic, emotionally resonant sound, the duo launched a new project originally named Lavinium. After laying down the instrumental tracks for their demo EP, they began the search for a lead vocalist who could match their evolving vision. That search ended with the arrival of Kourt Henson, former frontwoman of FifthLaw and a solo artist known for her haunting vocal style, theatrical presence, and lyrical depth.

With Kourt onboard, the trio completed their debut demo EP, Alluring Fear, which dropped in January 2018 to enthusiastic underground acclaim. The band quickly moved forward, teaming up with LA producer Charles Kallaghan Massabo to craft their official debut EP. The transformation in their sound was so profound that they rebranded as Levinia, a name that better reflected their cinematic, genre-blending identity and elevated artistic direction. As their sound continued to evolve, Levinia welcomed Alon

Mei-tal as their full-time lead guitarist and songwriter, joining forces with Kourt to shape the band’s next chapter through a dynamic and emotionally charged creative partnership. Together, the band refined a hybrid metal sound that fuses symphonic grandeur, modern melodic hooks, and raw emotional storytelling.

Most recently, Levinia has begun working with acclaimed producer Brandon Friesen, who is producing their next four singles. This collaboration marks a defining new era for the band, elevating both the sonic depth and production scope of their music while preserving the emotional intensity that defines their identity. The upcoming releases promise a darker, more cinematic evolution of Levinia’s signature sound. Levinia has also recently welcomed Liam Alexander as their new bassist, adding even more depth and low-end power to their expanding musical landscape. The band is set to release four powerful singles, each one unfolding as a chapter in their evolving sonic narrative. With momentum building, a sharpened creative vision, and a renewed production force behind them, Levinia stands poised to make a lasting impact on the modern symphonic metal scene, and they are only just getting started.

Levinia:
Vocals – Kourt Henson
Guitars – Alon Mei-Tal
Bass – Liam Alexander
Drums- Dylan Suierveld

Discography:
2026 – Silver Tongues (Single)
2026 – The Thron (Single)
2018 – Liberation EP
2018 – Alluring Fear EP

SHARED STAGE WITH:
Delain
Edge of Paradise (x2)
Xandria (x2)
Wind Rose
Art Shock
Allegaon
Black Corwn Initiate
Omnium Gatherum
Liliac (x2)
Jacky Vincent
Ahtack
Harlequin
Disrupted Euphoria

0 EPK – Accursed – Sever The Horizon (2026) (single)

  • May 8, 2026
  • by Asher
  • · Accursed · EPKs · Uncategorized

EPK – Accursed – Sever The Horizon (2026) (single)

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

For fans of The Black Dahlia Murder, At The Gates, Revocation, Wretched, Angelmaker

Accursed.band | Facebook.com/accursedct | Youtube.com/@accursedct | Instagram.com/accursedct

Accursedct.bandcamp.com | Spotify | Apple Music | Accursed-merch.square.site/

“Lyrically, this new one is a furious condemnation of Christianity, joining a near-endless line of metal songs with a similar theme. Musically, it’s a hell-raiser too, a furiously vicious melodic death metal discharge. The screamed vocals are hair-raising in their intensity. The riffing blares like sirens, feverishly slashes like blood-crusted swords, and dismally roils. The drums methodically snap and maniacally clatter. The fleet-fingered soloing is exultant but also fluidly sinister. The song proves to be not just hostile but also eventually steeped in misery and dismay. It also proves to be highly groovesome, and good reason to check out Accursed‘s previous releases this year.” -Islander – No Clean Singing – (Beneath A Burning Sky Single 2025)

Band: Accursed
Single Title: Sever the Horizon – 3:38
Release Date: 5/8/2026
Label: Self-Release
Distribution: Distrokid
Genre: Melodic Death Metal
Location of Band: Connecticut, USA

Single Recording Credits:
• All songs performed by: Accursed
• All songs written by: Dave Lee, Chris Dwyer, Will Devereaux
• Produced by: Dave Lee
• Mixed by: Stephan Hawkes
• Mastered by: Stephan Hawkes
• Album Artwork by: Dimas Aditya
• Member of ASCAP

Album Band Line Up:
Will Devereaux – Vocals
Dave Lee – Guitar
Chris Dwyer – Bass
Ray Zvovushe – Drums

Live Band Line Up:
Will Devereaux – Vocals
Dave Lee – Guitar
Rob Casucci – Guitar
Chris Dwyer – Bass
Ethan Puetzer – Drums

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

About The Single:

Although the writing for Sever the Horizon was completed over a year ago, it became the catalyst for the rest of the album, setting both the tonal direction and the level of compositional complexity that eventually pulled the full track list together. Lyrically, it tells the story of Richard ‘Sky King’ Russell and the Horizon Air Incident of August 10, 2018, approaching it through a more interpretive lens. The song explores the emotional and psychological headspace he may have been in, while surmising the surreal physical experience and the overwhelming beauty and uncertainty of what he was witnessing in his final moments.

We intentionally avoided direct callouts or any attempt to explain or glorify his actions, recognizing that much of it is ultimately unknowable. Instead, the focus is on perspective and wholly human experience within a tragic and widely discussed moment. It’s a story that resonated with a lot of people when it happened, and we hope that the song connects similarly, maybe offering listeners something to reflect on and even relate to in their own struggles.

About The Single Artwork:

We went back and forth on the artwork quite a bit because, honestly, we didn’t have a clear direction right away. We even had Dimas scrap the initial concept and take it in a completely different direction once we realized it didn’t really reflect who we are stylistically.

What we ended up with feels a lot more like a visual metaphor for confronting and battling your inner demons. It ties directly into the core themes of the song and in a lot of ways, says what we’re trying to express without needing to spell it out.

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

BAND STORY ANGLES / FUN FACTS:
1. Who is Justin Dupree? That’s a great question. Honestly, we’ve been asking ourselves that ever since recording our first EP, Ascension.

We were tracking vocals for The Way Out at Hat City Music Productions, and mid-take, the engineer Chris Litwin stops Will and asks him to redo a line, something like, ‘do that Justin Dupree part again’. The actual lyrics are “dust and debris”, but from that moment, it was over.

A legend was born, and now none of us can hear that line any other way.

2. During the recording of our first EP, it felt like the universe was actively testing whether the release was supposed to happen when we thought it was. The first sign came during our final vocal session when lightning struck the studio. We watched it arc from a power strip to a pipe in the room we were standing in. It fried some of the gear, but luckily, all our recordings made it through untouched. Then, just as things moved into mixing and mastering with Studio Wormwood, the Asheville area was hit with historic flooding that devastated the community. We were watching it unfold in real time, not knowing what it meant for the project, but incredibly, the studio itself was spared. At the time, we were anxious to get the music out as quickly as possible, but looking back, it felt like something was telling us to slow down and pay attention. Since then, we’ve tried to be more in tune with that because when we are, things tend to fall into place in ways we can’t really plan for. Opportunities show up out of nowhere, and we’ve learned to just stay ready, trust the process, and keep doing things the right way.

3. At this point, most of the process has moved in-house. All of the guitars, bass, and vocals are tracked out of my home studio, where I also handle the producing, engineering, and reamping. It’s given us a lot more control over the sound and the pace of how we work, which has been huge for dialing things in exactly how we want them.

Drums are the one piece we can’t quite accommodate yet due to space, so we track those at Dexter’s Lab with Nick Bellmore (Many Eyes, Dee Snider, Jasta, and more). It’s a great balance, keeping most of the process in-house while still bringing in someone with his experience to help capture the energy on the drum side.

4. On a long weekend run through Virginia and North Carolina last year, we really tested the limits of Japanese engineering. We hitched a U-Haul trailer to Dave’s Subaru Crosstrek and somehow fit five fully grown adults(?) into it for what ended up being about 25 hours of driving. If you ever get the opportunity to pack half a ton of dudes into a crossover SUV for a road trip… don’t. Just rent the van. Trust me.

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L-R: Accursed Current Line Up | Rob Casucci (Guitar) | Dave Lee (Guitar) | Will Devereaux (Vocals) | Chris Dwyer (Bass) | Ethan Puetzer (Drums) 

Photographer Credit – Mia Palazzo

Accursed began in 2019 against the urban backdrop of Connecticut as a singular creative reaction to the extremes of modern metal; a project aimed at blending the melodic sophistication of classic melodic death metal with the intensity of contemporary heavy music. 

Across the band’s formative years, the lineup shifted several times, each change refining the group’s direction rather than diluting it. These early transitions were a workshop – players came and went, arrangements were tested, and the band’s songwriting deepened. Rather than slowing momentum, the process strengthened Accursed’s identity, resulting in tighter compositions and a clearer sonic blueprint.

The band’s last single, “Beneath A Burning Sky,” was received extremely well, outperforming their previous releases in the first 3 months and being featured on The Circle Pit’s YouTube channel and on No Clean Singing blog.

In late 2025, Accursed entered a new phase of creative chemistry with a new lineup that will carry the band into the future. Currently putting the finishing touches on pre-production for their debut full-length, Accursed is readying a record that emphasizes dynamic contrasts, harmonized guitar work, and melodic hooks balanced against pummeling rhythm sections and visceral vocals.

Sonically, Accursed sits squarely in the melodic death metal tradition but refuses to be a pastiche. Fans can expect modern production clarity and arrangements that make space for both aggression and atmosphere. Lyrically, the band explores themes of consequence, internal fracture, and the quiet violence of everyday existence, all delivered with concise, evocative imagery that complements the music’s intensity.

Looking ahead, Accursed is focused on finishing the album and not just building on the past but blowing it away entirely. With an uncompromising creative vision, Accursed is poised to make a distinct mark on the melodic death metal landscape.

Discography:
2026 – Sever the Horizon (Single)
2025 – Beneath A Burning Sky (Single)
2025 – Cold (At the Gates Cover) (Single)
2025 – Ascension (EP)

Shared Stage with:
Undeath
Gates to Hell
Crown Magnetar
Gorgatron
Extermination Dismemberment
Jasta
Kruelty
Larcenia Roe
Malignancy
Pessimist
Fires in the Distance
Begat The Nephilim
Burned In Effigy
Fleshbore
Frog Mallet

Tours and Festivals:
2026 – Buffalo Gore Fest – Buffalo, NY
2025 – Connecticut Death Fest – Milford, CT
2024 – Connecticut Death Fest – East Haven, CT
2023 – Connecticut Death Fest – East Haven, CT

0 EPK – Dehumanizing Itatrain Worship – 二次元コンプレックス 2D Complex (2026) (Stillbirth Records)

  • May 7, 2026
  • by Asher
  • · Dehumanizing Itatrain Worship (Stillbirth Records/Gore House Productions) · EPKs

EPK – Dehumanizing Itatrain Worship – 二次元コンプレックス 2D Complex (2026) (Stillbirth Records)

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

US booking: Stillbirth Records
contact[@]gorehouseproductions.com
https://www.instagram.com/stillbirthrecords

EU booking: DF-Booking
lukass[@]df-booking.de
https://www.instagram.com/dfbooking

For Fans of Ingested, Vulvodynia, Within Destruction, 花冷え。, Maximum The Hormone

Band: Dehumanizing Itatrain Worship
Album Title: 二次元コンプレックス 2D Complex
Release Date: July 10, 2026
Label: Stillbirth Records / Gore House Productions
Genre: Brutal Death Metal
Location of Band: China

“On our previous efforts, people probably saw us as just that ‘weird anime slam band’ sampling LoveLive! for shock value. But while making 2D Complex over the last two years, what I want to express has become much more honest and personal. This album is a collection of different interpretations of Otaku culture—the hikikomori anxiety, the rejection of reality, and the process of finding sanctuary in 2D worlds. It’s not just about memes anymore; it’s a real state of mind.

I wanted to create a record that you listen to from front to back, not just a bunch of singles thrown together. We’ve crammed things like J-pop, Blackgaze, and Japanese folk—stuff that shouldn’t really fit—into a Slam framework, but every shift is there to make that ‘distorted vibe’ feel complete. The structures are more complex and diverse than before, but the core is still pure violence and depression. I want fans to walk away feeling our perspective: colorful, but completely nihilistic.” – Kiryu Zhang – Vocals – Dehumanizing Itatrain Worship

Gorehouseproductions.com | Facebook.com/GoreHouseProductionsOfficial | Instagram.com/gorehouseproductions | X.com/GoreHouse | Youtube.com/@Gorehouseproductions-Official

Facebook.com/StillbirthRecords | X.com/stillbirthrecs | Youtube.com/StillbirthRecords | Stillbirthrecords.bandcamp.com

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Facebook.com/DehumanizingItatrainWorship | Youtube.com/@dehumanizingitatrainworship

| Instagram.com/dehumanizing_itatrain_worship | X.com/moduerhaoxian

Dehuitaworship.bandcamp.com | Spotify | Apple Music

“If the only thing the band had was a well-executed gimmick, I likely would have lost interest by now. One of their main strengths is that the core sound would hold up even if the gimmick was taken out.” – The Goat Review

“China’s Dehumanizing Itatrain Worship took the internet by storm with their debut EP μ’Sick.” – MetalSucks

“Dehumanizing Itatrain Worship made a mark on the metal community with head-spinning brutality accompanied” – Unite Asia

“It promises to be the most unusual new track (Eien Parasites) you’ll check out for a while.” – New Noise Magazine (2022)

[Download Album Lyrics | Download Album Cover]

Band: Dehumanizing Itatrain Worship
Album Title: 二次元コンプレックス 2D Complex
Release Date: July 10, 2026
Label: Stillbirth Records / Gore House Productions
Genre: Brutal Death Metal
Location of Band: China

Tracklist:
1. Lucky☆Slam – 1:32
2. Slamonogatari (feat. Andrew Lee from Ripped to Shreds) – 3:57
3. Brutal Panzer  – 3:14
4. Twisted Light (feat. Akihiro Muto from Agent 0) – 3:11
5. 苦痛昇天 (feat. Yui from Earthists.) – 3:03
6. Song of the Neet (feat. Yanchi from 5PM Promise and Matt Yakesh from No Face No Case) – 3:35
7. Utsushiyo – 1:38
8. Yomi (feat. Alan Grnja from Distant) – 4:01
9. 約束 (feat. Niik from Pale) – 5:51
Album Length: 30:03

Album Recording Credits:
• All songs performed by: Dehumanizing Itatrain Worship
• All songs written by: Dehumanizing Itatrain Worship
• Produced by: Izurus, Khezk
• Mixed by: Hiatus Records
• Mastered by: Hiatus Records
• Album Artwork by: Onctps404

Album Band Line Up:
Kiryu Zhang – Vocals
Xenochrist – Guitar
Zen – Bass
Shiru – Drums
Khezk – Composer

Live Band Line Up:
Kiryu Zhang – Vocals
Xenochrist – Guitar
Zen – Bass
Shiru – Drums
Khezk – Composer

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About The Album Artwork:

Brutal but kawaii

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

LYRICALLY

2D Complex pretty much sums it up. For me, this is just how I live.

We moved away from pure gore this time to focus more on anime culture, the hikikomori life, and my own mental state. To be blunt, these Otaku memes are just a shell. What’s actually inside is my pain, my hatred, and a genuine urge for self-destruction.

MUSICALLY

Imagine a car crash in Akihabara, that’s our music in a nutshell.

To be honest, we’ve never been a ‘textbook’ Slam band. Ever since we started heavily sampling LoveLive! in our earlier stuff, our style has always been a bit…weird? For this album, we wanted to lean even harder into the Otaku memes and use Slam as the heaviest possible way to package all these different musical elements.

You’re going to hear pure, neck-snapping Slam riffs, but we also threw in a lot of our own private stashes, everything from J-pop and Blackgaze to Japanese folk. We brought in friends from all over the world to help us finish this, and I want every track to be something that sticks with you. Bottom line: this is an album that refuses to be boring.

Track by Track (LYRICALLY & MUSICALLY):

1. Lucky☆Slam The album’s intro,  a tribute to my favorite anime, Lucky☆Star. It kicks off with a Black Metal riff and slams into a massive breakdown. I thought it’d be a cool way to tell everyone: get ready, I’m going to lose control

2. Slamonogatari This one’s about Nadeko Sengoku from Monogatari. That twisted darkness hidden behind a cute face fits Slam perfectly. The highlight is the melodic Heavy Metal solo from Andrew Lee at the end—honestly, my favorite part of the track.

3. Brutal Panzer Standard Slam, a Brutal Death themed after Girls und Panzer. Just imagine cute girls in tanks crushing everything on the battlefield. Musically, it’s the same vibe; this track was built for the pit.

4. Twisted Light We played around with a lot of glitch sounds and long pig squeals here. We got Akihiro Muto from Agent 0 for a guest spot; his gutturals are absolutely sick. I really want people to feel that “Twisted” vibe through this song.

5. 苦痛昇天 The title of this song means “Ascension in Agony”. A bit of a risky one. We added clean vocals, and it sounds like an anime opening, but the lyrics are actually about self-destruction and pill addiction. Huge thanks to Yui from Earthists. His vocals took this song to a whole new level.

6. Song of the Neet Our 2024 single, written for all the “home guards” (hikikomori) who reject society. Tons of guitar harmonics, plus Yanchi’s spoken word and Matt Yakesh’s screams—this is a true Otaku anthem.

7. Utsushiyo The intro for the next track, “Yomi.” We used a full piano piece to set the atmosphere.

8. Yomi featuring Alan Grnja from the Dutch deathcore heavyweights Distant. We blended in Japanese folk elements here. It’s solemn yet fierce—I think you guys are going to love it.

9. 約束  The title of this song means “promise”.This is the track I put the most heart into. I tried to fit Slam riffs into a Blackgaze/Screamo framework. NIIK (from Pale) killed it with the spoken word, and combined with the atmospheric synths, it’s the final chapter of farewell and self-destruction.

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STORY ANGLES / FUN FACTS ABOUT THE BAND

1. Our guitarist Xenochrist and bassist Zen are also members of another deathcore band called Leviathan. So we often do “package deal” shows where both bands play together. It’s “hell mode” for their stamina, but it’s a killer deal for the fans and promoters.

2. The band name “Itatrain” actually comes from a viral 2012 incident in Shanghai: a fan was caught kneeling and worshipping a train decorated with “LoveLive!” characters. We thought that kind of fanaticism was both stupid and hilarious at the time, so we decided to name the band after it.

3. The song “Yomi” is actually about the character Acheron from “Honkai: Star Rail,” and the inspiration for “苦痛昇天” came directly from the game “NEEDY GIRL OVERDOSE.”

4. 2026 marks the 10th anniversary of our first EP. What started as a “meme” bedroom project has somehow survived for a decade, and now we’ve even completed tours in Japan and Europe—it’s unbelievable to us.

5. I personally handle most of the band’s visual design, except for the album covers. This includes all the logos, layouts, and merch design. Controlling the art direction is crucial for me to ensure our visual style and music are perfectly in sync.

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Line Up – L-R – Zen (Bass) | Shiru (Drums) | Kiryu Zhang (Vocals) | Xenochrist (Guitar) | Khezk (Composer)

Photo Credit – Wendy

Dehumanizing Itatrain Worship, the best anime death metal from China. With brainwashing anime-style melodies intertwined with nerve-shredding high-speed blast beats, the band has toured extensively across China, Japan, and Europe, and has appeared on the stages of numerous European metal festivals. Now it’s your turn to fall for this ultimate carnival of moe and brutality.

Discography:
2026 “二次元コンプレックス 2D Complex”
2023 “Otakuslam♡Animecide”
2018 “The Divine Union of Serrated Flesh”
2016 “μ’Sick”

Shared Stage With
Suicide Silence, Stillbirth, Born of Osiris, Waking the Cadaver, Origin, Belphegor, Vulvectomy, Guttural Slug, Disentomb, Cephalotripsy

List Of Tours And Festivals You Have Performed On
2024 – Brutal Impact China Tour – China
2024 – Deathfeast Open Air – Andepnach, Germany
2025 – Otaku Slam Japan Tour – Japan
2025 – Eastsea Metal Fest – Zhejiang, China
2025 – Monster Kill EU Tour – Europe
2025 – Metal Storm Over Luzern Chapter IV – Luzern, Switzerland
2025 – Deathtober Fest – Liège, Belgium
2026 – Shockwave Fest – Shanghai, China

0 EPK – Entropist – The Vision (2026)

  • May 6, 2026
  • by Asher
  • · Entropist · EPKs

EPK – Entropist – The Vision (2026)

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

“This album is the culmination of over a decade of work, and we’re excited to finally be able to share it with the world! It contains a personal story that I think many can relate to, while also containing a crazy esoteric concept, for those who are into that sort of thing. The album as a whole covers a huge breadth of metal sound. You can hear all kinds of different influences throughout, but it all comes together as what I consider its own thing, very much. Many of the songs are relatively long, with a good bit of complexity, but I think we’ve done a good job of making everything flow in such a way that it really just brings the listener on a journey. It gets really heavy, but has so many unexpected and even victorious moments that I think truly set it apart. I’m really proud of what we’ve created here, and look forward to sharing what else we’ve got in store! Solomon Smith  – Guitar/Vocals – Entropist

For fans of Between the Buried and Me, The Contortionist, Meshuggah, Karnivool, Opeth

Entropistband.com | Facebook.com/EntropistBand | Instagram.com/entropistband

Entropistcolorado.bandcamp.com | Spotify

“Although this was a lengthy album, it was also one where you could feed off the energy of each song. Their musicianship, is second to none, and each song was carefully crafted to lead you through the journey and come out at the end alive, but definitely bruised and battered. 8/10” – Metal Temple

“Across eight acts, vocalist Parker Kitching, guitarist-vocalist Solomon Smith, guitarist Will Vinson, drummer Matt Gleason and bassist Jeremy Smith take listeners to some unlikely sonic places – “The Ritual” and “Revelation” — through off-kilter post-metal and djent.” – The best new music releases from Colorado artists in June – Westword – Denver – Justin Criado

“With their debut album, Entropist doesn’t just explore extreme progressive metal—“The Vision” redefines its boundaries.” – Music Waves

“What an amazing Prog Death debut this is, if you’re into bands like Rivers of Nihil, BTBAM and some of Obscura, then absolutely add this one to your lists! Rating: 9.2/10″ – Drako’s Metal Reviews

“Denver five-piece Entropist share their love of progressive metal across their debut, The Vision, released after a decade of writing and recording. Both old and new prog fans alike will recognize the BTBAM and Meshuggah-like harshness in The Vision’s maximalist aesthetic, but Entropist’s technical creativity and lively sound keep their vision from becoming derivative. Speedy, technical riffs serrate and chug throughout the album, playing around rhythmically complex drums and dynamic basslines that ring with gorgeous productive clarity (Thanks, Jamie King!). Of course, this heaviness needs to be balanced. Bright melodies take form in acoustic duets and high-energy compositions, showing love to prog’s gentler side. The vocals in The Vision both tear and soar, alternating between deathcore screams and complex vocal choirs; regardless of the style, the vocals serve to elevate the band’s sound and fit seamlessly with the rest of the ensemble. A melting pot of progressive metal elements shine within the album, and Entropist show off their ability to write technically advanced, yet straight-up fun music in The Vision.” – The Progressive Subway

“Progressive Newcomers Entropist seek The Vision through Creation” – The ProgSpace

“The Vision is clearly a very ambitious work… an extensive album that’s colorful, repeatedly arresting, and an effective representation of the fantastical narrative that unfolds through the lyricism… As a piece of music, it’s as eye‑opening as the cover art, initially mesmerizing and then exhilarating… These first two songs prove what a good idea it was to bring in Jamie King. The production displays an evenness of mix and a clarity that befits the talents of all the performers… So many things happen in each track, and each one differs in important ways from the others… Both songs are well worth all the minutes they ask of you. (on “Creation” and “Revelation”)” – No Clean Singing

“The debut album from this Denver band has created an engaging and thought-provoking display of Progressive Death Metal. Feeling like a mix of Between The Buried and Me, The Contortionist, Opeth, and Haken, the band explores so much of what can be done in the genre, while adding some really cool elements of Deathcore, Post Hardcore, and other genre-bending moments to make the band stand out among the rest of the 2020s Progressive Death Metal scene. The production feels flawless, and the songwriting takes so many twists and turns that it makes you excited about what the band has in store in the future. At 8 songs and almost 61 minutes long, this is a brilliant debut album that takes you from the heaviest of heavy moments to some of the most melodic moments you’ve heard in this style in a long time. If you think Progressive Death Metal needs a shot in the arm, Entropist is here to deliver the goods.” – Heavy Debriefings

“I have seen a vision of Colorado’s newest prog death institution—a supermassive black hole at the center of the Entropist galaxy, from which no genre can escape. In album opener “Intense Warmth,” elements of Hath‘s dense and dour modern death weave together with the bombastic, playful nature of The Odious, spaghettifying into a single entity sure to spark the synapses. From deathcore’s dissonant palm-mutes to “sunshine doom” in the vein of Lantlôs (particularly Melting Sun), The Vision‘s preview tracks flow through disparate styles with the songwriting prowess of scene veterans. While it’s impossible to please every demographic (see: DSBM fans), Entropist’s debut LP will likely appeal to listeners across the spectrum of extremity; in any event horizon, I look forward to exploring this expansive record when it releases on Friday. -Roldy” – Toilet ov Hell

“A Debut Worth Betting On Most weeks the top of this list goes to a name you already know. Not this one. The record I’ve had on repeat is a debut from a Denver band most of you have never heard of, and it’s outranking a Napalm release and a death metal institution to get there. Good problem to have. Entropist – The Vision album cover #1 — Entropist — The Vision (Independent) | Progressive / Technical Death Metal Denver’s Entropist drop their debut full-length, and it’s the most exciting thing on this list by a wide margin. Jamie King (Between the Buried and Me, The Contortionist) produced it, and you can hear that lineage in how the record moves: cinematic sweep and technical detail that never tips into showing off. Metal needs more bands working the progressive and technical space who actually have something interesting to say, and these guys do. The album cover is sick too. Start to finish, this is the one to beat.” – Weapon K Media

“Here we’ve got a fresh extreme-leaning prog metal band out of Colorado, trying to carve out their niche in a landscape stuffed with mesmerizing technicality and endlessly complex songwriting. It feels like they’re pulling a little bit from everything, with percussive riffs out of metalcore and groove metal, heaviness, sharpness and melodic traits out of modern melodeath, then adding sprinkles of avant-garde atmosphere, dissonance and Meshuggah-style rhythms.” – The Metal Dispatch

“Progressive metal, djent, deathcore and progressive death metal merge »The Vision« to a concept album lasting over an hour, self-released by the band. The Colorado natives are behind the debut Entropist, whose shared history began back in Greeley in 2013. After years of making music together, a temporary separation and later reunion, the quintet developed an album whose eight compositions function like chapters of a continuous narrative. Demons, celestial beings and an all-consuming emptiness form the fantastic level, while psychological stress, isolation, nihilism and the search for meaning provide the human antithesis. Producer Jamie King Brings this musically and content-ambitious construction into a powerful form without exposing the numerous details between the massive guitars.” – MetalUnderground.at 

Band: Entropist
Album Title: The Vision
Release Date: June 26, 2026
Label: Self-Release
Genre: Progressive Metal
Location of Band: Denver, CO

Track Listing:
1. Intense Warmth (4:00)
2. Devour Us (6:34)
3. I Hunger (5:34)
4. The Ritual (8:36)
5. Desert of Limbo (6:04)
6. The Wandering (6:47)
7. Creation (8:49)
8. Revelation (14:12)
Album Length: 1:00:40

Album Recording Credits:
• All songs performed by: Entropist
• All songs written by: Entropist
• Produced by: Jamie King
• Mixed by: Jamie King
• Mastered by: Jamie King
• Album Artwork by: Shannon Bortfeldt

Album Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals
Cecily Meade – Violin

Live Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals

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

About The Album Artwork:

The artwork was painted on canvas by my amazingly talented wife, Shannon Bortfeldt. It’s an impressionist depiction of the defining moments that open up the album’s story, as well as a powerful compliment to darker themes of dread and disillusionment that pervade its first arcs. I believe the artwork speaks better than I can to the intense emotional concepts here, and in the interest of leaving the concept a bit up to interpretation, I’ll simply say that the first few songs are told from the perspective of the entities seen there. Solomon Smith – Vocalist

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

A powerful and visionary progressive metal odyssey. Largely through-composed, the album explores a vast array of soundscapes and flavors of metal to tell its intertwined stories. Solomon Smith – guitar/vocals

Track by Track (LYRICALLY & MUSICALLY):

1. Intense Warmth – This song is one of my favorites because it just keeps building up throughout the majority of the song. It begins in a relatively traditional manner with a clean guitar intro, but I think the moment the listener hears the walls of vocals come in, it’s clear they’re listening to something different. It’s got some big chords that come with a melodic bass solo before some fast double bass kicks us into the main riff of the song. The driving riff suddenly transitions into this huge breakdown before the song gradually cools off. The song is largely written from the perspective of one of the characters from the album’s concept becoming disillusioned with his world, and dreaming about the possibilities of changing it.

2. Devour Us – This song gives the listener a moment to breathe by starting with an acoustic guitar intro with a beautiful violin solo played by a friend of ours before jumping right back into some technical metal riffing. I think this is one of the more unique main riffs, with guitars jumping between unison and harmony parts with the bass while the drums hold everything together. The song then slows down for a bridge with odd time signatures and droning guitars, while Parker and I trade off call-and-response vocals before kicking into a faster, thrashy part. Everything stops for a moment as the vocals summon the void itself before Will rips this nasty but tasteful solo for the outro. Devour Us is where the album’s concept and connection to the real world start to blur a bit, relating to themes of struggling with seclusion, mundanity, and futility

3. I Hunger – A real crusher, this one. Meant to represent the voice of the all-consuming void, this song is arguably the heaviest on the album: a slow, sinister, and powerful wall of sound. It features heavily downtuned guitars and is largely driven by the drums and vocals. We actually wrote the lyrics for this one before everything else, writing the rest around, making it all sound as colossal as possible.

4. The Ritual – This song comes in with an eerie vibe, with the chords and melodies all creating a slightly unsettled atmosphere, accompanied by the sounds of strange creatures calling in the dark. We then dive into a fast, techy passage with brutal screams, blast beats, the like that culminates into a heavily syncopated breakdown where Parker and I trade off vocal parts. The bridge gives the listener a chance to breathe, with the bass holding down a pensive chord progression under lush vocal harmonies featuring everyone in the band. The drums kick us into a fun little part that brings us right back into the heaviness for the outro. The lyrics are largely correlated to the concept, but explore the unease and potentially devastating consequences of being at the wrong place at the wrong time.

5. Desert of Limbo – This song is where the album really begins to diverge from more traditional metal sounds. The structure comes in waves, starting with an evocative clean passage in a deceptively pleasant odd time signature. We decided to get pretty experimental with the vocal melodies and harmonies here, and I think it came together well with the unique rhythms and chord changes the bass holds down. The song quickly gains energy and explodes into a breakdown with fierce vocals on top before flipping into this techy part with a tapping solo over a complex chugging from the rhythm section. We bring it down a bit for a tasty drum and bass part with some really echoey screams before transitioning into some duelling guitar solos. We hand it back to the bass and drums for a fun instrumental part that leads into a heavy, slow breakdown before the song climaxes with big chords and vocal harmonies. This song is really about both losing yourself in the trials and complexities of life, but also finding yourself through the paths you take.

6. The Wandering – The instrumental track! This one explores some of the craziest parts and time signatures and gives the rhythm section a chance to show off a bit, though we aimed to keep it as tasteful as we could throughout. It’s got tasty bass licks, fun guitar harmonies, tricky rhythms, unique chord changes and, of course, some sick solos. We love playing this one live, and it gives us an opportunity to mix things up with some improv.

7. Creation – The beginning of the final arc of the album. Sonically and lyrically, there’s a clear contrast here, the themes related to making something new and bringing about the world you want to see. This one starts with some big and bright-sounding chords where the drums give the whole thing momentum that drives us into some proggy intro riffage. This ultimately settles into a Parker delivering a meditative verse part where Will plays this tasty guitar lick over some percussive bass and drums. We quickly build it up into this powerful driving part with a combination of chords and djenty rhythms before taking it into the second verse. The second verse leads into a huge chorus part with soaring vocals and huge chords that climax into one of the heaviest breakdowns on the album. We bring it back to the chorus chord change for this gorgeous and victorious solo from Will before closing out with some heavy rhythms and huge crowd vocals.

8. Revelation – This song represents both the beginning and end of an era for me, to say the least. It’s about the elation of self-actualization, the feeling of having not only overcome one’s challenges and personal failings, but bringing forward positive movement in the world. It encapsulates and concludes both the album’s concept and the story of its own realization. It’s easily our most ambitious song, with all kinds of thematic and lyrical callbacks to the other songs on the album, the wildest riffs and rhythms, and just over a 14-minute runtime. The composition ranges from triumphant guitar lead harmonies to complex chugging rhythms, to spicy drum & bass parts, to soaring choruses. The whole thing ends in an epic and emotional passage that I think ties a perfect bow on the album.

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

STORY ANGLES / FUN FACTS ABOUT THE BAND

1. We met back in 2013 while going to college in Greeley, CO. Solomon, Jeremy, and Parker were all roommates at the time, and our drummer, Matt, was our back door neighbor. We all bonded quickly over our love for prog metal and djent. We would carpool down to Denver for shows all the time and would always get together to jam new albums together when they came out. This eventually turned into us jamming together. Solomon had written a few songs at the time (some of which are on this album), and we ended up setting up Matt’s drum set in our living room so we could learn them together. We later all moved away from Greeley, and the music quickly came to a halt. Years later, when COVID hit, Solomon ended up rekindling the music. He hit everyone up, and we started getting back in touch with each other. Lots of long nights chatting in Discord, lots of sharing of guitar pro files, bouncing ideas back and forth. This was the start of Entropist. We ended up meeting Will through a mutual friend, which took Entropist to a new level with his guitar style and creativity. We had a handful of songs written, we now had a full band of devoted guys, and we knew that this had potential. Parker – Vocals

2. We ended up choosing Jamie King to mix/master this album because we are big fans of Between the Buried and Me and The Contortionist, and both of those bands have worked with him. Some of our favorite albums of all time were mixed by Jamie King, and it was a big goal of ours to make sure he got his hands on this album. Needless to say, the final product far exceeded our expectations. Parker – Vocals

3. We did not originally intend to have group vocals with all 5 of us members on the album, but during the recording process, we all decided on the spot that we should give it a try. The group yelling/chanting at the end of “Creation” was added on the spot, as well as the layered vocal harmonies during the bridge on “The Ritual”. Parker – Vocals

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

Clockwise from Top Right: Solomon Smith – Guitars/Backup Vocals, Will Vinson – Guitars, Parker Kitching – Lead Vocals, Jeremy Smith – Bass, Matt Gleason – Drums

Photo Credit – Entropist

Entropist is emerging as one of progressive metal’s most compelling new voices, delivering a sound that vocalist Parker Kitching describes as “a love letter to metal.” Blending the ambition of prog with the weight of deathcore, the precision of djent, and the emotion of post‑hardcore, the band crafts a sweeping, cinematic style rooted in both technical mastery and raw storytelling.

Formed from a decade‑long bond between Solomon Smith (guitar/vocals), Parker Kitching (vocals), Jeremy Smith (bass), and Matt Gleason (drums), the band’s origins trace back to 2013 in Greeley, Colorado, where the members first connected as college roommates and neighbors. After years of jamming, drifting apart, and reconnecting during the COVID era, Entropist solidified its lineup with the addition of guitarist Will Vinson, whose creativity pushed the project into its fully realized form.

Their debut album “The Vision” marks a bold entrance, a dual‑layered concept record that intertwines a fantastical narrative of demons, celestial beings, and the void with a grounded exploration of mental struggle, nihilism, and the search for meaning. Written largely from the perspectives of characters within the story, the album is designed as a front‑to‑back experience, filled with recurring motifs, callbacks, and evolving themes.

The band’s sonic identity is shaped heavily by influences like Between the Buried and Me, Meshuggah, Opeth, and The Contortionist, yet their approach remains distinctly their own. Solomon’s intricate compositions form the backbone of the record, while the rest of the band shaped the material through relentless collaboration, late‑night Discord sessions, shared files, and constant experimentation.

To bring the album’s massive sound to life, Entropist enlisted renowned producer Jamie King, whose work with BTBAM and The Contortionist helped define modern progressive metal. His mixing and mastering elevated the band’s wide‑ranging ideas into a cohesive, powerful whole. The album’s visual identity comes from a hand‑painted canvas by Solomon’s wife, Shannon Bortfeldt, whose impressionist artwork captures the emotional and narrative weight of the story’s opening moments.

Entropist has already shared the stage with Nightwraith, So This Is Suffering, Eternal Bloom, The Dawn Chose Orion, WOR, and Fused by Defiance, bringing their intense, immersive sound to audiences ready for something both heavy and deeply atmospheric.

With a debut that spans genres, tells a sweeping story, and showcases the band’s technical and emotional range, Entropist is poised to make a significant impact on the modern metal landscape. Their music is ambitious, meticulously crafted, and driven by a genuine passion for the genre, and this is only the beginning.

Album Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals
Cecily Meade – Violin

Live Band Line Up:
Solomon Smith – Guitar
Will Vinson – Guitar
Jeremy Smith – Bass
Matt Gleason – Drums
Parker Kitching – Vocals

Shared Stage with:
Nightwraith
So this is Suffering
Eternal Bloom
The Dawn Chose Orion
WOR
Fused by Defiance

0 EPK – Eternal Drak – The Violence Of Time (2026)

  • May 6, 2026
  • by Asher
  • · EPKs · Eternal Drak · Uncategorized

EPK – Eternal Drak – The Violence Of Time (2026)

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

For fans of Dimmu Borgir, Watain, Kreator, Motorhead, Desaster

“Long-time listeners usually look for emotional continuity, lyrics, themes, or a sound that feels them authentically, even if the production evolves. If that connection is there, reception tends to be warm even when the style shifts. We seek to deepen and solidify the bond with those who have accompanied us for years, acknowledging their loyalty and the enduring connection that has grown alongside our music. The Violence of Time is an album aimed at every true old-school metal devotee, those drawn to the raw spirit of thrash, the darkness of black metal, and the severity of death metal. It is an invitation to listeners who grew up with the foundations of extreme metal, but who still seek intensity, conviction, and relevance.” – Eternal Drak

Eternaldrak.com | Facebook.com/EternalDrak | X.com/eternaldrak | Youtube.com/@eternaldrak1684 | Instagram.com/eternaldrak

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

Single pre-save – https://hypeddit.com/eternaldrak/weforceittospeak

“This is some pretty good Blackened Thrash that has sick riffs, icy tremolos and eerie harmonies with some solos added to keep it interesting, add it to your lists. Rating: 8.1/10 – Drako Metal Reviews (The Violence of Time – 2026)

“another great sounding recording from Eternal Drak and if you are a fan of blackened thrash metal, you should check out this album. RECOMMENDED TRACKS INCLUDE “We Force It To Speak” “The Blasphemy Of Time” “Where Cause Is Buried” and “The Cosmos Reject You”. 8 out of 10.” – Bringer of Death Webzine

“A fine collection from the masters of ancient evil” – Metal Noise (The Warrior Order – 2025)

“There’s evil intent at the start of next song “Eternal Drak” something I’d expect as it’s named after the band. Again, the trio are delving into themes of dark forces and mythical battles, but they have upped the intensity on this one as it sounds more powerful. It’s hard not to imagine a town or castle besieged by dragon’s fire and the hellish earth that awaits any survivors.” – The Razor’s Edge (The Warrior Order – 2025)

“another  great  sounding  recording  from  Eternal  Drak  and  if  you  are  a  fan  of  blackened  thrash  metal,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  “Oda  A  La  Luna”  and  “La  Nueva  Orden”.  8  out  of  10.” – Bringer of Death Zine (The Warrior Order – 2025)

“„Eternal Drak“ is a small grab bag. Here they use different tempos that fit into the fast, rhythmic sound. With an extremely thrashy and vocally aggressive sound, you always have to be prepared for changing rhythms and moods. An extremely brutal melody blows with us „La nueva Order“ counter. At the end of the „EP“ they take a Metallica song from the album „Master of Puppets“ before. „Leper Messiah“ rewound in a radical version. Just as the album title says: they implement the warrior code musically.” – Hellfire Magazin (The Warrior Order – 2025)

“The Warrior Order is a real surprise and shows a completely new face of ETERNAL DRAK,” – PowerMetal.de (The Warrior Order – 2025)

““Oda A La Luna” sees a powerful drum at the beginning, before the rhythm settles in this dark ode. The lyrical theme is one of rebellion and ritual, and you can feel the intensity with each slap on the snare. The middle section has a sudden tempo change, with a riff that will get your head moving and the intensity follows through.” – The Razor’s Edge (The Warrior Order – 2025)

“This is a pretty good EP that’s got plenty of thrashy riffs, grooves and black metal harmonies and tremolos, give this a spin. ” – Drako’s Metal Reviews (The Warrior Order – 2025)

“”Drak Metal” is an excellent album, a deserving addition to any metalhead’s collection. With a few specific focuses here and there, the combination of Black and Thrash and Groove metals is done with near perfect balance, so there should be a wide appeal. ” – Metal Temple (2024 – Imprisoned Souls)

“the album comes with a sharp and grim expression set to an appropriately dark mood and mode, and in terms of mood and atmosphere this album did remind me ever so slightly of Celtic Frost, even if the music itself is rather different. That being said, I would imagine that quite a few thrash metal fans that also enjoy a little bit extreme metal as well as a band like aforementioned Celtic Frost would feel right at home with the landscapes explored on this production.” – The Viking in the Wilderness (2024 – Imprisoned Souls)

“‘Drak Metal’ is actually very enjoyable… it has a supreme raw quality to it which gives the album a sense honest integrity that just means that the listener cannot get enough of it, that passion is infectious and is more than enough to say, more of the same guys… more of the same.” – Metal Digest (2021 – Drak Metal)

 

[Download Album Cover | Download Album Lyrics]

 

Band: Eternal Drak
Album Title: The Violence Of Time
Release Date: July 17th, 2026
Label: FirstWave Canada              
Genre: Thrash Black Metal
Location of Band: Quebec City, Canada

 

Track Listing:
1. We Force It To Speak – 5:15
2. The Unborn Paths Rot – 3:51
3. Me Hice Simultaneo – 3:30
4. The Blasphemy of Time – 3:35
5. Chaos Is the Law – 3:34
6. Where Cause Is Buried – 3:55
7. Across the Watching Veils – 3:53
8. Breathing Once Again – 3:45
9. The Cosmos Rejects You – 4:09
10. No Direction Total War – 2:57
Album Length: 38:24

 

Album Recording Credits:
• All songs performed by: Eternal Drak
• All songs written by:
Tracks 1 – 2 – 3 – 4 – 5 – 6 – 7 – 9 – 10 by Andres Martinez Torres (Drakar)
Track 8 by Michel Amyot
• Produced by: Andres Martinez Torres (Drakar)
• Mixed by: Andres Martinez Torres (Drakar)
• Mastered by: Andres Martinez Torres (Drakar)
• Album Artwork by: Andres Martinez Torres (Drakar)
• Member of SOCANAlbum Band Line Up:Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass
Michel Amyot – Rhythm GuitarLive Band Line Up:
Andres Martinez Torres (Drakar) – Voices, Lead Guitar
Michel Amyot – Rhythm Guitar
===========================================================

About The Album Artwork:

The image represents the structural spine of the album, a visual interpretation of the rupture and destruction of the traditional concept of time. Past and present are shown coexisting, bound together yet simultaneously under attack at their very foundation: the river of time itself.

This collision reflects the album’s central idea, where time is no longer linear or stable, but fractured and eroded. By striking at its base, the image symbolizes the collapse of chronological certainty, exposing time as something violent, unstable, and ultimately indefinable.

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

The album frames time as a hostile force—not as a neutral medium or an abstract measure. Time does not accompany human beings; it subdues them. It does not flow; it imposes. It does not advance; it erodes. It does not reveal meaning; it destroys it.

Time is a constant pressure that distorts memory, identity, and causality. Everything human beings think they understand <past, present, future> is a mental adaptation designed to survive, not to describe reality.

Track by Track (LYRICALLY & MUSICALLY):

1. We Force It To Speak

Understanding changes things. The sixth break was personal. Trying to understand time doesn’t reveal it. It distorts it. Explanation isn’t neutral.
Observation isn’t passive. Two people describing the same moment don’t agree because there is no single version to agree on. Truth isn’t discovered.
It’s enforced. Time doesn’t lie. We force it to make sense.

2. The Unborn Paths Rot

Most futures are already dead; the fifth idea changed how I think about tomorrow. There isn’t one future. There are too many. Most of them never make it. Outcomes appear and collapse without ever becoming real. Paths that existed just long enough to fail. Sometimes I see traces—effects without decisions, warnings written for events that never happened. The future doesn’t open.
It closes constantly. Time doesn’t choose. It lets everything happen and abandons most of it. I changed.

3. Me Hice Simultaneo

Attention feeds time. The eighth realization was uncomfortable.
Time gets stronger where it’s watched. Fear makes the present heavier.
Hope stretches the pressure longer. Obsession speeds everything up.
Ignoring time doesn’t stop it. It just spreads it out. We don’t control time.
We make it harsher.

4. The Blasphemy of Time

Time doesn’t move. The first thing I understood was simple and unbearable:
Time doesn’t flow. Nothing really goes forward. Nothing stays behind.
The past doesn’t leave. It stays stacked on top of everything else, still active, still pushing. Memories aren’t echoes. They’re in contact. Every time I remembered something, I wasn’t revisiting it. I was touching it again. That’s when memory stopped being comfort. It became pressure.

5. Chaos Is the Law

Disorder is normal. The second thing was harder to accept. Chaos isn’t a mistake. It’s how time works. Order is the exception. Stability is temporary.
Everything that tries to stay fixed starts breaking down faster. Systems. Stories. Identities. History isn’t falling apart by accident. It’s doing what time expects it to do. Time doesn’t preserve anything. It wears it down on purpose.

6. Where Cause Is Buried

Tomorrow edits yesterday. The seventh idea broke the cause and effect. Some things only make sense after they happen. Some causes seem to exist only to justify results. Origins don’t matter anymore. Consistency does. Responsibility gets blurry. Blame loses its shape. Time doesn’t reward or punish. It rewrites until the story holds together.

7. Across the Watching Veils

Attention feeds time. The eighth realization was uncomfortable. Time gets stronger where it’s watched. Fear makes the present heavier. Hope stretches the pressure longer. Obsession speeds everything up. Ignoring time doesn’t stop it. It just spreads it out. We don’t control time. We make it harsher.

8. Breathing Once Again

When you contemplate the relentless impact of time, your perception begins to shift; your senses warp, and the sweetness of life’s joys fades, while the disasters you endure seem to lose their weight. The tragedies you witness were never truly yours to command, because everything has already unfolded.

9. The Cosmos Rejects You

Human scale doesn’t matter. The fourth realization was humiliating. Years. Decades. Lifetimes. These are human units, not real ones. On the scale time actually uses, a human life barely registers. Too short to matter. Too small to leave a mark. Nothing lasts long enough to be important. Nothing ends cleanly enough to be finished. Time doesn’t care. It doesn’t even notice.

10. No Direction Total War

There is no direction. The third break destroyed the idea of “before” and “after.” Time doesn’t point anywhere. The present isn’t special. It’s just where awareness happens to be stuck. The future doesn’t wait. It pushes back. Some choices feel forced by outcomes I don’t understand yet. Some warnings arrive only after the damage is done. Time doesn’t guide you. It boxes you in from every side.

L-R – Andres Martinez Torres (Drakar) – Voices, Lead Guitar, Bass – Michel Amyot – Rhythm Guitar

Photo Credit – Patrick Auger

Eternal Drak is a band based in Quebec, Canada, but born in Latin America in the 90s. Thrash Black is the genre that has always been present but has varied over time by adding different touches that enrich the style. In its lyrical content, darkness is what has reigned over the pen; human and non-human darkness have manifested themselves in different ways in each of their 7 official productions. Currently signed with the Canadian Label FirstWave

In 1997, the Martínez brothers, Drakar and Warhammer, aged 17 and 15 respectively, began the foundations of “Eternal Drak”. In 1998, rhythm guitarist Oscar Layton (Reijav) joined the band.

At the beginning of the 21st century, “Eternal Drak” won the City TV network award for best Metal video, with the song Eternal Drak,

In 2002, “Eternal Drak” published its first album (EP) “La Resurreccion De La Orden Guerrera”

In 2005, they recorded their first Long Play “Eternal Drak” but officially released release was in 2012.

In 2007, “Eternal Drak” disbanded.

In 2020, the band moved to Quebec, Canada, and Drakar, Warmessiah, and Reijav came together to create the album “The Past is Gone, A New One is Coming”. In memory of his brother and friend, co-founder and eternal drummer of “Eternal Drak”, Eduardo Martínez, Warhammer.

In 2021, the band’s third Long Play was released, “Drak Metal”, an album with 12 unreleased songs and 1 Cover.

That same year, the band’s line-up was reorganized with the addition of Juan Francisco Avella on drums, and a contract was signed with the Italian label Wormhole Death to physically release the album Drak Metal.

In 2022, the 4th studio album, “Shadow Storm”, was released, and along with it the video clip HIDE YOUR MADNESS was recorded on the Orleans Island in Quebec, Canada.

In 2023, a  2nd Ep is released, “Interdimensional War Of Satan” with 5 tracks.

In 2024,  the 5th Long Play  “Imprisoned Souls” is released with 10 Tracks.

The Line Up is renewed with Mike Amyot  (Lead guitar) and Patrick Auger (Drums)

In 2025, a 3th EP, “The Warrior Order,” with 5 tracks. 

Currently, Eternal Drak is still more alive than ever and is determined to live up to its name to continue distorting its strings, hitting its drums, strumming its voice, with more Metal, melody, and harmony than ever.

The perspectives predict that its vibrations start from North America, crossing the entire American continent, with a resonance so strong that the waves of the Pacific and the Atlantic will make them travel to the other continents.

Discography
2026 – The Violence Of Time – LP
2025 – The Warrior Order – EP
2024 – Imprisoned Souls – LP
2023 – Interdimensional War Of Satan – EP
2022 – Shadow Storm – LP
2021 – Drak Metal – LP
2021 – My God Is The Sun (single)
2020 – Lets Get Rude (single)
2020 – The True Meaning Of Life (single)
2020 – The Past Is Gone, A New One Is Coming – LP
2012 – Eternal Drak – LP
2002 – La Resurreccion De La Orden Guerrera – EP

0 EPK – As Oceans Divide – Self-Titled (2026)

  • April 30, 2026
  • by Asher
  • · As Oceans Divide · EPKs

EPK – As Oceans Divide – Self-Titled (2026)

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

For fans of Killswitch Engage, As I Lay Dying, All That Remains, Unearth, God Forbid

“This record came from a very real place for all of us. It’s a reflection of everything we’ve experienced over the past while, personally and as a band, and that naturally shaped both the sound and the message. There was no interest in forcing a concept. It was more about being honest and letting the music speak for where we were at.”

“We wanted to create something that people can sit with from start to finish and actually feel. There’s a lot of contrast throughout the album, heavy, aggressive moments balanced with melody and atmosphere, but it all serves the same purpose. Nothing is there just for the sake of it.”

“Lyrically, it deals with struggle, loss, and confronting what’s beneath the surface, but also finding a way to push through that. Musically, it’s more focused and dynamic than anything we’ve done before. Every part is intentional.”

“At the end of the day, this album is about feeling something real. Whether that’s intensity, reflection, or release, we want people to connect with it in their own way.”

Asoceansdivide.com | Facebook.com/asoceansdivide | X.com/as_oceansdivide 

Youtube.com/@AsOceansDivide | Instagram.com/asoceansdivide 

Asoceansdivideband.bandcamp.com | Spotify

 

“All in all this is what I would consider a technically and musically perfect release! This is likely to end up in my Top Ten this year. If you like Killswitch, As I Lay Dying, All That Remains, Unearth, and God Forbid, then you’ll like As Oceans Divide. 10/10″ – Ever Metal

“At 18 minutes and change, As Oceans Divide positions themselves in a great spot to make quite a splash because of this self-titled EP. The sum of parts in experience will pay handsomely, as this is yet another Canadian act to really champion in this early stage because the following will blossom as opportunities come knocking their way. 8.5/10″ – Dead Rhetoric

“The band are insanely talented and have a VERY bright future ahead of them if they keep putting out music like this. I have no qualms in saying that this is one of my favourite EPs of the year so far, and it’s up against some stiff competition there, too! If you have even a passing interest in the heavier side of music, give this a listen ASAP, you’re bounce to love it as much as I do! 9/10, I already can’t wait to hear more from them!” – Overtone Magazine

“As Oceans Divide proves that a band capable of writing strong songs, performing them with conviction, and delivering them with flawless production can still surprise. A truly great discovery that already makes you eager to hear what comes next.” – T-Rex Sound

““Their self-titled debut EP is nothing short of ruthless and to the point.. The abrasive drums and dazzling guitar tones are the star of the show across the EP… It’s a throwback to the boots-on-the-ground metalcore rising of the early 2000s… it’s just good catchy metalcore. And there’s nothing wrong with that in the slightest.” – Noizze UK

“The Canadians really impressed us with their metalcore sound – even more so as it’s their debut release. Highly, highly recommended.” – Metal Sub Terra

[Download EP Cover | Download EP Lyrics]

EP Title: Self-Titled
Release Date: July 9, 2026
Label: Self-Release
Distribution: DistroKid    
Genre: Metalcore
Location of Band: Ontario, Canada

Track Listing:
1. Into The Dying Light – 4:04
2. White Noise – 3:31
3. World Collapse – 3:16
4. Cursed Oblivion – 3:59
5. One Of The Herd – 3:25
EP Length: 18:15

EP Recording Credits:
• All songs performed by: As Oceans Divide
• All songs written by: As Oceans Divide
• Produced by: Thomas Ireland
• Mixed by: Thomas Ireland
• Mastered by: Chris Donaldson
• Album Artwork by: Mikio Murakami (Silent Q Design)
• Are you a Member of SOCAN
• Canadian Content (MAPL)

Album Band Line Up:
Tom Emmans – Vocals
Thomas Ireland – Guitar
Eric Camilleri – Guitar
Matt McGuire – Drums

Live Band Line Up:
Tom Emmans – Vocals
Thomas Ireland – Guitar
Eric Camilleri – Guitar
Matt McGuire – Drums
Mark Sorge – Bass

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

About the EP Artwork:

The artwork centers around a crest featuring a sea serpent bound in chains and wrapped around an anchor, set against a violent ocean backdrop. It represents the tension between control and chaos, something powerful trying to break free while being held down.

The serpent symbolizes the emotional weight and intensity that lives beneath the surface, while the chains reflect restraint, internal struggle, and the pressure of carrying that weight. The anchor adds another layer, representing both stability and the feeling of being pulled under, depending on how you look at it.

Visually, it mirrors the balance in our music between aggression and melody. There’s a constant push and pull between heaviness and atmosphere, just like the imagery suggests.

Overall, the artwork captures themes of struggle, depth, and resilience, facing what’s beneath the surface rather than running from it.

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

As a whole, the EP is built around contrast, both lyrically and musically. There’s a constant push between heaviness and melody, aggression and atmosphere, chaos and control. That balance is really at the core of what defines our sound.

Musically, it blends technical, hard-hitting elements with more dynamic and melodic sections, allowing each song to breathe while still maintaining intensity. There’s a strong focus on structure and flow, so every track feels like a journey rather than just a collection of parts.

Lyrically, the album explores themes of internal struggle, loss, resilience, and confronting what lies beneath the surface. A lot of it comes from real experiences, and there’s an emphasis on emotional honesty, turning those moments into something listeners can connect with in their own way.

Everything ties together to create an immersive experience. It’s meant to pull the listener in, hit hard when it needs to, and still leave space for reflection.

Track by Track (LYRICALLY & MUSICALLY):

Into The Dying Light is built around the idea of confronting the end, whether that’s death, inner collapse, or the breaking point of everything someone is carrying, and choosing to face it head-on rather than surrender to it.

Lyrically, the song explores themes of inner struggle, regret, and the weight of the past, with recurring imagery of being pulled down by those experiences. There’s a constant tension between giving in and pushing forward. Lines like “regrets like chains” reinforce that feeling of being held back, while the repeated return to “I walk into the dying light” becomes a statement of acceptance and defiance at the same time.

As the song progresses, that mindset shifts. What starts as something that feels like surrender evolves into resistance, culminating in a refusal to break or disappear. It walks a line between letting go and fighting back, leaving the interpretation open: is it acceptance, transcendence, or survival?

Musically, the track mirrors that journey. It moves between aggressive, technical sections and more melodic, atmospheric moments, allowing the emotion in the lyrics to fully land. The heavier parts drive the sense of urgency and pressure, while the melodic elements create space and depth.

The dynamic vocal performance plays a key role in that contrast, shifting between intensity and clarity to match the emotional weight of each section. Everything builds toward a final release that feels both heavy and cathartic.

Overall, Into The Dying Light sets the tone for the band’s sound, balancing heaviness with melody, and intensity with emotional depth.

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

STORY ANGLES / FUN FACTS ABOUT THE BAND:

1. Matt (Aquila) and Tom’s (Odium) previous bands toured together. Embarked on a journey together all the way to the East Coast and back. Playing shows from Ontario to Quebec, to New Brunswick, all the way to the Bay of Fundy. Aquila and Odium developed a great bond together and have memories we will never forget.

2. Thomas Ireland’s band Battlesoul once showed up to open for Aquila in St.Thomas, Ontario, and blew us away. They wore kilts and put on one of the most intense shows we have ever seen.

3. Eric Camilleri is and once was one of the most established metal promoters in the Hamilton area. Booking acts like Beneath the Massacre, Despised Icon, Arch Enemy, Cryptopsy, and way, way more. He worked under the name Chaos Promotions.

4. Thomas Ireland has been a studio engineer for the past two decades, working with bands like Crimson Shadows, Primalfrost, Vesperia, and the recently reformed Blood of Christ, and many more.
https://exclaim.ca/music/article/icehouse_studio_brings_scandinavian_death_sounds_to_goderich_ontario

5. Matt McGuire also currently plays for Cowboys From Hell, an established Pantera Tribute band. Playing bars and theatres.

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

As Oceans Divide, forged from years of friendship and a shared legacy in Canadian metal, is a new heavy force rising out of Ontario, Canada. Featuring members with roots in recognized acts such as Bloodshoteye, Aquila, Odium, and Battlesoul, the band brings together a lineup of seasoned musicians whose combined history gives their sound undeniable weight and authenticity.

Blending soaring melody with crushing rhythms, As Oceans Divide channels the heart of early 2000s metalcore through a modern lens. Their music moves effortlessly between harmonized guitars, driving mid-tempo anthems, and high-intensity metalcore assaults, all anchored by the dynamic power of vocalist Tom Emmans, the precision of drummer Matt McGuire, the creative foundation of guitarist Eric Camilleri, and the technical mastery of guitarist/producer Thomas Ireland. The result is a sound that is as emotional as it is aggressive, built on experience rather than imitation.

Their upcoming debut release showcases a band with relentless ambition and a clear musical identity, explosive, melodic, and unfiltered. With no interest in boundaries or trends, As Oceans Divide stands poised to carve out their own space, delivering music fueled by brotherhood, history, and two decades of dedication to the craft. This is a band built to leave a mark, and they’re only just getting started.

0 EPK – Nova Spei – Deracine (2026) (single)

  • April 24, 2026
  • by Asher
  • · EPKs · Nova Spei (Bam&Co. Heavy)

EPK – Nova Spei – Deracine (2026) (single)

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

“I really think they will love the rebirth of the band with the change of vocal to the feminine, but even more intense. Into this one, we add some reflection about a sad part of our story…Something more organic than our previous album. Make them feel how passionate and how much fun we can have doing this… The subject of Deracine was important to Emmanuelle, given her background. It’s a topic that is still often silenced by governments, and she wanted to denounce it.” – Nova Spei – Dany Soucy – Founder, Rhythm Guitarist

For fans Gojira, Tesseract, Killswitch Engage, Spiritbox, Architects

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

Novaspei.bandcamp.com | Apple Music | Spotify

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

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

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

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

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

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

[Download Single Cover | Download Single Lyrics | English Translation of Lyrics]

Band: Nova Spei
Single Title: Déraciné – 4:07
Release Date: April 24, 2026
Label: Bam&Co-Heavy
Distribution: Believe Digital
Genre: Metal
Location of Band: Trois-Rivières, Québec

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

Band Line Up:
Cédrick Charland – Lead Guitarist
Dany Soucy – Founder, Rhythm Guitarist
Emmanuelle Desbiens-Dubois – Vocal
Julien De Carufel – Drum
Nicolas Dumais-Brouillette – Bass, Vocal

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

About the Single Artwork:

Filip Ivanovic has managed to capture in images what our rebirth is in a world full of pitfalls.

About The Single (LYRICALLY & MUSICALLY):

It mainly speaks of what the First Nations experienced, the uprooting of their values, their origins, and the abuses of the state.

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

BAND STORY ANGLES / FUN FACTS:

1. We started imagining the next album with an approach as modern as Sequentis’s. But Francis Perron showed us how it could all sound much more organic, more raw, the way he worked with Voivod, and our focus completely shifted when we heard his first rough mix.

2. We didn’t know who to contact for mastering the songs, and when we were offered the chance to work with Maor Appelbaum (Faith No More, Yes, etc.), we thought it would never happen, and yet… he said yes and seems to have really liked what he heard! We’re not worthy! hahaha

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

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

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

Photo Credit – Joe Weller (Joe Lacerte)

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

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

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

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

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

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

Discography:
2026 – Renaissance (single)
2021 – Sequentis – LP
2017 – Self-Titled LP

Music Placements: Montreal Canadiens games at the Bell Centre

Artist endorsements: Charbonneau Guitars

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