Category: EPKs

0 EPK – Stellvris – Shatter and Bloom (2025)

September 13, 2025
by Asher
· EPKs · Stellvris

EPK – Stellvris – Shatter and Bloom (2025)

Publicist – jon[@]ashermediarelations[.]com

“We believe this EP will be received very well. Once again, we’ve taken huge steps forward musically. The sound was crafted by Christoph Wieczorek at Sawdust Recordings, a guarantee of top quality. We’ve added more electronic elements and catchier choruses, while still keeping the brutal breakdowns that our fans love. Each track offers a different journey — every song carries its own surprising moments and unique elements. While the foundation is firmly rooted in modern metal, we’ve carefully blended in touches of other genres to keep the experience dynamic, fresh, and exciting for listeners from start to finish.”

For fans of Jinjer, Spiritbox, Holy Wars, Arch Enemy, I Prevail

Band: Stellvris
EP Title: Shatter and Bloom
Label: Self-Release
Release Date: November 7, 2025
EP Length: 18:27
Genre: Modern Metal
Location: Prague, CZ

Facebook.com/STELLVRIS.band | Instagram.com/stellvris_band | Youtube.com/@STELLVRISband

Spotify | Tiktok.com/@stellvris_band| Stellvris.bandcamp.com

“Ready-made for fans of Spiritbox and Holy Wars, STELLVRIS’ latest takes on the theme of a toxic relationship, whether romantic, platonic or professional, and urges the listener to push back and escape. As for the video, it captures the band in action, with vocalist Nicol adopting distinct personas, including a red-cast demonic one.” – Revolver Magazine

“Stellvris work best because they are able to balance the more melodic aspects of modern metal with a scorching amount of heaviness. There’s an overall adrenaline injection and flow to Persistence that makes it incredibly digestible, with the need to listen to it over again to get that same rush once it finishes. What’s great is that the aggression sticks around on repeated listens, without giving you a case of diminishing returns. Expect big things from this act in their near future for sure, but Persistence already establishes them as a modern metal force to be reckoned with.” – Dead Rhetoric (2023 – Persistence)

“The latest single “Scorpio” was a perfect song to sum up STELLVRIS’s musical identity as a band. The energetic riff and beats with Nicol switching between clean vocals and harsh vocals and even harsher vocals have been a common denominator for almost every song by STELLVRIS. “Scorpio”, however, took that electrifying awesomeness and multiplied it by a thousand! The song is three minutes of pure energy that even my conservative grandmother would headbang to (going to test this theory next family dinner). It’s a song that would be perfect when performed live! Of course, the song was released with a music video that matches the quality of the audio with visual Metal brilliance.” – FemMetal (2023 – Single – Scorpio)

[Download EP Cover | Download EP Lyrics]

Band: Stellvris
EP Title: Shatter and Bloom
Label: Self-Release
Release Date: November 7, 2025
EP Length: 18:27
Genre: Modern Metal
Location: Prague, CZ

Track Listing:
1. Shatter and Bloom – 3:18
2. Silence After Violence – 3:14
3. Monster – 4:16
4. Time’s Up – 3:32
5. Starships (Nicki Minaj Cover)
EP Length: 18:27

EP Credits:
• All songs performed by: STELLVRIS
• All songs written by: STELLVRIS
• Produced by: Christoph Wieczorek of Sawdust Recordings
• Mixed by: Christoph Wieczorek of Sawdust Recordings
• Mastered by: Christoph Wieczorek of Sawdust Recordings
• EP Artwork by: František Jelen

Band Line Up:
Nicol Hofman (vocalist)
Libor Hřebík (bassist)
Andreas Polášek (guitarist)
Hanz Polášek (drummer)

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About the EP Artwork:

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

Shatter and Bloom is a five-track EP that dives into themes of destruction, rebirth, and the struggles of modern life.

The title track Shatter and Bloom speaks about breaking down what no longer works and letting something new grow. Silence After Violence tackles rising aggression in society, even among the youngest, serving as a wake-up call. Monster captures the pain and strength found in toxic relationships, while Time’s Up criticizes a life lived only online, disconnected from reality. Closing track Starships reimagines Nicki Minaj’s hit as a heavy, metal-fueled summer anthem.

Musically, the EP blends modern metal, metalcore, and nu-metal with electronic elements, powerful choruses, and crushing breakdowns. It’s a record full of energy, honesty, and transformation.

Lyrically, the EP is deeply emotional and unflinchingly honest, confronting themes of brokenness, anger, betrayal, and healing. Musically, it pushes our sound further than ever — blending modern metalcore and nu-metal influences with electronic textures, massive choruses, and bone-crushing breakdowns. Each song carries its own unique flavor, but together, Shatter and Bloom is about destruction, rebirth, and the power of transformation.

Track by Track (LYRICALLY & MUSICALLY):

Our upcoming EP, Shatter and Bloom, is a raw and honest collection of five tracks, each telling its own story while forming a powerful whole.

1. The title track Shatter and Bloom is both a reflection and a statement — it speaks about people who dream big but refuse to change themselves, expecting everything to fall into place without effort. At the same time, it’s about breaking what no longer works, burning down what’s rotten, and allowing something new, stronger, and more authentic to grow in its place.

2. Silence After Violence reflects on a growing wave of frustration and aggression in society, which we now see taking root at younger and younger ages. It’s both a warning and a cry for awareness, channeling raw energy into a song that mirrors the state of the world around us.

3. Monster is the most personal of the tracks, diving deep into the scars left by toxic relationships. It embodies both the suffocating weight of manipulation and the strength it takes to break free — a cathartic release for anyone who has ever felt trapped by someone they trusted.

4. Time’s Up explores the emptiness of a life lived only online. It portrays a character who hides behind likes and posts, betrays his closest friend, and never faces the responsibility of real life. It’s a sharp reminder of how toxic escapism and immaturity can destroy human connections.

5. Finally, Starships — our metal reimagining of Nicki Minaj’s pop hit — closes the EP on a contrasting note. It’s a celebration of carefree, summer nights and youthful joy, but reframed with crushing breakdowns and modern metal intensity. It serves as a reminder that even amidst heavy topics, there is still room for lightness, fun, and release.

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FUN FACTS – STORY ANGLES

– Energetic Live Connection – Our shows are not just about playing songs; they’re about connecting with the audience. We’ve done circle pits, walls of death, and stage dives – fans become part of the show, making every performance unique.

– From Real Life to Lyrics – Our lyrics are inspired by personal experiences and stories from our fans. We tackle mental health, toxic relationships, and bullying – our music is meant to empower those who need it most.

– Catchy but Heavy – While we’re a metal band, our songs include surprising elements – electronics, melodic choruses, and brutal breakdowns – which attract even non-metal listeners.

– Viral Moments in the Studio – During the recording of the Shatter and Bloom EP, we experimented with unique sounds for the title track. The guitarist tried phone vibrations, and the “WAKE UP MOTHERF***ER” moment was born – a studio moment that turned into a viral highlight.

– Festival Footprint – We’ve played some of Europe’s biggest festivals, including Summer Breeze, and continue to grow our audience across Europe and soon the U.S. Every show is an unforgettable experience for both us and our fans.

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L-R – Libor Hřebík (Bass), Andreas Polášek (Guitar), Nicol Hofman (Vocals), Hanz Polášek (Drums)

Photo Credit – Julia Ramm

Founded in 2019, STELLVRIS is a European modern metal band with a mission: to turn pain into power. Their music speaks to those battling anxiety, toxic relationships, bullying, and the weight of everyday struggles. Every riff, scream, and soaring chorus carries a message of strength, courage, and connection — a reminder that no one has to fight alone.

Their debut releases Upside Down (2022) and Persistence (2023) introduced a sound that blends crushing heaviness with haunting melodies, winning the band a devoted following across Europe and the UK. Songs quickly became anthems for fans who saw their own stories reflected in the music.STELLVRIS are not just a band to listen to — they are a band to experience. Their live shows erupt with unstoppable energy, drawing in both seasoned metal fans and people who never thought they’d find themselves at a metal show. That connection has carried them to stages alongside Megadeth, Jinjer, The Black Dahlia Murder, The Ghost Inside, and many more, as well as to festivals including Summer Breeze, Fallen Fortress, Kave Fest, Brutal Assault, Basinfirefest, Fajtfest, and a wide range of others across Europe.

In 2025, STELLVRIS continues their journey with the release of their new EP Shatter and Bloom (out November 7), produced in collaboration with Christoph Wieczorek of Sawdust Recordings (Annisokay, Caskets, Escape The Void). With each song, the band shows no fear in addressing the darker sides of society — from mental health to violence and betrayal — and transforming them into music that unites, empowers, and heals. A music video for the single Monter was premiered exclusively on REVOLVER Magazine.

For STELLVRIS, it’s never just about the sound. It’s about creating a safe space where pain can turn into resilience, and where the silence after violence can be broken by music.

Discography:
2025 – Shatter and Bloom – EP
2023 – Persistence – LP
2022 – Upside Down – EP

Shared Stage with: Megadeth, Jinjer, The Black Dahlia Murder, Emmure, Infected Rain, Tetrarch, Filth, Heart Of A Coward, Ghost Iris, Pestilence, Space of Variations

2025
8.3. Žlutý pes club, Pardubice (CZ)
11.4. Café na půl cesty, Prague (CZ)
12.4. WATT Music Club, Plzeň (CZ)
5.5. Live-Club, Bamberg (DE)
7.6. Březfest, Jihlava (CZ)
13.6. AWO Proberaumhaus Monkeys, Solingen (DE)
14.6. O.J.V. de Koornbeurs, Delft (NL)
15.6. Ragnarok Live Club, Bree (BE)
16.6. Moritzbastei, Leipzig (DE) supporting Tetrarch
17.6. Kulturladen, Konstanz (DE) supporting FILTH
18.6. Cafe Glocksee, Hannover (DE) supporting Tetrarch
19.6. Manege Lintorf, Ratingen (DE) supporting Tetrarch & FILTH
26.6. Basinfirefest, Spálené Poříčí (CZ)
3.7. Flex, Vienna (AT) – supporting Tetrarch
5.7. Kave Fest, Gisors (FR)
19.7. Festiwal Wykopaliska, Rekowo (PL)
16.8. Summer Breeze, Dinkelsbühl (DE)
23.8. Fallen Fortress festival, Bad Dürkheim (DE)
30.8. Dobříšské pivní slavnosti, Dobříš (CZ)
6.9. HARD SUMMER FESTIVAL, Falkenfels (DE)2024
10.2. Nová Melodka, Brno (CZ)
16.2. Barrak, Ostrava – support for Space of Variations (CZ)
20.3. Rock Café Prague, Prague – support for Space of Variations (CZ)
21.3. Voodoo, Warsaw – support for Space of Variations (PL)
2.4. Café na půl cesty, Prague (CZ)
19.4. Divadlo pod lampou, Pilsen (CZ)
20.4. Mrákofest, Mrákotín (CZ)
4.5. Klub Potok, Warsaw (PL)
10.5. MÁJ a LES festival, Kojetín (CZ)
17.5. Explosiv Halle, Graz (AT)
18.5. Redlock festival, Sczene, Wien (AT)
8.6. Modrá Vopice, Prague (CZ)
9.6. M2 Event Venue, Timisoara (RO)
10.6. Romexpo, Bucharest (RO)
11.6. La Tevi, Cluj Napoca (RO)
12.6. Republic Club, Santana Mures (RO)
13.6. Rockhalle, Constanta (RO)
14.6. Club Smile, Varna (BG)
15.6. Rock Club Madrid, Karlovo (BG)
20.6. Arch Club, Athens – support for The Black Dahlia Murder (GR)
21.6. Block 33, Thessaloniki – support for The Black Dahlia Murder (GR)
22.6. Mixtape 5, Sofia (BG)
26.6. Lowland Fest, Hódmezővásárhely (HU)
29.6. Bangarang festival, Chwałkowo (PL)
30.6. Rock pod kameňom, Snina (SK)
5.7. Fajtfest, Velké Meziříčí (CZ)
1.8. HelmFest, Helmstedt (DE)
5.8. Barrák music club, Ostrava – support for Emmure (CZ)
6.8. Brutal Assault, Jaroměř (CZ)
24.8. Mosh open air, L.A.Cham, Cham (DE)
7.9. FROVfest, Vodňany (CZ)
14.9. RENAISSANCE IV., Kremnica (SK)
20.9. Breeding Festival, Flensburg (DE)
27.9. Bandhouse Leipzig, Leipzig (DE)
2.10. Hyde Park Book Club, Leeds (UK)
3.10. Gullivers, Manchester (UK)
5.10. Bear Cave, Bournemouth (UK)
6.10. Subside, Birmingham (UK)
9.10. Sixsix Bar, Cambridge (UK)
10.10. 229, London (UK)
11.10. The Cavern, Exeter (UK)
13.10. MCP APACHE, Fontaine-l’Évêque (BE)
14.10. Kult41, Bonn (DE)
18.10. Klub Łącznik Wroclav (PL)
19.10. Flex club, Vienna (AT)
16.11. G6, Neumarkt (DE)
23.11. Klanggerüst, Erfurt (DE)
30.11. Club Zentral, Stuttgart (DE)
14.12. Sklep club, Spálené Poříčí (CZ)
20.12. Collosseum Club, Košice (SK)2023
31.3. Rock Clum Nordbayern, Selb (DE)
27.5. Camping Battleground Festival, Öttingen (DE)
3.6. Divadlo pod lampou, Pilsen (CZ)
15.6. Conrad Sohm, Dornbirn – support for Jinjer (AT)
20.6. Arena Wien, Vienna – support for Jinjer (AT)
23.6. TOPFEST, Letisko Abrahám (SK)
24.6. Hardcore Day, R Klub, Chrudim (CZ)
7.7. Fajtfest, Velké Meziříčí (CZ)
22.7. Orlovňa Skalica – support for Infected Rain (SK)
26.7. Tolminator Metal Fest, Tolmin (SI)
28.7. Escape, Vienna (AT)
12.8. Šluknov festival, Šluknov (CZ)
18.8. Nová Pekáreň, Nitra (SK)
19.8. Bošianska Metelica, Bošany (SK)
25.8. Metalacker Tennenbronn, Tennenbronn (DE)
26.8. MOSH OPEN AIR, Cham (DE)
9.9. Black Hornet Festival, Újezd u Přelouče (CZ)
16.9. Collosseum Club, Košice (SK)
22.9. Instant-Fogas Komplexum, Budapest (HU)
27.9. Kabinet Múz, Brno (CZ)
29.9. Rock Depo Music Club, Velké Meziříčí (CZ)
30.9. Divadelní Klub Polička, Polička (CZ)
6.10. Rock Café Southock, Jablunkov – support for Heart of a Coward (CZ)
13.9. Divadlo pod lampou, Pilsen (CZ)
27.10. Rock Café, Prague (CZ)
28.10. MusicClub Sklep, Spálené Poříčí (CZ)
29.10. Rock’N’Roll Club RHO, Milan (IT)
30.10. Alchemica Music Club, Bologna (IT)
31.10. Il Borgo, Vicenza (IT)
1.11. Stromoradie, Prešov (SK)
3.11. Music Club Pecka, Chomutov (CZ)
4.11. G6, Neumarkt (DE)
5.11. Replugged, Vienna (AT)
6.11. Explosiv, Graz (AT)
9.11. Fuga, Bratislava (SK)
10.11. Smer Klub 77, Žilina (SK)
11.11. Fajtfest Fryslân, Neushoorn, Leeuwarden (NL)
17.11. S-klub, Olomouc (CZ)
9.12. Memory Error, Kanianka (SK)
25.12. Bigbeatové Vánoce, Rýmařov (CZ)2022
11.3. Palác Akropolis, Praha (CZ)
15.4. Klubovna Fajtfest Night, Fabrika, České Budějovice (CZ)
23.4. Rock Club Nordbayern, Selb (CZ)
28.4. Live Music Hall, Morlenbach (DE)
30.4. Citrons Masqués, Yverdon les Bains (CH)
14.5. Fajtfest Help Party, Velké Meziříčí (CZ)
21.5. Štěpfest, Štěpánov (CZ)
16.6. MetalGate Czech Death Fest, Červený Kostelec (CZ)
24.6. Basinfirefest, Spálené Poříčí (CZ)
25.6. Chlístovský Hejk, Chlístov (CZ)
16.7. Fajtfest Afterparty, Modrá Vopice, Prague (CZ)
23.7. WooDride&RegionBeat, Ostrov (CZ)
30.7. South of Heaven Festival, Zbytiny (CZ)
13.8. Brutal Assault, Jaroměř (CZ)
20.8. Death Coffee Párty, Litoměřice (CZ)
27.8. Heartshapedfest, Humpolec (CZ)
9.9. Musikmeile, Chemnitz (DE)
10.9. Klubovna Fajtfest Night, Pacov (CZ)
15.10. Kulturní dům Volduchy, Volduchy (CZ)
22.10. Halloween party, Cross Club, Prague (CZ)
12.11. Memory Error, Kanianka (SK)
25.11. Dead End Festival, Kulturní dům Gerbera, České Budějovice (CZ)
1.12. Futurum Music Bar, Prague (CZ)
17.12. Music Club Modrá Vopice, Prague (CZ)
17.12. Zimní Basinfirefest, Spálené Poříčí (CZ)
25.12. Bigbeatové Vánoce, Rýmařov (CZ)

0 EPK – The Interrogation – Wicked Happy (single) (2025)

September 12, 2025
by Asher
· EPKs · The Interrogation · Uncategorized

EPK – The Interrogation – Wicked Happy (single) (2025)

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

“Fans who know the catchy melodies from the Posters on My Wall EP will experience a more raw, in-your-face energy with Wicked Happy that screams togetherness and positive energy. As the band’s first release in five years and its first since it began playing live shows, it will inspire fans to be part of the energy of our live performance. We’re aiming to send the energy of our live show through the listener’s speakers with this single. In an era where so many pop punk recordings are full of production, Wicked Happy brings the same experience in the recording as it does live. The gang vocals in the chorus aim to make everyone a part of the performance.” – The Interrogation

For fans of A Day to Remember, New Found Glory, The Story So Far, Four Year Strong, Bayside

Facebook.com/theinterrogationband | Youtube.com/@theinterrogation437 | Instagram.com/theinterrogation

Theinterrogation.bandcamp.com | Spotify | Apple Music

“Posters On My Wall, a solid EP that combines solid musicianship and stellar songwriting, giving us something positive to latch onto during the pandemic when so many of us sorely needed it. With influences that range from New Found Glory and Story of the Year to Coheed and Cambria, The Interrogation has a sound that is a unique blend of pop-punk with a dash of hardcore and a smidge of old school punk riffage. The band shines on every track whether it’s the harder-hitting “Final Mystery” that touches on feelings of alienation or the summer, feel-good song “Shine” that has the band reminiscing of summers gone by.” – Shutter 16 (2021 – Interview)

[Download Single Cover | Download Single Lyrics]

Band: The Interrogation
Single Title: Wicked Happy
Single Length: 3:38
Release Date: September 19, 2025
Label: Self-Release
Distribution: Distrokid
Single Credits:
Performed by The Interrogation
Written by Thomas Turner
Produced by The Interrogation
Recorded, mixed and mastered by Matt Roach at Rain City Recorders
Song Artwork by: Sebastian Valdivia
Member of BMI
MAPL – Canadian Content Artist and PerformanceSingle Band Lineup:
Joel French – Lead Vocals, Bass
Thomas Turner – Lead Guitar, Backup Vocals
Travis Howie – Rhythm Guitar
Nik Eason – Drums

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About The Single Album Artwork

Done by Sebastian Valdivia, our drummer and newest addition, it sets the mood. The sun is shining, but just out of focus. Making you squint and strive to reach for the sky.

About The Single (LYRICALLY & MUSICALLY):

Wicked Happy starts with a punchy, high-energy guitar riff that instantly gets a crowd moving. The call and response vocals between Joel and Thom in the verses propel the song forward and build the song’s momentum for the half-time chorus, with its “reach for the sky” gang vocals earworm. The driving outro that begins by asking “so what’s stopping you?” is the landing for this song of hope and inspiration, with the mosh pit feel flowing right through to the final chord.

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FUN FACTS – STORY ANGLES:

1. The Interrogation is a band based on the story of Daren and his family. Through struggle, loss, and isolation, they find their way to unity through love and positivity. Spanning multiple lives, time periods and states of being the truth of their destinies is sewn.

2. Our 2020 EP Posters on My Wall was recorded by Kevin Billingslea, who has produced several Lamb of God albums. All instruments on the EP were played by Thomas Turner, with the exception of drums.

3. Thomas Turner is a graduate of the Berklee College of Music and once served as a touring guitarist for Hawthorne Heights.

4. We come from a wide variety of backgrounds, with Thomas born and raised in upstate New York (now a permanent resident in Canada), Joel born and raised in Saskatchewan, Erik born and raised in Vancouver with a Vietnamese family background, and Sebastian born in Peru and raised in Colombia (now a Canadian citizen).

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L-R – Joel French (Lead Vocals, Bass), Thomas Turner (Lead Guitar, Backup Vocals), Sebastian Valdivia (Drums), Erik Nguyen (Rhythm Guitar, Backup Vocals)

Photo Credit – Shimon Karmel

Born from grief and forged in resilience, The Interrogation is a high-energy pop punk band from the Pacific Northwest that blends raw emotion with infectious hooks and heavy riffs. Founded in 2018 by Thom Turner (Freya, touring guitarist for Hawthorne Heights) as a solo project following the loss of his mother, the band began as a personal outlet, a way to wrestle with pain through songwriting. What started as four deeply personal demos became the 2020 debut EP “Posters On My Wall”, released with the help of longtime friend and producer Kevin Billingslea.

Originally never intended for the stage, The Interrogation evolved into a full band through the support of close friends and fellow musicians. Their live debut came in 2023, and with it, a new chapter of connection, catharsis, and crowd-surfing chaos. Their sound, described in five words as energetic, catchy, heavy riffs, guitar-driven, channels the spirit of bands like New Found Glory, Four Year Strong, Coheed and Cambria, and A Day To Remember, while carving out a voice that’s distinctly their own.

Their latest release, the single “Wicked Happy,” marks the band’s first new music in five years and captures the raw, unfiltered energy of their live shows. With gang vocals, anthemic choruses, and lyrics that speak to the outsider in all of us, the track is a rallying cry for self-expression and emotional honesty. It’s a celebration of awkwardness, defiance, and the power of reaching beyond what others expect.

At the heart of The Interrogation is Thom’s songwriting, a process that begins with a hook and builds outward from the emotional impact of a single phrase. While Thom writes the core of each song, the band collaborates to refine and elevate the material, adding their own flavor and fire to every track. Bassist Joel French, also of Vultures at Dawn, brings fiery vocals and a stage presence that amplifies the band’s dynamic sound.

Live, The Interrogation delivers authenticity and intensity. No backing tracks. No pretense. Just tight harmonies, driving guitars, and a connection that lingers long after the final chord. With more singles planned for release in 2026, the band continues to grow — not just in sound, but in spirit.

For fans who crave catchy melodies, honest lyrics, and a reason to scream along, The Interrogation is more than a band. It’s a movement. One that invites you to reach for the sky — and never settle for less.

Shared Stage with: Chief State, Rong, Halfway Atlantic, Danger Box

Tours and Festivals:
2024 – Vancouver Island mini tour with Danger Box, Red Lenses

0 EPK – The Fixer – Ugly Knots (2025)

September 12, 2025
by Asher
· EPKs · The Fixer

EPK – The Fixer – Ugly Knots (2025)

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

“We wanted to capture the feelings of anger and frustration as well as the melancholy and sadness of being hated, while leaning into our industrial metal influences. There is a spoken word piece in the middle of the song that our friend John Forget contributed that adds a message of strength to its otherwise dark themes. On “Ugly Knots,” we took more of an artful approach in our songwriting and didn’t conform to formulaic conventions. It also happens to be one of our heavier songs.” – The Fixer

For fans of In This Moment, Lacuna Coil, Motionless in White, Evanescence, Rob Zombie

Facebook.com/TheFixerBand | Youtube.com/@thefixercanada | Instagram.com/thefixercanada | Tiktok.com/@thefixercanada

Spotify | Thefixercanada.bandcamp.com | Apple Music

“THE FIXER Drops “Ugly Knots” — A Brutal Anthem for the Outsiders… From the thunder-scarred north of Ontario comes a sound that refuses to bow. Thunder Bay’s The Fixer has just unleashed “Ugly Knots” — a blistering, industrial-metal masterstroke that slices through conformity and cruelty with the precision of a serrated blade.” – See Rock Live Magazine

“Thunder Bay’s Dual Metal Powerhouses The Fixer & Teknosis Bring the “Ugly Knots” Tour West” – North Sask Music Zine

“Rocktober Carnival at Studio Q includes The Fixer” – Prince Albert Daily Herald

“The Fixer dévoile un nouvel hymne pour se libérer avec « It Will End Tonight »” – MetalUniverse (QC)

“Metal bands The Fixer and Teknosis bringing ‘Ugly Knots Tour’ to Moose Jaw” – Moose Jaw Today

She Makes Music – Monday Feature Track: Ugly Knots

“Dark. Sexy. Loud. It’s The Fixer, and they create a soundtrack that would be fit for a disco in Hell. The Canadian four-piece straddle the line between rock and metal” – Games, Brrrains & A Headbanging Life

“One of the great young acts I found in 2023 came from Canada, The Fixer, who have created bold music and an even bolder look. Led by vocalist Melladonna, the band tries to give the look of a goth outfit. The music, however, tells a different story, as the band rocks as hard as anything you might hear out there now (if not more aggressive). The hook song was “Smoke Show,” but there were quality tracks all through the record. I enjoyed “Ghosts Will Talk,” which presents a spookier sound, and the bookends to the album, the title track and “Your Truth,” which gives a storytelling aspect to the album. I will be interested in seeing where this band goes, and I certainly hope they can get down to the southern tip of North America to bring their sound to an audience that would enjoy them!” – Rock At Night

“The song material is simply great, the emotions are wonderfully combined, and the performance is absolutely over the top.” – PowerMetal.de

“A high-resolution journey through pop rock, goth spirit, punk moods, metal vibes, and party glam rock, with a hint of comedy horror. ‘Your Lie’ is a spiky sound with a razor-sharp edge throughout.” – Rock Queen Reviews

“The vocalist certainly brings it. She is dynamic and very expressive… “It’s catchy, filled with energy and absolutely gothic.” – Jamie Funk – Pitch Perfect Site ( The Prowl – 2020)

Band: The Fixer
Single Title: Ugly Knots
Length: (5:02)
Release Date: October 3rd, 2025
Label: Self-Released
Distribution: CD Baby
Location: Thunder Bay, ON, Canada

Single Recording Credits:
• All songs performed by: The Fixer
• All songs written by: Vic Sin / Shawn Hartviksen, Busuzu / Will Trembley & John Forget
• Produced by: Vic Sin, Additional vocal production by Peril Erinyes
• Mixed by: Jeremy Valentyne
• Mastered by: Jeremy Valentyne
• Single Artwork by: Marcelo Omegna
• Member of SOCAN
• Canadian Content – MAPL

Single Band Line Up:
Melladonna – Vocals
Vic Sin – Guitar, Synths
Busuzu – Guitar, Vocals, Synths
John Foget – Spoken Word

Live Band Line Up:
Melladonna – Vocals
Vic Sin – Guitar, Vocals
Busuzu – Guitar, Vocals

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About the single (LYRICALLY & MUSICALLY):

It starts as an industrial metal fusion with hardcore elements that breaks down into atmospheric ambient sections. The song opens with ugly-sounding riffs and electronics that switch into a more melodic, emotive, and epic feel to finish the song.

Though it is written from the first-person perspective, this song was written about kind people who we have watched be hated, harassed, and receive death threats. The spoken word is written by one of the people we’ve witnessed this happen to, and it contributes a message of strength.

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[Download Single Cover | Download Single Lyrics]

Band: The Fixer
Single Title: It Will End Tonight
Length: 3:17
Release Date: September 12, 2025
Label: Self-Released
Distribution: CD Baby

Single Recording Credits:
• All songs performed by: The Fixer
• All songs written by: Vic Sin / Shawn Hartviksen, Trevor Hurst
• Produced by: Vic Sin, Additional vocal production by Trevor Hurst
• Mixed by: Adam Williams
• Mastered by: Adam Williams
• Single Artwork by: Vicki Nerino
• Member of SOCAN: Yes
• Canadian Content (MAPL)

Band Line Up:
Melladonna – Vocals
Vic Sin – Guitar, Vocals, Synths
Busuzu – Guitar, Vocals
Null – Drums

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About The Single Artwork:

The artwork is the artist’s adaptation of our logo, with artistic inspiration from listening to the song. It has a fiery elemental aesthetic.

About the single (LYRICALLY & MUSICALLY):

It Will End Tonight was musically trying to capture the energy of our influences in melodic hardcore music (Alexisonfire & Holly Springs Disaster) and combine it with embellishments from our industrial and goth influences (Rammstein & Type O Negative). It is energetic and has a slightly rawer, more straightforward approach than most of our other releases.

This song is about realizing that a situation you are in is never going to change after trying to hang on for things to improve. Eventually, you have to walk away because you know that no one in the situation is benefiting from it.

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FUN FACTS – STORY ANGLES:

1. The Story of Bususu: A few weeks before our “Ghosts Will Tour”, our bass player at the time had to suddenly drop out. After being turned down by many other musicians unable to tour at such short notice, we ended up asking this man, as a last-ditch effort, thinking he wouldn’t be interested, but knowing how awesome a musician he is, and he miraculously accepted! Thus SUB was born! We enjoyed his company and the camaraderie we shared so much that we wanted to keep him! We created a new role for him as a keyboard player and changed his name to USB. We played One. Single. Show. this way- and then we lost our drummer. We were struggling to find another drummer that could fit all the boxes of drumming proficiency, schedule availability, and compatible personality, until our substitute bass player-turned-keyboard player said, “Let me give it a try”. Thus, BUS was born! Busuzu learned the entire set on a third instrument- an instrument that he had been playing for less than a year- and we took him on our longest, most treacherous tour to date: The Love and Misfortune Tour. We somehow survived this coast-to-coast Canadian-wide tour, but afterward, our bass player could not commit to how much The Fixer wanted to tour and continue to ramp things up. Busuzu, seeing an opening, chose to return to bass: his instrument of choice… but not for long… Not forever.

2. The Fixer had been an entirely DIY band for its formative years, with even early merch printing being handled by the band. The next singles of the band will see their first efforts working with Trevor Hurst of Econoline Crush and Peril of Phantom High, providing additional vocal production, and Jeremy Valentyne of New Years Day and Adam Williams, formerly of Fame Fatale, handling mixing and mastering.

3. We travel very close, all in one vehicle, often sleeping all in the same room. I think it brings us together; we really have a lot of love and respect for our fellow band members. We have, unfortunately, had several members need to move on from the band, often because their lives got too busy to dedicate the amount of time and brain required to be in The Fixer as a touring band. We have been very lucky to be able to work with so many talented musicians, but when it comes to the band, you can’t just be a good musician; you have to be a good person and be able to (and want to) be as passionate about our music and performances as we are.

4. The Fixer’s first introduction to the public was during the pandemic. Our first music video for “Take You Home” was shot the week before the pandemic lockdowns. Rather than hanging on to our materials to release when we could play live, we released The Prowl EP in the first half of 2020. Although released later, “Your Lie” was partly written and mostly recorded during the lockdowns.

5. We often have several T-shirt designs and put a lot of thought and effort into our merch. We enjoy working with various artists and love getting to showcase their talent any time we have visuals. We have gotten the opportunity to work with a street artist in Mexico, local digital artists, a tattoo artist, and Vic happens to have a very talented niece who has done several designs for us. We want everyone to find a Fixer-T that integrates with their style!

L-R: The Fixer Current Line Up | Vic Sin (Guitar) | Null (Drums) | Busuzu (Bass) | Melladonna (Vocals)
Photography by: Chu Shang

From Parts Unknown, Ontario, Canada, The Fixer fuses pop vocals, danceable rhythms, crushing guitars and earworm melodies into a synth-drenched sound that has been described as Melodious Darkened Pop-Metal.

To really get the full impact of what The Fixer is, you need to see it live. It’s high energy, it’s emotive, it’s theatrical, and it feels larger than life. Clad in goth-glam attire and with their synchronised light show, they leave an impression that is hard to forget. The Fixer walks an interesting line that has seen audiences dancing as well as moshing at their shows.

With multiple tours under their belt and crossing 8 provinces in their home country, they’ve been leaving impressions as a must-see live act. Meanwhile landing themselves multiple fan-voted awards in their hometown’s art publication, been featured as an undiscovered gem across Corus radio stations and on Global News, been featured as indie band of the week by Alan Cross on The Edge 102.1FM, featured in Sonic Seducer, charted number 5 on Radio Indie Alliance’s Rock charts, signed to Wormhole Death Records among several other accomplishments.

Old Bio: They create a soundtrack that would be fit for a Disco in Hell. The Fixer mixes heavy riffs and undeniable pop sensibilities filtered through a beautiful, darkened lens. The Canadian female-fronted 5 piece would be best considered a crossover act that straddles the line between metal and rock. Join these lovely creatures in their world that revolves around earworm melodies, danceable beats, heavy guitars, groovy bass lines, eerie ambience and powerful vocals. While the band has a very distinguishable aesthetic, there is seemingly nothing off-limits that might make its way into their music. Whether it is their more obvious influences from goth, metal and industrial, or more subtle nods to world music and EDM.

2023 will see the release of the Fixer’s debut full-length album, “Your Lie.” The band brings you to their dark side of fun on the album’s lead single “Smoke Show” and their live favourite “Get Greasy” while also expanding their sound into a more evil and frantic approach on tracks like “Unscrewed” and “Tree of Fire”. Their work on harnessing their melodic prowess has created a highly addictive brand of heavy dark rock with shameless pop hooks apparent on tracks like “Ghosts Will Talk” and “Animal.” The Fixer also puts their seasoned musical abilities on display on tracks like “Tongue’s Bleeding” and “Colour Deficit.” Prepare for a sonically dynamic album from start to finish with a signature sound that is hard to define by one single genre.

The Fixer has been turning heads with their previous releases, establishing themselves as a must-see live act and gaining multiple nominations over the past years in their local arts publication (including a couple of wins in 2022). They were featured as Indie Band of the Week by Alan Cross at 102.1 The Edge in Toronto, signed to Wormhole Death Records for their new album, and have achieved several other milestones in their short existence in our realm. The freight train that is The Fixer shows no signs of slowing down on delivering its “Dark.Sexy.Loud.” brand to the world.

The Fixer is continuing to refine its sound that goes best with black leather, straight bourbon, and clove cigarettes. The band is always eager to bring a devilishly good time to stages, gutters, and back alleys near you.

Discography:
2023 – Your Lie – Album
2022 – Depart – Single
2020 – The Prowl – EP

Tours and Festivals:
2025 – Support on Derev’s Troubled Mind Tour – Thunder Bay, ON
2025 – The Fixer’s Spring 2025 Tour – ON, MB, QC,
2024 – Tri-Sport – Marathon, ON
2024 – The Fixer’s Love and Misfortune Tour – MB, AB, ON, SK, BC, NB, NS, NL
2023 – The Fixer’s Ghosts Will Tour – MB, AB, BC, SK
2023 – Support on Econoline Crush’s When The Devil Drivers Tour – Thunder Bay, ON
2023 – Rock The Dock – Amberlite Wilderness Resort
2023 – Underground Wasteland – Penticton, BC
2023 – The Fixer’s Hot Goth Summer Tour – ON, MB

0 EPK – Engrupid Pipol – Quadragenta At Finem Mundi (2025)

September 5, 2025
by Asher
· Engrupid Pipol · EPKs

EPK – Engrupid Pipol – Quadragenta At Finem Mundi (2025)

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

For fans of Liquid Tension, Rush, Megadeth, King Crimson, Night Verses, Animals as Leaders

“We hope that the audience will immerse themselves in the musical power of the trio format and get pumped by the energy of these songs. The album transports us through different soundscapes, each with its own particular essence, which we hope will create a journey without distractions for the listener.” – Engrupid Pipol

Band: Engrupid Pipol
Album Title: Quadragenta At Finem Mundi
Album Release Date: November 7, 2025
Label: Self-Release
Distribution: Distrokid

Engrupidpipol.cl | Instagram.com/engrupid_pipol | Facebook.com/engrupid | Youtube.com/@EngrupidPipol

Spotify | Portaldisc.com/contenido/30577 | Apple Music

Single pre-save – https://distrokid.com/hyperfollow/engrupidpipol/tripel-ultimatum

Band: Engrupid Pipol
Album Title: Quadragenta At Finem Mundi
Album Release Date: November 7, 2025
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Tripel Ultimatum – 5:48
2. Voragine – 6:53
3. Animal Inteligenz – 7:34
4. Inspireichon Burn
5. Vairal Madness 5:01
6. Aztral Configureited 8:24
7. Ameba Emenens 4.20
Album Length 45:20

Album Recording Credits:
• All songs performed by: Engrupid Pipol
• All songs written by: Engrupid Pipol
• Produced by: Engrupid Pipol
• Mixed by: Hitbox Estudio
• Mastered by: Hitbox Estudio
• Album Artwork by: Kaztrol

Band Line Up:
Kaztrol, Guitar
John Dai, Bass
Nacho García, Drums
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About The Album Artwork:

The artwork for the album tries to reflect the concept of the album and its prophetic nature. The end of the world is coming, and no one can stop it. You can see us as a kind of messengers or the three horsemen of the apocalypse.

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

Nacho: “Quadragenta at finem mundi” is the band’s first conceptual album. It consists of seven acts, seven tracks of instrumental prog-metal. They metaphorically recount the current context of our civilization and its near future. A dark and gloomy look in which civilization condemns itself and leads us to the extinction not only of human beings but all life on earth. The album addresses topics such as thermonuclear wars, the use of AI in everyday life, the ambition for power, narcissistic vanity, and the use of technologies and methods of control that are beyond human control, anticipating the end of times. Each act presents a symptom, a warning announced by the prophets, of the coming of the end of times.

Track by Track (LYRICALLY & MUSICALLY):

Act I “Triple Ultimatum” (Triple Ultimatum)

Kaztrol: This was one of the last songs to be composed. I wanted to write a song that wasn’t too long, with a heavy, groovy riff and no acoustic parts, something that I felt was missing to complement the rest of the album, which is more prog. It’s a banger to kick off the album, full of adrenaline and melodies that I hope will easily stick in your head, especially when you’re driving at high speed.

John: It tells the story of three survivors of a nuclear disaster, wandering musicians in a desolate world on the brink of extinction.

ACT II “Voragine” (Vortex/ Vertigo)

John: The name of the song came about to explain the writing process. Ideas came to me so abruptly and intensely that it was like being inside a whirlwind or a vortex of ideas and images that filled my head and prevented me from stopping playing the guitar. I spent hours like that, playing and developing thousands of variations of these riffs. Everything was chaotic, as ideas kept coming and I couldn’t find any order, any beginning or end. That’s when I got together with Kaztrol and Nacho, and I played these one by one, and we reached a consensus on which ones we liked best. That’s how the structure of Vorágine was born, all played on an acoustic guitar, which is where all my compositions are born. That’s why there’s this impetuous whirlwind, this unbridled passion, the intensity, confusion, and things in motion, transforming everything in its path. The vertigo of speed is a leap into the void, a leap of faith.

Kaz: The song deals with the maelstrom that the world is experiencing. We are caught up in the whirlwind of consumer society, planned obsolescence, and an excessive capacity to devour the world and its resources, like a parasite devouring its prey until it kills it.

ACT III “Animal Inteligenz” (Animal Intelligence)

John: Animal Inteligencz is a reference, a slightly sarcastic one, to the emergence of Artificial Intelligence in our lives. Because of its acronym, A.I., I decided to rethink animal intelligence, and ultimately human intelligence, since we are just another animal on earth, with all that it implies. Everything we have achieved, and how we can also destroy it all at the touch of a button. So it’s a bit of a wake-up call about how absorbed we are as a society in this new fetish that is A.I. and how we look at it as if it were a new God. And we don’t know if it’s a good or bad God, if it will be benevolent or sadistic towards us. It’s a bit like the fear of the unknown.

In this case, I already had some ideas, but they were all very basic, a vague idea of the theme. I had some ideas about the structure, but it needed a lot of work. I presented the riffs to the guys, and we worked on and polished the song. Engrupid Pipol’s composition work, in some cases, is quite artisanal, like a goldsmith polishing his work, his jewel. Then comes a more technical part, where we set the click and its variations, and we adjust in terms of the intensity and nuances we want to highlight. We also discuss the length of the song, the relevance of certain parts, and we edit as we play the song more and more.

Nacho: What comes to mind on this topic is a near future where we use AI and robotics for reasoning, manual and industrial activities, creation, and imagination. iIt will become commonplace and prevalent across most of the planet. Humans have ceased to think, their brains have degraded to the point that several animals are now more intelligent than humans, leaving the world in the hands of AI and other mammals that are beginning to evolve, attempting to occupy their former place.

ACT IV “Inspireichon Burn” (Inspiration Burn)

Nacho: The song tells the story of the apocalypse caused by thermonuclear war and how the ambition for power and control leads to the self-destruction of a large part of human life by an elite group of war merchants, whose greed leads them to want to see the world burn.

I remember riding my bike to Kaztrol’s house for a theoretical rehearsal, which is what we call our writing and editing sessions, a kind of rehearsal without drums, when the main riff popped into my head and started echoing in my brain with this fast drumming and the stack shifting. I had recently heard some brutal death metal songs and wanted to compose a destructive song. Obviously, my brain could create and hear several riff ideas that came later, but they were impossible for me to play on the guitar. When I got off my bike, I went into Kaztrol’s house and started singing to him all the riffs that had come to me on the way, one by one, and others that came to me as I listened to the song taking shape. After a few hours of work, we already had the basics of the song.

John: The song was composed by Nacho, but it had rhythmic drum structures, and it was Kaz who put the notes together on the guitar. All this under my attentive and sometimes distracted gaze, and my interruptions like, “Let’s smoke, shall we light something up, burn for inspiration?”

ACT V “Vairal Madnez” (Viral madness)

John: The theme is inspired by the phenomena of content “going viral” on social media, fake news, deepfake technology, cryptocurrency scams, and fraudulent influencers as the new false prophets. On the other hand, as its name suggests, it also refers to virality, viruses and their epidemic spread, and the danger of manufacturing viruses for military purposes and biological warfare.

Nacho: It’s a double wake-up call: on the one hand, it shows us the human madness of creating a digital image of oneself to share on social media and seek approval, completely disconnecting from the real world to “live” in the virtual world; on the other hand, it warns us about the use of viruses and pandemics as a method of control through digital health passports, biometric controls, video surveillance cameras, and deprivation of rights.

Kaz: This is the only song we all share writing credits. It has equal riffs by the three of us and was probably the hardest song to find its final form. We had to work a lot on this when, but I love the results and it’s one of my favorite songs to play.

ACT VI “Aztral Configureited” (Astral configuration)

Nacho: This was the last song we put together as a band. We needed a new song to complete the tracks we needed for our LP, and the studio session date was fast approaching. I arrived at my apartment feeling motivated, dusted off my acoustic guitar with its rusty strings, and started playing around a bit. I’m not a good guitarist, but I have good rhythm and find it intuitive to play riffs with two or three fingers on the lower strings of the guitar. So for a couple of weeks, I would come home and start playing around until ideas began to repeat themselves and new riffs were born from variations of these ideas. I had melodies that sounded in my head and sang to Kaztrol to play as the melody in the intro. The song was practically finished structurally. Of course, the guys then worked their magic.

Kaz: This track recounts the combination of themes related to the previous songs. The configuration of the stars announces the end, the final apocalypse. I imagine a beautiful view of space as planets align while all life on Earth ceases to exist. Well, almost all life.. All ends bring a new beginning, and a new cycle is born.

ACT VII “Ameba Emenens” (Ameba Eminence)

Kaz: This was the last addition we made. I wanted to add a new color to the album with this completely acoustic song. It serves to relax the ear and rest after the avalanche of riffs that came before.

It’s a song loaded with sentimentality for me because I was all alone (my bandmates who were on vacation) and was going through a bad time emotionally. I was able to vent through the guitar as this song creatively took form.

Conceptually, after the apocalypse has happened and humans have managed to destroy all life on the planet, only desolation remains. However, one last, solitary ameba remains alive, which will manage to start life again, beginning a new cycle.

Nacho: As a completely acoustic track, this final act takes us on an introspective journey, adding new textures and soundscapes to the album. It’s a beautiful way of closing the album and ending it on a more hopeful note.

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Fun Facts – Story Angles:

1- Although our music may seem very serious, there is no lack of humor in the band, and most of the song titles use a kind of deliberately misspelled Spanglish. The best example is the name of the band, Engrupid Pipol ( pronounced engrupid people). Engrupid comes from the Spanish verb “engrupir,” which can mean to deceive or to charm. In our case, we charm ourselves and the power of our music. If you’re an “engrupid“ person, you have the absolute conviction to believe in yourself to fight for your dreams and your art, no matter what anybody says or thinks.

2-All the artwork of Engrupid Pipol’s albums is done by Kaztrol, who studied art for a year, graphic design for a semester, and finally made his way into studying comics and animation. His thesis was the first music video for the band SíFiLiS, “Rocky Cerveza,” about the journey of a man who falls into alcohol, drugs, and progressive metal, and his transformation into a party-loving vigilante. The music video is fully traditionally animated, created entirely by Kaztrol, who sacrificed countless nights and parties to complete a titanic project.

3- John Dai and Kaztrol were neighbors and childhood friends in the 90s. Some years later, Kaztrol met Nacho through John Dai for Nacho’s 17th birthday celebration. On that occasion, Kaztrol (accidentally) destroyed a gate at the entrance fence and a window in the living room of the birthday boy’s house. The two became friends instantly.

4-In Chile, when the band started playing, there were almost no venues for metal shows, and the shows were held in illegal locations, and the police would arrive quickly. This is how the band’s policy of always opening shows was born, so as not to be left without a gig.

5- “Quaragenta At Finem Mundi” is an album whose recording and distribution is possible thanks to the Music Fund of the Chilean Ministry of Arts, Culture, and Heritage, a fund awarded in February 2025.

L-R- Kaztrol (guitar), Nacho García (drums), John Dai (bass)

Phot Credit – Philippe Vigoroux

Engrupid Pipol is an instrumental progressive metal power trio founded in Santiago, Chile, in October 2000. Originally under the name SíFiLiS, they released two albums, SiFiLiSaCioN (2005) and Paranoia en Paragua (2009). These albums of musical experimentation are full of accelerated riffs, abrupt time changes, and a constant musical quest exploring various styles linked to metal. The project evolved, and in 2009, the band changed its name to Engrupid Pipol. Thus began a new way of working, more mature and experienced, with a more original level of composition and a more solid instrumental interpretation. They create their own characteristic sound, where groove, powerful riffs, and catchy melodies predominate. Now better better-structured songs give greater coherence to these compositions.

In 2016, Engrupid Pipol released their album “Essenchial Engrupid Element,” the first of the Engrupid era, which received several reviews highlighting their excellent work. In 2022, they released their second album, “Engrupid Divais,” praised by various specialized media outlets and earning them a nomination for the 2023 Pulsar Awards in the Best Metal Artist category. In 2025, Engrupid Pipol won a government arts fund for musical arts, allowing them to record their latest studio album “Quadragenta At Finem Mundi,” which is scheduled to be released in November of this year.

Discography:
2025 – Quadragenta At Finem Mundi – LP
2022 – Engrupid Divais – LP
2016 – Essenchial Engrupid Element – LP

Shared Stage: Aisles , Alejandro Silva , Octopus , Akeneton Retard, Mediabanda, Claudio Cordero, Necrosi

0 EPK – Karnage Through Crossing – The Underground (single) (2025)

September 5, 2025
by Asher
· EPKs · Karnage Through Crossing

EPK – Karnage Through Crossing – The Underground (single) (2025)

For fans of Grim Reaper, King Diamond, Exodus, Megadeth, Wasp, Striker, Skullfist, Judas Priest

“The Underground was the second song written for our forthcoming second album, and the first rehearsed after our debut album’s release. Soon, we found the dramatic pauses at the end of the first pre-chorus and the tightness at the end of the song evolved into an energizing mood, elevating the song. Describing philosophies of anger and conflict electrify the mid sections of the song, while a story plays out in the verses of a gutter-bound wasteland child rising to a life of power and vengeance.” – Rhyse Tremel – Karnage through Crossing

Band: Karnage Through Crossing
Single Title: The Underground
Release Date: Sept 5, 2025
Label: Self-Release
Distribution: CD Baby
Single Length: 5:27

Facebook.com/ktxmetal | Instagram.com/ktx_metal | Youtube.com/@KTX_METAL | Tiktok.com/@karnage.through.c | X.com/ktx_metal

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

“Karnage Through Crossing is a Canadian band that takes Heavy Metal traditions to create a sound that distinguishes them as the ‘New Wave of Canadian Heavy Metal’ “ – En Tijuana Hay Rock

“There’s a new face in Heavy Metal breaking free with the debut album Shattered Chains” – Gaffa Magazine

Band: Karnage Through Crossing
Single Title: The Underground
Release Date: Sept 5, 2025
Label: Self-Release
Distribution: CD Baby
Single Length: 5:27

Single Info:
-The Underground by Karnage Through Crossing
-Written by Rhyse Tremel and Karnage Through Crossing
-Lead Guitar and Lead Vocals Recorded by Rhyse Tremel
-Bass Guitar and Screams / Growls Recorded by Josh Bricker
-Drums Recorded by Ashton Lal
-Recorded and Mastered by Scott Oliphant at Colossus Audio
-Single artwork created by Elizabeth Ackerman at: http://www.instagram.com/tbd_art
– Music is Canadian Content – MAPL
– Lineup is:
Rhyse Tremel on Lead Guitar and Lead Vocals
Ashton Lal on Drums and Backup Vocals
Josh Bricker on Bass Guitar and Screams / Growls

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About the single artwork:
The image is the back load in the staircase of a popular underground venue in Calgary, tied in with the lyrical themes in the song, telling of a steampunk dystopia where a woman grows up in the slums to become a pit fighter

About the single
“The Underground was the second song written for our second album, and the first rehearsed after our debut album’s release. Soon, we found the dramatic pauses at the end of the first pre-chorus and the tightness at the end of the song, evolved into an energizing mood, elevating the song. Describing philosophies of anger and conflict electrify the mid sections of the song, while a story plays out in the verses of a gutter-bound wasteland child rising to a life of power and vengeance.”

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

FUN FACTS – STORY ANGLES:

What can we say, the boys have partied with the animals, brought the baddies, and rocked stages they dreamed of only a few years before. But most of that we can’t talk about. We’ve played with some of our favorite bands, and played with bands that aren’t here with us anymore, burned up venues that no longer exist, and changed tires beside the fastest highway traffic in western Canada. We like to play BIG and we like to ROCK HARD! The Underground is for all of you, and the start of the new KTX Era is coming to you from this moment on

L-R – Josh Bricker – Bass Guitar and Screams / Growls, Ashton Lal – Drums and Backup Vocals, Rhyse Tremel – Lead Guitar and Lead Vocals

For fans of New Wave Traditional Heavy Metal and Thrash Metal, crossing over with explosive moments of death metal, Karnage Through Crossing is the next heavy-hitting powerhouse! Releasing full-bodied, screaming, shredding singles off their new album, throned on the songwriting diversity of their independently released debut album, an intriguing new conquest is capturing the hearts and fists of headbangers abroad. Taking western Canada by force, these high-energy rockers have been seen playing with international acts such as Iron Kingdom, Tower Hill, and Lycanthro, while competing in their local scene as the flag bearers of gritty old school Metal.

Discography:
Single Judgement Day (2023)
Debut EP (2023)
Single Frozen Crown (2024)
Debut Album Shattered Chains (2024)
Single Chosen Paths (2025)
Single The Underground (2025)

Shared Stage with: Iron Kingdom, Tower Hill, Lycanthro, Cabrakaan, Illyrian, Syryn, Red Cain, Product of Anger, Divine Apprehension, Sleepy and the Bugs

Tours and Festivals:
Joloblot winter festival (2023)
Groverfest Festival at Beiseker (2024)
Loud as Hell Drumheller Festival Fundraiser (2025)
Alberta KTX album Release tour (2025)

0 EPK – Born Divided – Chronicle of a Shipwreck (2025)

September 4, 2025
by Asher
· Born Divided · EPKs

EPK – Born Divided – Chronicle of a Shipwreck (2025)

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

“We hope the new album will be embraced and—most importantly—discovered in a positive light by as many people as possible. Each track on the album has its own unique atmosphere. Some songs are catchier with memorable choruses, while others stretch into longer, progressive journeys. It’s a compelling blend of melody and aggression.” – Born Divided

For fans of Ne Obliviscaris, Symphony X, Scar Symmetry, Persefone, Dimmu Borgir

Band: Born Divided
Album Title: Chronicle of a Shipwreck
Release Date: October 24, 2025
Label: Self-Release
Album Length: 43:31

Linktr.ee/borndivided

Borndivided.com | Facebook.com/BornDivided | X.com/borndivided | Instagram.com/borndivided | YouTube

Borndividedofficial.bandcamp.com | Spotify

“It doesn’t matter whether BORN DIVIDED plays fast and furious, slow and deliberate or is hovering somewhere in between, everything on “Chronicle Of A Shipwreck” is as it should be. 9/10″ – Metal-Temple

“Weaknesses? Not a single one! Craft? Everything is great! The vocals? A celebration in all respects. Would AMON AMARTH suddenly jump on the prog metal bandwagon, adapting a bit of modern death lead and at the same time adding traditional melodic metal to the gallery, would the Northmen possibly sound similar to BORN DIVIDED – but this is just a clue. Musically, the band is completely independent and combines several genres into a rousing, always gripping symbiosis that we can’t get enough of, even in the long term. Check out the boys’ band camp page, familiarize yourself with the previous material and place a collective order immediately – because this band more than deserves the support! 9.5/10″ – PowerMetal.de

“““Chronicle of a Shipwreck” is an excellent album in balance between softness, reinforced concrete riffs and violence. A record to discover urgently ! ” 4/5 – Music Waves

““Chronicle of a Shipwreck” est un excellent album en équilibre entre douceur, riffs en béton armé et violence. Un disque à découvrir d’urgence ! ” 4/5 – Music Waves

“If it wasn’t obvious, Born Divided’s Chronicles of a Shipwreck was a very good experience for me. This one netted me about 8–10 listens (I stopped counting around 6) and I never felt like there was a song that didn’t fit. Nothing was skipped, and I remain entirely impressed this one was self-released. So, here’s one for us Canadians!” – Dire Notes

“Like the waves the ship on the cover of Chronicle Of A Shipwreck traverses through, Born Divided keep their music in constant motion. There isn’t any smooth sailing to be found in this endless body of choppy melodic death metal that’s supplemented by progressive/black metal. They try to make each song its own event, whether that be the frenzied hop of “The Dead Inside Ourselves” or the orchestral elevation of the title track. Opener “Everything Comes To An End” has an Opeth tribute in the middle with singing that could be a doppelganger for Mikael Åkerfeldt. It’s a bit distracting, especially since it’s never used again on Chronicle Of A Shipwreck. That’s the most blatant nod Born Divided make to another band directly. Though the ship on the cover meets a woeful end, the band avoids such a fate.” – Head Music Headquarters

“Born Divided is in every way my surprise for 2022. I’m really looking forward to seeing them in concert. This is a new group that I think is likely to break through if the right people hear them. Born Divided – Impending Doom = 9.8/10” – Ondes Chocs (Impending Doom 2022)

“Alternating between clear vocals and « growl», melodies and aggressiveness, it’s a promising album!” – Metal Universe (Impending Doom 2022)

“This was the group I was looking forward to. I had the opportunity to see the musicians of the group with their other projects (except the singer), but never all together. We’re talking about groups like Blinded by Faith, Moonlight, Kalter and GFK. I want to say that I was not disappointed… Born Divided is a new group that, in my opinion, deserves to be on big shows or even tours. They have their own sound. A group to watch!!” – Ondes Chocs (Live Review -Le Corsaire, Lévis – May 20, 2023)

“A solid opening performance for this promising group with experienced musicians and compositions that adapt wonderfully well to live performances. If you still haven’t listened Impending Doom, I highly recommend this first album.” – Metal Universe (Live Review – Quebec City – Source de la Martinière – June 15, 2024

“Born Divided delivers the listener’s ears with a musical spectrum consisting of melodic sections of melodic death metal combined with a high level of complex/technical proficiency, intricacy, and dynamics from progressive music. They also blend orchestration arrangements within their musical spectrum. Impending Doom doesn’t just deliver a fruit of art death metal to the listener’s ears -but the lyrical concept (without looking into it – it’s there in front of the listener) that has a solid/meaningful lyrical meaning.” – Aathenaeumofsinreviews (Impending Doom 2022)

“While it is a fact that tight, hard and intense extreme metal parts dominate this production, this is also a band that appears to know their way around progressive metal landscapes. Just about all the compositions here will twist and turn multiple times, alternating the extreme metal onslaught with delicate and atmospheric interludes, instances of classic era progressive metal and also passages exploring a more distinct and melodic variety of atmospheric metal. Orchestral style backing is applied for both the extreme and some of the less intense parts, and quirky, technical details is a recurring feature too. The vocals alternate between harsh, distorted vocals and clean, clear and melodic singing, with the former mainly being restricted to the extreme metal parts and the latter mainly restricted to the passages that doesn’t venture into the most extreme passages here. Progressive death metal is apparently a thing, and those who tend to enjoy music defined in that manner can safely add this album to their list of music to get more familiar with.” – Progressor (Impending Doom 2022)

[Download Album Cover | Download Album Lyrics]

Band: Born Divided
Album Title: Chronicle of a Shipwreck
Release Date: October 24, 2025
Label: Self-Release

Track Listing:
1. Everything Comes to an End – 5:09
2. Chronicle of a Shipwreck – 4:10
3. Illusion Factories – 7:38
4. The Dead Inside Ourselves – 5:54
5. Run, Burn, Die! – 7:52
6. Subterranean Corridors – 4:48
7. Anxiety – 7:57
Album Length: 43:31

Album Credits:
– All songs performed by: Born Divided
– All songs written by Tommy Demers and Michael Beaudoin
– Produced by: Born Divided
– Mixed Mastered: Chris Donaldson
– Album Artwork: *********
– SOCAN Members
– Canadian Content MAPL

Album Line-up and Live band
Tommy Demers – Bass
Fred Bedard – Guitar
Michael Beaudoin – Guitar
Maxim Lévesque – Vocal
Lucas Biron – Drums

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

About The Album Artwork:

The concept behind the artwork of Chronicle of a Shipwreck is as follows: the ship sailing through a raging sea with torn sails represents the broken human being… humanity losing itself in life, in time.

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

This album delivers fast, heavy riffs that are as catchy as they are complex. The vocals range from brutal screams to epic clean passages, offering a dynamic contrast that hits hard. Atmospheric orchestration adds depth to each track, while the guitar melodies strike with a hook-laden heaviness that keeps the energy surging throughout.

Track by Track (LYRICALLY & MUSICALLY)

1. Everything Comes to an End kicks off the album with an epic and catchy fusion of sound. Intense clean vocals take center stage, including a standout performance by Tommy Demers that evokes the emotional depth of Opeth. The track builds towards a breathtaking finale, where rapid melodic guitar picking collides with relentless drum blast beats—delivering a cinematic and explosive finish. It paints a vivid picture of that opening track as both emotionally rich and musically complex. If you’re crafting a full album overview, I’d love to help string these pieces together into one cohesive narrative that really sells the artistic journey. Let me know how deep you want to go!

2. Chronicle of a Shipwreck dives into a much darker atmosphere. The influence of Black Metal is unmistakable, adding a raw and haunting edge to the song. The chorus stands out as one of the most epic on the album, showcasing Maxim’s impressive vocal power and emotional depth. After that, the song erupts into a chaotic riff section, only to circle back to a triumphant reprise of the chorus—leaving listeners with a sense of devastation and glory intertwined.

3. The Illusion Factories draws on a wide array of influences, blending Death Metal, Power Metal, and Progressive Metal into a single cohesive force. It’s a longer piece that evolves steadily, layer by layer, leading to an epic crescendo that delivers both emotional and sonic intensity.

4. The Dead Inside Ourselves is an unapologetic, in-your-face powerhouse. It unleashes raw, stripped-down guitar riffs—no frills, just pure aggression. The bridge channels a dark, symphonic intensity reminiscent of Cradle of Filth, before catapulting into an epic finale. Maxim’s clean vocals soar with haunting clarity, closing the track on a moment both powerful and unforgettable.

5. Run Burn Die” is the wildest track on the album—a true sonic eruption. Riff after riff layers and collides, building toward an unforgettable climax. It’s a progressive masterpiece that weaves together melodic Death Metal, Black Metal, and epic orchestration. With its unpredictable structure and dramatic flair, this is a track that demands multiple listens to fully absorb its depth and fury.

6. Subterranean Corridors” is a high-energy, hook-laden track with an infectious chorus that sticks with you. The guitar rhythms are built for the mosh pit—driving, heavy, and impossible to resist. It’s a song that explodes live and gets bodies moving.

7. Anxiety” brings the album to a haunting close, with a dark and complex atmosphere that navigates through multiple shades of metal. From brooding passages to intense surges, the track embodies emotional chaos and sonic depth. It all leads to an epic Black Metal finale—ferocious and unrelenting—that drags you deep into the shadows and leaves you lingering in the abyss.

L-R – Michael Beaudoin – Guitar, Fred Bedard – Guitar, Maxim Levesque – Vocals, Lucas Biron – Drums, Tommy Demers – Bass

Photo Credit – Paul Giacomo

Born Divided is a melodic death metal band hailing from Québec, Canada. Composed of five seasoned musicians—including three former members of Blinded by Faith (Tommy Demers on bass, Michaël Beaudoin and Fred Bédard on guitars), along with Lucas Biron on drums and Maxim Levesque on vocals—the band delivers a powerful and richly orchestrated sound. Their debut album, Impending Doom, released in October 2022, showcased a dynamic range of seven tracks marked by precision and intensity. Following their 2022 video Human Masquerade, Born Divided returns in October 2025 with Chronicle of a Shipwreck, a new album mixed and mastered by Chris Donaldson of Cryptopsy, diving deeper into their signature style. The release is accompanied by the haunting new video Everything Comes to an End.

Discography:
2022: Impending Doom – LP
2025: Chronicle of a Shipwreck – LP

0 EPK – Merfolk

September 3, 2025
by Asher
· EPKs · MERFOLK

EPK – Merfolk

For fans of Hollenthon, Arcturus, Akercocke, Emperor, Abigor

Melogy.ca/merfolk | Facebook.com/profile.php?id=61553443841461

Merfolk.bandcamp.com | Spotify

Digital – Sundaland (2025) – https://artists.landr.com/990591564626

Digital – Demersal (Remastered) – https://artists.landr.com/990591563315

Band: Merfolk
Album Title: Sundaland
Release Date: May 26, 2025
Album Length: 29:32

Track Listing:
1. The Plowing Sea – 3:04
2. Krasue Came Warning – 4:15
3. The Ghost Fleet – 6:59
4. Castaways – 6:05
5. Sundaland – 1:54
6. Time Warp – 2:49
7. MOUSEHUNT !!! – 4:22

Album Credits:
All words, vocal, music, arrangements, and performances by Patrick Loisel
Keyboards, violins, cellos, and contrabasses recorded in Laval-Ouest in 2023
Drums, guitars, bass, and vocals recorded in St-Henri (Montréal,) summer/fall 2024.
Mixed by Patrick Loisel in St-Henri, January and February 2025.
Mastered by Alain Londero in Laval, March 2025.
Booklet by Patrick Loisel & Jean-Rémi Marceau
Guitar: Merfolk 2018 ( Mini RR V in walnut with EMG pickup)
Bass: Merfolk 2023: Fretless 5 strings in purpleheart with Bond pickup.

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

About The Album Artwork:

The album artwork is actually an old, cheap Aztec shield that my ex-wife bought in a Mexican market and gave me. I found it cool, and I also wanted people to react because Sundaland was in Asia, and that piece is from Mexico, so I wanted to see if anyone would notice.

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

Sundaland is eclectic, and goes between Therion and Cryptopsy-like ambiance.

The concept is about an Atlantis-like cataclysm that sinks the land, but the people then mistook it for a sea monster, whom they try to appease with offerings (The Plowing Sea), which was a bit late since they were notified in advance by witches (Krasue came warning)

Krasues are ghosts that are basically a hovering head with entrails dangling underneath, and that’s METAL !!!

Parts of the population move to mainland Asia, the Americas (The Ghost Fleet), and some stay and try to retrieve artifacts from their sunken homes (Castaways).

While doing so, they encounter another civilization that the cataclysm had revealed (most of the clip).

The title track is a short instrumental, and the last two are bonus tracks. Time Warp is about the Alt-Right moral panics (that mimic similar 40 years ago) while MOUSEHUNT !!! It is total cartoonish delirium.

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

Band: Merfolk
EP Title: Demersal (Remastered)
Release Date: May 16, 2025 – Original EP – December 3, 2022

Track Listing:
1. Demersal – 5:49
2. Orbs Night Out – 7:00
3. Mind Hive – 4:40
4. Doggerland (Harp solo) – 2:55
5. Inner World (Inst..) – 4:59

EP Credits:
Recorded, mixed and mastered at Merfolk Studio, Laval, 2021 through 2022.
All compositions, performance and engineering by Patrick Loisel
except female vocals on ”Orbs Night Out” by Sylvie Régimbald and additional mastering by Antoine Baril.
Remastered by Patrick Loisel May 2025..
Strings instruments and recording facilities built by Patrick Loisel.
Mind Hive videoclip : Filmed by the same facilities in 2023.
all art, props and operations by Patrick Loisel.

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

FUN FACT – STORY ANGLE :

1. What’s unique with Merfolk is that the whole chain of production up to the mastering / the T-shirt printing / the online clip diffusion, is only one person. Nearly all one-man bands I know about actually hire extra musicians and/or engineers.

Funny is that the most accomplished multi-instrumentalist that I know… plays in my band!!!

I also built the instruments used. I built the studio and about 50 puppets and props for the clips. For many, this was a stunt. For me, it was the easiest way to go.

It is sometimes hard to synchronize my creativity with other people and have someone available at 3 AM when inspiration strikes.

Everything was a first and an over-the-top challenge. Filming the clips = maneuvering several props and accessories in total darkness and having everything collapse on me. I actually immersed myself in to film ‘’Castaways’’. Behold the Abyss of the Lachine Canal!

Because I am in my 50s, a bit of a novice, and it’s not my main instrument, some folks actually thought that my drums were programmed !!!

2. I am an adopted kid of Native ancestry. I was born with osteoarthritis problems and recently overcame degenerative arthritis… by losing 50 lbs + and doing a full year of physiotherapy.

-3. I started my public life at … 8, in 1978, by winning a literature contest, then as an ecologist. I also tried as a stand-up comic. I write historical and sociological articles, both on social media and on paper.

4. I am a former physics teacher and patent historian

-5. I like to surround myself with large numbers of exotic animals. I owned up to 300 tarantulas at once.

-Normalcy?

Emerging from the depths of imagination and the abyssal trenches of sonic experimentation, Merfolk is the solo brainchild of a Montreal-based multi-instrumentalist known for his work with Augury, Kralized, and Foreshadow. Conceived in name as far back as 1994, Merfolk is the culmination of over three decades of unfiltered musical ideas, too intricate, too peculiar, and too uncompromising to be diluted by collective consensus.

Eclectic, psychedelic, spooky, unusual, and furious, Merfolk’s sound defies genre and expectation. Drawing from post-black metal’s atmospheric extremity, the eerie elegance of symphonic arrangements, and the unpredictable textures of 70s experimental music, Merfolk crafts unsettling sonic narratives that feel like haunted transmissions from submerged civilizations.

Merfolk’s debut, Demersal, was built from whispered melodies, delayed whistling, and vintage keyboard fragments, later encased in metal instrumentation. Its ambiance drifted from 70s anime soundtracks to black metal and free jazz. The follow-up, Sundaland, dives deeper into organic classical textures—violin, cello, double bass, and piano, recorded with raw authenticity. The fretless bass, custom-built for Merfolk, and a shift to electronic drums mark a sonic evolution that remains murky yet meticulously crafted.

Merfolk’s lyrical universe is steeped in aquatic mythology, USOs (Unidentified Submerged Objects), and drowned continents like Sundaland. Inspired by the 1989 film The Abyss and ancient flood myths, the songs explore the idea that the ocean’s depths and underground waters are inhabited by sentient, forgotten beings. It’s a conceptual journey through submerged histories and spectral landscapes.

The music begins in the mind—sometimes surfacing as automatic compositions, other times as deliberate constructions. Tracks are sequenced to form a fluid narrative, with lyrics emerging organically from the ambiance. Collaborations happen internally, between disparate parts of the artist’s psyche.

Though Merfolk is a solo studio project, there’s growing interest in bringing its eerie grandeur to the stage. A live setup would feature a full band, two guitars, bass, keys/violin, and a silent stage built around electronic drums and modelers to preserve the spectral whistling and immersive soundscapes. No backing tracks. No shortcuts. Just raw, live ritual.

Fans of Emperor, Mayhem, Hollenthon, Mercyful Fate, and obscure 70s oddities will find familiar shadows in Merfolk’s music. But don’t expect imitation, Merfolk is a vessel for the blastier blasts and spookier spooks, unconcerned with genre purity and driven by a singular vision.

Discography:
2025 – Sundaland – LP
2022 – Demersal – EP

0 EPK – Phaeton – Neurogenesis (2025)

September 2, 2025
by Asher
· EPKs · Phaeton

EPK – Phaeton – Neurogenesis (2025)

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

For fans of Mastodon, Meshuggah, Anciients, Between the Buried and Me, Devin Townsend

““Neurogenesis” is a continuation of the sounds we’ve established on our first two albums, with more of a focus on concision without sacrificing the imagination. We’ll carry you away to the nebulae, and you’ll enjoy every light-minute of it. Visceral thrill and intellectual expansion, song after song after song.” – Phaeton

Band: Phaeton
Album Title: Neurogenesis
Label: INB Music
Release Date: October 24, 2025

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

Phaetonband.bandcamp.com | Spotify | Apple Music

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

“”Neurogenesis” one of the hottest tips of the running season. At least when it comes to instrumental prog, the band has reached the top of the annual list!” – PowerMetal.de

“Oh prog-metal how we love thee…case in point, the new single ‘Isochron ft. Derek Sherinian’ from Phaeton. This dandy little slice of modern prog-metal is not only exceptionally recorded but is jammed full of stabbing riffs, fluid bass lines, drum rolls galore and of course keyboard wizardry courtesy of the legendary Derek Sherinian (Dream Theater, Planet X, Sons of Apollo). Keep an eye out for the new album “Neurogenesis” from PHAETON set to drop on Oct. 24th and to tide you over listen up for ‘Isochron’ on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll

“I’ve always maintained that instrumental bands have to work harder at their craft, because the lack of vocals is one more thing they have to find a replacement for. Lead guitar breaks can take the place of vocals, as can keyboards. They do a solid job of this on the album… They have the chops, that’s for sure.” – Metal-Temple”Neurogenesis“ is a work that combines virtuosity, atmosphere and emotion in extraordinary balance.” 4/5 – MetalUnderground.at

“PHAETON’s Neurogenesis: Where Prog-Meets-Precision, and Machines Whisper to the Riffs” – Papy Jeff Metal

“Phaeton’s sound is a kaleidoscope of progressive sounds, tech-death, thrash and djent… The album opens with the song “Tethys Rising” has in it’s a lot of austerity, but you can hear perfectly strong and expressive here sound and style. Song “Discontinuum” also holds the right one level and very exciting. The dynamics and rhythm are impressive here. Piece “Isochron” with the guest participation of Derek Sherinian, he enriches and has in great riffs, but there are also Middle Eastern elements, which it also increases the effect. Number “Synethesia” it emphasizes even more the intensity and complexity of sounds with a lot of power and energy. Track “Arachnid” he has a lot of neoclassical playing, but he doesn’t forget about it crushing playing with lots of thrills. Song “Augmented” it also has a specific level to it. Title piece “Neurogenesis” he crowns the album with pride and precision. You can hear perfectly balanced music here, which has a claw, feistiness and focuses on diversity and versatility. 4/5″ – W-Mgnieniu-Rocka

“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 (Between Two Worlds – 2023)

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.” (Between Two Worlds – 2023)

“Top-tier instrumental prog-metal-math music from the East Kootenay region performed by a quartet of veteran musicians.” – Stuart Derdeyn (The Vancouver Sun) (Between Two Worlds – 2023)

“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 – 2023)

“…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 (Between Two Worlds – 2023)

“”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 (Between Two Worlds – 2023)

“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 (Between Two Worlds – 2023)

“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 Magazin (Between Two Worlds – 2023)

“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) (Self-titled – 2018)

Band: Phaeton
Album Title: Neurogenesis
Label: INB Music
Release Date: October 24, 2025

Track Listing:
1. Tethys Rising (6:25)
2. Discontinuum (6:37)
3. Isochron (4:12) ft. Derek Sherinian
4. Synethesia (6:24)
5. Arachnid (4:48)
6. Augmented (4:37)
7. Neurogenesis (6:16)
Album Length: 39:19

Album Credits:
– All songs written and performed by PHAETON.
– Engineered and Mixed by Kevin Thiessen at the Cube (Kimberley, BC, Canada).
– Mastered by Jamie Sitar at Outtatown Sound (Winnipeg, MB, Canada).
– Album Artwork by Matt Semenok (Calgary, AB, Canada).
– SOCAN members.
– Music is MAPL / CanCon.Band Lineup:
– Colin Righton: Drums & Percussion
– Daniel Airth: Lead & Rhythm Guitars
– Kevin Thiessen: Lead & Rhythm Guitars, Keyboards
– Ferdy Belland: Electric Bass

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

About The Album Artwork:

Colin came up with the idea of the suspended human brain, awash with eldritch bioelectricity and cybernetic implants. Our concept of “neurogenesis” ties in with all the unsettling modern talk about the singularity, where elitist jerk-futurists are persuading everyone to get jiggy with the A.I. and upload our minds into the Wankersphere.

We wanted the album imagery to be dark and moody and wrap around all four panels of the LP’s gatefold sleeve and connect back on itself, but it was a struggle to find a suitably motivated, imaginative artist to bring the concept to life – until Colin found Calgary’s Matt Semenok! His results were impressive and astounding. Matt captured a very real visual balance between the eerie creepiness of H.R. Giger and the surreal washiness of Bill Sienkiewicz. We were damn lucky to find him, and we will trust him with future visual concepts if he can stand to work with us ever again.

The artwork’s message is a warning. Technology is exploding across our world at a highly accelerated exponential rate, and human technology always outpaces human psychology, and it’s not always for the better. We’re trying to download 21st-century software into cerebral hard drives that haven’t been updated in over 50,000 years. Hilarity will not ensue.

About the album (Lyrically and Musically):

Our third album is a left-field change of pace for us, and we’re thrilled with the results. On our debut album, we established who we are and what we do as musicians and composers, and we’ll always be proud of that first statement. When we moved on to “Between Two Worlds,” we created an album with an overall heavier sound, and all the hyper-melodic neo-classical adventurousness and the bludgeoning riffola were brought into sharper focus and expanded into broader, more lengthy, more emotionally impactful songs – which we believed, then as now, was an impressive improvement on our part. With “Neurogenesis,” the songs ended up more compact and concise, but that wasn’t deliberate – they just ended up that way. Even as an all-instrumental band, our arrangements follow what might be described as verse-chorus-verse-chorus-bridge-etc., but instead of the riffs and rhythms being frameworks for the vocal delivery of storylines, they become the frameworks for guitar melody, or keyboard melody. Which we’ve always done, but we took a sideways approach to it this time around. It’s up to the individual listener to take the titles we give our songs and let their own imaginations take them where they will as the music unfolds: jazz-fusion ears within prog-metal boundaries, so to speak. And although “Neurogenesis” isn’t a Concept Album in the strictest prog-rock definition, the individual concepts of many of the songs included here do overlap each other – we were inspired by the modern theories of the technological singularity, of how we’re only a few years away from humanity’s biological brains uniting with robotics and cybernetic implants and microchips – and whether we’ll still be human when that happens. It’s a cold warning as much as a sober observation.

Track By Track:

TETHYS RISING: This was the first song I wrote for Phaeton. I composed and arranged the main building blocks and passed them along to Kevin and Dan to see how they could filter and fine-tune the music. And the song got knocked out of the park! The power of the song’s motion reflects the sheer raw awe human astronauts will feel when we finally make it far out to the Gas Giants. I was always fascinated with Chesley Bonestell’s old-school futurist paintings of hypothetical rocket ships and orbiting space stations, and planetary scenes from around our solar system. He was painting these amazing images way back in the 1940s and 1950s, but this wasn’t garish trash whipped off for pulp-fiction magazine covers – he was a trained architect and bounced his ideas off of the scientists and engineers who formed the original core of the American space program, so a lot of his imagery still looks striking and plausible even today. One of his more famous paintings was “Saturn As Seen From Titan,” which is beautiful and ghostly at the same time. Bonestell didn’t know at the time that Titan’s atmosphere is one big opaque orange fog, so you can’t see your gloved hand in front of the helmet visor of your space suit, let alone Saturn looming in the sky, so I thought the view would be better from Tethys.

DISCONTINUUM: A discontinuum is the condition of something not being continuous, as in having gaps, or interruptions, or lacking in cohesion. It describes a system, or a process, or a structure that is broken, or segmented, or irregular, instead of being smooth and unbroken. You usually find the term when discussing mathematics, which is always a hit at the bush parties we hang out at after midnight, but the term also applies to physical objects and abstract concepts, where a complete unbroken flow is absent. And this song was written to show a method where method might not be apparent. But chalking out Venn diagrams on a blackboard doesn’t necessarily translate into gripping music, so after a while, we just let the riffs and the rhythms work it out on their own. And it worked out like all hell. Out of discontinuum comes continuum.

ISOCHRON: Even if this song is relatively shorter than most of how our songs end up, there’s a lot going on within it, and it’s certainly one of the busiest songs we’ve written in years. And of course, it never hurts to have the brilliant synthesizer tsunami-attack of Derek Sherinian on hand. There’s a feeling of whirlwind rush we’re deliberately injecting into the tune, and it ricochets back and forth between killer riffs and Middle Eastern mellowness and back to clenched-fist power and all points in between. If an isochron is an imaginary line which connects different points at which an event occurs simultaneously, then we declare that the ‘different points’ in question are the various sections of the song, and the song as a whole (the isochron itself) is a simultaneous event that we somehow stretched out to four and a half minutes, Newtonian physics be damned…which only proves that the internal clock of varying musical tempo is the only real time machine there is.

SYNESTHESIA: Synesthesia is a psychological phenomenon where stimulating one human sense involuntarily triggers an experience with a secondary sense. Certain people see colors when listening to music, or when reading words, they’ll actually feel taste on their tongues. People who experience such things are known as Syntheses, and psychologists don’t necessarily see this as a neurological disorder – the word itself is an Ancient Greek term meaning “together sensation” or “union of senses,” and to us it only means that certain people are gifted with the ability to combine and overlap their very inputs of reality and existence. We wrote this song in an attempt to encourage the listener to imagine colors and moods along with the music…which, in all truth, is what all instrumental composers strive to achieve, whether you’re an 18th-century classical composer hoping to land that sweet contract writing the wedding march for King Ludwig’s youngest daughter – or whether you’re a bunch of Kootenay misfits trying to wring sonic magic out of overdriven Schechter 7-string guitars.

ARACHNID: When you study Kevin Thiessen’s compositional approach, he has a hyper-melodic neo-classical mindset, but he also knows a Crushing Riff when he hears it. The main riff is a stomper, and as it rolls over on itself there’s these weird subtle changes to the melody, repetition after repetition, which simulates the crawling-in-your-own-skin discomfort and borderline terror some of us feel when confronted with the arachnids in our life – either the true spiders who harmlessly spin their webs, or the human spiders who seek to suck your souls dry. The song is broken up several times with the eerie djent sections, where there’s ghostly synth notes tapping away almost in the background, but that’s only designed to create a false sense of relief before the arachnid bursts back upon you.

AUGMENTED: Human progress has always been driven by the desire for humanity to rise above hand-to-mouth survival and create a better, more fulfilling life. Which is why we started with learning how to make fire to warm up and light up the caves, and 100,000 years later we’re helplessly flipping through one TikTok after another. And then the march of progress changes from humans creating standalone technological devices to humans actually augmenting their very bodies with technological devices. Some of them are benign, like artificial limbs and hearing aids and artificial hearts and the like, but now the buzztalk is all about installing microchips into our brains and connecting to a mind-hive…I know it’s going to happen, but I’ve seen too many cheesy sci-fi dystopian movies to feel all that thrilled about it. I mean, what could possibly go wrong? Brrrrr…this song was written to convey the mechanical unease and robotic inhumanity awaiting us in the near future, and how we must be on our guard. Nobody can avoid this.

NEUROGENESIS: And what happens when cybernetic implants into our cerebral cortexes actually become a mundane everyday occurrence? Do we lose our humanity? Do our dreams break down into binary code? Do we dust off our old FORTRAN codes in lieu of antidepressants? Once we reach the technological singularity and there’s no going back, will we lose our individual identities? What happens to ourselves, as a species, as cultures, as nations? Will there be laughter? Will we still love? These are real concerns. In the Brave New World of the 2020s, it’s hard to balance progressive excitement with Luddite caution, and everyone’s optimism seems to mingle with the doom. We’re all trying to feel the warmth of the sun on our faces while we’re all bracing for societal impact. This song ended up the longest of the new group of tunes, and we had all of those conflicting emotions of the Neurogenesis concept to transform into musical dynamics, and we had a lot to, er, say…so to speak. Which is funny, since instrumental bands don’t talk much. But the sounds – and the warnings – are there.

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

Fun Facts – Story Angles:

1. Ferdy Belland has a record collection numbering close to 8,000 albums, which he’s been building since he was a little boy. He also collects first-edition hardcover classics, Bronze Age comics, MAD Magazines, toys from the 1970s, and assorted militaria. His house is very cluttered but utterly fascinating. Just don’t ask his poor, bewildered wife about any of that junk.

2. Ferdy Belland has an established parallel career as a respected music journalist for as long as he’s been a respected active musician, and has been published in the Georgia Straight, the Nerve Magazine, Terminal City Weekly, Absolute Underground Magazine, and numerous outlets of the Black Press chain. He’s interviewed such notables as Dweezil Zappa, Uli Jon Roth, Charlie Benante, Chuck Billy, Ian Thornley, Jeff Martin, Bert Jansch, Dave Alvin, Ian Tyson, Joey Shithead, Randy Bachman, and Greg Godovitz. Ferdy is very proud of having been told to fuck off by Terry David Mulligan.

3. Colin Righton is an excellent chef, and not only should he challenge the Red Seal, he should be operating a food truck at all the festivals, which effectively makes him the Gordon Ramsey of prog-metal, both in culinary skill and emotional temperament. And he’s into tennis the way the Pope is into Catholicism.

4. Daniel Airth’s nickname is “Danimal,” which is hilarious since he’s the quietest, gentlest, most laid-back and soft-spoken member of Phaeton. Dan is most at home at his DAW with a guitar in his hands, casually flinging out one million-dollar riff after another, minute after minute, for hours on end. And if anyone bumps into Dan in the bars after hours, please buy him an Old Fashioned.

5. Kevin Thiessen is, hands down, the best recording engineer/producer you’ll find anywhere in Southeastern British Columbia, and his talents are national-caliber talents, but it usually takes the superhuman intervention of Galactus to pry him out of his boxlike studio (aptly nicknamed “The Cube”). Kevin is also a huge die-hard fan of the “Back to the Future” trilogy, but the band has so far heroically repelled all furious pressure from Kevin to arrange Huey Lewis and the News’ “The Power of Love” into an all-instrumental prog-metal arrangement.

Front (L-R): Kevin Thiessen (Guitars, Keyboards), Ferdy Belland (Bass), Daniel Airth (Guitars)

Back: Colin Righton (Drums)

Photo Credit – Scott Courtemanche

Formed in the rugged wilderness of Kimberley, British Columbia, in 2017, Phaeton is a four-piece instrumental progressive metal band that fuses neo-classical melodicism, crunching rifferama, tornado percussion, and contrapuntal basslines, making them not only a captivating listening experience on record but a thrilling and ultra-heavy live band in the flesh. Named after the mythical proto-planet believed to have collided with primordial Earth, Phaeton channels cosmic chaos into meticulously crafted soundscapes that are as cerebral as they are crushing.

The band—Kevin Thiessen (guitars, keyboards) (ex-Azsension, ex-Datura), Daniel Airth (guitars) (ex-Chaos Logic), Ferdy Belland (bass) (ex-Bif Naked), and Colin Righton (drums) (ex-Chaos Machine) —has carved out a distinct sonic identity, drawing inspiration from titans like Dream Theater, Rush, Mastodon, and King Crimson. Their music is a wordless journey through shifting time signatures, soaring melodies, and tectonic riffage, designed to ignite the imagination and challenge the ear.

Following their acclaimed albums Phaeton (2018) and Between Two Worlds (2023), the band is set to release their highly anticipated third offering, the full-length Neurogenesis, in September 2025. This new chapter promises to push their compositional boundaries even further, delivering a cerebral and visceral experience that redefines what instrumental metal can be.

With a growing international following and a reputation for electrifying live performances, Phaeton continues to evolve—fearlessly, relentlessly, and without saying a word. The band has confidently shared stages with such notable artists as Beyond Creation, Anciients, and Bison, and is looking to open musical doorways across the nation and across the oceans.

Discography:
2018 – Phaeton (album)
2023 – Between Two Worlds (album)
2025 – Neurogenesis (album)

Shared Stage with: Beyond Creation, Anciients, Bison, Atavistia, Syryn, Kelevra, Striker, Terrifier

Festivals:
2024 – Loud As Hell Festival (Drumheller AB)
2025 – Fun Field Festival (Wardner BC)

0 EPK – Cordyceps Corpse – From Flesh To Fluids (2025) – Gore House Productions

August 24, 2025
by Asher
· Cordyceps Corpse (Gore House Productions) · EPKs

EPK – Cordyceps Corpse – From Flesh To Fluids (2025) – Gore House Productions

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

“I really hope they love it. I was really shocked by how my last album was received. So if they loved that, they’ll love the next album. It’s everything from the last album but better. More brutal, more riffs, more ping, just a lot more gross in general. I want this album to give the same feeling I got when I first heard Molesting The Decapitated by Devourment. A thick and brutal sound that just keeps hitting. I love that style of Slam. The riffs are never stale, and it’s brutal, groovy, and gross. Exactly what I want my albums to be.” Cordyceps Corpse – Nani Porter

For fans of Devourment, .357 Homicide, Cephalotripsy, Kraanium, Corpse Pile

Band: Cordyceps Corpse
Album: From Flesh To Fluids
Release Date: Digital Aug 22, 2025 – CD/Cassette TBD
Label: Gorehouse Productions
Album Length: 24:37
Genre: Slam / Grind/ Brutal Death Metal
Location: Ohio, USA

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

Instagram.com/cordycepscorpse | Tiktok.com/@cordycepscorpse | Youtube.com/@cordycepscorpseband

CORDYCEPS CORPSE REVIEWS & MENTIONS

Shay top 20 women fronted/all woman bands: https://www.tiktok.com/t/ZTHGeWoaHSaaB-6NEcX/

Slam dad’s top slam albums 2025: https://www.tiktok.com/t/ZTHGe7svNe6Yg-XSZgA/ describes album “as thick and gross and I absolutely love it”
“dabbles into goregrind, a little bit brutal death meta,l but straight up slam”

Shortbus Pile Up slams of the week #38: https://www.tiktok.com/t/ZTHGe7oG6eawD-9smyt/ Bill “describes album as super fucking brutal …really good death metal”

Track Listing:
1. Intro to Putrefaction – (1:37)
2. From Flesh To Fluids – (2:07)
3. Decapitation – (2:34)
4. Slowly Poisoned – (2:32)
5. Battery Acid Enema – (2:41)
6. Stomach Bile For Miles – (3:16)
7. Family Photo With Hella Cadavers (feat. WORMFUCKER) – (2:08)
8. Left Over Limbs For Later – (3:03)
9. Tools For Torture – (2:17)
10. Skin Tortilla – (2:22)
Album Length: 24:37

Album Recording Credits:
• All songs performed by: Nani Porter
• All songs written by: Nani Porter
• Produced by: Nani Porter
• Mixed by: Nani Porter
• Mastered by: Nani Porter
• Album Artwork by: Nani Porter

Album Band Line Up:
Nani Porter – Guitars, bass, drums, and vocals

Live Band Line Up:
Nani Porter – Guitar and Vocals

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

About The Album Artwork:

The album artwork is pretty brutal. It’s a man decapitated. When I saw it, I thought it matched the From Flesh To Fluids. When I was thinking about the title, I was thinking about how fragile and brutal life is. Like the idea of being flesh as alive to just like fluids, and not even existing.

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

For this album, I really didn’t use too many lyrics. It’s mostly rhythmic gutturals and squeals. If they’re lyrics, I’m usually just repeating the song title. I really wanted to go for a feeling with this album. Like with even the guitars and drumming, there are parts of songs where it just felt pure chaos is what I was feeling, so I may go from playing an actual riff I wrote out into really fast random tremolo notes back into something more structured. I originally got the idea from listening to Moletsting the Decapitated. Devourment does it in a few tracks, and I love the feeling of pure chaos into a heavy slam riff

Track by Track (LYRICALLY & MUSICALLY):

1. Intro to Putrefaction

Sonically, the song makes you feel uneasy and anxious, like something is about to happen. The goal was just to set up a vibe for the rest of the album.

2. From Flesh To Fluids

This song is actually pretty anti-cop cop, actually. It’s basically celebrating this cop getting shot in the sample. The riffs go from a fast, brutal death metal style riff into a bouncy slam riff.

3. Decapitation

The vibe for this song is the FBI walking into an abandoned farmhouse and discovering the in-bread cannibal’s collection of previous meals

4. Slowly Poisoned

This song was a follow-up to Decapitation. It was the process that the cannibals used to kill their meals. I was thinking Resident Evil 7 and Wrong Turn vibes.

5. Battery Acid Enema

This song I came up with my partner, Liv. We were thinking of song names jokingly when she said battery acid enema, and we thought that was funny. So I made something that sounded like the most vile, painful farts induced by taking a battery acid enema.

6. Stomach Bile For Miles

The song is what it would be like to be disembowled by a hook attached to an inbred cannibal’s pickup truck and have your guts spread out for miles, and then watch the family of inbred cannibals eat your spread-out guts like a hometown buffet.

7. Family Photo With Hella Cadavers (feat. WORMFUCKER)

This is the process of the inbred family taking photos of their meals. Like how hunters take pictures of deer they kill. Just gross and dehumanizing feelings because it’s humans this time.

8. Left Over Limbs For Later

This song just feels gross. Like a room just filled with mold and the rotten scent of corpses.

9. Tools For Torture

Song song starts slow and builds in tension, then it is chaotic and fast. It’s supposed to feel like that scene in Terrier 1 when Art cuts that person in half the long way.

10. Skin Tortilla

I think this song is a lot of fun. It’s heavy but bouncy. Starts off with a slow groove and goes into one of my favorite transitions in the album.

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

FUN FACTS – STORY ANGLES:
1. A lot of people think I came up with the name Cordyceps Corpse because of the show The Last of Us. But it actually came from a nature show I was watching, and these ants got infected with Cordyceps. I thought that was crazy, a fungus could hijack that ant’s motor functions, and the ants, I guess, are conscious and aware the entire time, but can’t do anything. The idea of being a prisoner in your own body is wild. So naturally, I just added Corpse to the end and got Cordyceps Corpse.

2. On Cordyceps’ older releases, I used an e-kit for the drums, and I had the snare cranked so crazy in the module, trying to achieve that pin, but I honestly look back and think it sounds comical. Like the snare sounds like a cartoon version of a dodgeball snare.

3. I feel like this isn’t news to the people that know me personally, but the reason why I was able to use acoustic drums was because of my friend Joell’e. She’s the vocalist for Fleshpile, which is a band everyone should definitely check out, but she has a few drum sets in her basement, and it was taking up space, and she said I could grab whatever. It was literally the most perfect thing. She had a Yahmah set in there, so I took that and slowly started adding shit. I was working at Sam Ash at the time, and they were going out of business, so anything that had a slight defect and needed to be repaired had to be thrown out. So I snagged some cracked cymbals and just used a grinder to fix them later on. Anyways, huge shout out to Joell’e, she’s the homie, love her.

4. Cordyceps Corpse isn’t technically a band; it’s just one woman (myself) making noise. I write and record everything in my room. I feel like most people know that. But everyone once in a while, someone asks what I play in Cordyceps, and I’m like “everything”.

5. People ask me about my logo a lot, like who did it, and I actually made the logo on my iPad. I had originally paid someone to make one, but they were taking forever. So I bought a refurbished iPad, watched a bunch of YouTube videos, and made one in like a week. No hard feelings toward the other person; they ended up sending the money back, and they just had a lot going on, I guess, so that’s totally understandable.

Cordyceps Corpse – Nani Porter (Guitar & Vocals)

Photos by: Thalia Kennebrew

Cordyceps Corpse is the solo sonic nightmare of Nani Porter, an Ohio-based multi-instrumentalist whose love for brutal death metal, slam, and goregrind collided with a DIY ethos and a refusal to wait for a band to form. Frustrated by making beats for others and craving something more visceral, Nani launched Cordyceps Corpse in late 2023 with a single recorded entirely in her room, and hasn’t looked back since.

Now reissued by Gore House Productions, From Flesh To Fluids is a grotesque, chaotic, and morbid slab of slam that pushes the genre’s boundaries with unapologetic filth and raw creativity. The album is a sonic descent into madness, inspired by horror films, documentaries, and real-life grotesqueries—like maggot-infested trash cans and cannibalistic fantasies. It’s not just music; it’s a mood, a texture, a stench.

Cordyceps Corpse’s sound is best described in five words: chaotic, thick, disgusting, brutal, morbid. Drawing influence from genre titans like Devourment, Cephalotripsy, Putrid Pile, and Stabbing, Nani crafts music that’s rhythmically guttural, structurally unpredictable, and emotionally unhinged. The transition from electronic drums to acoustic kits—thanks to a generous friend and a scavenged Yahmah set—marked a turning point in the project’s evolution, adding a raw, organic violence to the mix.

This reissue is more than a revisit; it’s a celebration of sonic depravity. The album features ten tracks, each a vignette of horror and decay.

Nani’s process is intuitive and impulsive. Songs often begin with a disturbing image or film, followed by MIDI drum sketches, riff layering, and bass tracking. Vocals are mostly improvised gutturals and squeals, often repeating the song title for rhythmic effect. The result is a visceral listening experience that channels chaos into groove-heavy brutality.

Cordyceps Corpse live shows are less performance, more party. Expect Nani in the crowd with her guitar, inviting fans on stage to scream into the mic. It’s raw, communal, and cathartic. And behind the scenes, everything, from the logo (designed on a refurbished iPad) to the mixing, is done solo. Cordyceps Corpse isn’t just a band; it’s a one-woman horror machine.

Discography:
2025- From Flesh to Fluids- LP
2025- Spider Birth Reingurgitation-Album Feature
2024- Merry DICKMAS MIXTAPE, Vol. 1- Feature
2024- Advanced Torture Tactics – EP
2024- Two Pak – EP
2024- Road Kill Kush – Single
2024 – Putrid Fetish – LP
2024- Corpse Collector – EP
2023- Spliff Spit – EP
2023- F.M.P.F.T.P. – Single

0 EPK – Glauber Oliveira – Lore (single) (2025)

August 24, 2025
by Asher
· EPKs · Glauber Oliveira

EPK – Glauber Oliveira – Lore (single) (2025)

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

“Throughout my journey with the bands Caravellus and Dark Avenger, I’ve always been a very prolific member. I’ve always taken on a role that was much more than just playing my instrument. This kind of involvement requires time and dedication. Because of this, the idea of releasing my solo instrumental work was always put on the back burner. Now, after almost 15 years, I’m finally putting it into practice. I’ve been asked throughout this entire time to release something with instrumental guitar, which was also a desire of my own. The fans are super excited, and so am I.” – Glauber Oliveira

For fans of John Petrucci, Kiko Loureiro, Ron Thal “Bumblefoot”, Joe Satriani, Steve Vai

Band: Glauber Oliveira
Single Title: LORE – 6:14
Release Date: August 29, 2025
Label: Self-Release
Distribution: CD BABY

Glauberoliveira.net | Facebook.com/glauberoliveiramusic | Youtube.com/@GlauberOliveiraOfficial | Instagram.com/glauberoliveira.official

Single – Digital Pre-Save – https://found.ee/GlauberOliveiraLORE

GLAUBER OLIVEIRA was elected a couple time by the readers of ROADIE CREW MAGAZINE as one of the best guitarists in Brazil.

In 2022, the album “Inter Mundos” by CARAVELLUS was voted by the fans of ROADIE CREW MAGAZINE as the Best heavy metal album in Brazil.

Guitarist GLAUBER OLIVEIRA is the main highlight… at times he reminds us of the “master of licks”, John Petrucci (Dream Theater) (ROCK BRIGADE MAGAZINE)

“GLAUBER OLIVEIRA is one of the greatest guitarists in Brazil.” (METAL MANTRA PODCAST)

Band: Glauber Oliveira
Single Title: LORE – 6:14
Release Date: August 29, 2025
Label: Self-Release
Distribution: CD BABY

Single Recording Credits:
• All songs performed by: GLAUBER OLIVEIRA
• All songs written by: GLAUBER OLIVEIRA
• Produced by: GLAUBER OLIVEIRA
• Mixed by: GLAUBER OLIVEIRA
• Mastered by: JACOB HANSEN
• Album Artwork by: GLAUBER OLIVEIRA
GLAUBER OLIVEIRA – GUITARIST

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

About The Single Artwork:

The cover of “LORE” is a raven, a creature of wisdom and mystery, that emerges from the twilight of a blazing sun or a blood moon, its red eyes glowing with ancient knowledge. The clouds surrounding it seem to be made of incense smoke, blending with the bird’s feathers in tones of earth and fire. It’s an image that evokes the union of the old and the new, of wild nature with human introspection, of the heaviness of heavy metal with the delicacy of a melody.About the track:

LORE is a song with beautiful melodies and a lot of feeling, combined with technique. A song that unites the ancestry of a rhythm from the Brazilian northeast, Maracatu, with the heaviness of heavy metal. A song that brings rhythmic and melodic complexity in a balanced way.

Glauber Oliveira – Photo Credit – Carol Oliveira

Glauber Oliveira is a renowned Brazilian guitarist, producer, composer, and arranger. With an innovative approach, Glauber Oliveira forges a unique sound by fusing the power of Rock/Metal with the melodic richness of Brazilian Music and the harmonic complexity of Fusion. Glauber Oliveira has been a significant force in the music scene, composing, recording, arranging, and producing notable works for the bands Caravellus and Dark Avenger. His striking musical identity and distinctive sonic personality establish him as an artist who creates soundscapes that defy labels and captivate with their originality.

Endorsements: Glauber Oliveira uses “Peruzzo Guitars”

Discography (Bands):
2022 – CARAVELLUS, Inter Mundos – Album
2017 – DARK AVENGER, The Beloved Bones – Album
2010 – CARAVELLUS, Knowledge Machine – Album
2007 – CARAVELLUS, Lighthouse and Shed – Debut album
2004 – CARAVELLUS, Across The Oceans – Demo

Shared Stage with: PAIN OF SALVATION, VADER, ANGRA, SEPULTURA, SHAMAN, BELPHEGOR, KRISIUN

Tours and Festivals:
2015 – CAPITAL MOTOWEEK – Brasília, BRAZIL (15.000)
2015 – PORÃO DO ROCK – Brasília, BRAZIL (20.000)
2008 – FIG – Garanhuns, BRAZIL (60.000)

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