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Category: EPKs

0 EPK – Whythre – Impregnate My Hate (2023)

  • March 14, 2023
  • by Asher
  • · EPKs · Whythre

EPK – Whythre – Impregnate My Hate (2022)

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

“Whether it’s writing with wailing solos, slithering with sinuous synth lines, or awash with waves of riptide riffs, Whythre’s latest is without remorse. They came to lay waste and write solid album titles — and they’re all out of album titles. Consequently, Impregnate My Hate opens with the single Scorchbreath, an onslaught of solos, slamming breakdowns, subtle orchestration, and a sing-along chorus that embodies Whythre’s deft formulation of melodic death metal singed with a blackened edge. Having been fixtures in the Seattle metal scene since 2016, band members Shon Petrey, Adam Chambers, Eric Close, and Steve Fournier know their way around both riff craft and laying down a tight performance. But Whythre’s latest expulsion of fury seethes like a band that’s only getting started, from the first violent lick to the final double-bass kick. Follow along to standout tracks like Immanence, which thunders along with the certainty of slow death and offers little in the way of forgiveness, or to Scorpions of Sinai, which has a groove guaranteed to move any circle pit. The fury of Whythre’s writing is real, but fury is rarely this much fun: expect to get your ass kicked, and to enjoy it.” – Whythre

For fans Hypocrisy, Children of Bodom, Havok, The Black Dahlia Murder

Album Title: Impregnate My Hate
Release Date: May 26, 2023
Label: High Point Records
Distribution: CD Baby

Whythre.com | Facebook.com/Whythre | Instagram.com/whythreofficial | YouTube

Whythre.bandcamp.com | Spotify

Linktree – https://linktr.ee/whythreofficial

“for this new song (Scorpions of Sinai) itself, it is indeed a speed demon. Driven hard by piston-pumping drums and hurtling bass lines, it includes fretwork that pulsates and darts even more maniacally and screams of unchained derangement. But it doesn’t take long for synths to soar and sweep, creating an overlay of supernatural fear. There are elements of magical seduction in the song as well, thanks to the spice of frantically swirling melodies, but the music also inflicts a bone-hammering beating, and the riffs will give a headbanger plenty of opportunities to get neck trauma. The album as a whole is a hell of a twisting and turning trip, which might appeal especially to fans of Hypocrisy and Children of Bodom. You’ll get another taste of the album in its first single, “Scorchbreath“, which features backing vocals by Gabe Tachell (Whythre‘s first vocalist) and Carolina Chambers, and it also arrived with an excellent video.” – No Clean Singing

““Scorchbreath” wastes no time getting the album going. With some growing key support, that deathy lick pushes so hard on your prostate that it vaporizes. And the vocals on this song—and the album as a whole—fit the tone and aggression of the music far better than the debut. “Scorpions of Sinai” is another beast of a track with heavy lows that make the chorus villainous. This song also shows the true musicianship of the band as the guitars and keys tear through blisteringly-fast passages that would make Alexi Laiho smile.” – Angry Metal Guy

“Impregnate My Hate is a surprisingly good album… there are surprises around every corner… I might not have been a fan of the band before, but Impregnate My Hate has convinced me otherwise.” – Angry Metal Guy

All in all, “Impregnate My Hate” is still a huge leap, making WHYTHRE a melodic death newcomer to watch out for in the future… And if you miss the classic COB sound after Alexi Laiho passed away much too early, you should definitely lend an ear to the Americans now.” – PowerMetal.de

“Heavier thrash, but with a proggy technical thing going on in parts too. Cool stuff!” – The Moshpit – WORT 89.9 FM (Madison, WI)

“a sharp, smart melodic death metal ripper with some unhinged almost Van Halen-style soloing” – Best underground metal releases of May 2023 – Consequence of Sound – Heavy

“There is no mistaking that with this new album Whythe sound rejuvenated, the new rhythm section as precise and destructive as a laser guided missile. As a listener, opening cut “Scorchbreath” is exactly what you want. Punchy and aggressive, crossing sub-genre territories with death defying leaps with an onslaught of Thrash infused riffage, short and violent bursts of Black Metal inspired blast beats, gang chant moments in the chorus and the odd ethereal touch a real demonstration of prowess. That’s before we’ve mentioned the twin axe attack of the extended solo which will melt your face off… before the kick in the guts that is the title track “Impregnate My Hate“.” – Metal Noise

“The drums snap and boom; the nimble, pulsing bass work amplifies the song’s surging, head-moving rhythms; the guitarists deliver jabs and jolts, fiery soloing, and fluid melody; and Tachell’s vocals [previous vocalist] are scalding in their intensity. You put all that together, and you get music that sends the blood rushing and proves to be highly addictive as well” – NO CLEAN SINGING ‘Savage’single review

“The songs on this EP turn out to be damned addictive. It’s very easy, at the end, to just go back to the beginning and ride this lightning again… and again” StillBorn World EP Review – NO CLEAN SINGING

Album Title: Impregnate My Hate
Release Date: May 26, 2023
Label: High Point Records
Distribution: CD Baby

Track Listing:
1. Scorchbreath (3:54)
2. Impregnate My Hate (3:11)
3. Can’t Escape This (4:55)
4. Scorpions of Sinai (3:29)
5. C Section S1urpee (2:48)
6. Death Frontier (3:09)
7. Tantric Aspects of the Cross (2:32)
8. Immanence (4:02)
9. Run it Red (3:50)
Album Length: 31:54

Album Recording Credits:
• All songs performed by: Adam, Shon, Steve, Eric
• All songs written by: Adam, Shon, Steve, Eric
• Produced by: Shon Petrey
Drum engineer: Don Gunn
Vocals engineer: Adam Chambers
Backing vocals on Scorchbreath by Gabe Tachell & Carolina Chambers
Backing vocals on Impregnate My Hate & Run It Red by Carolina Chambers
• Mixed by: Shon Petrey
• Mastered by: Levi Seitz , Black Belt Recordings
• Album Artwork by: Andrzej Masianis
• Album Band Line Up:
Adam Chambers – Vox, Guitar, Synths
Shon Petrey – Guitar, Synths
Eric Close- Bass
Steve Fournier- Drums

Live Band Line Up:
Adam Chambers – Vox, Guitar,
Shon Petrey – Guitar
Eric Close – Bass
Steve Fournier – Drums, Backtracks Synths

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

The album as a whole (LYRICALLY & MUSICALLY):

[Adam] – ‘Impregnate My Hate’, as a phrase really sums it up….Modern times… Most folks are jumping down each other’s throats, willing vessels to the online projection of what modern entertainment and communication should be. Society is fragmenting into niche groups & how each individual deals with this is literally making or breaking their existence.

Shon and I talk at great lengths about exploring the shattered and celebrating the depravity used to nurture ourselves at the moment. It all comes with consequences…Personally, it’s fun to creatively dive into how this all plays out for each individual on an extended timeline.

[Shon] – Musically we wanted to explore writing ranging from aggressive mindlessness to slow and somber moments…with some catchy hooks!

Track by Track (LYRICALLY & MUSICALLY):

SCORCHBREATH

[Adam] – Lyrically I wrote this in an airport terminal after a trip to Bogota (Colombia) and Chicago. It’s about having a rad time…but specifically, it’s referencing when Carolina (my wife), Shon and I went to Movement and hit up some afterparties…Just wall-to-wall sweat, people tripping balls, a codeword at the bar to order alcohol past 2 am…it was everything we hoped it would be. We went with friends we made that very day at Movement…a beautiful experience with lovely people and I’m smiling right now just thinking about it.

[Shon] – Musically this song has some punchy/ thrashy verses with a big carnival vibe of a chorus. All while incorporating some fun shred moments. This song is our single because it kinda displays all the elements of the album in a very condensed way. This is the song that kicked off the inspiration to start this album. We felt like we found something here that was worth exploring.

IMPREGNATE MY HATE

[Adam] – Lyrically – Modern times! Most folks are jumping down each other’s throats, willing vessels to the online projection of what modern entertainment and communication should be. My friends showed me an old TV series called ‘V’ that deals with subtle mind control and mass hypnosis…while I watched the series after writing the lyrics, I was like ‘yeah! This is it! This is what I’ve been trying to say’

[Shon] – This is our most thrashy song…it’s not really the most melodic tune at all.  When writing the song an old-school vibe kinda just appeared here and we ran with it.

CAN’T ESCAPE THIS

[Adam] – Lyrically – It’s about the choices people make at ill hours of the night while celebrating after months of hard work. Then those celebrations happen after weeks of work…then days of work…then after no work at all. Fuck.

[Adam] – Musically, Shon’s ending solo on this song is my favorite on the album. It’s ALL feel dude. And he almost went with something more shreddy! The outro on this song serves two purposes…It’s a moment of mellow reflection and also makes a great contrast for ‘Scorpions of Sinai’ to hit that much harder.

[Shon] – This is a mid-tempo, slow, very melodic piece. It’s a bit of a different approach to songwriting, with a two-part song structure. There’s no revolving arrangement…it just keeps building.

SCORPIONS OF SINAI

[Adam] – Lyrics – Go read Roald Dahl’s ‘My Uncle Oswald’ and then read the lyrics to Scorpions. I can’t say much more without spoiling that experience. It’s a quick read, just go do it.

[Shon & Adam] This is our fastest song by far and always leaves Steve sweatin’! There’s a lot of underlying repetition in this song, which was a first for us. Each instrument here has its own texture, there are lots of synths…honestly, the track is heavily inspired by underground techno vibes.

C SECTION S1URPEE

[Adam] – Lyrics – Always wanted a tongue-in-cheek metal song title a la Metalocapyse. Here it is. “A Mindless libation from you I now tear!” Cherry slushies for all!

[Shon] Definitely a death metal element to this one here. That middle section drum/riff thing is probably the heaviest part of the album.

DEATH FRONTIER

[Adam] – Lyrics – This tune was originally called ‘Annihilate the Proper.’ It’s about being yourself and celebrating the filth you live in even if it means being alone.

[Shon] – The triplet song! Has a waltzy feel with black metal elements and time signature surprises in the middle. You know a time signature change is gonna be fun when it just flows and doesn’t call too much attention to itself.

TANTRIC ASPECTS OF THE CROSS

[Adam] –  Lyrics – Originally called ‘Malicious Compliance’- parts of this were written while I worked 12-hour shifts 7 days a week at a shipyard. Paying off student loans is no fun. I fucking hated that job.

[Adam & Shon] – Another thrashy song with an old-school vibe. We built out the middle section of this song the weekend after we opened for Hypocrisy & Fleshgod Apocalypse.

[Adam] Technically, the transitional soundscape at the end of this tune was really fun to design. It was made on an outboard synth with 3 oscillators and a couple of morphing LFO’s/filter sweeps…the intention was to create a sound that changed from TAOTC ending pitch to the starting pitch of Immanence. Besides the pitch shift, we also had to imply a tempo change. The soundscape was recorded in real-time with some knob turning / dialed in LFO’s that come in at the end to imply the new tempo and sync up with the intro to Immanence.

Immanence is a bit of a slower, psychedelic-influenced tune and we wanted to differentiate the lead-in with something a little different compared to the rest of the album.

IMMANENCE

[Adam] – Lyrics – This sums up the collective experience of a group of friends that went to a music event called unter x second nature. This one is for all the friends and interactions that happened that night. There are references for you all. Thank you. I love you.

[Shon & Adam] This is the oldest song on the album, by far! It was originally called ‘Black Forest Rain Dance’ and was re-written a couple times and nearly left for dead. We wrote maybe 4-5 choruses for this song and they all sucked…then when we wrapped up all the other tunes we gave it one last go.

[Shon] There’s a lot of Hans Zimmer influence on this one. It took time to explore this vibe and I’m more proud of this song than any other on the album.

[Adam] Shon and I really dove into designing the sounds on this one. This is where I started feeling confident playing around with outboard synths.

RUN IT RED

[Adam] – Lyrics – More underground techno shoutouts here. This was from going to a Kremfest after-hours in 2019. Woke up at 8 am and met a bunch of friends on the dancefloor.  After that ended, went to Shon’s spot and recorded guitars for C Section S1urpee.  Spent the afternoon trying to nail the rhythm guitar sixteenth notes while my entire body was like ‘yeah, nope’. Thank God Shon has a sense of humor and we just joked about what a terrible player I am the entire session. Eventually, it got tight

My favorite memory of that afternoon was taking naps every 20 minutes and playing Sasha’s track ‘Xpander’ while I dosed off. Shon was like ‘what song is that?’ And when I replied all he heard was “Sausage Expander”. We still bump some Sausage Expander every now and then…I think that’s now the name of the USB stick we use to pass ideas back and forth.

[Shon] It’s a minimal/ dance/ industrial influenced tune that was written/ demo’d in one night. Very straightforward song, but is a different sonic arena for us to explore. It makes for a fun end to the album. There’s more focus on vibe than instrumental prowess.

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

BAND STORY ANGLES / FUN FACTS:

1. Eric (bass) and Steve (drums) are veterans of the Seattle metal scene, having played together in a number of bands including In Memorium, Aggression Core, and Castdown, and have known each other for over 20 years.

[Adam] It’s insane working with these two. They ‘just know’ what each other are doing and have an insane drum/bass vibe. I can’t begin to explain how much this dynamic elevates the songs. 20 years of playing music together and they just keep evolving. Unreal.

2. How Adam & Shon met

[Adam] I moved to Seattle in 2014 and knew I wanted to dive into the music scene. Seattle is the kind of city where you just have to meet people in the moment or through a social circle. There’s a bit of a freeze and just going to shows isn’t necessarily a social experience for those new in town.

I busked on a corner in Capitol Hill outside of Neumos for a few months. I figured I’d do that until I met the right people/music situation. I met a lot of musicians but nothing really clicked.

For a few months, I was playing with a bucket drummer named Joe Buckets. We weren’t just tipped in cash…Sometimes little plastic baggies with unmarked pills and capsules ended up in my guitar case. Someone once tipped us a Crown Royal satchel full of weed.

While busking during Pride 2015, Joe was taking a break and I started playing metal riffs…While playing ‘Bodom Beach Terror’ there was a guy and girl that posted up within earshot. It was Shon and a friend. He introduced himself, and we all shared a smoke and traded contact info. Shon had just released a full-length (Hel’s Hallows) with his project called Whythre. I remember getting home that night and making myself some mac n cheese at 4 am and listening to the album. I sent Shon a message that I would join the project right then.

3. Adam’s foray into vocals

[Adam]  When Gabe [previous singer] and his wife started a family, he said he could record with us but could not commit to playing live. Shon and I decided it would be best to have the singer on the album also be the one playing live…

I’m not a singer by trade, but out of desperation, I tracked a few vocal demos of Whythre songs. It was rough…really not very good. Despite this, I felt that learning how to sing would be less painful than dealing with recruiting a new singer. The pandemic had just hit, so I knew I had some time to learn.

While tracking Steve’s drums in the studio, I asked Don [engineer] and Steve if they had any recommendations for vocal coaches. They set me up with Susan Carr. She’s worked with Alice In Chains, Mastodon, Macklemore, Drowning Pool, and a long list of others.

Over the past two years, I’ve been attending vocal/opera lessons with Sue and she’s 100% responsible for my vocals not sucking as much as they used to.

4. [Shon] – [We had a studio engineer record the drum tracks. Shon mixed all tracks/the entire album. Here are Shon’s comments on mixing the album]

I’ve always had a vision of how I wanted a song to sound. At the roots, I would deconstruct my favorite tunes (probably a Metallica tune). I’d learn all the instruments, and observe how they fit in as a whole.

After a couple of attempts using other mixing engineers to dial up a tune, I was never happy with it. I’d just be left there wondering why the engineer didn’t try “this” or “that”, and wishing I had the power to control “this” or “That”. Two knobs and chords later, here I wander the vast world of the audiophile.

To sum it up, if I knew how long it would take me to achieve the sounds and balance I am getting now, I would have probably stopped. It was a combination of being stoked at making sounds and being ignorant of how badly it sounded that kept me motivated to dig deeper into the eternal rabbit hole.

5. Despite being an excellent cook, Shon can (and will) live entirely off gas station burritos and 7-11 fare. C-Section S1urpee is equal parts a dig & celebration of this talent. He’s going to outlive us all.

6. [Adam] I met the graphic designer that incorporated the album name/ band logo in the album cover at an underground rave that DVS1 played in Seattle. Ryan was dancing on a speaker stack and while walking by I shouted ‘fuck yeah!’… We ran into each other months later and laughed about that. Eventually, I found out about Ryan’s graphic design page https://www.ryanricketts.com/ and asked if he could help with the cover design. He’s literally the best.

L-R – Steve Fournier – Drums, Adam Chambers – Vocals, Guitars, Synths, Eric Close – Bass, Shon Petrey – Guitars, Synths
(Photographer Credit – Carolina Chambers)

Whythre is a melodic death metal band from Seattle, blending hints of black metal and thrash into their hook-driven songwriting. The band was started in 2015 with the release of their debut full-length ‘Hel’s Hollows’ followed by their 2019 EP ‘Stillborn World’. The lineup has undergone numerous changes and now consists of Shon Petrey (Guitars, Synths), Adam Chambers (Vocals, Guitars, Synths), Eric Close (Bass), and Steve Fournier (Drums).

The new album “Impregnate My Hate”, due out in 2023, is a move toward a wide variety of moods on each track. It is packed with heavy grooves, blistering riffs, and huge symphonic waves.

Their live shows have spanned the northwest including two appearances at Washington Deathfest and opening for acts like Obscura, Pain, Archspire, Orphaned Land, Beyond Creation, Ghost Bath, Astronoid, and the upcoming Hypocrisy/Fleshgod tour. On stage, they put on a raw thrashy show with face-melting leads and fist-pumping riffs. Whythre is a growing force with a distinctive sound that is not to be missed!

Discography:
2023 – Impregnate My Hate (LP)
2019 – Stillborn World (EP)
2015 – Hel’s Hallows (LP)

Shared Stage With:
Fleshgod Apocalypse, Hypocrisy, Pain, Orphaned Land, Archspire, Obscura, Inferi, Beyond Creation, Exist, Ghost Bath, Astronoid, Wastewalker, Aenimus, Embryonic Devourment, The Convalescence, Otep

Tours and Festivals:
2018 – Washington Death Fest III – Kelso, WA
2017 – Washington Death Fest II – Bremerton, WA

0 EPK – Kilmore – From the Inside (2023)

  • March 14, 2023
  • by Asher
  • · EPKs · Kilmore

EPK – Kilmore – From the Inside (2023)

Publicist – jon[@]ashermediarelations[.]com

“‘From the Inside’ has exposed a maturity in our sound from our last album and EP. Working with producer, Jon Landry, helped us craft the best version of the songs. It was written during a time when we all felt uncertain about our futures not just in music but in life. It has themes of rebirth, admiration, confusion, frustration, and hate. The songs all have a mixture of emotions, but the EP will carry you through journeys of escapism. This EP, in our opinion, is our best work to date and we are thrilled to release it to the world.” – Heather Harris – Vocal/Guitar – Kilmore

For fans of Soundgarden, Tool, PJ Harvey, The Pretenders, Windhand, Alice in Chains

EP Title: From the Inside
Release Date: March 31, 2023
Label: Independent
Distribution: CD Baby

Kilmore.ca | Facebook.com/kilmoreband | Instagram.com/kilmoremusic | YouTube | Tiktok.com/@kilmoremusic

Spotify | Kilmore.bandcamp.com

#12 on Top 20 – Canadian National Top 20 – Loud Charts – August 2023 (Earshot)

#49 on Top 50 – Canadian National Top 50 – College Radio – For the Week Ending: Tuesday, August 1, 2023 (Earshot)

“While Halifax band Kilmore’s latest album isn’t technically out until March’s end, we couldn’t sleep on having it in this list: A follow-up to the band’s ECMA Loud Recording of the Year-winning album Call The Void, the upcoming From The Inside is stoner groove music with a heavy hit of metal mixed in. The lead single “Firestone” is all the proof you need that this one’s gonna slap.” – The Coast Halifax

“Kilmore is by far the best Canadian stoner/groove/psych band I’ve heard in forever, I have a feeling their rise to the big stage will happen sooner than later. For fans of this musical genre, From the Inside is an absolute MUST! ” – Spill Magazine

“This is one of those records you feel from the opening chords. From the first few seconds of “Tempest”, I was drawn in. Halifax band Kilmore have released their latest project, an EP called From the Inside. I would describe this EP as ‘stoner rock with bits of metal sprinkled in,’ but over the six songs we get bits of grunge, hard rock, and Kilmore’s own unique melodic vibes, as heard on “Omitted”. 8/10” – CKDU 88.1 FM – Halifax – Ra’keem – Music Director

“Escaping from toxic influences and exploring new shores simultaneously, Kilmore sound more earthed and confident than ever before. From the Inside is solid, melancholic and full of motivational sounds.” – Mangowave Magazine

“The amazing vocals by Heather Harris are the one constant factor as the six tracks shift color and dive into whatever aspect the band felt was right for the song.” – Stoner Hive

“From the Inside is a true inner journey, at once chaotic, melancholy and filled with hope. Heather expresses with great determination, all her feelings about love, hate, frustration, understanding, renewal and the search for truth. From the Inside opens with the explosive Tempest. The exalted song increases in power accompanied by an instrumental tornado with massive fuzz. Presented last December, this first single was the infallible detonator for a hard-hitting and irresistible hook that only makes you want to know what happens next.” – Rock Metal Mag

“”From the Inside” is blessed with grandiose melodies, grooving mid-tempo numbers or triumphant anthems. A great album by great musicians.” – Metal Division Magazine

“Tempest, for example, has this groove that seduces immediately. The title speaks of the strength that can be found in oneself and distributes a positive energy that makes you want to move forward.” – Shoot Me Again

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

Earshot Top 200 –  Kilmore – Call The Void – #118 – July 2018 (Earshot)

“INFECTIOUS MELODIES WITH VOCALS TONED TO PERFECTION, INCREDIBLE MUSICIANSHIP WITH HIGH PRODUCTION VALUE, CATCHY HOOKS, METALLIC EDGE, AND INSATIABLE GROOVE.” – THE RIPPLE EFFECT

“Call of the Void, the riffs are relentless as the band channels gloom through minor chords…The spirit of darkness breathes through the lyrics as Kilmore reminds us rock is alive and well.” – The Coast

“the heavy and bluesy sounds really drive home those themes of reckless behaviour and dark feelings… The band effectively portray their intended emotions and messages to the listener through their music while providing them with something to bang their head—or groove—to.” – The East Magazine

“The opening title cut begins City Lights with brawny, distorted guitar licks, steadily pounding drums and wailing vocals akin to classic rock radio. This sets the tone for the four-piece’s muscular sound, as tracks like “Rising Sun” and “Weight of the World” are similarly stuffed with meaty riffage, while “Peace of Mind” is slightly more restrained and slow-burning. The curveball is “Younger Years,” which ventures into a folk rock direction with its acoustic strums.” – Exclaim!

#8 on This Week’s Top 11 Playlist: 08 April 2016 – A Journal of Musical Things – Alan Cross (Kilmore, City Lights, City Lights EP)

[Download EP Cover | Download EP Lyrics]

EP Title: From the Inside
Release Date: March 31, 2023
Label: Independent
Distribution: CD Baby

Track Listing:
1. Tempest (3:43)
2. Omitted (4:29)
3. The Destroyer (3:04)
4. Firestone (3:59)
5. Underneath (4:13)
6. Rapture (4:22)
EP Length: 23:50

EP Recording Credits:
• All songs performed by: Kilmore
• All songs written by: Kilmore
• Lyrics by: Heather Harris
• Produced by: Jon Landry
• Mixed by: Darren van Niekerk at Iron Tulip Audio
• Mastered by: Noah Mintz at Lacquer Channel Mastering
• EP Artwork by: Stephen MacDonald (Task at Hand Illustration & Design)
• Member of SOCAN
• Canadian Content (MAPL)

EP and Live Band Lineup:
Heather Harris – Vocals and Guitar
Dan Doran – Guitars
Neil Spence – Bass Guitar
Jon MacIsaac – Drums

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

EP as a whole:

The EP is a form of groovy, stoner rock with metal elements. Lyrically it was written at a time when there was a real struggle around the world and an internal bittersweet struggle. Becoming a new mother and trying to find your place in a new reality really speaks loudly in the emotions on the album. Some themes are of destruction while others of hope, each song has its own theme/feel. Working with producer Jon Landry was a pleasantly different experience in recording this album. We recorded it in our basement studio and took the time needed to craft the songs and tried to bring life to the recordings. Musically some songs came out easier than others, and some needed more time to capture the essence we were looking for.

Track by Track:

1. Tempest
Tempest is about someone coming into your life like a hurricane. The song speaks about a mighty force finding its place in your life. Tempest was one of the hardest songs we wrote for this album, it took a while to get the groove, but when we did the lyrics came through easily. Dan’s main guitar riff really drives the song along and gives the vocals a good pocket to fall into. We felt it was the best song to introduce the EP with its groovy progressive feeling.

2. Omitted
Omitted is about forgotten heroes and the internal struggles they face. Today we tend to forget about real heroes and idolize fame and fortune over everyday people who work their whole lives to help. This song was written with them in mind and turned out to be a unique, lower-key song on the EP. Neil (bass) shows a lot of elements to his bass playing in this song and Jon (drummer) really locks into the song, which brings out the best qualities of the guitar and vocals.

3. The Destroyer
The creation of something evil can take a lifetime to develop. People destroying things for personal gain is not a rarity in this world. This song is about feeling an emptiness in someone and seeing them destroy everything in their path. Jon Landry (producer) helped steer us in a different direction with this song bringing out the intensity of the chorus.

4. Firestone
Firestone is about feeling broken and alone and looking for the light through the darkness. This was an old song we rehashed when Jon (drummer) joined the band. The song locked in the right direction lyrically with the new groove and we felt like we had created a fierce and intense song. The video was filmed after a snowstorm and showcased a magnificent Canadian winter.

5. Underneath
Underneath is about feeling isolated and heavy-hearted. These feelings touched a lot of people over the past 3 years as the pandemic brought more isolation to everyone. The guitars were tuned down in this song to give it a sludgy sound. We had a lot of fun exploring different tunings on this EP and how it can change the feel of a song.

6. Rapture
Rapture is a bit crazy and unhinged. We wanted this song to come off as the ramblings of someone insane with some wacky elements. Recording the vocals for this song was fun as I could be erratic with the lyrics and vocals. Jon (producer) really encouraged us to think outside the box with this one. During the breakdown, at the end of the song, we really got creative on the sounds and brought in elements from other songs on the EP to fill the insanity at the end.

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

BAND STORY ANGLES / FUN FACTS:

1. Kilmore’s Dan Doran and Heather Harris are brother and sister born in Newry, Northern Ireland but located in Canada at a young age. They moved from Vancouver to Halifax at the age of 11-13 making Halifax their home.

2. Kilmore’s concepts are molded around their life experiences and tend to lean more toward the darker feelings of life.

3. With many bands, there are stories about the road. Some are forgotten but many are solidified in our memories that are hard to forget. The members of Kilmore are no exception to tour stories, with countless nights sleeping on couches and hours on the road there is much reflection to be had. I would say the funniest time we had were stay at the old Plan B Lounge in Moncton, NB, they always had a good vibe, a bed to sleep in, and good people to talk to and rock out with. Those were late nights!

L-R: Kilmore’s Current Line Up | Neil Spence (Bass) | Heather Harris (Vocals/Guitar) | Jon MacIsaac (Drums) | Dan Doran (Guitar)
Photo Credit – Kayla Macaulay Photography

For Nova Scotia-based band Kilmore, music serves as a yearning for expression and escapism; a musical endeavor that sees them unearthing the realities of life through sounds and wanting to create something new. Their brand of music resides at the convergence of stoner and hard rock, featuring magnetically emotive passages contrasted against assaults of groove-forward aggression. themes surrounding rebirth, love, hate, frustration, understanding, and the search for truth permeate their darker-edged sonic palette, one that navigates the nether regions of the human psyche.

Kilmore was founded by Heather Harris (vocals, guitars) and Dan Doran (guitars), two siblings of Irish descent who moved to Canada when they were still young. They moved to Halifax in the 90s, growing up on a musical diet of grunge, an influence that still permeates their current sound today. The band formed in 2013, adding Neil Spence (bass) and Lor Sangster (drums) to the original lineup. Jon MacIsaac (drums) later replaced Lor, completing the current lineup.

Neil grew up in Nova Scotia, surrounded by music throughout his life. He has been playing music for 20+ years and has been a member since the beginning of Kilmore. Jon joined the band in 2019, another nova scotia native who grew up in a very musical family. He was brought up on influences largely consisting of artists like Bill Ward and Danny Carey and has conveyed a new impulse to the band.

The award-winning rock group has had its fair share of accolades. their debut ep, ‘city lights’ came out in 2015, propelling them into the limelight as they were nominated for a music nova scotia award, and an east coast music award (ECMA). Their sophomore full-length LP, ‘Call of the Void’ was nominated for 3 music nova scotia awards along with another ECMA, and they took home two ‘Loud Recording of the Year’ awards.

Today, Kilmore are setting the wheels in motion for their next release entitled ‘From the Inside’, the project is scheduled to release in March 2023.

Recording and Live Band Lineup:
Heather Harris – Vocal/Guitar
Dan Doran – Guitar
Neil Spence – Bass
Jon MacIsaac – Drums

Discography:
2015 – City Lights – EP
2018 – Call of the Void – LP
2022 – Tempest (single)
2023 – From the Inside – EP

Shared Stage with:
The Stanfields, The Motorleague, Mountain Dust, Alert the Medic, Carmen Townsend

Tours and Festivals:
2019 –  East Coast Music Awards
2018 – Nova Scotia Music Week
2018 – Blacktop Ball Festival
2018 – New Glasgow Riverfront Jubilee Festival
2018 – Mud City Meltdown Festival
2017 – Nova Scotia Music Week
2017 – East Coast Music Awards
2016 – Nova Scotia Music Week
2016 – Parlee Beach Music Festival
2016 – NXNE Festival
2016 –  East Coast Music Awards
2014 – City Lights Tour
2014 – Nova Scotia Music Week

0 EPK – Phaeton – Between Two Worlds (2023) (INB Music)

  • March 13, 2023
  • by Asher
  • · EPKs · Phaeton

EPK – Phaeton – Between Two Worlds (2023) (INB Music)

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

For Fans Rush, Dream Theater, King Crimson, Opeth, Gojira, Meshuggah, Mastodon, Between the
Buried and Me, Animals as Leaders

Band: Phaeton
Album Title: Between Two Worlds
Release Date: April 21, 2023
Label: INB Music
Distribution: INB Music

Facebook.com/Phaetonband | Instagram.com/phaetonband | Twitter.com/phaetonband | Youtube.com/@phaeton-officialyoutubecha9571

Phaetonband.bandcamp.com | Apple Music | Amazon | CDBaby | Spotify

“An instrumental quartet from Kimberley, British Columbia, Phaeton are skillfully blurring the boundaries between old- and new-school prog metal. Their second album, Between Two Worlds, covers a vast amount of ground, from intricate post-djent riffing, to indulgent prog pomp, and no single outstays its welcome. The nine-minute title track is a particularly impressive display of showboating and smart songwriting.” – Prog Mag – Dom Lawson

It’s Prog Mag’s brand new Tracks Of The Week! (April 21, 2023) – “Hailing from Columbia, Canada’s Phaeton are an interplanetary instrumental heavy prog metal quartet and as their name suggests, they are fascinated with astronomy, and the idea of life itself, in all its beauty and wonder and majesty, emerging from an instant of catastrophic cosmic violence. The epic Between Two Worlds is the title track of the band’s latest album.”

“Phaeton are relatively unknown, especially compared to the above mentioned bands (scale The Summit, Animals as Leaders), but they definitely hold their own on Between Two Worlds. All members absolutely kill it on their instruments, the songs are wonderfully arranged and produced, and there’s plenty of variety here to hold our attention. Instrumental prog might be a little talked about genre, but Phaeton belong in the conversation.” – Heavy Music Headquarters

““Between Two Worlds,’ the song, is the magnum opus of Phaeton: a progressive instrumental metal rollercoaster, almost second to none. This impressive track is filled with power chords galore, outstanding melodies, neck breaking riffs, almost inimitable solos and lots of tempo changes and variety; in other words, you never get bored here, even as the song clocks in over the nine minutes mark!” – Rock United

“…a killer album indeed, wonderfully arranged and produced; a superb prog metal opus where the music almost makes you dizzy, but most of all longing for more indeed. “Between Two Worlds” to me is one of the absolute highlights of this year, a unique twist and rollercoaster of progressive, instrumental metal, highly recommended indeed: especially suitable for fans of Rush, Dream Theater and Liquid Tension Experiment. Play it LOUD and you will be hooked, listening tip: “Monsoon.”” – Rock United

“All metal influences flow into the respective songs and riffs and power chords are widely spread. The sound of the opener “Predestination” is very reminiscent of GHOST.” – Hellfire Magazin

“”Between Two World” was very competently arranged and recorded by PHAETON. Prog fans, who like sounds and virtuosity above all, will be well served with the disc.” – PowerMetal.de

“PHAETON releases an instrumental album in which the voice is not lacking; a nervous, boosted opus where the frank and limpid musicality makes you dizzy, where the notes invite you to travel in space to another dimension, where harmony is combined with controlled djent power; innovative music, on modern math metal-prog.” – Profil Prog

“If you’re open minded in your choice of Metal genres, you should feel free to let this instrumental work slip through your ears. It takes a little getting used to, so completely without singing. But if you get involved and listen carefully, one or the other will surely like something. The whole thing should appeal to fans of RUSH or DREAM THEATER.” – Hellfire Magazine

“Top-tier instrumental prog-metal-math music from the East Kootenay region performed by a quartet of veteran musicians.” – Stuart Derdeyn (The Vancouver Sun)

“The sound on all seven tracks is huge and if there was a “best sounding hammer-ons” award then March of the Synthetics could be a contender.” – Stuart Derdeyn (The Vancouver Sun)

“An epic Progressive Metal listening experience.” – Trevor Hatter (BeatRoute Magazine)

“This badass band makes a devastating impact with their high velocity musical assault.” – Time Lord (Progarchy)

“A sparkling, sizzling debut from PHAETON, taking us on a futuristic musical journey, with deep roots in the ancient past.” – Stephen Conrad (Progressive Rock Fanatics)

Band: Phaeton
Album Title: Between Two Worlds
Release Date: April 21, 2023
Label: INB Music
Distribution: INB Music
 
Track Listing:
1. Predestination – 4:57
2. Oceans of Time – 6:44
3. Terra Australis – 4:42
4. Monsoon – 6:06
5. Refraction – 4:48
6. Geomorphic – 4:51
7. Magma Chamber – 6:09
8. Between Two Worlds – 9:21
Album Length: 47:40

Album Credits:
– All songs performed by: Phaeton
– All songs written by: Phaeton
– Produced by: Phaeton
– Mixed by: Kevin Thiessen
– Mastered by: Jamie Sitar
– Album Artwork by: Dark Days Design
– Performing Rights Affiliation: SOCAN

Album Band Line Up:
Kevin Thiessen – Lead & Rhythm Guitars, Keyboards
Daniel Airth – Lead & Rhythm Guitars
Ferdy Belland – Electric & Fretless Bass
Colin Righton – Drums & Percussion

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The album as a whole:

“Between Two Worlds” was a major step up for us in Phaeton, which is a big thing to say, as we were already extremely proud of what we accomplished on our debut album. As a prog-metal band that’s strictly instrumental, we need to be sharp and clever to grab people’s ears when there’s nobody singing, and the melody lines of the twin guitars are what draw the listener’s focus and take them on an emotional journey – which is the classic goal of all instrumental rock. And there’s certainly no ‘sophomore slump’ happening here! We pushed ourselves as musicians, we pushed ourselves as instrumentalists, and we pushed ourselves as a unit to create something that had to at least be on par with the first album – and we surpassed all our expectations. We’re hoping that fans of prog-metal find something enjoyable in these tunes, and will urge them into repeating listening, and we hope all the twists and turns and corners and swerves we’ve woven together will surprise and delight. And with us re-energized for live performance, we aim to convince the world that you can say so much…without saying a word.

Track by Track:

1. PREDESTINATION: This was the perfect song to open the album with, as it contains all the elements that Phaeton prides itself on: Colin Righton’s jazzy flutterings on the drums before he kicks into double-bass abandon and blast-beat fury; Kevin Thiessen’s ever-fascinating rhythm guitar, spelling out jazz-fusion chords with metal attack; Daniel Airth’s searing leads, and Ferdy Belland’s aggressive counter-melodic hyperdrive attack on bass. Stops and starts and seeming chaos and then the killer riffs and the impressive harmony leads fall on everybody’s head. Triumphant beauty and growling anger through amplified wires and wood. Crazy time signatures that almost topple off the cliff, but the catchy killer grooves make all the sense in the world. And on it goes.

2. OCEANS OF TIME: This kicks off as a banger and bangs away just long enough to catch you off-guard when Kevin’s spider-groove riff kicks back into half-time. And just when you’ve gotten used to this new theme – BOOM! Another new theme! And another! Is this just one song, or four songs welded together? Nope. Just one. And hey! Another new theme, is where Kevin and Daniel shine with harmonic interplay and trading lines. And WHOA! You thought the song was over? Think again! As with everything else we write, this tune isn’t designed for an ignorable background drone. You really gotta follow the bouncing ball on this one – or at least the bouncing riffs.

3. TERRA AUSTRALIS: The intro to this one always kills me, what with Kevin’s weird jazz chords trading off against the crunch chords and the tapping, and then the groove sets in the lead guitar get to work. When the complicated melodies really get revving up, you can almost hear the tortured squeak of our helpless tendons as we desperately crawl our fretting fingers across the fretboard in pretzel patterns. There’s a slight reprieve where we bring it down and present you with another hummable melody, and then things just start getting ridiculous again and it’s Phull On Phaeton.

4. MONSOON: Daniel brought this one into the band and proves that he’s the Canadian King of the Killer Riff. After the kickoff crunch riffs set the mood, here comes a spooky halftime riff with a spookier guitar lead on it, and then another Killer Riff in quasi-swung time stabs out of the speakers. If Kevin is Phaeton’s version of a traditional Classical Composer (mind you, one with a 7-string Ibanez), then Daniel is our Classic Metalhead (one with a 7-string Schechter). Whereas Kevin’s songwriting style usually threads a string of different interlocking themes, Daniel knows how to capture the ears of even non-prog listeners by repeating the familiar themes, albeit with slightly different punctuations which are, to use formal musical terminology – Hella Cool.

5. REFRACTION: This tune opens with what may at first lick seem to be a happy day at the beach, but the volleyball game ends soon enough when Colin’s drums pick it up and then the major-9th power chords and the modal guitar leads start crazying up the works. Thought you could follow it easily enough? WRONG! More standout grooves and snappy riffs. The reggae-ish breakdown in the middle comes across almost like (Herakles help us) the Police, but then the djenty guitars envelop the proceedings and we’re back into Symphony X again. Confused yet? Don’t be. Listen to it again. See? It’s all awesome.

6. GEOMORPH: Another of Daniel’s works. The moody intro is cool enough, and then the World’s Greatest string-skipping Kissoff Riff rattles across the Schechter and gets immediately followed up by another crunchasaurus riff and then it’s Melodic Breakdown time, which gives a nod back to the intro, but then what’s this? The scene is now set for a dramatic build-up and then – hey, is that a synthesizer? No, it’s Kevin doing his thing, and then GADZOOKS! It’s yet another crushing riff (Dan’s got thousands of them, truly), and then here’s the World’s Greatest string-skipping Kissoff Riff! Could the song be ending? Not a chance; keep listening – what? Another killer riff? What else did you expect?

7. MAGMA CHAMBER: Colin really shines on this one. He honestly is one of the best-kept drumming secrets in all of Canadian Metal, and no, you can’t have him. Kevin’s ricocheting all over the bloody place on his guitar, whether it’s the hey-mom-look-what-I-can-do tapping frenzy or the cultured djent of his rhythm riffs. And no, we didn’t deliberately rip off Yes with the breakdown riff. And no, we didn’t deliberately rip off Rush when we moved out of the breakdown riff. But then we leave all that controversy behind with a spooky underwater-bass breakdown before Kevin and Daniel boot open the hatches on another djenty-noodly detour. The halftime groove doesn’t last long as Daniel and Kevin really start pulling out all the stops.

8. BETWEEN TWO WORLDS: Our title-track Magnus Opus, all nine and a half minutes of it. The solar wind is the first thing you hear before the drops of notes patter you like coastal rain, and then it’s power-chord time and we’re off. This is where we stretch our limits of chordal density versus open space, spelling off with each other and working hard to make every riff mean something, and every overlying or underlying melody sing. “Ahh,” you say. “Here’s the breakdown! This must be the middle of the song!” We laugh good-naturedly at your presumptions; buckle up, my friends! Themes from earlier minutes return in louder, more insistent, more dolled-up manner, and we claw our way to the dynamic heights and then we plunge our way into the dynamic depths. And we bookend the closure with the solar wind again. This one was a workout to compose, it was a workout to record it, and yes, it is a killer to play, but it’s all smiles and sweat from us. As it should be for you.

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

FUN FACTS:

1. Ferdy Belland is a journeyman carpenter with Red Seal certification. All his musician friends were either jerking coffee at Starbucks or tending bars or bussing tables, and he always liked drinking in pubs better than he liked working in them. He needed a good-paying day job so he could afford good musical equipment, and he needed a job where he could either get a leave of absence to tour…or, if he had to quit in order to tour, he could easily find another job afterward. Ferdy likes residential construction and likes being creative with his hands. He’s proud that he successfully finished a trade apprenticeship and got his ticket, sure – but there’s a much smaller risk of losing a finger playing bass than there is handling a Skilsaw. He prefers playing bass.  

2. Colin Righton’s endearing nickname is the “Octopus Tornado,” and he cooks in the kitchen just as amazing as he attacks his drums. He is an excellent chef in the Anthony Bourdain / Jamie Oliver / Gordon Ramsay manner, so he’s awesome to be around when we get baked out of our skulls in the studio and get ravenous munchies.

3. Kevin Thiessen is into the Back to the Future trilogy the way Godzilla is into stomping Tokyo. And because he’s such a devoted fan of Genesis, he’s also a fan of Phil Collins’ solo pop material, but the rest of his bandmates try very, very hard not to hold that against him.
4. Daniel Airth’s amazing solo releases are well worth tracking down on YouTube. And if he ever forms a solo project that tours, Kevin and Colin, and Ferdy will all be his backing band.

5. Ferdy Belland has enjoyed a long parallel career as a music journalist, having been published in the Georgia Straight, the Nerve Magazine, Terminal City Weekly, and Black Press.

L-R – Colin Righton – Drums & Percussion, Daniel Airth – Lead & Rhythm Guitars, Kevin Thiessen – Lead & Rhythm Guitars, Keyboards, Ferdy Belland – Electric & Fretless Bass
Photo by Julian Bueckert Photo

PHAETON was formed in Kimberley, BC in March 2017 by Kevin Thiessen (lead & rhythm guitar), Daniel Airth (lead & rhythm guitar), Colin Righton (drums & percussion), and Ferdy Belland (electric & fretless bass). Combining technically ferocious compositions of modern metal with the ambitious song-arrangement mindset of classic prog-rock, PHAETON (named for the theoretical proto-planet which collided with Ancient Earth during the Primordial Era) stands alone in the wilderness of British Columbia with their unique approach to instrumental prog-metal.

Live Band Line Up:
Kevin Thiessen – Lead & Rhythm Guitars, Keyboards
Daniel Airth – Lead & Rhythm Guitars
Ferdy Belland – Electric & Fretless Bass
Colin Righton – Drums & Percussion

Discography
2018 – Self Titled – LP
2023 – Between Two Worlds – LP

List of bands we’ve shared the stage with:
FALSE FLAG, SOLBORN, ATAVISTIA, SYRYN, ELK HUNT, LEATHER APRON REVIVAL, CROOKED LINE, ZERO PEOPLE

Tours and Festivals:
2018 – July Fest – Kimberley, B.C.

0 EPK – Sanguine Glacialis – Welcome (single) (2023)

  • March 10, 2023
  • by Asher
  • · EPKs · Sanguine Glacialis

EPK – Sanguine Glacialis – Welcome (single) (2023)

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

“Welcome is the first single from this new album. It has many different surprises and invited artists and it’s super catchy. It sets the world in which the album takes place, so that’s why we chose to represent it with a lyric video and the album cover. It’s the best presentation we could give after all these years of working on the album!” – Sanguine Glacialis

For fans of Fleshgod Apocalypse, Diablo Swing Orchestra, The Agonist, Jinjer

Single Title: Welcome (4:16)
Off Album Title: Maladaptive Daydreaming
Release Date: March 10th, 2023
Label: Self-Release
Distribution: Self-Release

Facebook.com/SanguineGlacialis | Twitter.com/sglacialis | Youtube.com/SanguineGlacialis | Instagram.com/sanguineglacialis/

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

“The first thing that drew me to this release was the stunning artwork, and I’m glad it did because Hadopelagic is a rather kickass listen. It’s rather difficult to slot Sanguine Glacialis into one specific style because they utilise a good amount of approaches and genres into their music, such as death metal and symphonic metal, as well as more unusual styles such as classical and jazz. They have a very interesting sound as a result and it definitely helps them to stand out from the crowd – indeed, the jazzier moments are some of my favourite elements of the album!” – Soundscape Magazine

“Sanguine Glacialis threw me a bit of a curve ball as I was expecting a similar showing stylistically, primarily because I could hear the singer warming up her falsetto backstage. To my delight, the group launched into a more groove filled progressive black metal vibe that was thoroughly entertaining. Singer Maude Théberge navigated her tiny frame through the cramped stage to play the role of both soprano and banshee while providing intermittent piano sections.  The band’s performance, energy, and crowd interaction won the crowd and me over, and I’m excited to hear their new album in the fall.” – Bucketlist Music Reviews

“Hadopelagic offers a little over one hour of amazing metal music that takes full advantage of the manifold vocal talents of Maude Théberge. She has so many different voices that you will feel in awe. Her piano sound could do with a little more variation though. Her band is top-notch and we can only hope that they will stay with her. The guitars are adding progressive textures, whereas the drummer gives the music that necessary punch that shows you that despite being in the presence of an artful piece of work, Sanguine Glacialis are still a through and through metal band. Hadopelagic is a must-have for fans of playful metal that offers brains and brawn alike.” – Disagreement.net

Single Title: Welcome (4:16)
Album Title: Maladaptive Daydreaming
Release Date: March 10th, 2023
Label: Self-Release
Distribution: Self-Release

Album track listing: TBD

Single Recording Credits:
Song performed by: Sanguine Glacialis, featuring Remi LeGresley (guitar solo) and Mia-Lin Gromko (Saxophone)
Song written by: Maude Théberge
Produced, Mixed and Mastered by: Christian Donaldson
Album Artwork by: Alex O’Dowd
Member of SOCAN: Yes (Maude Théberge)
All music is 100% Canadian – MAPL

Album Band Line-up (Same as live line-up)
Maude Théberge (Vocals, Keyboard & Violin)
Jonathan Fontaine (Guitar & Backvocals)
Alexandre Lépine (Guitar & Backvocals)
Marc Gervais (Bass & Backvocals)
Jérémy Racine (Drums & Backvocals)

L-R  – Jonathan Fontaine (Guitar & Back Vocals), Jérémy Racine (Drums & Back Vocals), Maude Théberge (Vocals, Keyboard & Violin), Marc Gervais (Bass & Back Vocals), Alexandre Lépine (Guitar & Back Vocals)

Photographer Credit: Philippe Quinn

Hailing from Montreal, Quebec, Sanguine Glacialis have shared the stage with Dark Tranquility, Omnium Gatherum, Delain, Hammerfall, Unexpect, Necronomicon and many more. The dark heart of Sanguine Glacialis is vocalist/keyboardist Maude, the sole original member left in the band. She describes their sound as ‘unique, original, intense and dark’

 

Maude is enthusiastic about their new songs. “We took a huge step forward with this album and fans will appreciate it much more than the previous one. Everything is better in this one in my opinion. We want to show the new direction of the band. We want to show how much we’ve grown and how much the band has changed between the two albums.”

 

“This album is a very dark part of my life, and it’s something that everybody lives in their own way, and I hope this album will help fans go through their own difficulties.” Lyrically, Maude avoids the usual metal clichés. “Most of the songs are personal experiences that I wrote in the form of stories and legends.”

 

The band released the official video for the song “Monsters”, taken from the upcoming album “Hadopelagic”.

 

Maude promises that Sanguine Glacialis offer a very different live experience. “What really makes this band special is the vast variety of influences we have. It goes from technical death metal to classical, through nu metal, rock, jazz, pop, rap, world music, and so much more. On stage, we bring our own theatrical style as well as a dark atmosphere that fits our songs. We have our own dynamic, and I play keyboards and sing at the same time during the show, which is also a change from the typical front-woman!”

Discography:
Maladaptive Daydreaming (2023 – To be released)
Hadopelagic (2018)
Pitch Black Sight EP (2016)
Dancing with a Hanged Man (2012)

Shared Stage with:
Dark Tranquility, Insomnium, Omnium Gatherum, Beyond Creation, Delain, Carach Angren, Wolfheart, Mors Principium Est, Hammerfall, Oceans of Slumber, Unexpect, Necronomicon, Anonymus, etc.

Tours and Festivals:
2020 – Ride of the Valkyries – Montreal
2020 – FestEvil – Quebec City
2019 – FarmFest – Vankleek Hill
2019 – Gaspesian Metal Fest – Matane
2019 – Seven Spires – Montreal
2018 – Gothfest – Montreal
2018 – Carach Angren, Mors Principium Est & Wolfheart – Quebec City
2018 – Insomnium and Oceans of Slumber – Montreal
2017 – Delain and Hammerfall – Montreal
2015 – Delain – Montreal
2014 – Saguenay Viking Fest – Jonquière
2014 – Dark Tranquility, Omnium Gatherum & Mors Principium Est – Montreal
2012 – Hellfest Lanaudière – Mandeville

0 EPK – Despite The Reverence – Stress Of Evolution (2023)

  • March 9, 2023
  • by Asher
  • · Despite The Reverence · EPKs

EPK – Despite The Reverence – Stress Of Evolution (2023)

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

For fans of The Muse, Tool, Porcupine Tree

Band: Despite The Reverence
Album Title: Stress of Evolution
Release Date: April 14, 2023
Label: Self-Release

“This album features songs that range from epic technical arrangements to straight-up rock songs. The album starts out heavy and intense. There is a classical acoustic piece in the middle, followed by a heavy metal ballad and a surfer rock-style song before the songs rise again to a heavy crescendo. The 12th song almost stands alone as a heavy metal disco anthem. The lyrics follow the theme of technology being infused into society and directly into humans making us dependent on them and creating less of a need for human interference.” – Despite The Reverence

 Facebook.com/despitethereverence | Instagram.com/despitethereverence | Youtube.com/@Despitethereverence | Twitter.com/DTRofficialband

Spotify| Despitethereverence.bandcamp.com

 

Band: Despite The Reverence
Album Title: Stress of Evolution
Release Date: April 14, 2023
Label: Self-Release

Track Listing:​
1. Cyborg – 5:41
2. Khali Yuga – 4:33
3. Surprise Kill Vanish – 4:42
4. Primate Centurion – 6:11
5. Killing Plebs – 3:54
6. Fears Of Our Fathers – 1:45
7. Stress Of Evolution – 5:02
8. Human Obsolete – 4:24
9. Thinning The Herd – 3:56
10. War Machine – 4:55
11. At My Door Knocks Death – 5:43
12. Disco Death Tech – 4:01
Album Length: 54:53

Album Credits:
All Songs performed and written by Despite The Reverence
Produced and Mixed by: Chris Douglas and The Sound Castle
Mastered by Trevor Case at Case Mastering
Despite The Reverence is a member of SOCAN

Album Recording and Live Lineup
Jon Fast (Guitars/Backing Vocals)
Tom Liska (Lead Vocals)
Jordan Poelzer (Bass)
Brad Zimmer (Drums)

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

The album as a whole:
This album features songs that range from epic technical arrangements to straight-up rock songs. The album starts out heavy and intense. There is a classical acoustic piece in the middle, followed by a heavy metal ballad and a surfer rock-style song before the songs rise again to a heavy crescendo. The 12th song almost stands alone as a heavy metal disco anthem. The lyrics follow the theme of technology being infused into society and directly into humans making us dependent on them and creating less of a need for human interference.

Track D by Track explanation:

1. Cyborg 05:41
– One of the more technical songs on the album featuring a blistering opening lead riff and heavy pounding guitars under the verse sections of the song. The vocals are heavy and growling over the verses but break into a melodic crescendo during the chorus. The song slips into a quiet dark interlude in the middle section which builds in intensity back into the chorus and outro. The lyrics touch on the melding of humans and robotics.

2. Khali Yuga 04:33
– This song starts with a somber and pulsing intro before the band kicks in with a more hard rock riff and vocals. The chorus is very catchy and straight ahead. The middle section picks up into a Pantera-esque riff and almost western style guitar solo. Khali Yuga is one of the periods of the human cycle which ultimately is destruction leading to rebirth.

3. Surprise Kill Vanish 04:42
-Inspired by the black ops and the assassin to surprise, kill and then disappear. The main riff was inspired by Lamb Of God but turns into a bluesy hard rock verse riff. The chorus again builds in dynamics and the middle section of the song breaks down into a dark pulsing riff followed by a blues rock style solo mixed with some tapping. The outro of the chorus is interesting as the lyrics become a spoken story over a quieter groove version of the chorus.

4. Primate Centurion – 06:11
-Our first single released off of the new album starts with a very ominous but with hints of Pink Floyd before kicking into an early Tool “Undertow” style riff. This song hits hard with a very big sound and a huge chorus. The middle guitar solo continues the groove and rolls right through to the ending. This is more of a straightforward hard rock song that’s all about continuing the hook and not deviating too far away from the groove. Following the album theme, this song follows the evolutionary theme from ape to human to artificial intelligence.

5. Killing Plebs – 03:54
-This is a more commercial-sounding hard rock song that starts with a guitar fade into the main riff. The drums, bass, and rhythm pound together throughout while the melodic lyrics belt out catchy lyrics and a memorable tune that gets stuck in your head. The middle section starts to get heavy and then cuts out to a breakdown with a pulsing rhythm and subtle guitar reminiscent of Faith No More. The lyrics are spoken with an echo that makes it very unique. The song kicks back in with an epic ballad-style guitar solo and then a powerful vocal chorus that matches it perfectly. The lyrical content is regarding the death of the common man and his character which has been sacrificed to appease a lazy and entitled culture.

6. Fears Of Our Fathers 01:45
-This is a very stand-out song as it is only classical acoustic guitar and vocals and also features Christine Douglas performing a perfect and haunting harmony during the middle section. The song was inspired by the idea that fears can be passed down inherently from father to son and also the fear that a father has for his son. It is a short piece but a nice change in the dynamics of the album and starts a quieter section of the album.

7. Stress Of Evolution 05:02
-This is a true ballad on the album and starts with a quiet building guitar instrumental that gradually fades into the opening riff. The song lyrically is about the growing pains of change and evolution of a species. The verses are more subtle but kick into a powerful chorus with a guitar lead that reminisces Boston or other power rock and with a strong chorus and unforgettable lyrics. The guitar solo continues over the chorus riff and is one of the best on the album. As the solo fades, so does the band and a middle heavy section follows which builds and then ends quickly going back into the chorus again but this time on steroids.

8. Human Obsolete 04:28
It’s another very interesting track and more of a surfer-style hard rock song. The lyrics as they indicate are about the growing obsolescence of the human race. This song finds the groove right away and carries it all the way through making it a real head-banger. The guitars, bass, and drums follow the groove while the lyrics tell a story.

9. Thinning The Herd 03:19
This song is pure thrash metal with one of the craziest time signatures we’ve ever written (in fact we never figured it out). Part of the song was recorded without a click track and just by feel. It is fast-paced and rips through complicated riffs and furious vocals. This song doesn’t stop being intense as the lyrics sing about the strongest surviving and natural selection. This is the fast song we have written to date.

10. War Machine 04:55
-War Machine is another heavy rocker and packs a lot of energy. The song comes in with a roar and pounding guitars, bass, and drums. The verses quiet down but only for a moment and really to give more emphasis to the rest of the song. By the time the bridge hits in the middle, the song is full steam ahead. A ripping solo followed by a half-time but heavily beaten ending wraps the song up. The lyrics are powerful and strong and the outro has a ring to it with the feeling of royalty.

11. At My Door Knocks Death 05:47
Half of this song is definitely inspired by Black Sabbath. The second half by Iron Maiden and the outro has a very punk rock vibe to it. The song has a variety of riffs that capture the stoner metal genre and then the 80’s classic metal style. The lyrics, especially the chorus are huge and haunting. The theme is hypocrisy, especially in religion, and the way power corrupts. There is an instrumental breakdown near the end featuring the drums and bass that has a Led Zepplin “Whole Lotta Love” vibe to it and is unique to the album. This song really wraps up the concept of the album however there is one more.

12. Disco Death Tech 04:07
-This is the 12th song and not really an “afterthought” but we had to keep it because it was so unique and catchy. This is a disco-metal song, like a heavier version of “I was made for Loving You” by Kiss and “Sharp Dressed Man” by ZZ Top. The main guitar riff is fast and the hook of the song just keeps trucking through the rise and fall of the song while the bass pops and the drums play a fast syncopated disco-style beat. The lyrics dance over the music making this one of the most “fun” songs on the album, likely to be performed as an encore if the mood is right.

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Story Angles/Fun Facts About The Band

1. We’ve been together writing and performing for over 10 years now with the same line up which is pretty impressive considering the lifespan of most bands.

2. 5 full-length albums

3. We toured the UK with The Maension back in 2017 which was amazing, a real-life experience

4. We are all working professionals outside of the music industry to pay the bills and work as financial consultants, insurance brokers, IT Analysts, and Estimators. We’ve all played music our whole lives and never had the thought of quitting.

5. We always order a pizza to the hotel after every show

6. In one of our earliest shows, we packed up while the house music played “Just Like A Woman” by Bob Dylan and we always sing it while we pack up now. Recently we have started our shows by walking out to that song.

7. We featured 5 songs on the movie soundtrack for Saskatchewan filmed movie, “Ferocious” starring Kim Coates. The studio we were recording our first album in was also doing the sound for the movie and asked us if they could use our music for the bar scenes.

8. We’ve played all over Western and Central Canada over the years, took a private jet to Ontario for a private show, and played with many bands.

9. We have performed events such as the World Junior Hockey, local television spots and charity fundraisers though we really pick and choose our gigs/venues as being a heavier style of music, we want the audience to enjoy it.

Impressively, Canada’s Despite The Reverence has been together writing and performing for over 10 years now with the same lineup and as of this year, has produced five full-length albums. The most recent addition to their catalog is “Stress Of Evolution”, a twelve-track, neck-breaking monster of an album that builds on all of their previous work.

Excited to hear fans’ responses to their latest work, the band has come a long way and their growth is evident in the music. They’ve taken all the best elements of their personal styles, honed them, and now invite fans around the world to their metal feast. Dynamic from heavy to melodic, it’s a mixture of tempos, styles, and instrumentation. Variety is the spice of life and Despite The Reverence tries to bring everything under one roof creating unique and interesting compositions which flow together under a common concept.

“Stress Of Evolution” comes out on April 14th, 2023, and is recommended for fans of Pantera, Tool, and Black Sabbath.

Discography:
Stress of Evolution (2023)
Plethora (2019)
Becoming The Savage (2017)
Alien Intrinsic (2013)
Self-Titled (2011)

0 EPK – Neolia – Self-Titled (2023)

  • March 3, 2023
  • by Asher
  • · EPKs · Neolia

EPK – Neolia – Self-Titled (2023)

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

“We feel as if this album has traveled a lifetime with us, and being able to see it being published in… is amazing in itself and an honor for us as individuals and as a band. Being able to shine a light and allowing others to see, hear, and feel what we feel in this elaborate vision is in itself a blessing and it is what keeps us going. We’ve been described as Incubus meets Tool and Deftones in a bar and they start talking about how they love Sikth and being published in … Seems like the best place for such a mix that allows listeners to meet and get inspired. We wanted to allow new emotions and new subjects that we had felt were not given the proper attention, such as child neglection, mental illnesses, personal family issues, torture and more to be given the option to be approached from a perspective of a fictional story in order for people to be able to connect to the complexity of the lyrics more easily. The story in its simplicity reflects the struggles of a boy named Alex, after experiencing the death of his mother, and being left behind by his father, along with feelings of shame, guilt, and anger that he is unable to let go of.

Although this is a concept album, each track presents its own unique characteristics and expresses a variety of styles and musical ideas that are derived from world music, jazz, and electronic at times. The album also incorporates different interludes some atmospheric and some piano based adding more emotional layers and subcontext to the mood changes in the album. It was definitely intended to feel artistic in its nature and even send a message of freedom in its structures and general atmosphere.” – Neolia

For fans of The Mars Volta, Sikth, Mudvayne, TOOL, Snarky Puppy.

Band: Neolia
Album Title: Self-Titled
Release Date: May 5, 2023
Distribution: CD Baby

Neoliaband.com | Facebook.com/neoliaband | Instagram.com/neoliaband | Youtube.com/neoliaband | Soundcloud.com/neoliaband

Neolia.bandcamp.com | Apple Music | Spotify

“as the chaotic screams of Dance of Violence and the ever-contorting Rise and Fall attest, the rawness of their emotions often turns that into a positive. The slow-burning Anchors builds on moody tension, jarring textures melt into a soundscape that, across seven minutes, throws in heavy bursts, tender lulls and spiky rhythms. It’s a wildly diverse ride… Their ambition or vision can’t be faulted.” – Prog Mag

“This band is going to be huge. You know how Tool and the Mars Volta developed into their own sound and how they have a legion of devoted fans? That’s what Israel’s Neolia is about to do with this self titled debut album.” – Transcending the Mundane

“Karma”, (the video) accompanied by a beautiful shot somewhere in the deserts of Israel, has that fantastic balance of aggression and melody that I love about alternative metal. At its more frenetic moments, like the excellent transitions from the heavier moments near the end of the track and the more melodic chorus, it reminds me of The Mars Volta, and that is one big compliment. Elsewhere, Yerushalmi’s guest vocals are expertly utilized to balance the rawer, more harried vocals of the band’s own singer, Ben Reiss. Together, they present the major melodic force on the track, while the instruments deliver well written, complex, and undeniable groove. This mix is exactly what alternative metal is so good for, hitting on both the emotional and the visceral level of enjoyment. The track ends up being both interesting to dissect and take apart but also something you can move and sing to. If the band’s self-titled is as good as this, and the other tracks released so far seem to indicate that that is indeed the case, then we’re in for a treat. Make sure you head on over to the band’s Bandcamp to pre-order it; I think it’s going to be a lot of fun!” – Heavy Blog Is Heavy

“Neolia’s Self titled debut album is a reflection of years of soaking up music of different genres from rock to pop to world music and whatnot. It’s a fusion of bits upon bits of pieces absorbed and processed and then spat out from a personal perspective. In its musical aspect, its rock and metal based, but with a twist of African, Latin, Jazz, and ambient that reaches the spectrum of high and low, tender, extreme, and crazy.” – New Prog Releases

“Israeli prog metal outfit Neolia have a lot to offer on their self-titled debut. The band brings a ton of skill to the table, along with some excellent music influenced by such luminaries as Faith No More, Tool, and maybe even a bit of world music. They’re leaving it all out on the table for us here – warts and all. For a self-produced album, Neolia sounds really good.” – Heavy Music Headquarters

“A big classic metal, a bit metalcore, clean and harsh vox, a little progressive musically also.” – The Mosh Pit – WORT FM 89.9 (Madison, WI)

“Voici un album convainquant, écrit et interprété avec un cœur gros comme ça qu’il convient de noter sur sa wishlist… Here is a convincing album, written and performed with a big heart that should be noted on your wishlist.” – Profil Prog

“It’s as if Ben’s screams had come straight out of hell tearing the skies in all directions” – Metalist Magazine

“Filled with different time signatures, that incorporate beautiful melodic parts and screams that hit you directly in the center of the stomach” – Radio Ze Rock Magazin

[Download Album Cover | Download Album Lyrics]

Band: Neolia
Album Title: Self-Titled
Release Date: May 5, 2023
Distribution: CD Baby

Track Listing:
1. The Shed – 3:44
2. The Shed outro – 0:52
3. Your prophecy – 7:44
4. Dance of violence – 7:10
5. Carried away – 5:49
6. Carried away outro – 1:24
7. Karma – 4:09
8. Karma outro – 0:44
9. Day in day out – 11:06
10. Anchors – 7:14
11. Rise and fall – 5:06
12. Blow the leaves – 7:02
13. A better version of you – 4:53
14. Refahim – 8:00
Album Length: 74:57

Album Recording Credits:
• All songs performed by: Neolia
• All songs written by:Neolia
• Produced by: Tomer Mash
• Mixed by: Yevgeny Levin and Idan Katz
• Mastered by: Howie Weinberg
Assistant mastering technician – Will Borza
• Album Artwork by: Amit Naamani
Members of: BMI and Acum

Album Recording Band Lineup:
Ben Reiss – Vocals
Tomer Mash – Bass, Guitars, Vocals Synth and percussions programing
Ron Minis – Guitars
Dror Goldstein – Drums and additional guitars
Shalev Neeman – Percussions
Ran Yerushalmi – Guest singer in ‘Karma’
Shahaf Ostfeld Franco – Mongolian singing – ‘Your prophecy’
Roy Weisglass – Flamenco guitar in  ‘Your prophecy’
Yanai Habber Tzahor (RIP) – recorded some of the Lead
guitars in ‘Blow the leaves’
Carmel de Picciotto – B vocals – ‘Your prophecy’
And in ‘refahim’
Tamir Friedrich – Piano interludes
Amit Plaschkes – Lead guitars in ‘Karma’ – C part,
And lead guitars in ‘Truths pt.2’ – verse 2 and C part
Or “Coco” Maoz – B vocals – ‘Rise & Fall’

Live Band Lineup:
Ben Reiss – Lead vocals
Tomer Mash – Bass, Vocals
Guy Greenberg – Guitars
Inbar Davish – Guitars
Yair Ben Shalom – Drums

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The album as a whole – Musically and Lyrically:

Musically the album is a reflection of years of soaking up music of different genres from Rock to Pop to world music and whatnot.

It’s a fusion of bits upon bits of pieces absorbed and processed and then spat out from a personal perspective.

In its musical aspect, it’s rock and metal based, but with a twist of African, Latin, Jazz, and ambient that reaches the spectrum of high and low, tender, extreme, and crazy.

The way the music combines with the lyrics is parallel in the sense that it doesn’t tell the story in a chronological way, but as a puzzle where the character reflects upon fractions of his life, from different phases.

We don’t know where the character ends up in his life, but we do know where he has been, and what he goes through in each place.

Each track gives us a glimpse into the character’s life and describes a certain scene, a thought process, or an emotional conflict from childhood to adulthood.

The character’s life starts pretty simple, and at the age of 6, he experiences his mother’s death, which casts a dark cloud upon his fate.

He gets shoved to the margins of society and follows a long and harsh way in search of purpose and communication with the people around him.

Track By Track:

The Shed  –
The shed relates to a point in time when the main character (Alex) was around the age of 11-14 living on the streets and sleeping underground. Alongside other left-out kids, he managed to persuade them in following his path of rage the group becomes a teen gang that acts on their misfortune in life.  

The song starts with a guitar duo followed by the main riff of the song that with each section progresses into different variations both rhythmic and harmonic but it is very clear to the ear that they have this common bond that holds them together.

The track has a pretty straightforward structure but still keeps a unique groove.

The energy reaches its peak at the very end of the song with an aggressive outro that collapses into a meditative percussion-based section.  

Your Prophecy –
Your prophecy is originally a personal track to Tomer, describing the process of detachment of his father from his family and being isolated and less and less communicative as the years went by.

While the main character (Alex) experiences his mother’s death, whose circumstances remain unclear, his father starts avoiding him and so Alex imitates him and does the same and as time goes by things just start to get worse and they disappear from each other’s lives almost completely.

The title of the song is a moment of realization that the father’s actions project as a sort of prophecy that is something that he has become almost unable to overcome.

The song is inspired in parts from latin and gypsy music and it starts with a percussion intro followed by an electric guitar with a tremolo effect, and with a dance-like flow, the various parts continuously intensify rhythmically and dynamically eventually leading up into a dark and horrific interlude built from layers of Mongolian throat singing which transfers the listener into a Latin oriented Coda that becomes a sort of a track of its own.        

Dance of violence –
The song’s lyrics are directly connected to the norm of Israel’s day to day life.

In our story, at the age of 18, Alex joins the army, but he doesn’t do it out of patriotism, but for his selfish need of acting out on his raging emotions. He becomes the commander of a vicious fighting team that worships him and follows his every word and leads them to death and destruction.

The music flows with the chaotic personality that is in constant change, switching through a spectrum of pure unaware anger and total exhaustion. The song doesn’t follow a specific structure though it does have its verse and chorus, but the second verse is a softer variation that leads to a vocal solo part, trying to give a sense of being as one with his inner beast during the battle moments, where the body sort of acts on itself.

The song tends to go through some sharp turns as it is a reflection of the roller-coaster of emotions that tends to overflow Alex’s mind. As we arrive at the coda section that suddenly switches from a 4/4 time signature to a 5/4. A final twist of events occurs as Alex decides to stop fighting and acts as the opposition while trying to drag the rest along with him.

Carried away
This is a bitter, sweet memory, a sharp twist to a childhood memory from age 7. Being barely woken up, after fainting out repeatedly and passing out from rat-poison fumes that were sprayed throughout the house, Alex was experiencing hallucinations while being unconscious and imagining being at the same location where he found his mother dead while nature around him came to life in the form of a nightmare. But even within this horror show, while feeling scared, cold and alone he managed to take control and put up a fight.

The music starts gently and gradually. A fragile moment yet intense drops with a drum groove on the ride symbols paired with a dark and busy bass line that is being balanced by a tender choir section and guitars that contrast each other. Gradually the music intensifies and gets even darker reflecting an emotional spiral that reaches a certain climax after the second verse. After the last chorus, the song ends with vigorous unison of guitar and Synth lairs that drops      

Karma –
The song actually starts from the conclusion, that we are all temporary, and so our actions are also temporary, but it also plants seeds and affects our surroundings. Alex realizes he had been under the same ego trip as the people he had blamed for his misfortune and mistreatment. This criticism slowly throughout the song becomes self-pity and griff on the self, and instead of channeling these emotions to becoming better for himself and for others, Alex channels it into depression and self-hatred.

The music reflects the duality Alex holds, and builds up from this moment of clarity with an atmospheric reggae feel that drives you gradually into a fast and thrashy instrumental groove that drops at the verse. Although the song maintains its extreme energy while showcasing intensive changes in mood and tempo, it still maintains certain softer moments, the chorus is one of them. Throughout the track, the chorus increases in its energy up until the third and last one. The outro is stripped down into a piano only that uses the melody from the melody in a broken kind of way, desperately outlining the need to refuel energy and rest.    

Day in day out –
This song gives you an inside glimpse of what happens when you don’t follow military protocol and undermine the sacred codes of the army and commit treason to the country. It tells Alex’s story in captivity by his own country, of being broken down into small pieces while kept isolated and frequently tortured and drugged for 6 months.

The main character could barely speak and his only companion was his inner voice.

He used to divide the people that came in and out as “demons and saints”, because every time after being beaten up, the “angels” would come and clean him up and keep him alive. It felt like an eternity inside but he accepted the punishment and did not resist as he knew that he deserved it.

The introduction for the song starts off with a soft and uncomfortable melody as it portrays an animal being captivated. Then the instrumental intro shifts into a raging explosion of aggression with a rhythmic riff that appears in the track repeatedly. Day in Day Out has other noticeable musical motives resembling its rhythmic and melodic elements. There are 3 unique moments in the song. One is the second verse, which is reflected musically with a dark and cold reggae- like feel with atmospheric guitars. The second one is the pre-chorus which has a mystic and slightly spiritual energy, and the third is the coda part that is based on an afrobeat drum and bass groove accompanied by the lead guitar melodies and vocal that are played in unison and are based on the ethiopian musical scale minor Bati. The song doesn’t quite end and the coda is drifting into an acapella part crafted by Ben Reiss representing the faze of madness the main character had reached.            

Anchors –
This song contains some of Alex’s greatest revelations while dealing with his greatest demons and fears. As he returns to his home, and to his crumbling family and the absurd life that has become of it, he then decides to remove his burden by running away from his family and other remaining individuals that he has been carrying with him and so deeply loathes.

Anchors is an explosion of emotions and is packed with peaks and drops.

Throughout the first half of this song, there are two main musical ideas. The first idea is anchored by a guitar riff that comes in and out dynamically to reflect the hidden roots that bother Alex, throughout his journey. The second and main theme in the song is a five note melody that is played throughout the song in different variations and slowly steps farther from the starting point.

At the second half, the riff reaches a peak, breaks apart while exploding to a psychotic bridge that repeats ragingly and unbalanced.

Once the storm calms, and the song remains unchained to the riff, the song lifts up to an upbeat African Drum & Bass groove that deep down in its core, contains and accepts the DNA of the initial riff.

Rise and fall –
This song relates to the hardest point in time in Alex’s life, when first realizing he was alone at the age of 21. He tries to recreate his past steps and become a rage prophet. He starts his journey with a clear purpose to awaken the people that surround him about the false world they live in. Shortly after, Alex realizes he had been overlooked, and that no one believes him, and in fact they feel comfortable maintaining their current daily lives. In the midst of it all, Alex finds comfort in his depression, his demons reach out to him in his time of despair while reassuring him that he is where he needs to be.

The track starts off with a heavy groove intro, but it breaks once the verse enters with a drum & bass like groove basically stating the main characteristic nature of the song which is a sort of bi-polar feeling as the energy stretches back and forth in. The song contains some odd signature rhythms and polyrhythmic components and even leans into different genres.          

Blow the leaves –
Is a deep dive into Alex’s imaginative journey inside a river that runs inside a big dark maze while drowning in a paralyzing sense of being defeated. His demons are hovering above him at all times up until the point he just ignores them completely.

As the journey evolves, Ales’s thoughts and conclusions get more and more complex and his pain and suffering intensify even more up until he can not handle it anymore and considers suicide but rather quickly regrets his thoughts and wishes to return to his path in life.

The music’s main theme starts at the very beginning as a dark polyrhythmic verse that transforms its energy building up and dropping down much like waves. The track slowly intensifies and reaches a heavy hardcore chorus building up into emotional catatonia that gradually decreases back into the main theme. The middle section is in ⅞ time signature and while it keeps a gentle feel it still maintains that uncomfortable feeling. The track shows various peaks, twists and turns and eventually arrives at the main theme again but in its most aggressive and hurting form.    

A better version of you –

After a brutal journey, Alex manages to visualize a somewhat brighter horizon but he still carries with him his bag of self-pity, confusion and pain. Alex keeps wondering if only he could point the finger to what is inside him that keeps circling back to that big black hole inside him and wishes he could pull himself out of this state of mind and become better.

The track starts with an asymmetric guitar harmony that arrives at an explosion of screams and distortion dressed on an african style drum groove that keeps appearing in the the track acts as a motive. The track has rhythmical twists that lean on different ¾ patterns in most parts and a chorus that takes all the complexity and turns it into a slow motion dance with a flamenco like feel. The middle part of the song is a broken down section that has its own unique character and while being unpredictable and aggressive, it shows much vulnerability that exists despite the rage.  

Refahim –

This final track is unique in this album, but not because it’s totally in Hebrew, moreover because at its core – Refahim is an improvisation experiment.

At the end of the last recording session Tomer reached out to Dror (the drummer that recorded the album), and told him to just play, whatever comes to mind.

At a later point Tomer filled the track with his interpretation, to this random yet mysterious rant, and passed it to Ben with the same amount of freedom, which made it as an opportunity to allow a glimpse into the future for Alex (in the narrative way), and also for the band, as a continuation for the vision of Neolia.

The lyrics to this song derived as an inhalation of the The book of Tao and presents a moment of clarity as we break our own chains of perceptions and lead our path towards new realms.

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Fun Facts – Story Angles

1. Usually, before the show starts, Ben gives glowing paint to random people in the venue and encourages them to paint him. Sometimes people express skillfully tribal art or fractal themes, while others find the chance to write on Ben’s body, mathematical formulas or nonsense such as “Thug Life”.

2. Neolia tends to drift in their show to a jam session and also perform spiritual ceremonies. One time they even sat the whole audience for a meditation that shifted to a food sharing circle when Ben dropped a huge Watermelon on the floor, then started cutting it and passing it around amongst the audience.

3. Neolia went through a lot of hardships in its struggle to become. Two of them being the death of a previous singer that had just joined the band and after two months had a sudden heart failure at the age of 36. A second misfortune occurred after the previous guitarist (David) had decided to leave the country just before going into the studio. Searching didn’t take long and the band was thrilled to have found a replacement guitarist Yanai Haber Tzahor but 4 days after the first guitar session for the song ‘Blow the leaves’ Tomer had received a disturbing telephone call from Yanai’s girlfriend. She explained while crying that Yanai had just died from what seems to be a heart failure. These events had a tremendous effect on the band, but as painful and shocking as it was, the band felt like it was a part of their painful journey and that they needed to stay strong.

4. Some years ago, Neolia actually played a live set in an elementary school in front of 5th and 6th graders that were headbanging and moshpiting choo choo train style. Things started to escalate when they started playing a famous Israeli kids song in a versatile metal version, but the peak was while playing ‘Rise and Fall’. The show was documented but hasn’t been released to this day.

5. Neolia had made several acoustic shows during the years while replacing the drum set with different percussions. Because the music was very much inspired by world music, such as African music and Latin grooves and melodies, plus in some songs, percussions were recorded in the final album tracks, it was almost natural that it would arrive at this moment and also hold in a live situation. One time it was inevitable since a week before our show, the drummer had broken his hand and couldn’t play the set. So Ben grabbed the bongos and ended up singing and playing through the whole show while our drummer was smiling at us from the audience.

L-R: Neolia Current Line Up | Tomer Mash (Bass) | Yair Ben Shalom (Drums) | Ben Reiss (Vocals) | Guy Greenberg (Guitar) | Inbar Davish (Guitar)

Photo Credit – Avi Veldman

It all began on a bus, in Tel Aviv, Israel in 2008, when Tomer Mash, founder and bass player for Neolia shared with his close friend a story he had written. In the story, a little boy found his mother dead one day on his way to school with his friends and at that moment life changed.

His relationship with his father deteriorated and the feeling of alienation and detachment from his surroundings began. With his father not being present most of the time he then starts going outside the house and sleeps in the street, and slowly manages to find company that suits his need of projecting and lashing out his rage and frustration. 

This story opened a door for the band to inject their personal ideas and reflect on humanity’s issues. Paired with a broad-shouldered and daring style that will challenge rock and metal listeners it was made possible for the music to pierce a hole that allows emotions to go deep inside.

A few years later, Tomer reconnected with his old friend and guitarist *Ron Minis and started gathering musical ideas. One day they heard the voice from upstairs, it was lead vocalist Ben Reiss. *Quickly the three gathered some local talents and in 2013 Neolia was formed.

In December of that year, the band started recording the album but things started to go south when the second guitar player David Nelband decided to move to a different country forcing the band to find a replacement guitarist, and so they found Yanai Haber Tzahor.

Yanai came to the rescue to help Tomer and Ron in the studio but four days later suddenly passed away at the age of 26. The song ‘Blow the leaves’ will forever carry his talented playing throughout the world.

In 2015 while the band was already playing gigs and local festivals the next challenge had arrived, and this time it was Ben’s father, who had severe cancer, so, the band took a step back. The next show in 2016 included a ceremony for his recently passed away father.

The same year while still self-producing the album, Ben was back in the game and had begun recording the vocals in the studio during which Neolia also recorded percussion and classic guitars. 

The band finally finished recording and mixing in 2017 and the self-titled album ‘Neolia’ came to be. It was then sent to LA to be mastered by legend Howie Weinberg (Metallica, Pantera, Nirvana and many more) and 2018 held the final masters.

So what does the album sound like? Imagine you’re on a road that has different kinds of trees, and each tree grows in a different color and shape, and once you eat its fruit it’ll show you a scene of what reality is like from different perspectives, and what it will feel to walk in other’s path. In its musical aspect, it’s rock and metal base with a twist of African, Latin, and ambient that reaches the spectrum of high and low, tender and extreme, crazy and broken down to small bits. The lyrics are mostly based on a fictional story that describes a part of a life journey, and the hardships and mental struggles of the main character. The music in the album serves the emotion rather than the musician’s techniques but is still challenging and demanding. this speaks to you, you’re in the right place and you belong with us, and we will be there for you for as long as you choose. 

In 2021, Neolia independently released 4 singles. ‘Rise and Fall’ (May 7th), ‘Blow the Leaves’ (June 18th), ‘ Your Prophecy’ (July 30th), and finally ‘Carried Away’ (September 3rd). 

‘Carried Away’ is the most played so far on Spotify. 

The self-titled album ‘Neolia’ is due to be released on May 5th 2023 almost 10 ten years after going into the studio to record drums. 

In the meantime, Neolia’s members are planning live performance releases alongside other playthrough sessions that compliment already released singles and booking better and bigger shows with a clear vision of signing with a booking agency so they can start touring even in the summer of 2023. 

Neolia is:
Ben Reiss – Lead vocals
Tomer Mash – Bass, Vocals
Guy Greenberg – Guitars
Inbar Davish – Guitars
Yair Ben Shalom – Drums

Shared Stage with:
Walkways, Tatran, The Great Machine, Scalar, Obsidian Tide, Cyclops, Mokujin, MATRICIDE, Desert, Black Sachbak, Bzaat, WINTERHORDE, Laser Loyd, Reemot, Vergara, Yossi Sassi

Tours and Festivals:
The alternative collective Fest – Tel Aviv, Israel
2018 – Shablulim festival – Gamalia, Israel
2019 – Israel Tattoo convention – Tel Aviv, Israel
2020 – Bloody News Online fest – Online
2022 – Northern Heights Fest – Hagoshrim, Israel

 

0 EPK – Abaddonia – Dawn of the Serpent (2023)

  • March 1, 2023
  • by Asher
  • · Abaddonia · EPKs

EPK – Abaddonia – Dawn of the Serpent (2023)

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

“We want to offer a wide, but consistent sound that is consumable to a wide audience, but also something capable of being held sacred to a particular niche of metal-heads into occult vibes.” – Abaddonia

For fans of Lorna Shore, Shadow of Intent, Aversions Crown, Winds of Plague, Serpents US

Band: Abaddonia
EP Title: Dawn of the Serpent
Release Date: March 3, 2023
Label: Self-Release

Facebook.com/Abaddonia-119472886105121 | Instagram.com/abaddoniaband | Twitter.com/AbaddoniaUS | YouTube

Abaddonia.bigcartel.com | Abaddonia.bandcamp.com | Spotify

All platforms – https://linktr.ee/abaddonia

“Abaddonia showcases an eerie atmosphere that builds onto the tension of the tracks.” – New Fury Media

“Tarot cards, broody tunes and a whole lotta fire. What more could you ask for?” – The Musical Misfit

Band: Abaddonia
EP Title: Dawn of the Serpent
Release Date: March 3, 2023
Label: Self-Release

Track Listing:
1. Horsemen Pt 1- War (ft. Casey Needler) – 4:29
2. Keres – 4:28
3. Holy Water – 3:16
4. Mortifer (ft. Devin Duarte) – 4:27
5. Dawn of the Serpent – 3:30
EP Length: 20:12

EP Credits:
All songs performed by Abaddonia
All songs written by Brendan Luetkenhaus and Chris Wiseman with additional writing from Zach Neisius and Isaak Clarkson
Produced and Mixed by Chris Wiseman
Album artwork by Imperfect design

Recording and Live Lineup:
Brendan Luetkenhaus (Guitar)
Branden O’Neill (Vocalist)
Zach Neisius (Guitar)
Billy Jordan (Drums)
Isaak Clarkson (Bass)  

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

The EP as a whole:

Dawn of the Serpent is, to an extent, an opening AND closing of a chapter for us. We had pieces of what remains in this album back when we started, but were robbed of our beginning years due to COVID. Our tours/festivals were canceled, and everything went, indefinitely, on hold. We shifted from a personal-lyric project that focused on personal aspects to embracing that tarot, witchy, dark stuff that we were using our branding for. Dawn of the Serpent marks a new horizon beyond what was once viewed as our horizon.

Track By Track:

1. Horsemen is the first of four tracks (spoiler, anybody?) that will center around being written from the point of view of each of the four horsemen. I thought it would be interesting to not write some third-person point of view on these. Instead, we take a straightforward, first-person approach in an attempt to portray what the mindset of something of that level may view their landscape as.

2. Keres is a track telling the story of the Keres, or the goddesses of violent death. The Keres would be summoned by Zeus to kill those not yet deemed ready to die by their sisters, who are called the Moirai (Sisters of fate)

3. Holy Water is another older track that depicts a retrospective of my family life. Alcoholism, drug use, and religion-based superiority complexes ran rampant in my household from an extremely young age. This was my way of not only acknowledging previous chapters of my life, but closing the entire book altogether.

4. Mortifer and Dawn of the Serpent actually are conceptual. Mortifer, the hooded figure seen in all of our currently available artwork, is our symbol. He represents the end of the “natural order”, and the beginning of self-realization. The breaking away from what would be viewed as normal, and taking control of your surroundings. Dawn of the Serpent also serves as a conduit for the same ideology.

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

Fun Facts – Story Angles:

1. Mortifer was the first single we released for Dawn of the Serpent. We got Devin from the insanely talented Worm Shepherd to lend his voice to our first release for this, and this was also the first song written under the current Abaddonia name.

2. Horsemen, believe it or not, was released within 2 months of it being completed. Barely any re-workings, all of the changes made were done in the studio and it was ready to go soon after.

3. Holy Water was actually the other song, along with Backbiter’s demo, that came from my previous band. It was changed THREE TIMES to try and keep up with the constantly-changing sound.

L-R – The Reaper – Brendan Luetkenhaus (Guitar), The Possessed – Branden O’Neill (Vocalist), The Plague – Zach Neisius (Guitar), The Wendigo – Billy Jordan (Drums), Not pictured: The Cultist – Isaak Clarkson (Bass)

And so it is written, the dawn of a new era engulfs the horizon. The abyss swallows the Sun, and all its light illuminates. Mortifer, hell-bent on the eradication of all that is unjust and uninspiring, will rise above what remains. The darkness belongs to the new land: Abaddonia. Hailing from the Midwest, USA, this deathcore act got together back in 2019 and after pandemic delays are ready to release their debut EP “Dawn of the Serpent” produced by Chris Wiseman (Shadow of Intent).

“Dawn of the Serpent” is, to an extent, an opening and closing of a chapter for Abaddonia. They had pieces of what remained on this EP back when they started, but thanks to the pandemic, things were indefinitely put on hold. They shifted from a personal-lyric project that focused on personal aspects to embracing that tarot, witchy, dark stuff that they were using their branding for. “Dawn of the Serpent” marks a new horizon beyond what they once viewed as their horizon. They comment:

“We are elated to be unveiling our debut musical compilation “Dawn of the Serpent”. With this, we hope to bring music that can be used interchangeably throughout the day. We hope that people can listen to every single track at their altars, at the gym, at work through their headphones, anything. We want to offer something polished, but still containing some raw elements. Storytelling, but with emotion. This album helped us find our identity, and we hope to accurately tell that story to all of our followers.”

Abaddonia says that they think this is a great starting point for them and that there are definite building blocks rooted in the foundation of this EP that will carry into their more solidified sound as they grow into it. Atmospheric, brooding, and unique “Dawn of the Serpent” offers a wide, but consistent sound that is consumable to a diverse audience, but is also something capable of being held sacred to a particular niche of metal-heads into occult vibes. It is recommended for fans of Lorna Shore, Shadow of Intent, and Aversions Crown.

“Dawn of the Serpent” is now available as of March 3rd, 2023 on all digital platforms at https://linktr.ee/abaddonia and Abaddonia.bandcamp.com.

Abaddonia is:
Brendan Luetkenhaus (Guitar)
Branden O’Neill (Vocalist)
Zach Neisius (Guitar)
Billy Jordan (Drums)
Isaak Clarkson (Bass)  

Discography:
2023 – Dawn of the Serpent – EP

0 EPK – Yotuma – Traveler (single) (2023)

  • March 1, 2023
  • by Asher
  • · EPKs · Yotuma

EPK – Yotuma – Traveler (single) (2023)

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

For fans of Decapitated, Gojira, Kublai Khan, 200 Stab Wounds, Lamb of God

Yotuma.com | Facebook.com/yotumaWI | YouTube | Instagram.com/yotuma_ 

Yotuma.bandcamp.com | Spotify | Apple Music

Track Listing:
1 – Mantra
2 – Welding the Flesh
3 – The Traveler
4 – Viscera Bucket
5 – Shrine of Absolution
6 – Unhinged Atrocity
7 – Wrath of Acala

EP Credits:
Produced by Evan Yoakum @ Red Shed Records
Mixed and Mastered by Russell Hollar @ Nomad Recording Studios
Album artwork by Thahir M @ The Black Catalogue
Band Logo by Gonzalo @Sicklogosarg (on instagram)

Vocals: Ryan McAleavy
Guitar: Ben Van
Bass: Ella Rose
Drums: Brevin Becker

=======================================================
The EP as a whole:

Our upcoming release “Otherworldly Incarnate is a powerhouse of 6 songs all with different approaches for songwriting while keeping a cohesive and tight sound. We experimented with our writing processes while still keeping the energy and power that the fans love.

Describe each song track by track (LYRICALLY & MUSICALLY)

Track 1 – Mantra: Our first ambient sampled track, we wanted to have a track to build tension to open our Album and live show.

Track 2 – Welding the Flesh: This song was written with more of an old-school death metal idea with a more modern breakdown. This song establishes the ideas of the album, keeping a driving pace that we open with live, and gets the crowd going right off the bat.

Track 3 – The Traveler: This song is our fan favorite, written with catchy hooks, riffs, and a classic song structure that make it very memorable to our fans.

Track 4 – Viscera Bucket: We took a more grindy approach to this one, and wanted it to drive right off the bat. The fast pace choruses and swingy verses add a dynamic aspect that’s impossible not to headbang to.

Track 5: – Shrine of Absolution: This is the last song we wrote for the album and we consider it to be the most polished song we’ve written so far. It is a good representation of the direction we will be going for our new material.

Track 6: – Unhinged Atrocity: Definitely our most bouncy track, from the bass intro all the way to the slow, heavy breakdown. This track really shows our love of the groove.

Track 7: – Wrath of Acala: The closing track of our album wraps everything up nicely. This song incorporates some more progressive and even funky parts that end nicely with a classic groovy breakdown that leaves the listener excited for more.

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

BAND STORY ANGLES / FUN FACTS:

1. Viscera Bucket, Welding the Flesh and Shrine of Absolution are connected in one story (pt 1, 2 and 3 respectively)

2. Most songs draw inspiration from folk stories and mythological sources

3. All songs rhyme and have poetic elements and could be read as poems

4. Shrine of Absolution is thematically based on Doom 2

5. We couldn’t do this without the massive support of our homies such as Doublespeak, Zipper, Calamity, Flying Fuzz, Toxic Ruin, Casket Robbery, reflection of flesh, ruin dweller, Zack at Barley Pop Live, Russell Hollar, Evan Yoakum, Ben Reigel, Adrenaline Mike, Primal Enemy, Knifeback, EgoDeath, and everyone and anyone who has supported. We love you all!

L-R Yotuma Current Lineup: Ella Rose (Bass) | Ben Van (Guitar) | Brevin Becker (Drums) | Ryan McAleavy (Vocals)
Photographer: Sara Richter

A fresh new taste on midwestern death metal. Founded in 2021 by Ben Van (guitars), Yotuma is a four-piece band with Ryan McAleavy (vocals), Ella Rose (bass) and Brevin Becker (drums), Yotuma blends classic death metal with influences from funk, groove, and blues.

Yotuma is:
Ella Rose (Bass)
Ben Van (Guitar)
Brevin Becker (Drums)
Ryan McAleavy (Vocals)

Shared Stage with: Casket Robbery, The Convalescence, Viogression, Toxic Ruin, Reflection of Flesh

Festival and Tours:
7/22-8/4  Midwestern Tour w/ Doublespeak
Northern Wisconsin Metal Fest
Maybash

 

 

0 EPK – Jupiter Hollow – Distant Shadow (single) (2023)

  • February 27, 2023
  • by Asher
  • · EPKs · Jupiter Hollow

EPK – Jupiter Hollow – Distant Shadow (single) (2023)

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

Band: Jupiter Hollow
Release Date: February 24, 2023
Label: Self-Release
Distribution: Tunecore

JupiterHollow.ca | Facebook | Twittter | Youtube | Instagram 

Spotify | Apple Music

“Distant Shadow is an anthemic overture of what’s to be expected on Jupiter Hollow’s 3rd album. This song represents acceptance and the beginning of one’s process of finding happiness. Sometimes, the negative habits of individuals go unnoticed to themselves. These behaviors cause complications in one’s relationships, professional endeavors, and physical and mental health. Recognizing that it is you that brings on your own winter is the most crucial first step in changing one’s life for the better. From here we can pick apart the aspects of what makes this negative landscape and learn to fight the negative environment that it propagates.” – Jupiter Hollow

PROG Magazine Top #9 Unsigned band 2020

“If Jupiter Hollow are emblematic of the next generation of progressive metal bands, a bright tomorrow lies ahead. Hugely impressive.” – Prog Magazine.
​
“Comparisons to bands like Tool, Live, A Perfect Circle and Nine Inch Nails come easy and for good reason. This is the new generation of players who are putting their spin on all things progressive, industrial and synthy. The grandsons of Genesis and Yes, this is progressive rock for the youth of today who find the originators a bit to baroque for their tastes… Their sound is built to appeal to fans of so many genres and preferences it should be a slam dunk.” – Skulls n’ Bones
​
“JUPITER HOLLOW just produced the best prog metal album of all time this year, condensing, mixing and forging a hot musical steel here.” – Prog Archives
​
“Each track displays plenty of musicianship from this young duo, with vocals continuing to strengthen and songwriting solidifying.” – Heavy Music Headquarters
​
“A young Canadian duo ready to bring fans of complex music a spacey, experimental and refreshing experience… bursting with high-quality heaviness and progressiveness.” – The Headbanging Moose​
​

(Left to right) John-Ryan Godfrey (bass), Kenny Parry (vocals), Grant MacKenzie (guitar), Nathaniel Reynolds Welsh (drums)
Photographer: Marlin Devilliers at Studio 204

Jupiter Hollow is rock music taken to a whole new level. Led by the fearless Grant MacKenzie and Kenny Parry, this powerhouse duo and live quartet featuring John-Ryan Godfrey and Nathaniel Reynolds-Welsh have been making waves in Canada since 2015 with their unique brand of progressive rock.

With thought-provoking lyrics, unique vocal melodies, harmonies, powerful guitar riffs, unyielded songwriting, and the duo’s incessant desire to bring fans on a journey, there’s always something new to explore. Thus far they have two full-length albums under their belts: 2020’s “Bereavement”, 2018’s “AHDOMN”, and have another one in the works. Working slowly and methodically, Jupiter Hollow takes their time to ensure a polished, impressive offering and will be releasing this next one, song by song. The first song is “Distant Shadow”, which they explain:

“Distant Shadow is an anthemic overture of what’s to be expected on Jupiter Hollow’s 3rd album. This song represents acceptance and the beginning of one’s process of finding happiness. Sometimes, the negative habits of individuals go unnoticed to themselves. These behaviors cause complications in one’s relationships, professional endeavors, and physical and mental health. Recognizing that it is you that brings on your own winter is the most crucial first step in changing one’s life for the better. From here we can pick apart the aspects of what makes this negative landscape and learn to fight the negative environment that it propagates.”

Jupiter Hollow’s approach is deliberate so that each track can be digested separately and then consumed as a cohesive piece in the future, designed to maximize activity and continuously give listeners a small piece of the puzzle to look forward to instead of waiting to see the entire finished picture at once. According to them, as a relatively unknown band, it’s more beneficial to create a trail of treats to follow to the final prize instead of overwhelming everyone with a dense meal like the “Ahdomn”-“Bereavement” saga.

Relentless, explorative, and intriguing, Jupiter Hollow continues to push the limits of progressive rock and is recommended for fans of Dream Theater, Porcupine Tree, and Protest The Hero.

Artist Endorsements: Ernie Ball, Ernie Ball Music Man, JH Audio

Discography:
2023 – Distant Shadow (single)
2020 – Bereavement – LP
2018 – Ahdomn – LP

Shared Stage with:
Protest the Hero, Bearings, Texas King, Hawking, I See Aura, Taking Balfour, Sky Caught Fire, Glass Lung, Chasing Shadows, Dizzy Mystics, Young Critters, We Are Human

Tours and Festivals:
2022 – Ontario CAN Headline Tour
2022 – GAINFEST – Guelph, ON
2021 – Kronik Kristmas Fest – Guelph, ON
2020-2021 – Bereavement Live-Stream Tour
2019 – Kronik Fest – Guelph, ON
2018-2019 – Ahdomn Tour
2018 – Kronik Kristmas Fest – Guelph, ON
======================================================

Fun Facts – Story Angles:

1. We had our income confiscated at a show in Quebec by the local police and our performance was cut short due to the venue being illegal.

2. All official album drums are tracked in one take for each song and completely unedited, all recorded for video proof.

3. Our live performances feature focus diverting visuals and conceptual and captivating costuming by vocalist Kenny Parry.

[Downlaod Single Cover | Download Single Lyrics]

Band: Jupiter Hollow
Release Date: February 24, 2023
Label: Self-Release
Distribution: Tunecore

Single Credits:
All parts written and performed by Grant MacKenzie and Kenny Parry
Produced by Grant MacKenzie and Kenny Parry
Mixed by Zane Hawley
Mastered by João Carvalh
Single Artwork by Studio204
Members of SOCAN
Music is Canadian Content

Single Recording Band Lineup:
Grant MacKenzie – Guitar, Bass, Keys
Kenny Parry – Drums, Vocals, Keys, Piano, Lyrics

Live Band Lineup:
Grant MacKenzie – Guitar
Kenny Parry – Vocals, Keys, Piano
Nathaniel Reynolds-Welsh – Drums
John-Ryan Godfrey – Bass

0 EPK – Quiescent Mantis – Fight (single) (2023)

  • February 24, 2023
  • by Asher
  • · EPKs · Quiescent Mantis

EPK – Quiescent Mantis – Fight (single) (2023)

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

For fans of Orbit Culture, Power Trip, Havok

Single Title: Fight (single)
Release Date: Feb 2023
Label: WaveTransform Studios
Distribution: Distrokid

Facebook.com/QuiescentMantis | Instagram.com/quiescent_mantis | YouTube

Spotify | Apple Music | Amazon | https://linktr.ee/QuiescentMantis

Tour Dates: Summoner’s Circle,  Quiescent Mantis, Nameless Anonymous
3.9 – Charlotte, NC @ The Milestone Club
3.12 – Columbus, OH @ Double Happiness
3.13 – Lakewood, OH @ The Foundry Concert Club
3.14 – Westland, MI @ The Token Lounge
3.15 – Sandusky, OH @ Strum Around
3.16 – Jackson, MI @ The Music Box
3.17 – Fort Wayne, IN @ The Ruin
3.18 – Louisville, KY @ Mag Bar
3.19 – Memphis, TN @ Hi Tone
3.23 – Knoxville, TN @ Brickyard Bar w/The Convalescence *
* – No Nameless Anonymous
====================================================
Track Listing – Fight (3:32) (single)

Single Recording Credits:
• All songs performed by: Chris Trainor, Jordan Mckenzie, and Johnny Mejia
• All songs written by: Chris Trainor, Jordan Mckenzie, Johnny Mejia
• Produced by: Yanic Bercier
• Mixed by: Yanic Bercier
• Mastered by: Alan Doches
• Album Artwork by: Spacer Art

Band Recording and Live Line Up:
Chris Trainor – Guitarist / Backup Vocals
Jordan Mckenzie – Bass and Vocals
Johnny Mejia – Drums

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

Fun Facts:

1. We love to call our fans and crowd the swarm on and off the stage.

2. We actually got to hang out and interview Kurt from crowbar before sound check which was a huge highlight of our 2022 year.

3. A lot of inspiration for our riffs and songs comes from the alien movie franchise and video games.

4. Along with a lot of pre-show rituals we have Jordan eats candy, Johnny listens to old-school metal, and Chris moshes to other bands and drinks with the fans.

5. Chris tries at every show to buy a shirt from the other bands that we play with to wear on stage at other shows.

 

Former scientists Chris Trainor, Jordan McKenzie, and Johnny Mejia were previously employed by Sub-atomic Weight of Acceleration Research Mechanics or S.W.A.R.M. While working on a project involving particle collision the team inadvertently tore open a brief doorway to the mantis homeworld exposing themselves to a mind-altering pheromone in the process.

The trio is now obsessed with opening the portal permanently allowing their mantis overlords access to our world; they are harbingers of the Swarm, selected to terraform and prepare Earth for the coming invasion. Wielding mighty instruments of sonic assault they herald the approach of the swarm of the brutal blend of thrash death metal and hardcore. The Swarm has slumbered in exile for far too long, the gates are ready to open, and it’s time to join the Swarm!

Quiescent Mantis is:
Chris Trainor – Guitarist / Backup Vocals
Jordan Mckenzie – Bass and Vocals
Johnny Mejia – Drums

Discography:
2023 – Fight (Instrumental) (single)
2022 – Shake The Cage- single
2021- Chapter 1 – EP

Shared Stage with:
Summoner’s Circle, Worm Shepherd, The Breathing Process, Autumn Lies Buried, Until the Dead Walk, Belfast 6 Pack, We Lye Cold, S’efforcer, Bacalou,  Crowbar, left to suffer, Backslide, S’efforcer, The Callous Daoboys

Tours and Festivals:
2023 – Chaos Crawling TOUR w/ Summoner’s Circle, No Nameless Anonymous
2023 – Southeast Unleashed Tour
2023 – Total Death Fest

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