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Category: EPKs

0 EPK – Buried Realm – Self-Titled (2022)

  • February 28, 2022
  • by Asher
  • · Buried Realm · EPKs
EPK – Buried Realm – Self-Titled (2022)

 

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

 

For fans of Scar Symmetry, Children of Bodom, Nevermore

 

Album Title: Self-Titled
Release Date: June 3, 2022
Label: Self-Release

 

“I am very pleased to present and share this new record with everyone. I’m honored to be joined by some killer musicians who’ve influenced my writing and playing over the years. Their contributions have truly helped bring the album to the next level. The general lyrical theme on this album is a paranormal and psychological twist… mind tricks if you will. I think its overall atmosphere is more energetic and aggressive compared to my previous two full-lengths.” – Joshua Dummer

 

BuriedRealm.com | Facebook.com/BuriedRealm | Instagram.com/BuriedRealm | Twitter.com/BuriedRealm | YouTube

 

Buriedrealm.bandcamp.com | iTunes | Amazon | Spotify

“Like its predecessor, this one’s an absolute ripper on the more technical / heavy side of the melodic death metal coin.” – Metal Sucks (Embodiment of the Divine Review)

“Creative, melodic and really charming, “Embodiment of the Divine” is an amazing experience. 10/10” – Metal Temple

“Well done melodic death metal that hits all the right marks.” – Dead Rhetoric

“The fast-punching grooves in the song  (The Wonder and Terror of Fortune) are a match for the ecstatic energy of everything else. One listen, and you can tell why this track was chosen as the album closer — it sends the listener out on an enormous high.” – No Clean Singing

“Buried Realm play an eager, galloping sort of melodeath, with lots of speedy leads, upbeat riffs, synthesizers, and solos everywhere. It’s almost as if Blind Guardian enthusiasm and subject matter met up with Scar Symmetry’s love of ambience and melodic-yet-death-y riffs… I commend Buried Realm for their songwriting, performances, and ambition.” – Angry Metal Guy

“Given that The Ichor Carcinoma has so many guests, it stands to reason that it has a diverse sound, ranging from hyper-speed solos, breakdowns, a mixture of screams and clean singing and more, but at the end of the day, it can be classified as an impressive melodic death metal debut.” – Decibel Magazine (Review – The Ichor Carcinoma 2017)

“Buried Realm sound a whole lot like what you’d expect given the bands whose guest musicians Dummer tapped for the project: aggressive, catchy, Sweden-inspired melodic death metal. If you like all the bands name-checked above, you’re sure to like this one. It’s incredibly well-done and expertly crafted.” – MetalSucks (Review – The Ichor Carcinoma 2017)

“On this album he proves himself to be some kind of instrumental wizard, and a vocal chameleon as well. But he has also surrounded himself with an array of guests that shines like a metal constellation in the night sky.” – No Clean Singing (Review – The Ichor Carcinoma 2017)

“From the very beginning of this track (Apeiron II: Global Dreamer), the riffing is here to cut your limbs ready to cook a nice melodic stew. Are you with me? Shades of Scar Symmetry, At the Gates, Hypocrisy, early Nightrage, late Soilwork and a fine slice of that machine gun style technical death metal drumming are found here. A delicious plate that I know will please a good bunch of my fellow seekers of melodic metal.” – Toilet  Ov Hell (Review – The Ichor Carcinoma 2017)

(Photo of Josh Dummer)

A true visionary is a rare thing, but such a man is Josh Dummer exemplified in his solo studio project Buried Realm. Influenced by personal experience and executed through metaphors, the progressive and heavy metal leaves room for interpretation and paints an interesting picture for listeners.  

Inspired by Opeth, Kreator, Old Man’s Child, Symphony X (and tons of old Hair Metal!), Dummer is a man who is not afraid to gaze into the abyss for music and lyrical inspiration. He describes Buried Realm’s music as ‘fierce, cutting, technical, melodic, and memorable.’ 

Following up on his long-time idea of releasing a solo album, he seized the chance with his first offering “Ichor Carcinoma”. Released in 2017 it features guests such as Christopher Amott (Arch Enemy, Armageddon), Peter Wichers (Soilwork), Teemu Mäntysaari (Wintersun) and Travis Montgomery (Threat Signal, Jeff Loomis band).

In 2020, Dummer released is the follow-up sophomore “Embodiment of the Divine” and while it was parallel to the first, both musically and lyrically, it took a  step in a sojourn journey. It featured many guests such as Andy Gillion (Mors Principium Est), Benjamin Ellis (Scar Symmetry), Bob Katsionis (ex-Firewind), Dean Arnold (Primalfrost, Operus, ex-Vital Remains), Lee McKinney (Born of Osiris), Peter Wichers (ex-Soilwork), Rafael Trujillo (ex-Obscura), and Ryan Strain (Chaos For The Masses.

The next chapter in Dummer’s journey is the release of his third self-titled Buried Realm studio album on June 3, 2022. Once again, Dummer has invited many guests on this record with Bob Katsionis (Witch Bones), Christian Münzner (Poison Palace), Christofer Malmström (Elder Gods), Christopher Amott (The Iron Flame/ Quicksand Memory), Dan Swanö (Where the Armless Phantoms Glide) and Dean Arnold (Spectral Light, Primalfrost). The lyrical theme on this full length is about paranormal and psychological twists… mind tricks.

Discography:
2022 – Buried Realm
2020 – Embodiment of the Divine
2017 – The Ichor Carcinoma

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

The album as a whole (LYRICALLY & MUSICALLY) explained by Josh Dummer.

I think the overall atmosphere of this album is more energetic and aggressive compared to the previous ones. The general lyrical theme is a paranormal and psychological twist… mind tricks, if you will.

Track by track (LYRICALLY & MUSICALLY)

Spectral Light – One of the faster songs on the album. “Spectral Light“ carries fun, intertwining leads/ melodies and non-stop, in your face vocals. The lyrics are mostly inspired by disturbing horror stories of possession and exploring the dark side of one’s mind…

Poison Palace – “Poison Palace” is the most abrasive and intense Buried Realm song. Lyrically, it is about people becoming chemically dependent, believing there is no other cure for their ailments. Ultimately, driving people to the point of mind-warping insanity.

The Iron Flame – The loss of family and friends.

Witch Bones – A tale of temptation and resurrecting evil. Playing with fire, even though you know the outcome won’t be pleasant.

Where the Armless Phantoms Glide – A continuation to the “paranormal/ supernatural” theme. Putting together the back and forth vocal arrangement between Dan Swanö (growls) and I (screams) was a blast.

Elder Gods – “Elder Gods” was the first song written for the album. Upbeat, melodic, groovy. The lyrics are about creating your own “protective” god to justify terrible habits, but you’ve only created something more sinister.

Quicksand Memory – “Quicksand Memory” encompasses the overall vibe of the album, musically. The lyrics were written about forms of dementia, time/ memory loss – not understanding where you are, or who you are at times. The thought of sudden absence is terrifying.

[Download Album Cover | Download Album Lyrics]

Album Title: Self-Titled
Release Date: June 3, 2022
Label: Self-Release

Track Listing:
1. Entrance (2:00)
2. Spectral Light (5:00)
3. Poison Palace (5:11)
4. The Iron Flame (4:46)
5. Witch Bones (3:43)
6. Where the Armless Phantoms Glide (4:01)
7. Elder Gods (4:17)
8. Quicksand Memory (5:37)
9. He’s Back (The Man Behind the Mask) (Alice Cooper cover) (3:53)
Album Length: 38:23

Album Recording Credits:
– All songs performed by: Josh Dummer
– All songs written by: Josh Dummer
– Produced by: Josh Dummer
– Mixed by: Ronnie Björnström
– Mastered by: Ronnie Björnström
– Album Artwork by: Pär Olofsson

Album Band Line Up:
– Josh Dummer – All instruments and vocals
– Heikki Saari – Drums
Guest Performances:
– Bob Katsionis (Witch Bones)
– Christian Münzner (Poison Palace)
– Christofer Malmström (Elder Gods)
– Christopher Amott (The Iron Flame/ Quicksand Memory)
– Dan Swanö (Where the Armless Phantoms Glide)
– Dean Arnold (Spectral Light, Primalfrost)

0 EPK – Falamh – Aeons Effigy (2022)

  • February 16, 2022
  • by Asher
  • · EPKs · Falamh

EPK – Falamh – Aeons Effigy (2022)

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

“The concept for this EP is about the journey and discovery of oneself and the transformation effects that occur. Whether being steadfast or yielding, change is always inevitable and it’s how someone reacts that can determine the perspective and outcome. The lyrics reflect this by telling tales of different characters and how their reaction affects them.” – Kyle Tayler (Guitars, Vocals) – Falamh

For fans of Dissection, Enslaved, Taake, Kampfar, Agalloch

EP Title: Aeons Effigy
Release Date: March 25, 2022
Label: Self Release

Facebook.com/Falamhband | Instagram.com/falamh.official | YouTube | Falamh.bandcamp.com

L – R – Dave Strba (Guitar, Backing Vocals) – Kyle Tayler (Guitars, Vocals) – Kye Bell (Bass)

Falamh, from North Bay, ON, Canada rose from the ashes of a previous band in 2019. Guitarist/vocalist Kyle Tayler had originally written material for that band, but after the dissolution, sought other creative outlets for them. Enlisting members from the previous band, Falamh was born and they got to work refining their melodic black/death metal.

Ultimately working collaboratively, Tayler guides the initial creation of song structures, riffs, drums patterns, and lyrics which are distilled by David Strba (guitars, backing vocals) and Kye Bell (bass). The three of them have considerable experience playing live and for them, the current focus is to present something more memorable with a stage presence that adds to the overall atmosphere of the music.

Falamh released their first EP “The Unbound Beyond: I” in 2020 and will follow it up with “Aeons Effigy” due out on March 25, 2022.

The EP as a whole explained by the band:

Melodic black/death metal with various genre influences. The concept for this EP is about the journey and discovery of oneself and the transformation effects that occur. Whether being steadfast or yielding, change is always inevitable and it’s how someone reacts that can determine the perspective and outcome. The lyrics reflect this by telling tales of different characters and how their reaction affects them.

Track by Track explained by the band:

1. Winds of Silence – Musically we tried to keep it up-tempo with lots of grooves to headbang along with. L Lyrically, it’s about perseverance and being resolute to any obstacles before you.

2. Blackened Waves – A bit more mid-tempo with some highs and lows to keep it dynamic. Lyrics, it’s about being lost in a storm at sea and having a near-death experience.

3. Benighted Weald – Starts off with some acoustic guitars to help tell the tale of someone cursed by the forest and no longer destined for this world.  

4. Aethereal Forger – Comes in slow but quickly heats up, keeping the moment throughout. Lyrics, it’s about the world being covered in fire in a Ragnarok type event and no one being able to stop it.

[Download EP Cover | Download EP Lyrics]

EP Title: Aeons Effigy
Release Date: March 25, 2022
Label: Self Release

Track Listing:
1. Winds of Silence (6:46)
2. Blackened Waves (6:52)
3. Benighted Weald (5:03)
4. Aethereal Forger (4:33)
EP Length: 23:14

EP Recording Credits:
• All songs performed by: Falamh
• All songs written by: Falamh
• Produced by: Dave Strba and Kyle Tayler at Chainsaw Media
• Mixed by: Dave Strba at Chainsaw Media
• Mastered by: Dave Strba at Chainsaw Media
• Album Artwork by: Kyle Tayler
• Canadian Content (MAPL)

EP Recording Band Line Up:
Kyle Tayler – Guitars, Vocals
David Strba – Guitars, Vocals (Backing)
Kye Bell – Bass
Tyler Chartrand – Drums (Session)

Discography:
2022 – Aeons Effigy – EP
2020 – The Unbound Beyond: I – EP

0 EPK – Turbo Lovers – Lettin’ It Fly! (2022)

  • February 15, 2022
  • by Asher
  • · EPKs · Turbo Lovers

EPK – Turbo Lovers – Lettin’ It Fly! (2022)

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

“We play the kind of music that we want to listen to and see live. It’s why this band started and why it’s still going after all these years. “Lettin’ It Fly!” is the next phase of our love affair with rock ‘n’ roll. We need to write and perform rock ‘n’ roll in the same way people need to eat and sleep. It’s something we have to do and will always do. We’re extremely proud of the work that we put into this album, and we feel we’ve stepped up our game in terms of songwriting and our recorded performance. We’re excited to incorporate these songs into our live show and for a wider audience to hear what we feel is our strongest record to date.” – B.J. Lisko – Guitar/Vocals – Turbo Lovers

For fans AC/DC, Kiss, Danko Jones, Backyard Babies

Album / Single Title: Lettin’ It Fly!
Release Date: February 4, 2022
Label: Self-Release
Distribution: Self-Release

Facebook.com/theturbolovers | Twitter.com/turboloversrock | YouTube | Instagram.com/turboloversyo

Turbolovers.bandcamp.com | Apple Music | Spotify

“These never-say-die soldiers are the sole sleazers in their luckless mid-US town, yet they make a genre-hopping trucker metal juggernaut that easily straddles The Supersuckers and Y&T in the same goddamn song. – Classic Rock Magazine

“The pride of Youngstown, Ohio. Their headbanging take on AC/DC, shit-kicker country and 80s metal is low-brow and rabble rousing. – Classic Rock Magazine

“Aging rock ‘n’ roll lifers from the guts of Ohio use their arena rock illusions to create an impressively overblown collection of balls-out chug, sort of like Guns N’ Roses with male pattern baldness, bills to pay, and a flabby with that won’t stop bitchin’ at them. Desperation rock lives. Here’s the proof. – Classic Rock Magazine

“Turbo Lovers are, officially, from the worst town in America: Youngstown, Ohio, known far and wide for its off-the-charts unemployment and high school dropout rates, to say nothing of the subsequent crime sprees such circumstances foster. Naturally, they sound like a trailer park Judas Priest robbing a gas station.” – Classic Rock Magazine

“Youngstown’s Turbo Lovers shake rock ‘n’ roll to its very foundation and deliver it in its most basic and timeless form. – Cleveland Free Times

“Fun rock that is light-hearted and unpretentious. Oozing bravado, you can’t help but enjoy the music from this extremely likeable trio.”– Powerplay Magazine

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

STORY ANGLES / FUN FACTS:
1. B.J. Lisko is a journalist of 20 years generally focusing on music, professional wrestling, stand-up comedy and other entertainment. He also writes for wrestling star and Fozzy frontman Chris Jericho’s wrestling and rock news site, WebIsJericho.com. In his career, he’s interviewed literally thousands of notable entertainers including Gene Simmons, Bill Maher, Chris Tucker, Mike Tyson, Chris Jericho, Cody Rhodes, Kevin Owens, Lisa Lampanelli, Jim Norton, Doug Stanhope, Eddie Money, Belinda Carlisle, Phil Collen, LeAnn Rimes, Henry Rollins, Alan Thicke, Bruce Campbell, Lewis Black, Weird Al Yankovic, Tom Hamilton, Andrew Dice Clay, Lou Gramm, Norm Macdonald, Bob Saget, Louie Anderson and Jake “The Snake” Roberts to name a few.

2. Turbo Lovers are named after the Judas Priest song and sometimes get confused as a Judas Priest tribute band, especially when we play with tribute acts. The venue where this was most confusing to people was when we used to play at the bar owned by former Judas Priest singer, Tim “Ripper” Owens. So in certain situations, we have to really tag ourselves as “original rock” on posters and in social media posts, but they’re still is the occasional confusion.

3. Turbo Lovers was sort of a tongue-in-cheek name, to begin with. That’s a polarizing Judas Priest album to a lot of people, but we love it. The reason the name stuck was the band’s debut record unknowingly at the time received a good review in Classic Rock Magazine. So we sort of got stuck with it, but it’s always been a talking point, and a lot of time because that song and album is so polarizing with a lot of metal fans, it makes our name stand out and easier to remember.

4. At one show at the Agora in Cleveland, a crackhead wandered in, as they sometimes do, and stole a giant armful of our T-shirts. A week or so later, there was a news story about heroin deaths in Cleveland and the footage shot was of some random, sketchy folks walking down the street with their faces blurred. What wasn’t blurred was the matching Turbo Lovers shirts they were wearing. So, even though we lost about $100 in merch, I suppose we can chalk that up as an advertising expense. Not real sure what target audience that hits, but they say all press is good press, so what can ya do?

5. We kind of pride ourselves on being able to play with a giant variety of bands. In one particular 2-week stretch, we opened for 80s rock legends Loverboy at the Canton Palace, then we played with masked surf rock madmen, Daikaiju at a hole-in-the-wall dive, then we opened for an AC/DC tribute band at the bar owned by former Judas Priest singer, Tim “Ripper” Owens. And we went over great at all three shows!

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

Album / Single Title: Lettin’ It Fly!
Release Date: February 4, 2022
Label: Self-Release
Distribution: Self-Release

Track Listing:
1. Should’ve Known Better (4:26)
2. Reasons That We Rhyme (3:19)
3. Too Cocky (4:27)
4. Lettin’ It Fly (3:45)
5. Gave Me A Sign (3:50)
6. Almost Great (3:22)
7. Finally Home (3:22)
8. Under Pressure (3:46)
9. Rockers Extraordinaire (4:23)
Album Length: 34:42

Album Recording Credits:
• All songs performed by: Turbo Lovers
• All songs written by: Turbo Lovers
• Produced by: Dave Piatek
• Mixed by: Dave Piatek and Keith Dougherty
• Mastered by: Dave Piatek
• Album Artwork by: B.J. Lisko
• Member of ASCAP

Album and Live Band Line Up:
B.J. Lisko – Guitar/Vocals
Keith Dougherty – Bass/Backing vocals
Christian DeSantis – Drums

The album as a whole explained by the band:

Well, they’re complicated songs about complicated things. That’s obviously a joke. It’s 35 minutes of rocking, drinking, gambling, sex, and more rocking. We used to describe our live set as “35 minutes of ‘Whole Lotta Rosie,’ give or take. That’s still fairly accurate and is pretty apropos for “Lettin’ It Fly!”

Track by Track explained by the band:

1. Should’ve Known Better – A super anthemic, up-tempo and catchy tune. Lyrically, a lot of people will probably think that it references being in a bad relationship, and the lyrics could certainly read that way. It’s actually a really hooky tune about getting hooked on drugs, something that happened to me (and that’s happened to about a billion other people), after a bad car accident and more than a year’s worth of ultra-cheap painkiller prescriptions. It was pretty awesome until the drugs ran out. Then it was a total pain in the ass being hooked on something you once needed, but now we’re also physically dependent on.

2. Reasons That We Rhyme – If there’s a paint-by-numbers Turbo Lovers track, this is probably it. An AC/DC-influenced rocker that’s lyrically about falling for the wrong person, realizing it, then trying to break away. AC/DC is the band that inspired me to pick up a guitar in the first place, so naturally, a lot of what we do is rooted in their style.

3. Too Cocky – “Too Cocky” was a song I’m not sure we expected to come out as good as it did. It’s nice when you hear the final mix in the studio and it exceeds expectations. It’s an AC/DC-style tune with more cowbell that’s about people frowning upon bands that put on a bombastic stage show. People sometimes mistake confidence for arrogance. This song is about rock stars being rock stars and putting on a show. The video we shot for this reflects this attitude. It’s a slight nod to the “Bohemian Rhapsody” scene in Wayne’s World, and the whole goal was to make a ridiculous and fun video.

4. Lettin’ It Fly – The first song written for this album quickly stood out as the title track. It’s a Judas Priest/Turbonegro-inspired jam with lyrics that are about as subtle as a brick shithouse. It’s about getting down and dirty and quite literally letting it fly. A filthy song about filthy sex.

5. Gave Me A Sign – If there’s a track on the album that maybe leans a little more towards a modern rock sound, this is it. A hard-rocking song with a big catchy chorus, lyrically it’s about finding someone that makes you feel great about yourself.

6. Almost Great – The previous engineer we worked with used to have a nice way of saying when a recording take sucked. He’d say, “Well, it was almost great.” That sort of describes Turbo Lovers in the sense that we feel like we missed the rock scene that we love by a few decades. So, we love rocking in 2022, but we’d love for this band to be existing in 1987. So we started saying, “Well, it was almost great,” to describe shows where the crowd was weird or when we’ve almost gotten a big break with certain support dates. It’s a bit of an inside joke, but it kind of applies to the rock scene in general nowadays. A lot of the time it’s almost great. Musically, this one is inspired by classic AC/DC.

7. Finally Home – Finally home is directly inspired by UK rock band Massive Wagons, who are one of the best newer rock bands out there. It’s got a bit more of a punk rock feel, and lyrically it’s about getting back on stage after not being able to do so during the height of the pandemic. The idea was to write a big anthem for rocking out live again without any cares. Hopefully everyone can get back to that in 2022.

8. Under Pressure – A super catchy song about nearly having a mental breakdown, “Under Pressure,” was inspired by Rick Springfield and AC/DC. It’s really a simple tune but another with a big gang vocal chorus tailor-made for a singalong. We can’t wait to play this one live.

9. Rockers Extraordinaire – A rock song about rocking. This one has a bit of a Social Distortion-meets-Supersuckers feel, and lyrically it’s about a lifelong love affair with rock ‘n’ roll.

L-R: Keith Dougherty (Bass/Backing Vocals) | B.J. Lisko (Guitar/Vocals) | Christian DeSantis (Drums)
Photo credit – Gary Leininger

Turbo Lovers is a rock ’n’ roll power trio from Youngstown, Ohio that’s equal parts bravado, swagger and fun. Often chastised for taking their name from what some consider the worst Judas Priest album in history, the band’s sound is more akin to AC/DC, The Wildhearts, and Kiss than the New Wave of British Heavy Metal Gods. But yeah, there’s a little Priest in ‘em, too.

“Lettin’ It Fly” is the band’s new 9-track album, and it’s straight-up, infectious, and unpretentious rock.

“We’re sort of like AC/DC and Danko Jones in that with each album we’ll have a few surprises here and there, but it’s reliable working-class rock ’n’ roll,” said guitarist/singer B.J. Lisko. “It’s all about hooks and solid songs, and we feel like we’ve got plenty of those on the new album.”

The band’s steady stream of support shows opening for the likes of Warrant, Kix, Loverboy, Sebastian Bach, Slaughter, Reverend Horton Heat, Blaze Bayley, and Stephen Pearcy, among others, has netted it a solid fan base, and the racket made by three Ohio rock lifers has turned quite a few heads, as well.

The band originally started as a recording project for Lisko before morphing into somewhat of a revolving door of drummers and bass players. Bassist Keith Dougherty and drummer Christian DeSantis joined the band in late 2011, and have been in tow ever since.

“Turbo Lovers didn’t really become Turbo Lovers, officially, until these guys joined,” Lisko said. “It’s a cohesive unit now, and I couldn’t imagine doing this with anybody else.”

Discography:
2018 – Almost Greatest Hits – EP/compilation
2015 – Over The Hump – LP
2013 – Hopelessly Addicted – LP
2013 – Classic Rock Magazine sampler issue No. 191
2011 – A Hot Minute – EP
2010 – Classic Rock Magazine sampler issue No. 150
2009 – Roll Your Vice – LP (Cracked Piston Recordings)
2008 – Outstanding – LP (Cracked Piston Recordings)
2006 – Cock of the Walk – LP (Cracked Piston Recordings)
2005 – Glamnation Vol. 2 compilation (272 Records)
2004 – No Longer Attractive – LP (Cracked Piston Recordings)
2003 – Snake Oil Supercharm, a tribute to Zodiac Mindwarp & the Love Reaction compilation (Sleazegrinder Records)

Shared Stage with:
Loverboy, Kix, Sebastian Bach, Warrant, Jackyl, Slaughter, Stephen Pearcy, Sponge, Reverend Horton Heat, Blaze Bayley, Puddle of Mudd, Tantric, Fozy Shazam, Electric Frankenstein, The Hookers

Tours and Festivals:
2019 – Ribs-N-Rock Festival, Boardman, Ohio
2019 – It’s Only Rock Fest, Youngstown, Ohio
2018 – It’s Only Rock Fest, Youngstown, Ohio
2017 – It’s Only Rock Fest, Youngstown, Ohio
2009-2015 – Pabstolutely, Youngstown, Ohio

 

0 EPK – Crown of Madness – The Void (EP) (2022)

  • February 3, 2022
  • by Asher
  • · Crown of Madness · EPKs

EPK – Crown of Madness – The Void (EP) (2022)

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

For fans of Ulcerate, Vitriol, Gorguts, Fallujah, Black Crown Initiate

EP Title: The Void
Release Date: March 25, 2022
Label: Self-Release
Distribution: Distrokid

 Facebook.com/crownofmadnessmetal | Twitter.com/crownofmadness_ | Instagram.com/crownofmadness.metal | YouTube

Crownofmadness.bandcamp.com

“The Manipulated“, turbulence and discord reign supreme, from the booming and battering drumwork and jolting bass-lines to the head-bashing chords and the dissonant, maniacally skittering leads. The feverish, violent derangement in the anti-harmonious but technically proficient music is matched by the rabid ferocity of the growled and screamed vocals. But other unnerving sensations flow through the musical maelstrom as well. Weird, wailing tendrils of melody surface along with musing bass notes and mercurial fretwork maneuvers that seem to channel both bewilderment and a chilling otherworldliness. Eventually the hyper-speed drumming falls silent and resumes only slowly, and the dissonant notes ring and reverberate in ways that sound agonized and dismal, leading into a final sonic paroxysm of harrowing torment. As you’ll see, the words are disturbing as well.” – No Clean Singing

““The Manipulated” stands at the center of the release and acts as the spine on which the other pages turn. The incredible drumming, airy melodies, and intricate guitar work make it one of the most impressive tracks on this EP, and maybe that I have heard this year. Of course, all of these things play right into my personal sensibilities, and as a fan of this set of approaches, Crown of Madness are really nailing it.” – Everything Is Noise

“Dark, sinister and brooding, it’s meloncholia is reminiscent of works from the Nordic countries with a frostbitten quality to it as the pair of vocalists cathartically spill their inner tormented nature with a majestic quality that is strangely mythical. “False God’s Hymn” then shatters that self loathing illusion with a vitriolic violent prayer to a wrathful God to give death amid a bludgeing of heavy gauge riffs. The piano is the only light in the dark World of the blood thirsty Crown Of Madness and if they so desire long may they reign [8/10]” – Metal Noise

“The EPs best tracks are the last 2 with “Anguish” (featuring Kaija Krimson of Anarcheon), a shifty, patient, nightmarish number and closer “False God’s Hymn”, where the piano briefly shows up again to create a haunting duality with the dense discordance perfectly. Clearly, a talented duo, who are also responsible for symphonic black/death metal project Arboreal also, Crown of Madness is a tasty little EP that will hopefully translate into an equally tasty full length sometime soon.” – Teeth of The Divine

“Moments of stunning textural beauty combined with ominous layers of interweaving intricacies in such a short timespan reveal the serious talent that this duo has. The quality of songwriting is astounding for such a newly founded band. Extreme, yet silver-tongued, I should mention that Sunshine’s vocals are phenomenal, her use of growls, screams and shrieks are all well-placed and count as an entirely different instrument. Her guitar work is equally mesmerizing. Heavy, inharmonious yet somehow memorable. Connors drums even on an electric kit sounds, technical, furious, and pummelling. Frenzied fills, unorthodox double bass and blast beats add chaos and structure to the already volatile ambience. You can hear the energy and passion Crown of Madness put into this EP. They just set the bar extremely high for a future full length, and I, for one, can’t wait to hear it. 4.5/5” – Metal Epidemic

“Blackened death with some melodic death stuff going on, mostly harsh and heavy with a kick of melodic black metal coldness. cool stuff.” – The Mosh Pit 89.9 FM (Madison, WI)

“Crown of Madness deliver a beautifully haunting form of dissonant death metal that leaves you teary-eyed at certain moments before dropping a gnarly riff of mosh-inducing goodness on you right after… If you like dissonant death metal then do yourself a favor and give The Void by Crown of Madness a spin. If you also like cute couples stories then even more reason to give a listen!” – Noob Heavy

“Crown of Madness enters the world of death metal with great force and quality, showing us and transmitting its essence to us from the beginning, an EP that leaves us with great expectations and waiting for more future works. Undoubtedly a band to follow if you are a fan of death metal, their debut has exceeded expectations, which makes us imagine that their next works will be exceptional.” – Dark Metal Divas

“Technique sans être trop étouffant, mélodique sans en faire des caisses, brutal et glacial, on obtient là un remarquable premier effort pour ce tout jeune duo venu du froid.” – Eklektik-Rock

L-R – Connor Gordon – Drums,  Sunshine Schneider – Vocals / Guitars
Photographer Credit – Savannah Adeline

About:
On a mission to bring beauty into dissonance, the wife and husband duo of vocalist/guitarist Sunshine Schneider and drummer Connor Gordon formed Crown of Madness over the Covid pandemic to write their first EP “The Void”.

Having met through World of Warcraft, having a lifelong love for heavy metal. movies and fantasy games as well as citing interests in games such as Dark Souls and Bloodbourne, their music has been greatly influenced by the dark and fantastical.

“We put a ton of energy and passion into producing this EP by ourselves, making this release an incredible feat for us as producer / musicians and as a couple. It’s amazing to look back on ourselves as teenagers who shared a love for metal, and now being extremely proud of the music we created together. As cliche as this may sound, we want people to love our music as much as we do.” – Crown of Madness

All recordings for The Void were tracked in Sunshine Schneider (Vocals / Guitars) and Connor Gordon (Drums) apartment, utilizing an electric Roland drum kit and a Kemper Profiler. Track four of the EP (Anguish) is about a dream Sunshine had and the featured vocalist, Kaija Krimson (Anarcheon), was in the dream.

“The Void”, due out March 25, 2022 is devastating and atmospheric and recommended for fans of SoulsBourne games and bands such as Ulcerate, Vitriol, and Gorguts.

EP Line Up:
Sunshine Schneider – Vocals / Guitars
Connor Gordon – Drums
Claine Lamb – Guest Piano
Kaija Krimson – Guest Vocals

Live Band Line Up:
Sunshine Schneider – Vocals / Guitars
Connor Gordon – Drums
Sylvain Maltais – Bass

BAND STORY ANGLES / FUN FACTS:

1.  Crown of Madness members met each other on World of Warcraft back in 2008. As young teenagers,  Sunshine Schneider (Vocals / Guitars) and Connor Gordon (Drums) shared a love for heavy metal and fantasy games, which is strongly reflected in their music. The duo later got married in 2015 and started writing in a more serious manner starting in 2019.

2. All recordings for The Void were tracked in  Sunshine Schneider (Vocals / Guitars) and Connor Gordon (Drums) apartment, utilizing an electric Roland drum kit and a Kemper Profiler.

3. Track four of the EP (Anguish) is about a dream Sunshine had and the featured vocalist, Kaija Krimson (Anarcheon), was in the dream.

[Download EP Cover | Download EP Lyrics]

EP Title: The Void
Release Date: March 25, 2022
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Pale (feat. Claine Lamb) (2:03)
2. Eternal Feeding (2:38)
3. The Manipulated – (4:14)
4. Anguish (feat. Kaija Krimson) (4:31)
5. False God’s Hymn (feat. guest piano Claine Lamb) (4:47)
Total Length: 18:13

EP Recording Credits:
• All songs performed by: Sunshine Schneider, Connor Gordon
• All songs written by: Sunshine Schneider, Connor Gordon
• Produced by: Sunshine Schneider, Connor Gordon
• Mixed by: Connor Gordon
• Mastered by: Stu McKillop
• Album Artwork by: Jois Cabe
• Member of SOCAN
• Canadian Content (MAPL)

EP Line Up:
Sunshine Schneider – Vocals / Guitars
Connor Gordon – Drums
Claine Lamb – Guest Piano
Kaija Krimson – Guest Vocals

0 EPK – Yawn – Materialism (2022) (Mindsweeper Records)

  • February 3, 2022
  • by Asher
  • · EPKs · Yawn (Mindsweeper Records)

EPK – Yawn – Materialism (2022)

For fans of Meshuggah, Car Bomb, Vildhjarta, Gojira, Tool

“«Materialism» reflects the band’s vision of bringing improvisation-based music to the fore in the context of modern concert production. The album features beautiful improvised soundscapes combined with aesthetics drawn from hard-hitting modern progressive metal bands. Yawn’s debut album takes you on a 37-minute musical journey, giving you the best representation of the band’s aesthetic and musical visions.” – Yawn

Album: Materialism
Release Date: February 18, 2022
Label: Mindsweeper Records
Distribution: Distrokid

Yawn.no | Instagram.com/yawnofficial | Facebook.com/yawnbandofficial | YouTube

Yawnofficial.bandcamp.com | Spotify | Apple Music

 

“Yawn, anything but a bore” – Heavymetal.no

“Right out of the gates Yawn makes an amazing impression” – The Progressive Subway

“2022 is just starting and some incredible stuff has been released already. For example, “Materialism” – the debut album of the Norwegian experimental band YAWN. Don’t get fooled by the name, their music is anything but yawn-worthy…. “Materialism” kept me on my toes from start to finish. I always admire interesting and avant-garde, but well-balanced approaches to metal like this. This album is another reminder how heavy music doesn’t have to be just blast-beats and growls to make your stomach turn. 9/10” – The Prog Space

“these newcomers, who deliver their first album here, have created a universe of their own… Yawn brilliantly takes up the challenge of playing complex and avant-garde music while remaining affordable for the greatest number. The striking themes, the effectiveness of the riffs and a clever mix of alternating atmospheres have a lot to do with it. The brevity of the disc (37 minutes) also contributes to the fact that it is quickly apprehended. Norway definitely does not stop supplying us with remarkable talents and we are impatiently awaiting the next creations of these five inspired musicians.” – Chromatique

“That Materialism is self-produced — McCormick, Lysne and Rydh are credited as recording, while Tom “Iggy” Ignatus mastered — only underscores the self-determination on the part of Yawn, who’ve apparently spent the last several years putting these pieces together. Their time has not been misspent. Materialism is ambitious as noted, but refuses to leave any of its ambitions unmet, and the surety of what Yawn bring to bear throughout is luminescent, sometimes to a strobing degree. May they continue the exploration of their own wavelength that they’re beginning here.” – The Obelisk

“this is one of the greatest albums I have ever heard… if you want a listening experience that is as expansive as it is inventive, as visceral as it is technical and as savage as it is drop-dead gorgeous, then by fuck do we have the band for you. 10/10” – Ever Metal

“It’s really inspiring to see a band come up with such a unique approach to music and fuse such different elements and sounds. We’re intrigued by the unique concept that Yawn have come up with and excited to hear what’s coming our way on their debut album. We’re pretty certain you’re in for a treat” – Gig Radar

“It’s a demanding album, bulkier, heavier, more difficult than plywood, but equally interesting.” – Stormbringer

“Debut album of this group that brings very experimental music. The tonality is modern – you can even risk that it is djenty – but in its essence it is an exercise between jazz fusion with progressive.” – World of Metal

L-R – Mike McCormick – Guitar/Electronics, Simen Wie – Bass, Tarjei Kjerland Lienig – Synthesizer, Torfinn Lysne – Guitar, Oskar Johnsen Rydh – Drums
(Photographer Credit: Emil Vestre)

As 2022 begins, Yawn stands at the ready with their first full length release: “Materialism.” The album reflects the band’s vision of bringing improvisation-based music to the fore in the context of modern concert production. The album features beautiful improvised soundscapes combined with aesthetics drawn from modern progressive metal bands like Meshuggah, Car Bomb, and Vildhjarta. Yawn’s live performances have been described as a magical experience where improvised, open, and formless soundscapes seamlessly transform into and away from machine-precise rhythms, all without warning from the performers on stage.

Since the band’s debut in 2020, Yawn has released their first single “Cement,” toured across southern Norway, and played for 15000 housebound viewers during a streaming concert from Chateau Neuf in Oslo shortly after the COVID-19 pandemic reached Norway.

After the release of Materialism on February 18th, 2022, the band will embark on a European release tour from February 25th to March 9th.

Discography:
2020: Cement – Single
2022: Materialism – Album

Shared Stage with:
Navian, Next Life, Musth.

Tours and Festivals:
2020 – Serendip festival (Oslo)
2020 – Brakkesyke (Digital festival during covid. Audience: 15 000)
2020 – Yawn cement (single), release-tour (Norway)
2020 – Jazzfest Digel (Oslo)
2022 – Materialism – release tour (EU/UK, two weeks)

Band Storys / Fun Facts:

1.  During a concert, performing “Lachrymator II: Lignite” our bass player Simen broke not only one, but two of his bass strings during the intro. He pulled off the rest of the show using the two remaining strings, and he played great! After the show, people have referenced this part of the show as some sort of “performance art” -thing, and people have asked us if he broke the strings intentionally.2. All of our recordings are DIY (Except for mastering). Every sound on this record is recorded by ourselves in our own studio, the production is a collaboration between Oskar, Torfinn and Mike and the mix is done entirely by our drummer Oskar.

3. Back in 2019 forming the band, we planned on having a saxophone player in the band.

4. One time playing a show in the southern part of Norway (Kristiansand), Tarjei walked off stage during his and Mike’s impro-duet, leaving the musical landscape to be filled by Mike alone without telling him in advance.

5. Only two minutes and one second of this record contains written-down chord changes.

Album: Materialism
Release Date: February 18, 2022
Label: Mindsweeper Records
Distribution: Distrokid
Track Listing:
1. Cement III : Gobsmack (2:35)
2. Cement III : Fall Out (1:50)
3. Cement III : Restart, Reload, Rebuild (3:35)
4. Chaos I : Artificial Superstition (2:34)
5. Chaos I : Greed (1:51)
6. Chaos I : ISM (3:21)
7. Chaos I : Untelligence (1:26)
8. Chaos I : Order (0:40)
9. Lachrymator II : Lignite (2:28)
10. Lachrymator II : Erebus & Terror (2:33)
11. Lachrymator II : Tripwire (2:36)
12. Lachrymator II : Unstoppable force (1:57)
13. Tokamak IV : Immovable Object (2:45)
14. Tokamak IV : Critical Mass (1:21)
15. Tokamak IV : Fluorescence & Entropy (3:48)
16. Tokamak IV : Confluence (2:03)
Album Length: 37:31

 

Album / Single Recording Credits:
• All songs performed by: Yawn
• All songs written by: Yawn
• Produced by: Torfinn Lysne, Oskar Johnsen Rydh & Mike McCormick
• Mixed by: Oskar Johnsen Rydh
• Mastered by: Tom “Iggy” Ignatius
• Album Artwork by: Arne Martin Nybo (Painting), Torfinn Lysne (Design).Album and Live Band Line Up:Torfinn Lysne – Guitar
Oskar Johnsen Rydh – Drums
Mike McCormick – Guitar/Electronics
Simen Wie – Bass
Tarjei Kjerland Lienig – Synthesizer

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

Track by Track explained by Yawn:

1. Cement III: Gobsmack
This song was clearly our strongest opener for the album. It represents the feeling of getting caught by surprise, smacked in the face out of nowhere, getting something really different than what you expected, and keep rolling with that.

2. Cement III: Fall Out
Fall out is the part where the song Cement all of a sudden takes a turn and goes into a way different musical landscape than what you would expect. This is a dramatic turn of events very early in the record, and it really gives you a taste of the contrasts this record has to offer. The song sounds like a dream where you don’t know if it’s going to end well or turn into your worst nightmare.

3. Cement III: Restart, Reload, Rebuild
You wake up from the dream. “Brace for impact”. After a minute of heavy 8-string riffing, the first guitar solo of the record is being introduced. Being performed by guitar-player Torfinn Lysne, this solo sets the course for the playful polyrhythmic phrasing heard throughout the record. With a tonal language inspired by Meshuggah’s Frederik Thordendal and a guitar sound heavily inspired by the crazy effects of Car Bomb’s Greg Kubacki, Torfinn shows you his best work as a soloist already at track number three. The track also is the ending part of the piece called “Cement”.

4. Chaos I: Artificial Superstition
Artificial Superstition is the first piece of the record based entirely on computer-generated sounds. All sounds heard in this track are created by processing tracks from other parts of the record – improvised ambiance becomes a drone, a drum fill becomes a grinding texture, and a guitar riff becomes a steampunk sound effect. The piece is composed and performed by guitarist and programmer Mike McCormick, setting a high bar for the electronic soundscapes of this record.

5. Chaos I: Greed
“Greed” is a continuing of the exciting electronic works of Mike McCormick, combined with heavy polyrhythmic riffing from Torfinn and Oskar. The opening soundscape is described by drummer Oskar like being stormed by millions creatures coming after you. The music stops, and the main riff hits you. 10 000 tons of eight-string guitars combined with Tarjei’s stacked synths performing polyrhythmic sequences and unconventional melodies, displays Yawn’s raw aggression and the search for “something different”.

6. Chaos I: ISM
“ISM” (or “capitalism”) was one of the first parts of this record that we ever recorded. The Piece is based on a collective improvisation we did in the studio during the covid-summer of 2020. ISM features Mike’s digital processing of the instruments as its own participant in the collective improvisation. The song is mostly about building tension and letting go of traditional musical roles. This last part can very much be heard in the way the guitar is playing a repetitive “groove” while the drums are going in and out of time, playing phrases almost like a melodic improviser on top of the rhythm. The tension grows, and you reach the breaking point. The ending of the track represents the feeling of going over and over, trying to figure out a way to move forward but only ending up back to the start again and again, and slowly moving towards insanity. As the aggression builds, the tension can be heard in the music.

7. Chaos I: Untelligence
The walls are collapsing. You are way past the breaking point, and from here you can just hang on and keep going in the new directions you are constantly getting thrown into. The second part takes you back to the opening riff, but the rhythm has changed. This time more like desperate breathing for air, or holding on to a moving train at full speed. The track is building and building the intensity towards the end, and the final hit marks the ending of the first half of “Materialism”.

8. Chaos I: Order
“Order” is the section dividing the pieces “Chaos” and “Lachrymator”. The track is written and performed by Mike McCormick and represents indexing of our toolbox: a quick scan revealing the refined sound design of contemporary electroacoustic music alongside the brutality of harsh noise and grindcore aesthetics.

9. Lachrymator II: Lignite
Lignite is the first section of the piece called Lachrymator. This song is best known among our fans as the part of the show where Simen goes into insane mode, smashing a drumstick onto his bass strings like it’s literally the end of the world. The first time he did this during rehearsal, it blew us all away. No distortion or overdrive effect could ever come close to the raw aggressiveness of the sound coming out of his amplifier while hitting the strings in this way. When we recorded the track, we even changed the drumstick for a screwdriver. The way that bass guitar grinds along with our two guitars in the opening is exactly the pure aggressive energy and rawness we seek in our heavy sound.

10. Lachrymator II: Erebus & Terror
“Erebus & Terror” takes the listener into a new section of open improvisation. This part is put together from live recordings of improvisations from the tour we did after the first release of Cement in the fall of 2020. Little did we know that we were actually recording our new record performing this piece of collective improvisation as a part of our live set for this tour. The piece is based on a dynamic duo-performance of Mike McCormick and Tarjei Lienig, and when this piece is being performed live the rest of the band goes off stage, leaving this communicative moment between the two musicians, performing synthesizer and live electronics.

11. Lachrymator II: Tripwire
A new direction in the soundscapes of the record. Introducing the albums second guitar solo performed by Mike, accompanied by the playful bassist Simen Wie. This section presents the band’s roots in various Jazz-traditions as well as a unique soundscape. The guitar solo weaves a melodic narrative across the irregular form, linking notes and rhythms like the rhyming couplets of a poem.

12. Lachrymator II: Unstoppable force
You wake up from a dream, and immediately being overwhelmed by stress, panic, and anxiety. The track starts off with a repetitive rhythmic pattern, building tension. The hard-hitting rhythmic playing keeps going by Torfinn, Oskar, and Simen, while the first section of Lachrymator’s melody comes back with a restored new energy in a panicked fashion, performed by Mike and Tarjei. Eventually, the tension is released, and we get the massive sound of Yawn chugging slower and slower, moving towards the end of the world in an unsymmetrical rhythmical loop, almost like its “lagging”.

13. Tokamak IV: Immovable Object
The last hit-off Lachrymator’s ending starts off the first section of the new piece called Tokamak, giving you the unique sound designs of Oskar Johnsen Rydh, combined with the lingering growl of Torfinn Lysne’s 8-string guitar. the piece starts off with a dramatic effect, building curiosity to what is to come. A clock is being introduced, but there is something off about it. It’s uneven in time, and it’s making its way into a rhythmical pattern. Slowly the piece builds, creating a soundscape reminding you of the first glimpse of the sun after a storm, leaving the question: “what comes now?”

14. Tokamak IV: Critical Mass
Critical Mass is the second part of the piece titled Tokamak. The track is mostly based on a repetitive guitar phrase going over and over, printing itself in your memory whether you want it or not. The melody was based on a simple conversation between Oskar and Torfinn: “Why do we limit our tonal language to the chromatic scale, dividing notes only down to the semitones? Why not dive into the world of quartertones?” A few guitar-tunings later, we ended up with this simple, but catchy melody going on and on in both our heads, the following week. The melody continues on throughout the piece called “Tokamak”.

15. Tokamak IV: Fluorescence & Entropy
Fluorescence & Entropy is the longest track of this record. Presenting yet another unique soundscape, this track is actually something you can dance to! Yawn’s drummer Oskar really brings the groove on this one. Being all kinds of weird in the terms of both harmony, melody, tonality and rhythm this track still possesses a catchy and playful character.  The track ends with an improvised soundscape slowly removing instrument after instrument. At the end of the track, Mike is the only one left, performing a soundscape of microtonal guitar chords in an atmospheric manner.

16. Tokamak IV: Confluence
You thought we were done? Yawn saves the most brutal for last! Tuning the eight-string guitars down to the C# and kicking in the ring-modulator, Confluence is the perfect ending to the musical journey through this record. Smashing through polyrhythmic patterns, giving you riffs tuned so low that they can cause earthquakes. We want to thank the listener for staying with us all through this record with one last bulldozer of a track.

 

 

0 EPK – Day of Departure – Self-Titled (2022)

  • February 1, 2022
  • by Asher
  • · Day of Departure · EPKs

EPK – Day of Departure – Self-Titled (2022)

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

For fans of Lacuna Coil, Tool, Hammock, God is an Astronaut, If These Trees Could Talk

Album Title: Day of Departure
Release Date: March 25, 2022
Label: Bravemusic
Distribution: Bravemusic

Bravemusic.com/day-of-departure | Facebook.com/dayofdeparturedc | YouTube | Instagram.com/day_of_departure

DayofDeparture.bandcamp.com | Spotify | Apple Music

“The album is intended to take the listener on a journey from utter destruction and despair to a place where there is a new consciousness and reality that will break this unending cycle. The music is intended to provide a wide range of dynamics and atmospheres to elicit an understanding and a vibe for where the listener is within the narrative.  The music aims to juxtapose intense sonic blasting with lush and serene atmospheres” – Day of Departure

“I found this album to be exactly how it was advertised. Several styles are reflected here, with about as many different emotions as the human being can go through. It’s very personal journey, with thoughtful ponderings around every turn. Let yourself get swept away into their world, full of dark visions and figures, but with just enough light that you will go forward and not turn back. Embrace your future, for it is the only one you have. 9/10” – Metal Temple

“Welcome to the world of Matt Kozar and Day of Departure. Buckle up, as he takes you on an eventful journey of wonder and fascination, with his expansive, ambitious new album.” – V13

“Led by guitarist Matt Kozar (Brave) and singer Michelle Schrotz, Day Of Departure is an expansive, almost cinematic experience, with songs ranging from rockers (“Pierce the Sky (Conflict)”) to ambient tracks (“The Future Has No Form”). Schrotz’s voice adds an ethereal quality to some of the songs.. Overall this is a very interesting debut, fun to listen to, and a great first step for Day Of Departure.” – Heavy Music Headquarters

“A beautiful opus” – Rock n Force

“Undoubtedly a complex album full of quality in all aspects, highly recommended.” – Dark Metal Divas

“It’s very seldom that I am speechless and Day of Departure absolutely took my breath away. The music of Day of Departure can only be described as tragically beautiful. It encapsulates a vast plane of musical influences from Italian metal icons Lacuna Coil to the lush, dark melody of Norwegian black metal legends Darkthrone. Day of Departure delivers an apocalyptic message to the world that the world we take for granted may be closer to its end than we know and that we humans may be living on borrowed time. Day of Departure presents humanity with a powerful testimony to our mortality as human beings. It is a message that not everyone can deliver or even swallow, but Day of Departure is sharing a message with us all that is more than worthy of a listen.”  – Southeast of Heaven

“In the end, it is not in the destination but, in the journey and self-discovery. Not only does this album tell a visually stunning story, it opens our minds to our own questions and discoveries, allowing us to explore what we may simply come to ignore as we stagnate our growth and opportunities to thrive. Musically complex, Days of Departure have truly created an album that not only visually stuns, but takes songwriting, and musical prowess to new, unimaginable heights.” – Metal Goddesses

“What an ingenious idea it is, to set up a group of musicians, seemingly trading as cooperative. With the unique idea of having the flexibility to morph into different bands under the dictates of alternate musicians who have developed their own separate projects. In this case, it is ‘Brave, guitarist ‘Matt Kozar who has put together a fascinating suite of atmospheric well-considered ambient progressive music.” – House of Prog

“if you just want to chill out with the fireplace and a glass of red wine in hand, then ‘Day Of Departure’ is a great soundtrack.” – Arrow Lords of Metal

“Modulating between more abrasive, noisy verses and extended, echoing guitar breaks, Day of Departure, part of the BraveMusic collective, seem to have located their sound somewhere between the intricate art rock of Tool and the straightforward energy of Lacuna Coil.” – Alchemical Records

“DC progressive metal veterans Brave have announced another project to be released under the “Bravemusic” umbrella.  The project is called Day of Departure and this marks the 2nd break-off project, the first being guitarist Scott Loose’s Stellar Death project.  Day of Departure is the brainchild of Brave guitarist Matt Kozar and the first single release, “And We Prepare For Our End” features Brave vocalist/keyboardist Michelle Schrotz along with other fellow Brave members drummer Trevor Schrotz, bassist Ben Kelly, and guitarist Scott Loose. “And We Prepare For Our End” is a departure (pun intended) from the sound of Brave which is a cool thing to hear.  While the song maintains a progressive feel to it, I also hear a song that is infused with elements of goth, tribal rhythms, and even a bit of early “Comalies” era Lacuna Coil influence.” –  Southeast of Heaven

[Download Album Cover | Download Album Lyrics]

Album Title: Day of Departure
Release Date: March 25, 2022
Label: Bravemusic
Distribution: Bravemusic

Track Listing:
1. …And We Prepare for Our End (8:00)
2. The Edge of Annihilation (6:13)
3. The Light In Our Eye Grows Dim (3:01)
4. Pierce the Sky (Conflict) (4:32)
5. Ex Machina (5:46)
6. Life Prevails (6:13)
7. The Future Has No Form (3:24)
8. Living Matter (7:34)
9. Awaken To The Beyond (5:50)
10. The Beyond (2:17)
Album Length: 52:50

Album Credits:
• All songs performed by: Day of Departure
• All songs written by: Day of Departure (all songs copyright Bravemusic 2022)
• Produced by: Day of Departure
• Mixed by: Trevor Schrotz at the Red Room Studios in Virginia, USA
• Mastered by: Greg Schwan at the Oak Lodge in New York, USA
• Album Artwork by: Photo by MontyLov on Unspalsh.com

Album and Live Band Line Up:
Matt Kozar – Guitar and Keys
Michelle Schrotz – Vocals and Keys
Trevor Schrotz – Drums
Ben Kelly – Bass
Scott Loose – Guitar and Keys

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

BAND STORY ANGLES / FUN FACTS:
1. Day of Departure is heavily influenced by a number of different sci-fi stories and comics. Matt Kozar is an avid reader of all comics and looks forward to listeners funding subtle nods to comics throughout the lyrics.

2. The members of Day of Departure produced and recorded the album over the last 2 years completely remotely.  We hope to gather and rehearse these songs sometime in 2022, but have never played these songs as a group, which is a first for all of the projects that we collaborated on.

L-R – Ben Kelly (Bass), Scott Loose (Guitars, Keys), Michelle Schrotz (Vocals, Keys), Trevor Schrotz (Drums), Matt Kozar (Guitars, Keys)
Photo credit – David Wright

Day of Departure combines elements of post-rock, ambient, progressive rock, and hard rock to arrive at a unique sonic landscape that seeks to balance the varied influences and inspirations from its creators.

Born out of a desire to explore a different musical style that merges their influences with a well-woven narrative, Washington D.C.’s Day of Departure created a story that begins with the destruction of our planet, and then the need to evolve and find a new path forward for survival. They are heavily influenced by a number of different sci-fi stories and comics that echo throughout their music.

Their debut self-titled album is set to be released on March 25, 2022. It was produced and recorded entirely remotely over two years with none of the members working together in person. They currently do not have any plans to play live at the moment, but are looking forward to thinking about how to bring to life the music and vibe that was created on the record.

While writing their debut, several songs didn’t make the cut, yet Day of Departure are already thinking about the next chapter to explore, with some of those songs/ideas being the inspiration or perhaps even the focus of forthcoming music.

0 EPK – Triskelyon – Self-Titled (EP) (2022)

  • January 18, 2022
  • by Asher
  • · EPKs · Triskelyon

EPK – Triskelyon – Self-Titled (EP) (2022)

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

For fans of Anthrax, Death Angel, Metal Church, Megadeth, Testament

EP Title: Self-Titled
Label: Self-Release
Release Date: January 25, 2022

Triskelyon.bandcamp.com | Facebook.com/Triskelyon-109813604928220 | YouTube

“The three songs have the rage, heaviness and some rawness you expect from thrash, but also the melody and speed you’ll find in the more aggressive and harsher forms of power metal (no flowery stuff here, people). Pete’s vocals definitely are more of the aggressive heavy/power metal variety while Marlee shakes the hell out of the speakers with a more aggressive and harsher, yet high-pitched style.” – The Metal Crypt (2022 – Self-Titled EP)

“This is the kind of band that really plays that pure, raw, seething thrash metal that I love.” – Wings of Death (2022 – Self-Titled EP)

“Classic heavy thrash, catchy quick stuff with big screamy vox! Great stuff!” – WORT 89.9FM – Mosh Pit Radio – Madison, WI (2022 – Self-Titled EP)

“The EP thunders around the listener’s ears with a massive, powerful sound and gripping guitar riffs, but is also arranged with great attention to detail. Geoff Waye also acts as lead guitarist in the melodic as well as brute playing with pinpoint accuracy… Thrash fans who expect more than just head banging should remember the name TRISKELYON.” – PowerMetal.de (2022 – Self-Titled EP)

“What does Melodic Thrash sound like? Well in the eyes (and ears) of Geoff Waye it sounds like Thrash with influences of Traditional Metal, so you have plenty of heavy chugging Thrash riffs, separated by Traditional Metal bridges and big choruses. Opening cut “Hunger” sounds like a classic Anthrax cut from the “Spreading The Disease” era, with Iron Maiden influences all over it and Pete Healey’s higher pitched vocals only enhancing that nostalgic feel.” – Metal Noise (2022 – Self-Titled EP)

Triskelyon is a Canadian melodic thrash metal project created by Geoff Waye, guitarist for Artach and Category VI. Conceived in late 2021 as a studio-only project, the first self-titled EP is set for release on January 25, 2022.  

Triskelyon features the contributions of various vocalists. The vocalists and musicians that featured on the EP include vocalist Pete Healey and Marlee Ryley (Hyperia), along with drum programming by Raul Marques (Burning Torment).

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The EP as a whole explained by Geoff Waye.

The music is straight to the point. No dicking around with breakdowns, no long drawn out solos, just get straight into it and let the headbanging commence. The EP’s tracks are therefore not long but get right into it. I tried to make the chorus more antithetic and memorable. Melodic solos. Speed. Etc.

Track by track explained by Geoff Waye.

1. Hunger: This EP opener is a statement. It starts with no buildup just straight into the fun speedy thrash riffage. This was also the first song I wrote for this project. After I had it written and got the drums done, I knew I was onto something. The song is about a hunger for change in the world. I am not a fan of the way the world is heading in terms of politics, divisions, and how stuck in their ways and traditions people are.  The chorus line “It’s the time for the fearless to rise. A hunger for change in their eyes.” gets to the theme and heart of the song’s idea.

2. Find A Way: This is the more melodic of the three and has a bit more groove. It’s about my life in a way with lyrics about feeling somewhat isolated from the pandemic….even tho the song itself is not at all about the pandemic. It’s just a song about feelings and finding my way through it all.

3. Odyssey (Blessed by Steel): This is the fastest and most intense song on the EP. It’s speedy and full-throttle thrash. The lyrics are again personal and about my musical life journey as told through using song references which an astute listener might pick up on a few of them.

Story Angles / Fun Facts:

1.  Triskelyon is a deliberate misspelling of the word “triskelion”. It is defined as follows: “A triskelion or triskeles is an ancient motif consisting of a triple spiral exhibiting rotational symmetry. … The actual triskeles symbol of three human legs is found especially in Greek antiquity, beginning in archaic pottery, and continued in the coinage of the classical period.”  It has different meanings, but the one that spoke to me is the concept of forwarding movement and not standing still….some of the ideas that found their way into the lyrics for “Find a Way”.

2. Pete and Geoff were in a Newfoundland based band together in the early 2000s called Oberon.

3. Triskelyon is a solo project yet the door is open to collaboration with others.

[Download EP Cover | Download EP Lyrics]

EP Title: Self-Titled
Label: Self-Release
Release Date: January 25, 2022

Track Listing:
1. Hunger (2:58)
2. Find A Way (4:03)
3. Odyssey (Blessed by Steel) (3:32)
EP Length: 10:34

EP Credits:
• Performance credits:
Geoff Waye – All Guitars and bass
Pete Healey – vocals (track 1, 2)
Marlee Ryley – vocals (track 3)
Raul Marques – drum programming
• All songs written by: Geoff Waye
• Produced by: Geoff Waye and Michael Small
• Mixed by: Michael Small
• Mastered by: Michael Small
• Album Artwork by: Geoff Waye
• Canadian Content (MAPL)

EP Band Line Up:
Geoff Waye – All Guitars and bass
Pete Healey – vocals
Marlee Ryley – vocals
Raul Marques – drum programming

0 EPK – CRS – The Failure (single (2023) ft. Kat Danzig

  • January 13, 2022
  • by Asher
  • · CRS · EPKs

EPK – CRS – The Failure (single (2023)

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

For fans of Meshuggah, Fear Factory, Carcass, Sepultura, Cynic, Pestilence

Band: CRS
Release Date: January 12, 2023
Label: None Records
Distribution: N/A

“With this single ‘The Failure’ we wanted to try a different style of Death Metal, a more comfortable structure but without losing intensity. The single has an important message, humanity is a failure and it has screwed up the whole planet. Having a female guttural singer as a guest brings an interesting shine to the band.” – CRS

Facebook.com/crsmetalband | Youtube.com/@CRSBAND | Instagram.com/crsmetalband

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

“Where this album shines the most is in its flow. Throughout its eight tracks, CRS manages to build momentum song after song. There are fast parts and great guitar solos aplenty. However, CRS never slip on their songwriting. It’s an album that’s just always in that groovy death zone. Even when tracks like “The Daydreamer’s Nightmare” takes us into a spaced-out, relaxed solo or others like “The Art of Breathing”, that takes the album down a notch, CRS really lose nothing. They manage to bring a lot of out of their sound. Hell, “A Better Place to Hate” and ” “Tan Lejos de Dios (Nowhere.. But Here)” both have some tasty, thrashy bits to open them up.” – Metal Injection

“Now, as we nearly enter a new decade, CRS have returned with a full-length of groove/death metal with a technical spark. This spark comes in the form of shredding guitar solos and guest spots from drummer Kevin Talley on a few songs and Obscura/Alkaloid bassist Linus Klausenitzer on “The Art Of Breathing.” Those two musicians are at such a high skill level that the listener will immediately recognize their work. Their inclusion gives gravitas to the songs they are on, though the group does fine on their own with tunes like the anthemic “Resistencia” and Meshuggah-esque “Asfixia.” – Heavy Music Headquarters

“… Fast forward to now and the band comes roaring back to life on their sophomore effort The Collector of Truths and it’s a love letter to the time they left behind. Industrial bombast, guttural death metal, and melodically progressive strains of genius all play out in equally large parts over the course of these eight tracks” – Nine Circles

“The Collector of Truths” can be considered a groundbreaker album due to everything CRS have to offer musically and instrumentally. “The Collector of Truths” goes beyond. It crosses all known borders of music styles leading the fan to an awkward, but pleasant experience. Well, if you are bold enough and not a regular Death Metal fan. because as an extreme music style, Death Metal, against all odds, should be able to offer a safe ground to all kinds of experiences though weird they are.” – Metal Addicts

“There is a wonderful sense of pervasive evil that dominates the record from tracks like album opener ‘Asfixia’ to ragers like The Daydreamer’s Nightmare. I love this sense of harsh realities and raw brutality. It gives The Collector Of Truths a sense of authenticity, showing that the band emerged from true struggle to birth this record unto the world.” – Two Guys Metal Review

“CRS, or CIRROSIS, a band that plays their own brand of simplistic, mellow Technical Death Metal. Their debut album “The Collector of Truths” is proof that the genre does not need to be as complex as possible in order to be good. You know those albums that just get better as they play? This record is exactly that, the last few tracks forming the peak, the monumental conclusion.” – Metal Temple

“CRS (or Cirrosis, as they were regularly known back then) definitely leaned into the more progressive side of late 90’s-era death metal–not quite on the level of, say, Cynic, but certainly respectable in their attention to unorthodox song composition. Particularly intriguing on this debut is the remarkably dynamic relationship between the drums and guitar, which provided particularly every track a unique identity amongst the chugs and growls. This is all a long way to say that CRS ain’t lying when it comes to their intentions; this truly is death metal with a sense of nuance and melodics. Thus, I award a preemptive “Bravo!” for honesty.” – Sleeping Village Reviews

“Immediately there are strong Fear Factory and Meshuggah influences apparent in the stop start, blastbeat powered opener ‘Asfixia’. It is nice to see particularly Fear Factory referenced in modern death metal, considering how superb their early output was. There is a fair amount of technical work going on here and some pretty sweet soloing as well, such as in the frantic ‘Kill My Name’. There’s a lot of Atheist in here too; some of the twisting melodies are awesome and ‘The Art of Breathing’ has a totally out of the blue mid section that I quite like. Some of the songs are a little paint-by-numbers, like ‘Resistencia’, but overall the band have got a good sound and aren’t afraid to slip in a few softer moments.” – The Killchain Blog

[Download Single Cover | Download Single Lyrics]

““The Failure” talks about how we, as a human race, have failed. We believe that everything on this planet is here for us, including all living things. We don’t care about tomorrow or the young ones. We are a failure. A disgrace to intelligence. We don’t even say it poetically, that’s exactly what we are saying with the lyrics. There’s no empathy, just emptiness. 

Musically we wanted to explore a genre that we hadn’t before: melodic death metal. Not totally at least. We’ve always loved clean guitar passages and melodic guitar solos, so this time we wanted to compose a full-death melodic song, at least our version. And with the addition of singer Kat Danzig we completed our goal.” – CRS

Band: CRS
Release Date: January 12, 2023
Label: None Records
Distribution: N/A

Single:
1. The Failure (4:05)

Single Recording Credits:
• All songs performed by: CRS •
All songs written by: CRS
• Produced by: Francisco Oroz
• Mixed by: Francisco Oroz
• Mastered by: Francisco Oroz
• Album Artwork by: Gabriel Sandoval

Single Recording and Live Band Line Up:
• Francisco Oroz: Guitar
• Hideki Inukai: Guitar
• Kello Gonzalez: Bass
• Octavio Ramírez: Drums
• Sir Oz: Growls Live

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

BAND STORY ANGLES / FUN FACTS:

1. This song wasn´t originally for CRS but we liked it so much that we keep it. We guess there was a freshness and freedom while composing it thinking it was for someone else.

2. We didn’t realize that Kat’s and Sir Oz’s low growls sounded so similar until we heard the final version. We invite you to guess which is which without watching the video.

3. All guitars in this song are played by Francisco Oroz since Hideki hadn’t joined the band yet.

4. The lyrics of The Failure were written by Francisco Oroz, except for the verses in Spanish, which Sir OZ wrote inspired by the original idea.  

CRS – L-R – Tavo Ramirez (Drums), Kello Gonzalez (Bass), Kaith Danzig (guest vocals) – Hideki Inukai (Guitar), Sir Oz (Vocals), Francisco Oroz (Guitar)
Photo Credit – Carlos Hemosillo

CRS is a Death Metal band from Sonora, Mexico, formed in 1991 with the name Cirrosis by Francisco “Chucky” Oroz and Sir OZ, are the only original members in the current lineup. Due to their technical capacity to adhere to progressive elements and melodic solos, CRS quickly gained notoriety in the local and national scene. Their live performances were characterized by intensity and fury, becoming a cult band. In 1996, “Joseph Lev” joined the band and they recorded their first demo “La Tierra de la Adicción” which was distributed limitedly. In 1999, CRS entered the studio and recorded the album “Reciclando Desesperación” in Spanish, offering a range of different Death Metal styles, highlighting the quality of its production.

In 2001, CRS decided to break up, and its members continued with their personal and professional projects. In 2014, Concreto Records decided to reissue the album “Reciclando Desesperación” describing it as “The maladaptive sound that disturbed a style in Mexico that can currently give lessons to current modern bands”.

In 2019, CRS returned to record their second studio album “The Collector of Truths” with Concreto Records. Two international musicians play as guests in the album, Kevin Talley (Dying

Fetus, Suffocation, Chimaira), on drums, and Linus Klausenitzer (Obscura, Alkaloid) on bass. In September 2020, CRS recorded a Live Session for the Mexican online festival “Moshfest” which became an EP called “Live in isolotation” featuring Kello Gonzalez on bass, who became an official member on December 2021. 

In March 2022, they released a new single titled “The enemy has always been me”. In October 2022, CRS played live after twenty years with the Brazilian band Sepultura. On that same date, Hideki Inukai joined the band on the second guitar.

Shared Stage with: Sepultura

Discography:
2022 – The Failure (single)
2022 – El enemigo siempre he sido yo (single)
2020 – Live in Isolation – EP
2019 – The Collector of Truths – LP
1999 – Reciclando Desesperación – LP
1997 – La Tierra de la Adicción – Demo

0 EPK – Idol of Fear – Trespasser (2022) (Somnolence Productions)

  • January 12, 2022
  • by Asher
  • · EPKs · Idol of Fear

EPK – Idol of Fear – Trespasser (2022) (Somnolence Productions)

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

For fans of Behemoth, Shining, Deathspell Omega, Mgla, Emptiness

Album Title: Trespasser
Release Date: March 11, 2022
Label: Somnolence Productions

Facebook.com/idoloffear | Twitter.com/idoloffear | Youtube.com/idoloffear | Instagram.com/idoloffear

Idoloffear.bandcamp.com | Spotify

 

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#5 – Canadian College Radio Loud Chart – For the Week Ending: Tuesday, March 29, 2022 (source – Earshot) 

“Enter the Sullen Murk of Idol of Fear’s Trespasser… a downcast combination of atonal black metal and ornate death/doom…” – Decibel Magazine

“The poetry of the lyrics is eloquent and frightening, providing a shattering portrayal of dismay and despair, yet in its bitterness, shaded with sarcasm, the words may also be understood as expressing a revelation of emptiness that is triumphant and empowering. Musically, the song is a stylistic hybrid that’s deeply haunting and even entrancing, but it too is a bitter revelation. The slow, ghostly wail of horns opens the song, along with solemn ecclesiastical chanting. Skull-cracking beats join in along with grim guitar emanations and torrid howls. The pace of the music remains steady, but the riffing transforms into a searing sensation. The tragic wail of the opening persists, and bell-like guitar tones ring out in grief around the scalding vocals and the boom and snap of the drums. A feeling of anguish burns through the music, but a sea of soft ambience flows in, along with a mysterious rippling melody. The music ascends and shines, but never casts off the feeling of tragedy or the aura of mystery.” (single – Cheirotonia) – No Clean Singing

“Idol Of Fear have released Trespasser, an album far too good to go unnoticed… End to end Trespasser has a magnificently bleak and darkly foreboding air throughout,” – Jools Green – Metal Talk

“The biggest surprise isn’t merely that Trespasser is great, but that it’s within striking distance of excellence. Despite its flaws, Trespasser is a highlight of 2022, and is the only album that’s torn me away from the new Sylvaine. While Trespasser isn’t rainbows and butterflies, it hooked me on my first listen, and left me even more enthralled and moved after dozens of spins. I like to think I’m a harsh enough reviewer, with an average score of 2.86 (including an unpublished dud). This review might endanger my employment indentured servitude with AMG LLC. But Trespasser is one of the greatest dark-horse records I’ve heard in years, and I have no regrets in awarding it my inaugural 4.0. If you’re one of Idol of Fear’s 118 Spotify listeners, I’m impressed. If not, get on board. 4/5” – Angry Metal Guy 

“Eloquent, frightening, and tangibly real, it is the reflection of a lost, fearful mindset that longs for answers. Trespasser is a hostile Masterpiece. ” – Metal Roos

“This is the kind of album that puts a lot of effort into creating a unique atmosphere, a very sinister one at that, and while similarities to Emptiness are abound, this still feels extremely unique. And despite its emphasis on atmosphere, the staying power lies within the fact that they’ve managed to craft really memorable songs to pursue this atmosphere. Choruses and melodies never feel cheesy, but they stick out, ensuring a pretty good balance between immediate and lasting impact.” – Metal Storm

“Familiar with much of the Canadian metal scene, Idol of Fear stands out as a band offering variety and passion through their creative experimentation and discovery. Trespasser is sure to bring familiar listeners and new to their knees with terrifying vocals, chaotic melodies, and beautiful instrumentals that certainly made me raise my eyebrows in surprise.” – Noob Heavy

“I love the way that Idol Of Fear can create songs that are as majestic and beautiful as they are brutal, nasty, and uncomfortable. When these two forces combine, it’s only a matter of time before I succumb. Take a listen yourselves to see if you feel the same way. Highly recommended.” – Man of Much Metal

“in the spectrum of Black Metal Idol Of Fear sit in what has become known as the third wave, the avant-garde new wave that specialises in creating dark and oppressive atmospheres with brooding, menacing and sinister moments combining to create something almost cinematic.” – Metal Noise

“Excellent atmospheres of swamps, mystery, desolation, shadows, tragedy and death. 9/10” – Metal Friends

“If you like this kind of Black-Doom-Ambient it’s definitely a must-listen record.” – RTMB Music

Highlight #1 (All Sights Affixed, Ablaze (LP)) on January 2015 Canadian College Radio Loud Charts (Earshot) 

Metal Made In Canada #7 All Sights Affixed, Ablaze on Top 20 albums of 2014 

(All Sights Affixed, Ablaze (LP)) #70 on Top 100 Metal Bands for 2014 – CJLO 1690 AM Concordia University’s radio station (Montreal, QC)

“Idol Of Fear expel a nice level of energy to create a blackened crafted set of songs…” – Brutalism (All Sights Affixed, Ablaze (LP))

“The first full length from Ontario quartet Idol of Fear kind of snuck under the radar at the end of last year, but better late than never – especially since this is one debut that will make you sit up and take notice… well-conceived and mindfully executed.” – Metal Rules (All Sights Affixed, Ablaze (LP))  

“the song (All Sights Affixed, Ablaze) delivers is dark, dynamic music performed with a lot of impressive instrumental flair, a deft balance of memorable melody and scathing aggression, and the kind of vocals you can understand — at the same time as they are gnashing voraciously through flesh and bone.” – No Clean Singing

“For a first release, this is a very good album on which to build a lengthy and prosperous career. It will appeal to lots of people, and you will most likely love it if you enjoy experimental music. This is well worth checking out.” – Metal Temple (All Sights Affixed, Ablaze (LP))

“All Sights Affixed, Ablaze from Barrie’s Idol of Fear impresses right from the get-go with “Vanquish.” – Hellbound

“one listen of this track (All Sights Affixed, Ablaze) and you’ll find all sorts of influences and shifts in tone, but it’s all dark and weighty. ” – Yell Magazine

“Idol of Fear is one of the best surprises of 2014 in the realm of black metal.” – Metal Made In Canada(All Sights Affixed, Ablaze (LP))

“The music is consistently strong, heavy, and brutal, but it also has a melodic quality undergirding the whole thing, particularly in the guitars. Listen to the music and you’ll hear it, a melodic high end that tracks the heaviness, much like a bird of pretty circling its way closer and closer to its kill…Together, the band members have created some ambitious and edgy extreme metal. This is a solid debut from a band to watch!” – Sea of Tranquility(All Sights Affixed, Ablaze (LP))

“Using some kind of awesome power, Idol Of Fear manages to take all the doom and gloom of operatic Black Metal and combine it with the tonal complexity of Death Metal all in a fresh and new way that I haven’t heard before.” – Absolute Underground Mag (All Sights Affixed, Ablaze (LP))

“I don’t usually give away spoilers but this album has just an epic finish. Make this the last music you hear before heading outside on a dark, crisp night. You’ll feel the air differently.” Metal Storm (All Sights Affixed, Ablaze (LP))

”This is extreme experimental Metal Canadian style; it sits menacingly across the chasm between death and black reinforced by its own innovative edge.” – Metal Talk (All Sights Affixed, Ablaze (LP))

“the band creates an imposing and immersive soundscape of extreme metal which comes with a blackened heart and experimentally fuelled provocation. It is a fiercely challenging and rewarding confrontation as evidenced by the band’s debut album All Sights Affixed, Ablaze, eight individual torments which align for one grievous and pestilential seduction of ears and imagination.” – Ring Master Reviews

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

Track By Track Explained by the band:

The Flayed Horizon – A fast and ravenously violent song, tribal sounding beats with the most unhinged vocals on the album. The lyrics pertain to recurring dreams of utter pandaemonium.  

Angel Dust – Steamroller of a song with evil groovy & alien-sounding guitar riffs. Personal lyrics based on loss.

Cheirotonia – Musically there is something tragic to this one while carrying an air of mystery. The lyrics are bitter and somewhat sarcastic, but also triumphant and empowering.

Phantom –   A mid-paced heavy hitter with riffs that crawl through the walls to stalk your soul. Featuring spiteful lyrics based upon cathartic retribution

Trespasser – The most dirge-like, spiritual song on the album. Features heavy organs and lyrics dealing with intrusion into forbidden realms

In the Cold Light of Dawn – A somewhat poppy song for us, utilizing more direct, catchy hooks and a straight-up structure

Alone With You – Pummeling snakelike guitars and menacing vocals/lyrics create a violently brooding and cryptic atmosphere of betrayal

What You Came to Find – A cryptic dirge to lead you into the abyss…

Endless – A somber melody offered as a resonating conclusion

Album Title: Trespasser
Release Date: March 11, 2022
Label: Somnolence Productions

Track Listing:
1. The Flayed Horizon (5:24)
2. Angel Dust (5:28)
3. Cheirotonia (5:15)
4. Phantom (4:58)
5. Trespasser (5:15)
6. In the Cold Light of Dawn (4:27)
7. Alone With You (5:12)
8. What You Came to Find (6:18)
9. Endless (3:00)
Album Length: 45:16

Album Recording Credits:
• All songs performed by: Idol of Fear
• All songs written by: Idol of Fear
• Produced by: Idol of Fear
• Mixed by: Idol of Fear
• Mastered by: Jeremie Bézier (Emptiness, Enthroned)
• Album Artwork by: Rotten Fantom
• Canadian Content (MAPL)

Album and Live Band Line Up:
Austin – Vocals
Dave – Guitar
Kalei – Bass
Doug – Drums

Discography:
2022 – Trespasser
2020 – Pox (single)
2018 – Grave Aperture (LP)
2014 – All Sights Affixed, Ablaze (LP)

L-R – Kalei – Bass, Austin – Vocals, Doug – Drums, Dave – Guitar
Photo credit: A.J.

A heavy darkness from Canada who have been stalking the unlit horizon since 2011, Idol of Fear is undeniable, undefinable. Formed out of a necessity to make something out of the gloom that swirls around us all, Idol of Fear has been making music together for a very long time now and dedicated themselves to honing their craft, as it is work that they do not approach lightly.

Thus far, Idol of Fear have released two full-lengths, “All Sights Affixed, Ablaze” (2014) and “Grave Aperture” (2018). A third, “Trespasser” will come out in 2022. All contributing ideas to the creative process, Idol of Fear tracked the first two albums themselves and tend to write new material by recording as opposed to jamming it out. Every lyric relates to a personal experience, but oftentimes certain elements seem to make their way through dreams and other nebulous connection points.

When playing live, some songs are re-arranged in order to be properly executed, but for the most part Idol of Fear recreates the atmosphere that their recorded material projects – with the extra ferocity of course.

0 EPK – CHOREOMANIC – Self-Titled (2022)

  • December 21, 2021
  • by Asher
  • · Choreomanic · EPKs

EPK – CHOREOMANIC – Self-Titled (2022)

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

For fans Zappa, Mr. Bungle, John Zorn, Infectious Grooves, Brian Setzer Orchestra

Album Title: CHOREOMANIC
Release Date: February 18, 2022
Label: Self Release
Distribution: Self Distribution

Choreomanic.com – Facebook – Instagram – Youtube – Bandcamp – Spotify

Digital Pre-Save – https://emubands.ffm.to/choreomanic

“With ‘Choreomanic’ Joost van der Graaf shows a completely different side of himself. It is a special musical whole that you really have to listen to several times to process it. You keep hearing new things in every song. No guitars and yet heavy, it is a special mix that will certainly appeal to fans of more technical work. The special thing is that Choreomanic will probably also appeal to audiences from other genres such as jazz. In any case, it is not everyday. However, the production is so strong that you should at least give it a listen, whether you’re a fan of the harder work or not, ‘Choreomanic’ is too good to pass up.” – Metal-Experience

[Downlaod Album Cover | Download Album Lyrics]

Album Title: CHOREOMANIC
Release Date: February 18, 2022
Label: Self Release
Distribution: Self Distribution

Track Listing
1. This Is Not A Drill (3:50)
2. Spun Sugar (2:45)
3. What You Get (3:26)
4. Red Flags (2:26)
5. Choreomanic (2:17)
6. Walk With Urgency (2:33)
7. Off With The Figurehead (2:18)
8. Time To Let It Out (2:08)
9. Calling God (4:28)
10. Take The Money Give It To Me Now (2:31)
11. Story About The Moon (2:46)
12. Away From The Sun (5:52)
Album Length: 37:25

Album Recording Credits:
• All songs performed by: CHOREOMANIC
• All songs written by: Joost van der Graaf
• Produced by: Michiel Eilbracht & Joost van der Graaf
• Mixed by: Michiel Eilbracht
• Mastered by: Michiel Eilbracht
• Album Artwork by: Yvo Sprey

Album Band Line Up:
Thijs Ronteltap – Keys
Jeroen Verberne – Trombone
Tommie Freke – Saxophone
Gidon Nunes Vaz – Trumpet & Bugle
Koen Herfst – Drums
Joost van der Graaf – Bass, Sampling, Voice & Percussion

Live Band Line Up:
TBD

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

Track by track explained by Joost van der Graaf:

1. This is not a drill: I think is a great first song with a noisy modular intro and a really “busy” structure once it goes. Lyrically inspired by corruption, panic drills, and nuclear attack.

2. Spun Sugar: instrumental track with a “circus” vibe to me…

3. What you get: easy intro and then panic all the way. A person is chased by dogs and there’s shooting. It ends badly.

4. Red flags: short instrumental with an almost happy horn melody on top of a harsh intro. Time signature changes just because it happened. Due to one of many theories on Choreomania, a person suffering from it would immediately start convulsing and tripping at the sight of the color red. I think I imagined such a person being surrounded by red flags…..

5. Choreomanic: Obviously the title track. Instrumental (apart from the exclamation of the word) This was the very first idea I got for the album. It has some sort of a Punk vibe I believe…

6. Walk with urgency: the cool thing about this song is that the main groove and bassline are inspired by the intro of a song by my first serious band Creepmime! That song is called ‘King Of Misrule’, from the album ‘Chiaroscuro’ 1995… Instrumental. Titel refers to the way a junky walks with urgency on the way to scoring.

7. Off with the figurehead: I somehow have trouble with figureheads in general. Pretty much an instrumental Thrash song.

8. Time to let it out: 12/8 is probably my favorite time signature, so I guess I clapped my hands in sheer joy! This one is the single for good reasons I think. Short song, a lot going on, annoying repetitive horn parts, yep…

9. Calling God: the heavy midtempo one. I absolutely love the sound of that desolate Bugle! Lyrically: a joke that is not supposed to be funny. Don’t play outro with kids around!

10. Take the money give it to me now: Title says it all. Here the junky finds what he’s looking for and is reborn. Thrash with horns!

11. Story about the moon: instrumental, a bit of a prog track. About the title: I am one of those people who does not buy the moon landing lie. Bring it on!

12. Away from the sun: actually a long outro based on a bass drone idea I had been carrying with me for some years. Awesome horn parts based on original ideas for guitar and keys by Andy Judd (longtime friend and Creepmime mastermind) and Thijs Ronteltap. Would make a nice movie soundtrack I think.

Instrumental track, kind of a death march. There’s a vibe of blistering heat, hence the title.

Dutch bassist Joost van der Graaf (1973) has been active in music since he was fourteen years old. In the early 90’s he toured Europe for the first time, as a bass player/ vocalist in Creepmime (Mascot Records), to promote the album ‘Chiaroscuro’. After Creepmime he studied music in Amsterdam and became a working musician, performing and teaching.

In the new millennium, Joost co-formed I CHAOS (RITF records, Suburban distr.) The band released two albums: ‘The Human Repellent’ and ‘Masterbleeder’. In this period he was also a stand-in bassist for Sinister, touring Russia.

In 2012, he became a permanent member of GermanThrashers Dew-Scented (Metalblade), releasing three full-lengths with them up to 2018: ‘Icarus’, ‘Insurgent’ & ‘Intermination’. The band toured extensively through Europe but also in Japan, together with renowned bands from the international metal scene (Testament, Exodus, Death Angel, and others).

Joost teaches ‘Bass Skills’ and ‘Band Development’ at The Metal Factory in Eindhoven, The Netherlands. Since 2019 he proudly plays with Dutch iconic act Pestilence (Agonia Records) appearing on the album ‘Exitivm’.

In 2020, he started working on his own project CHOREOMANIC, in which different musical influences from his past come together. Obviously one of these influences is metal, but also other styles like funk & prog.

His self-titled debut album CHOREOMANIC will be out on February 18, 2022.

Joost van der Graaf’s Discography:
2022 – Choreomanic – Self-Titled (Self-Release)
2021 – Pestilence – Exitivm (Agonia Records)
2015 – Dew-Scented – Intermination (Metal Blade Records)
2015 – Dew-Scented – Immersed – 7#split EP (Metal Blade Records)
2015 – I Chaos – Masterbleeder (RITF Records/Suburban Distribution)
2013 – Dew-Scented – Insurgent (Metal Blade Records)
2012 – Dew-Scented – Icarus (Metal Blade Records)
2011 – I Chaos – The Human Repellent (RITF Records/Suburban Distribution)
2009 – I Chaos – Self-Titled – EP (Self-Release)
2008 – Cypher – MMVIII – EP (Self-Release)
1995 – Creepmime – Chiaroscuro (Mascot Records)

Endorsed by:
Ibanez – https://www.ibanez.com
Peavey – https://peavey.com
Tech 21 – https://www.tech21nyc.com/products/amplifiers/powerengine-dd/
DR Strings – https://www.drstrings.com
Rock n Soul – https://www.rocknsoul.nl

 

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