Category: EPKs

0 EPK – Volubilis – Theasterion (2026)

March 15, 2026
by Asher
· EPKs · Volubilis

EPK – Volubilis – Theasterion (2026)

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

“Theasterion is a work that’s been a long time coming. With riffs dating back to 2016-2017, it is the fruit of countless hours of work culminating in an impactful metal album filled with memorable moments. Rather than simply putting it out and moving on to the next thing, we like to think of Theasterion as the first chapter in a series of works in the multidisciplinary project that is Volubilis. By developing the storytelling behind the lyrics as well as creating catchy yet complex songs, we chose to create a legacy, not only for our own work but also for the metal community. It is the hardest thing that I have worked on so far, but I wouldn’t have it otherwise, because I was blessed enough to have the chance to do what I love and to be able to share it with the world. It is hard work, but if you put the effort in, the fulfillment is unmatchable.” – Miguel Marcheterre-Pina – Volubils

For fans of Obscura, Beyond Creation, Vale of Pnath

Band: Volubilis
Album Title: Theasterion
Release Date: July 10, 2026
Label: Self-Release
Distribution: Distrokid
Genre: Technical Death Metal
Location of Band: Montréal, QC, Canada

Bio.site/volubilis | Facebook.com/profile.php?id=100093419962099

X.com/Volubilisband | Youtube.com/@VolubilisBand | Instagram.com/volubilisband

Volubilisband.bandcamp.com | Apple Music | Spotify

“Theasterion, an astute masterstroke of progressive melodic death metal wrapped in thoughtful and technical aggression, deep space sci-fi storytelling and stunning amounts of conservatory-level musicianship reminiscent of Obscura, Gorod, Fleshgod Apocalypse and Beyond Creation.” – Decibel Magazine

“Volubilis is a solid techdeath band, and Miguel is one creative dude. The album cover, depicting the sacred Prism, was hand-drawn by the guy, and the concept and lyricism came directly from his brain. I love sci-fi more than the next guy, and I appreciate a solid concept record… all readers should surely spin it for the story.” – Metal Temple

“Volubilis came out swinging with a killer underground tech-death debut. You best move out of their way lest you get your face smashed.” – Angry Metal Guy

“Canada and Tech Death go together like France and wine. Please meet Volubilis, the newest star on the Canadian Tech Death firmament. Their second single ‘Le Flamboiement Stellaire’ has got everything Candian Tech Death needs: blistering guitar leads, fretless bass, blast beats and, of course, a cosmic/sci-fi story. And it even has French lyrics, how cool is that? So keep your eyes peeled for the release of their debut album “Theasterion” on July 10th if you’re digging this Stellar Blaze!” – The Prog Space

“In Theasterion, Volubilis have crafted an album that will broadly appeal to melodic and technical death metal enthusiasts…Theasterion is the perfect soundtrack to ponder our role in this chaotic universe of ours, and come to terms with your inner-nerd as an enthusiast of death metal and sci-fi alike.” – The Progressive Subway

“Whether the story connects with a listener or not, Volubilis give it there all to give legitimacy to the concept. Violin, viola and contrabass add gravitas to the excellent “Unukhalai Supernova,” which is also felt with the acoustic guitars during the finish to “Homo Cumulus.” The band pulls from all corners, from the flashy rage of Necrophagist to the orchestral waves of Fleshgod Apocalypse, for Theasterion.” – Heavy Music Headquarters

“With just 6 songs and a runtime a bit over 30 minutes, this album flies by. There is plenty of variety, melody, and speed, keeping things interesting throughout. The clean vocals tease was almost a surprise, and I would have loved for it to be more prominent in the mix, as well as utilized a bit more frequently. Overall, this is an impressive debut, and I look forward to seeing more from Volubilis, which hopefully includes a live experience in the near future. You should check this one out!” – My Metal of the Day

“Canadian technical death metal is frequently held in high regard. For whatever reason, those cool Canadians often manage to sound distinct from the bulk of the competition and craft excellent songs with real passion. Volubilis is another relatively new technical death metal band that makes a strong impression with *Theasterion*. Fans of lightning-fast riffing, screaming solos, an octopus-like drummer who seemingly has more limbs than the average musician, and a bassist who explores every inch of the fretboard will find plenty to enjoy here.” – Musika

“Canada’s Volubilis drops debut THEASTERION – 6 tracks of explosive technical progressive death metal. Science fiction narrative, blistering technical playing, roaring energy, brutality and melody, and a rich, expansive sound.” – Loud Enough? Magazine

“VOLUBILIS deliver an ambitious and technically impressive debut that combines progressive death metal with an engaging sci-fi narrative… Outstanding musicianship throughout, with commanding vocals, fluid fretless bass and exceptional guitar work. STANDOUT TRACKS: ”Theasterion”, ”Homo Cumulus” and ”Unukhalai Supernova”. – Metal Rager 666

Track Listing:
1. Le Flamboiement Stellaire (5:16)
2. Theasterion (6:30)
3. Homo Cumulus (5:48)
4. Ashes & Embers (4:50)
5. The Prism (4:01)
6. Unukhalai Supernova (6:24)
Total Album Length: 33min

Album Recording Credits:
• All songs performed by: Volubilis
• All songs written by: Volubilis
• Produced by: Miguel Marcheterre-Pina & Mitchi Dimitriadis
• Mixed by: Mitchi Dimitriadis
• Mastered by: Mitchi Dimitriadis
• Album Artwork by: Miguel Marcheterre-Pina

Album Band Line Up:
Miguel Marcheterre-Pina – Rhythm, lead and acoustic guitars, composition, concept art, lyrics. Shawn Hillman – Fretless Bass, Contrabass
André Dubien – Vocals, lyrics on song 03 & 06.
Jacob Collins – Drums
Alexis Rioux – Guest solos on songs 01, 02 and 03.
Michelle Gao: Violin, viola on song 06

Live Band Line Up:
Miguel Marcheterre-Pina – Guitar, backing vocals
Shawn Hillman – Fretless Bass
André Dubien – Vocals
Jacob Collins – Drums
Alexis Rioux – Guitar

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

Describe The Album Artwork:

The album artwork represents the strange apparition of the Prism, a recurring symbol of otherworldly power and influence over humanity in the band’s original lore, which brings forth the Prophecy upon humanity. It is a mixed-medium artwork that blends pen and charcoal drawing, acrylic painting, and digital illustration. Its intentionally minimal art style, layout, and color choices depict the Prism, appearing over the plains of obsidian shards of Theasterion, in a mix of rococo, woodcut, and modern design influences. Visually minimalistic but heavy in symbolism, the depiction of the Prism in the artwork suggests a whole narrative with its imagery, and prompts the viewer to question what’s in front of them.

The album as a whole (LYRICALLY & MUSICALLY):

Theasterion is a conceptual album in which the lyrics follow themes of science fiction and drama. The narrative revolves around a human colony living on a satellite that discovers a prophecy that tells about Unukhalai (the nearest star) going supernova. This discovery divides the colony and creates chaos on the Satellite, as not everybody believes in it. It becomes political. A group of mercenaries organize a coup d’état on the government and escapes the Satellite to go on an expeditionary mission on the planet they revolve around, Theasterion. There, they find out about the Homo Cumulus and are brought to their extinction after deciphering the content of the Prism’s glyphs. All of this narrative is conveyed with some of the most well-crafted metal music of 2026, blending high-intensity performances and musically complex sections.

Track by Track (LYRICALLY & MUSICALLY):

1. Le Flamboiement Stellaire: The opening track sets the stage for the sci-fi epic that is Theasterion. Fast-paced and intricate, it features innovative use of each note in its melodies. It is the only track with French lyrics, and it describes the initial point on the Satellite, the prophecy, the coup d’état and the mercenaries fleeing to embark on their reconnaissance mission on Theasterion.

2. Theasterion: This track describes the arrival of the human colony on Theasterion. The lyrics help to build a better understanding of the planet’s landscape and features. Musically, it is one of the catchiest on the record, with emotional melodies and galloping triplet riffing.

3. Homo Cumulus: the fastest song on this record. It features both technical riffing at high velocity and a heavy, dissonant section. The lyrics describe the Homo Cumulus, the anthropoid species that occupies the planet. The song ends with an acoustic guitar outro that acts as a breathing space in the album

4. Ashes & Embers: This song starts off with a triplets feel riff inspired by bands such as Beyond Creation and Ne Obliviscaris. It then switches to a much higher pace with a Phrygian section, which transitions to a Necrophagist-esque solo. The following instrumental section is a dramatic yet catchy tapping riff

5. The Prism: The only instrumental track on the record. Based on intricate tech death riffing, it’s a song that showcases the virtuosity of the band. With pummeling blast beats, exquisite fretless bass lines and melodious neoclassical segments, it is one of the more emotional songs on the record without possessing any lyrics.

6. Unukhalai Supernova: I like to think of this one as if Archspire meets Hans Zimmerman. Unukhalai Supernova is one of those tracks that just keeps growing in intensity until it brutally puts the album to a stop. It features a string section by Shawn Hillman and Michelle Gao, which adds a symphonic element to the high-intensity climactic moment of the album. The riffs are some of the most complex we ever wrote and truly showcase the band’s world-class musicianship. The lyrics describe the cataclysmic event of a star going supernova, and how a mere human experiences it. The symbolism of the supernova acts as a metaphor for a rapture.

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

BAND STORY ANGLES / FUN FACTS:

1. Although most of the album was produced in Canada by Canadians, Miguel actually started tracking rhythm guitars in 2023 while he was on a student exchange in Melbourne, Australia. There, he also worked with other musicians on other projects and met a lot of individuals in the local metal community. Once the album is released, the response over there risks being very positive.

2. Le Flamboiement Stellaire and Ashes & Embers were initially intended to be released under Harmoniaq, Miguel, André, and Jacob’s previous metal band.

3. Miguel never learned music theory, but he still insisted on using fine arts training at Concordia University to develop the concepts, visual identity, and lore for Volubilis.

4. Miguel met Shawn when their two bands (Maeskyyrn and Svneatr, respectively) played a series of shows in 2022. Miguel was looking for a bass player for Volubilis, and Shawn was looking for a tech death band to integrate, so the two kept in touch and started working on the album.

5. Theasterion’s lore will expand in mediums other than music: Miguel is currently working on the production of a comic book project that will complement the storytelling behind the music.

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

L-R – Shawn Hillman (Fretless bass) | Miguel Marcheterre-Pina (Guitar) | André Dubien (Vocals)

Photo Credit – Jade Weeles & Miguel Marcheterre-Pina

Volubilis is a Montréal-based technical death metal band founded in 2020 by multi-instrumentalist Miguel Marcheterre-Pina. What started as a “bedroom project” eventually evolved into a complete lineup comprising some of Canada’s best up-and-coming musicians: André Dubien, Jacob Collins, Alexis Rioux, and Shawn Hillman. After the release of their first single, Ashes & Embers, in 2025, Volubilis again reached out to the public with an ambitious conceptual album: Theasterion. With colossal blast beats, monstrous vocals and glorious harmonies, their first full-length consists of a refreshing arrival in the progressive metal scene. VOLUBILIS’ self-created lore consists of a sci-fi epic narrated through the rasp of distorted instruments, and this release marks the first of many milestones in an artistic journey showcasing Miguel’s creative worldbuilding work. The virtuosity observed in VOLUBILIS’ songwriting is a testimony of strong musicianship, intensity and emotion, elements that reflect the Canadian metal community brilliantly. Borrowing elements from various musical genres, the band raises extreme metal standards by emphasizing their world-class technical prowess.

Miguel Marcheterre-Pina

Based in Montréal, Miguel Marcheterre-Pina is an Afro-Canadian multi-instrumentalist who is also interested in illustration, writing and world-building. Since co-founding his first metal band Harmoniaq in 2017, Miguel has been involved in the music industry, notably in metal bands Maeskyyrn, Harvested and Messora. In 2020, he founded his current musical endeavour: VOLUBILIS, an ambitious multidisciplinary project that blends technical death metal and visual storytelling. He also expanded his artistic practice in Melbourne, Australia, in 2023 and 2024, where his work has been well-received by the local metal community. Currently, Miguel focuses on the launch and expansion of the universe in VOLUBILIS while still studying at university. He has been able to secure funding from various sources, notably from FACTOR and Concordia University’s FASA, and his art has been showcased at North America’s largest student-run festival: Art Matters Festival. Miguel is also an upcoming artist in residence at Casa na Ilha in Brazil, where he will be producing a comic book related to his work in Volubilis.

Discography:
2026 – Theasterion – Album
2025 – Ashes & Embers – Single
2023 – Self-Titled – Demo EP

0 EPK – Sanaga – The Godslayer’s Oath (2026)

February 24, 2026
by Asher
· EPKs · Sanaga

EPK – Sanaga – The Godslayer’s Oath (2026)

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

For fans of Death, Slayer, Amon Amarth, Dark Tranquility

https://www.facebook.com/profile.php?id=61585662054767 | https://www.instagram.com/sanaga666

https://open.spotify.com/artist/7i87P02YlnjSdUlxoIIbbi

[Download Single Cover | Download Single Lyrics]

Band: Sanaga
Single Title: The Godslayer’s Oath
Length: 5:46
Label: Self-Release
Genre: Death Metal
Location: Quebec City, QC, Canada

Single Credits:
Performed by Sanaga
Music by Patrick Plourde
Lyrics by Marc Verreault & Dominic Brillant
Recorded by Sanaga
Drums recorded by Dominic Labbe
Mixed and mastered by Jeff Dagenais from Kataklysm
Artwork by Mathieu CantinBand Line-up:Patrick Plourde – Guitars
Dominic Brillant – Guitars
Jean-Francois Durand – Bass
Marc Verreault – Vocals
Frederic Giguere – Drums

L-R – Dominic Brillant – Guitars, Jean-Francois Durand – Bass, Marc Verreault – Vocals, Frederic Giguere – Drums, Patrick Plourde – Guitars

Photo Credit – Martin Bouchard

Formed in Quebec City in the fall of 2026, Sanaga unites long‑time friends and seasoned musicians with a shared passion for creating fast, melodic, and aggressive metal. Blending the intensity of Death and Slayer with the epic weight of Amon Amarth and the melodic depth of Dark Tranquillity, the band delivers a sound rooted in melodic death metal and thrash, sharpened by touches of black metal.

Sanaga’s writing process is collaborative at its core. Guitarist Patrick Plourde drafts full song structures, while vocalist Marc Verreault crafts the lyrics, and every member reshapes the material with their own style, resulting in songs that are tight, energetic, and unmistakably theirs. Lyrically, the band draws from myth, destruction, life, death, and legendary beings, inspired by the mythic Cameroonian river that gave Sanaga its name.

Their debut single, The Godslayer’s Oath, introduces this world with a story of a void‑born entity created to slay gods and annihilate realms. Musically polished and thematically bold, it became the natural choice for their first release.

With members active in projects like Meet The Mailman, Foxy Queen, Devil’s Thrill, and Warriors of the North, Sanaga brings a seasoned, high‑energy presence to the stage. Their first live performances are set for spring, followed by a second release expected next summer.

Sanaga may be new, but their sound is already defined, melodic, powerful, and driven by a shared vision to create metal that hits hard and leaves a mark.

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

Formé à Québec à l’automne 2026, Sanaga réunit des amis de longue date et des musiciens d’expérience animés par une passion commune : créer un métal rapide, mélodique et agressif. En mêlant l’intensité de Death et Slayer au poids épique de Amon Amarth et à la profondeur mélodique de Dark Tranquillity, le groupe forge un son ancré dans le death mélodique et le thrash, affûté par des touches de black metal.

Au cœur de Sanaga, le processus d’écriture est résolument collaboratif. Le guitariste Patrick Plourde élabore les structures complètes des morceaux, tandis que le chanteur Marc Verreault façonne les paroles. Chaque membre remodèle ensuite le matériel avec son propre style, donnant naissance à des chansons serrées, énergiques et immédiatement reconnaissables. Les textes s’inspirent des mythes, de la destruction, de la vie, de la mort et d’êtres légendaires, influencés par la rivière camerounaise mythique qui a donné son nom au groupe.

Leur premier single, The Godslayer’s Oath, ouvre la porte à cet univers en racontant l’histoire d’une entité née du néant, créée pour abattre les dieux et anéantir leurs royaumes. À la fois musicalement affûté et thématiquement audacieux, il s’est imposé naturellement comme premier extrait.

Avec des membres actifs dans Meet The Mailman, Foxy Queen, Devil’s Trill et Warriors of the North, Sanaga apporte sur scène une présence solide et une énergie redoutable. Leurs premiers concerts sont prévus pour le printemps, suivis d’un deuxième opus attendu l’été prochain.

Sanaga est peut‑être un jeune projet, mais son identité est déjà claire : un métal mélodique, puissant et déterminé, porté par une vision commune et l’envie de laisser une empreinte durable.

0 EPK – Haiduk – Archdevil (2026)

February 22, 2026
by Asher
· EPKs · Haiduk

EPK – Haiduk – Archdevil (2026)

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

“Archdevil doubles down on everything Haiduk stands for: speed, busy riffs and evil melodies. The focus is to keep the listener on edge and constantly introduce new patterns to keep you engaged.” – Haiduk

For fans of Bolt Thrower, Vomitory, Old Man’s Child, Dissection, Behemoth

Band: Haiduk
Album Title: Archdevil
Release Date: Feb 26, 2026
Label: Self-Release

https://www.haiduk.ca | http://www.facebook.com/haidukmetal | https://www.youtube.com/@HAIDUKmetal

https://haiduk.bandcamp.com | https://music.apple.com/us/artist/443991596 | https://open.spotify.com/artist/49bHthZNh24b3l7ykClIig

“The patented death/black/speed Metal rips your skull for 31 minutes“ 4.5/5 – Metal-Rules (2021 – Diabolica)

“An endless supply of evil, face-ripping riffs“ – Metal Crypt (2021 – Diabolica)

“Fast and unrelenting from start to end” 8/10 –Metalbite (2021 – Diabolica)

“Haiduk’s most aggressive work“ – The Killchain (2021 – Diabolica)

“A lot of eye-popping technical skill, intricate plotting, and brilliantly multifarious and mutated tonalities on display“ – No Clean Singing (2021 – Diabolica)

“A tremolo picked tornado of dark matter and blastbeats.” – The Circle Pit (2018 – Exomancer)

“[Haiduk’s] strong point has always been his riffs, and here they just destroy” 8.5/10 – Brave Words (2018 – Exomancer)

“[Haiduk] has perfected his own signature style and very few bands are doing this style” – Metal-Rules (2018 – Exomancer)

“Haiduk, all I have to say is you are one talented dude. It’s always impressive to me when a single person can put together an entire album on thier own, but to do so with such a level of both technical marksmanship and enjoyability is bizonkers. I look forward to hearing more of your thrash-heavy black and death metal in the future.” – Metal Trenches (2015 – Demonicon)

[Download Album Cover | Download Album Lyrics]

Band: Haiduk
Album Title: Archdevil
Release Date: Feb 26, 2026
Label: Self-ReleaseTrack Listing:
1. Curser (3:09)
2. Vexer (2:42)
3. Reviler (3:36)
4. Deviser (3:10)
5. Torturer (2:51)
6. Darkener (4:00)
7. Abhorer (2:30)
8. Infester (2:33)
9. Venomer (3:04)
10. Necrifier (3:13)
11. Usurper (3:05)
Album Length: 33:53

Album Credits:
• All songs performed by: Luka Milojica
• All songs written by: Luka Milojica
• Produced by: Luka Milojica
• Mixed by: Luka Milojica
• Mastered by: Luka Milojica
• Album Artwork by: Luka Milojica
• Canadian Content (MAPL)

Album Band Line Up:
Luka Milojica – Guitars, Bass, Vocals, Drum Programming

Live Band Line Up:
Luka Milojica – Guitars, Vocals.

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

The album as a whole (LYRICALLY & MUSICALLY):

Musically, Archdevil doubles down on all the strongest aspects of Haiduk. Evil melodies complement tight compositions of fast, busy riffing. The focus is to keep the listener on edge and constantly introduce new patterns to keep you engaged. Haiduk tries to overwhelm you and keep the intensity up for as long as possible.

Lyrically, it’s a continuation of the dark lore of the fantasy world of Callost, which every Haiduk album is based on. 9 of the 11 new tracks are based on the original 9 demons introduced in Demonicon (2015). While song 6 – ‘Darkener’ is the Demon God himself, the Archdevil, and song 11 – ‘Usurper’ is the doomed human king Arias, who ventured into the volcano fortress Octavia and was taken over and demonized by the evil forces of Hell. Now returning to wage war against the humans he once led.

Track by Track (LYRICALLY & MUSICALLY):

1. Curser – The Curser is the demon Corloch. His main powers are curses and fire magic.

A track that starts slow but builds intensity. Lots of riff and pace variations and a dark atmosphere.

2. Vexer – The demon Vordus. His main powers are sorcery and mind control. Vordus killed and then necrified (morbidly brought back to life) the human king Arias, who led his army into the demons’ volcano fortress, Octavia. Arias, now a demon himself, is known as the Usurper.

Relentless track that pummels the listener with fast and heavy riffs nonstop.

3. Reviler – The demon god Azyr. His powers are control over the depths of the earth. He can cause tremors, earthquakes and volcanic eruptions.

A black metal song with evil riffs.

4. Deviser – The demon lord Nazon, known as the Exomancer: a practitioner of cosmic magic. Upon destroying the armies of Lostar, Nazon turned south to destroy the human city of Ganthas, but the outnumbered demons broke under the knights’ charge. In retreat, Nazon called down a great comet, obliterating the advancing army.

A song that combines speed, heaviness, and lots of riff deviations and permutations, with several rhythmic slow-downs and build-ups.

5. Torturer – The demon Nergion, the inquisitor of hell. Nergion is a master of sinister torture and the extraction of confessions through vile torment.

A fast, heavy song that hammers you relentlessly except for a few early pauses. The first half of the song is all riffs, while the second half brings in some melodic layers.

6. Darkener – The demon god Vordok – the Archdevil – lord of all demons.

7. Abhorer – The demon lord Syth. Made of fire and emerging from hell, Syth is intent on reducing the world above to ash.

Frantic, high-key track with riffs that burn like magma.

8. Infester – The fearsome devil lord Sarxas, a gargantuan beast. Sarxas led the devils of Octavia and defeated Lostar’s northern army. Sarxas trapped the army of Lostar, led by the great warrior Theric, between the mountains and the sea, slaughtering them all.

A fast death-thrash song with tons of energy and technical riffs, characterized by a mid-tempo section in the middle.

9. Venomer – The demon lord Xhadex, a shapeshifter who often takes the form of a great serpent. Xhadex can weave illusions and draw upon interdimensional forces to annihilate his enemies.

A thrash song with an upbeat tempo and non-stop, urgent, fast riffs.

10. Necrifier – The demon Deamris. Leader of great armies of lesser devils. He annihilated and then morbidly resurrected the Lostar human army once led by King Arias.

11. Usurper – Usurper is the former human king Arias, who led the Lostar army into the demons’ volcano fortress, Octavia. There, he and his army were slaughtered and necrified: brought back to life as demons by demonic forces.

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

BAND STORY ANGLES / FUN FACTS:

1. All of Haiduk’s concepts and lyrical themes deal with the fantasy medieval realm of Callost. The different albums feature maps, descriptions, and stories set in the world.

2. Haiduk performs live as a one-man band, playing guitar and vocals while the drums and bass are pre-recorded and played on the PA system. Haiduk once played a show in a 115-year-old barn near downtown Calgary, which was tilting and looked like it would collapse any second.

3. Producer Robert Kukla handled various mixing and mastering duties for the albums ‘Spellbook’ and ‘Demonicon’. Rob Kukla went on to work in the famous Studio Fredman in Sweden and has worked with bands like Aeon and Obscura.

4. Haiduk has distributed over 1,500 CDs around the world and sold CDs in 22 different countries. All self-released with no help from labels or distros.

5. Haiduk did his own album art for ‘Diabolica’.

Haiduk is the death metal solo project by guitarist Luka Milojica. The project arose with the raw demo – ‘Plagueswept’ in 2010.

Working in solitude, Haiduk unveiled the full-length debut ‘Spellbook’ in 2012; a black magic conjuring of fast guitars and powerful riff attacks.

Invoking spells of demonic strength, Haiduk raised forces from the infernal depths, sealing arcane powers into the ‘Demonicon’ in 2015; a blackened tome of blasting distortion.

Chanting words of astral terror, Haiduk became the ‘Exomancer’ (2018); a summoner of cosmic darkness.

Frozen in darkness under the ash cloud, the desolate ground opens. Octavia erupts, releasing the doomed king from the burning abyss. Devils swarm, carving a path of destruction for a new demonic domain – Diabolica (2021).

In 2026, Haiduk returned with the album ‘Archdevil’, keeping the dark flame alive.

Discography:
2026 – Archdevil (full-length)
2021 – Diabolica (full-length)
2018 – Exomancer (full-length)
2015 – Demonicon (full-length)
2012 – Spellbook (full-length)
2010 – Plagueswept (demo)

Shared Stage with: Reverend Kill, Hammerdrone, Ye Goat Herd Gods, Vile Insignia, Dethgod, Fjell Thyngor, Illyrian.

0 EPK – Disorientation – The Pact (single) (2026)

February 20, 2026
by Asher
· Disorientation · EPKs

EPK – Disorientation – The Pact (single) (2026)

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

“We are sure that our fans will be pleased because this song is a continuation and also a step forward. We have kept the core elements of our identity, but now, with the addition of Samuel Arseneau-Roy on guitar and Laurent Bellemare on drums, we are sounding fuller and more organic. The Pact is a little more subtle than any song from our previous EP. This time around, we focused on background elements such as different types of noise and back vocals to create the atmosphere we wanted.” – Marie-Claude (vocals/oboe) – Disorientation

For fans of Celtic Frost, Imperial Triumphant, Sear Bliss, Fear of God, Show of Bedlam

Facebook.com/disorientationmetal | Instagram.com/disorientationmetal | YouTube

Disorientationmetal.bandcamp.com | Spotify | Apple Music

“I have received the 2026 single “The Pact”and will share my thoughts on it. The intro is damn good. The Oboe and the suspense. The fast pace song with crazy back ground audio that create a dark eerie atmosphere. The riffs, vocals and break in the song is epic. The song is 7 minutes plus of pure magic. The composition and execution is top class. I do like how back ground audio that include voices is used to create the atmosphere in the song. For me this is a brilliant song by a brilliant band.” – Project Metal Music

“Anyone who loves powerful metal and classical music will love this unorthodox fusion project.” – New Noise Magazine (2023 – Survival Mode – EP)

“Delving deeper into the eerie atmospherics of metal’s less-trodden path, we find Disorientation, a Montreal-based duo who eschews the symphonic metal genre’s usual dalliance with ethereal beauty, opting instead for an odyssey through sonic desolation. Born from the minds of Marie-Claude Fleury and Daniel Daris, Disorientation is the antithesis of grandeur and elegance, painting a world where the grotesque and the sublime collide.” – Idioteq (2023 – Survival Mode – EP)

“A really good surprise, and a magical, tragic, lysergic EP, which immerses us in a Rank Xerox universe. 8.5/10” – MetalNews.fr (2023 – Survival Mode – EP)

“This EP is obtuse, ugly and deeply troubled. Yet, at the same time, it’s oddly fascinating. (…) In terms of finding a way into Disorientation’s world of noise, there’s no easy route – and the duo seemingly want to keep it that way. For those who wrongly claim that extreme metal has nothing new to offer, this EP will gladly prove otherwise.” – Real Gone Rocks (2023 – Survival Mode – EP)

“Il risultato è a tratti stupefacente nella sua originalità, e la coppia riesce costantemente a esaltarsi grazie a trovate teatrali e visionarie.” 8/10 – Rock Hard Italia (2023 – Survival Mode – EP)

“DISORIENTATION sind kompromisslos schräg und nicht auszurechnen (…) die Songs und deren Stimmungsaufbau fügen sich dann doch zu einem Ganzen zusammen, das motivierend genug ist, um die Repeat-Taste zu drücken – solange bis die Kopfschmerzen nicht mehr auszuhalten sind.” – Vampster (2023 – Survival Mode – EP)

“Au vrai, Disorientation ne ressemble à rien et c’est finalement très bien ainsi. (…) Il n’est pourtant pas interdit de déceler dans cet EP de prime abord peu engageant, non pas une forme de beauté (il ne faut pas exagérer) mais au moins une espèce d’éclat fascinant, une lueur obsédante qui n’est parfois pas sans rappeler le King Crimson le plus halluciné. A conseiller à ceux que n’effraie pas le metal (très) extrême le plus dissonant.” 3/5 – Music Waves (2023 – Survival Mode – EP)

“It is madness bottled into just wonderfulness. (…) I love how it goes between symphonic, hardcore, dark metal and just experimental noise at times, there’s a lot of orchestral arrangements and just bizarreness in this band, (…) This band is just advanced in ways that you’re either going to love it or hate it.” – The Doorway to Zine (2023 – Survival Mode – EP)

“Nina HAGEN qui traîne dans les couloirs, Haendel qui compose pour Frank ZAPPA et les MOTHERS, un voyage sans repères, mais qui fait un bien fou dans une époque standardisée à outrance et plus occupée à regarder en arrière qu’à innover vers l’avant. En trois morceaux seulement, le duo se fait une place confortable sur la scène canadienne contemporaine, défiant même les VOÏVOD en termes de liberté artistique.” 85% – Metal News (2023 – Survival Mode – EP)

“Moving away from the raw quality of the recording of their self titled debut EP with “Survival Mode” while Disorientation claim to have created something more straightforward this time around, that’s not the impression that we get. The Avant-garde duo instead go deeper down the rabbit hole and continue their perpetual forward motion with a ferocious and spine chilling trio of cuts that once again disorientate and disturb.” 8/10 – Metal Noise (2023 – Survival Mode – EP)

“Montreal duo, Disorientation, aim to create a feeling of dizziness and nausea in the listener. If this fails, they can at least punish you with confusion. As an avant-garde metal act with a cor anglaise (English horn) and an oboe as their primary instruments, you can expect unorthodox interpretations of the metal orthodoxy. Survival Mode is their second release following 2021’s self-titled EP, and it’s the type of art that would have landed them an appointment with the hangman in sixteenth-century England as enemies of public decency. (…) Clearly, Igor Stravinsky is the main influence on this EP.” 7/10 – Scream Blast Repeat (2023 – Survival Mode – EP)

“With occasional expansions of the lead vocals into what I’d describe as a more classical inspired mode of singing too. It is an unusual mix of elements and an unusual use of these elements too, which makes me think that progressive metal is the best manner in which to define these landscapes. A production to seek out by those with a taste and affection for a more experimental and unusual variety of extreme progressive metal.” – Progressor (2023 – Survival Mode – EP)

“It sounds all over the place… a very avant-garde vibe to it … It almost feels improvised, it’s like slam poetry but with black metal oboe. This is definitely not going to be for everyone, but I love that weird, kind of obscure random stuff. This is all over the place, it feels improvised, I kind of like it like that, this is Disorientation, which is a perfect band name and title for this self-titled EP.” – Metal Trenches (2021 – Disorientation – EP)

“Canadian band Disorientation produces interesting music. Black/death metal ties with folk instruments and synths. The song Nature, in which the band decorated with plug-ins and acoustic passages and also used choir vocals, caught my attention. They released a three-track self-titled EP; It’s worth taking a look.” – Metal Perver (2021 – Disorientation – EP)

“… a little do-it-yourself project of dark low-fi symphonic metal with a little depressed folkloric side … it’s a pretty interesting little 3-piece EP … the album cover is also magnificent.” – Mtl Metal – CIBL 101.5 FM (2021 – Disorientation – EP)

[Download Single Cover | Download Single Lyrics]

Band: Disorientation
Single Title: The Pact – 7:17
Release Date:
Label: Self-Release
Genre: Extreme Dark Chamber Metal; Dark Experimental Metal
Location of Band: Montreal, QC, Canada

Single Recording Credits:
• All songs performed by: Disorientation
• All songs written by: Marie-Claude Fleury and Daniel Daris
• Produced by: Disorientation
• Mixed by: Hugues Deslauriers
• Mastered by: Hugues Deslauriers
• Single Artwork by: Marie-Claude Fleury
• Canadian Content (MAPL)

Band Line Up:
Daniel Daris – Bass and Dirty Semi-Acoustic Rhythm Guitar
Marie-Claude Fleury – Lead and Backing Vocals, Oboe, and Noise
Laurent Bellemare – Drums and Backing vocals
Samuel Arseneau-Roy – Lead and Rhythm Guitar

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

About the Single Artwork:

Marie-Claude (vocals/oboe): The artwork represents the 2-edged sword aspect of alliances; the hands that willingly hold each other and at the same time are coerced into a union by the shackles.

About the Single (LYRICALLY & MUSICALLY):

Marie-Claude (vocals/oboe): It starts with a noisy intro with the oboe coming from far away. The song starts at a fast pace, takes a break to introduce the meeting, and the first riff restarts. A brutal stop leads to a suspiciously quiet passage where secrets are exchanged, then a mid-tempo riff starts, exposing the truth about your own condition without any outside interference. You spend some time in that bubble, where you can even perceive some light through an acoustic passage, but the outside world you fled comes back with a vengeance through the reappearance of the 1st riff. A series of palm mutes backed by disturbing voices puts you on high alert, then keeps going at a steady pace: this is the crossroads where you have to make choices and decide on a direction. Which way do you go?

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

STORY ANGLES / FUN FACTS:
1. Marie-Claude, Samuel and Laurent are part of the Growlers Choir, and each one of us is in a different section: Marie-Claude does high-pitched vocals, Samuel has a mid-range, and Laurent does the deep low voices.
2. Samuel and Laurent have played together in a band named Basalte from 2015 to 2020.
3. Marie-Claude, Daniel and Samuel performed “Nature” and “Dark Side” during a semi-acoustic private show in 2024.

L-R – Daniel Daris – Bass and Dirty Semi-Acoustic Rhythm Guitar; Marie-Claude Fleury – Lead and Backing Vocals, Oboe and Noise; Laurent Bellemare – Drums and Backing Vocals; Samuel Arseneau-Roy – Lead and Rhythm Guitar

Photo Credit – Geneviève Racine

Disorientation is a Dark Experimental Metal band hailing from Montreal, Canada. Created by Marie-Claude Fleury and Daniel Daris in 2020, the band aims to create a raw, disconcerting sound driven by woodwind arrangements and vocals that range from harsh aggression to intimate vulnerability. Escaping rigid genre boundaries, Disorientation aims to create somber, discordant, yet memorable songs.

In the fall of 2021, Disorientation released its first EP, which was well-received online, albeit with minimal promotion. Metal Trenches called it “a perfect band name and title for this self-titled EP,” while Turkey’s Metalperver wrote that it was “Interesting music, worth checking out.” The songs got airplay on media such as Dark Metal Radio, Sewer Spewer, The Autopsy Report, No Name Radio, and MTL Metal.

Building on that sound, Disorientation began working on a follow-up EP, which they released in December 2023. Titled ‘Survival Mode’ and geared with an improved production, the band has pushed through with more of the elements setting them apart: unorthodox vocal lines and song structures; dissonant woodwind arrangements; straightforward brutality and distressing atmospheres. The three songs were described as « oddly fascinating » (Real Gone Rocks), « not resembling anything else » (Music Waves), and « madness bottled into just wonderfulness » (The Doorway to Zine).

Now armed with a full lineup, consisting of Samuel Arseneau-Roy (Spectral Wound, Basalte) and Laurent Bellemare (Chthe’ilist (live), Basalte, Sutrah), the band is now unleashing « The Pact ». As Disorientation morphs towards a complete unit, this new Single serves as a sign of things to come.

Discography:
2026 – The Pact – Single
2023 – Survival Mode – EP
2021 – Self-Titled – EP

0 EPK – Hopeless Nation – Disaster (2026) (single)

February 19, 2026
by Asher
· EPKs · Hopeless Nation

EPK – Hopeless Nation – Disaster (2026)

Band: Hopeless Nation
Single Title: Disaster – 4:42
Release Date: February 20, 2026
Label: Provocant Media

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

“We’re thrilled to finally release ‘Disaster’ and the upcoming singles. These songs are a mix of energy, reflection, and raw honesty, and we couldn’t have done it without the incredible people around us. Francis Perron at RadicArt brought his mastery as an engineer, working with someone of his caliber, known for Voïvod, pushed the music to a whole new level. Jonathan Houle and Maxime Dupont’s contributions over the years, on bass, guitar, and rhythm, laid the foundation for everything we do, and these releases are our way of honoring that legacy.” – Hopeless Nation

For fans of Gojira, Darkest Hour, At the Gates, Lamb of God, Zao

Instagram.com/hopelessnation_official | Facebook.com/hopelessnation

Spotify | Hopelessnation.bandcamp.com | Apple Music

“Cette pièce immédiate, dense et agressive frappe dès la première seconde et se démarque par son intensité, ses couches sonores riches et ses refrains plus mélodiques, ouvrant le groupe à un public plus large tout en restant fidèle à son essence.” – Metal Universe (2025 – Silverspoon – Single)

“Hopeless Nation’s Silverspoon is featured on Exclaim!’s Weekly Playlist, highlighting the band among Canada’s notable new releases.” (2025 – Silverspoon – Single)

“I won’t lie to you and say I couldn’t wait to see the return of HOPELESS NATION. Their ten years of absence will have been far too long, having left their mark on the Trois-Rivières hardcore/metal scene from 1998 to 2014. Although many of their fans seemed absent (probably due to age), those from the first hours who were there as well as those who discovered the band for the first time were not disappointed. Fred, the singer, did not lose his enthusiasm at the time and his interaction with the public was impeccable. When we say that music is a story of passion, their performance was proof of that. HOPELESS NATION delivered a performance without artifice, rooted in a hardcore and metal heritage old school too often put aside these days.” – Chicks Rock Media – TROIS-RIVIÈRES METALFEST (2024)

“Invigorated by the arrival of new blood, Hopeless Nation channeled all this newfound energy into Built from Scratch, an album propelled by “the rage to start playing again”, to use the expression used by Maxime. Made with Francis Perron at Studio Radicart, the record marks a new stage in the journey of the group which, with 10 years of career behind its belt, is surely one of the deans of the Trois-Rivières metal scene. ” – Voir (2009)

[Download Single Cover | Download Single Lyrics]

Band: Hopeless Nation
Single Title: Disaster – 4:42
Release Date: February 20, 2026
Label: Provocant Media
Location: Trois-Rivières, Québec, Canada
Genre: Hardcore Groove Metal

Single Credits:
– All songs performed by: Hopeless Nation (Frédéric Marchand – Vocals; Louis-Simon Bellerose – Lead Guitar, Backing Vocals; Guy Provencher – Rhythm Guitar; Karl Héroux Rella – Bass; Steve DC – Drums, Backing Vocals)
– All songs written by: Frederic Marchand (lyrics), Louis-Simon Bellerose, Maxime Dupont, Jonathan Houle, Steve DC (music).
– Produced by: Jonathan Houle, in collaboration with Frederic Bujold and Francis Perron (RadicArt)
– Mixed by: Francis Perron (RadicArt)
– Mastered by: Francis Perron (RadicArt)
– Single Artwork by: Concept by Hopeless Nation/design adaptation by Frederic Marchand, AI artwork
– Canadian Content (MAPL)

Recording Band Line Up:
Frédéric Marchand – Vocals
Louis-Simon Bellerose – Lead Guitar, Backing Vocals
Jonathan Houle, Maxime Dupont – Rhythm Guitar
Jonathan Houle, Karl Héroux Rella – Bass
Steve DC – Drums, Backing Vocals

Live Band Line Up:
Frédéric Marchand – Vocals
Louis-Simon Bellerose – Lead Guitar, Backing Vocals
Guy Provencher – Rhythm Guitar
Karl Héroux Rella – Bass
Steve DC – Drums, Backing Vocals

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

About The Single Artwork:

The artwork showcases a hand-painted forest in flames, with birds fleeing the inferno, and a massive wave crashing against the burning coastline.

This striking imagery mirrors the intensity and chaos of the Disaster narrative, highlighting destruction, human vulnerability, and the unstoppable force of nature. It complements the cinematic video, reinforcing themes of resilience, survival, and humanity’s fragile relationship with the planet.

About the Single (LYRICALLY & MUSICALLY):

“Disaster” plunges listeners into chaos and resilience, with lyrics depicting cities in ruin, suffering, and the search for hope. Musically, crushing riffs, relentless rhythms, and raw vocals mirror the tension and urgency of live performance, creating a visceral, socially aware, and intense listening experience.

The Disaster video weaves high-energy live performance with fleeting, chaotic glimpses of a world unraveling. Band members move through the ruins as firefighters, first responders, and civilians, navigating moments of peril and quiet courage. Shadows of destruction and flickers of resilience collide, leaving viewers suspended between tension and reflection, where raw energy meets the fragile pulse of humanity.

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

Fun Facts – Story Angles:

1. Reunion & Grind:
After nearly a decade of silence, Hopeless Nation reunited in summer 2024, revisiting unrecorded 2014 material. 2026 will bring a rapid succession of new singles and videos, with live performances expanding the music experience across nations and delivering full-force, raw energy to fans.

2. Live Meets Storytelling:
In the video, the band takes on heroic roles amid chaos, confronting global crises from natural disasters to humanity’s impact on the planet. Live performance from their first comeback show merges with AI-generated visuals, creating a cinematic spectacle that captures raw, unpredictable disaster moments and immerses viewers in tension and survival.

3. Scene Credibility:
The members are deeply rooted in the Quebec hardcore and metal scene. Louis-Simon leads punk hardcore legends Genetic Error, while Steve DC and Guy Provencher represented Canada in Europe after winning the Wacken Battle of the Bands with Strigampire in 2024.

Over 1000 live shows under their belt — all members combined — prove their relentless commitment to the scene.

4. Live Performance Rituals:
Hopeless Nation delivers sweat-soaked, high-octane shows with no backing tracks, pure lamp-amp sound, and full crowd interaction. Their 2025 shows drew strong attention, fueling brighter opportunities and raw-energy performances for an ambitious 2026.

5. Legacy & Homage:
Many of the new singles are a tribute to past members Jonathan Houle (bass & guitar, 2012–2014, 2024) and Maxime Dupont (rhythm guitar, 1998–2014). Their contributions helped shape the band’s sound, and these releases honor their talent and dedication.

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

L-R: Karl Héroux Rella (Bass), Louis-Simon Bellerose (Lead Guitar), Frederic Marchand (Vocals), Steve DC (Drums), Guy Provencher (Rhythm Guitar)

Photo Credit: @willodoescontent

Explosive. Raw. Heavy. Unique. Relentless. These five words define the sound and the spirit of Hopeless Nation, a metal/hardcore hybrid forged in the fires of punk rebellion and refined through decades of evolution.

Formed in 1998 by a group of friends drawn to the urgency of bands like Ten Foot Pole and Strung Out, Hopeless Nation quickly carved out a name in Quebec’s underground scene. As their musical tastes grew darker and heavier, so did their sound, absorbing the aggression of All Out War, ZAO, and Madball, and later the technical ferocity of Gojira, Lamb of God, and Darkest Hour. The result: a signature blend of hardcore grit and modern metal precision, delivered with unfiltered emotion and pit-ready intensity.

Their 2009 album Built from Scratch marked a high point in their early career, backed by over 200 shows and shared stages with heavyweights like 100 Demons, Bane, With Honor, Lofofora, and Despised Icon. Known for their sweat-drenched, no-backing-tracks live shows, Hopeless Nation became a staple at venues like Montreal’s Foufounes Électriques and Trois-Rivières Metalfest.

After a hiatus, the band returns in 2025 with renewed fire and a sharpened edge set to unleash a series of singles that are a sonic gut-punch, layered, immediate, and aggressive, yet open enough for clean vocals and hooks that stick. The singles are mixed and mastered by Francis Perron (Voïvod) at RadicArt, and they bridge the band’s hardcore roots with a modern metal sheen, setting the tone for an upcoming EP.

Hopeless Nation’s writing process is collaborative and deliberate. Lead guitarist Louis-Simon Bellerose crafts the riffs, while drummer Steve DC, bassist Karl, and rhythm guitarist Guy Provencher (also of Strigampire, Wacken Metal Battle Canada winners) bring the groove. Vocalist Frédéric pens lyrics that cut deep—tackling themes of inequality, privilege, personal struggle, and societal decay with honesty and urgency.

With over two decades of evolution behind them, Hopeless Nation stands as a testament to the enduring power of heavy music. Their sound has matured, but their mission remains the same: to move bodies, challenge minds, and leave everything on the stage.

Discography:
2026 – Disaster – Single
2025 – Silverspoon – Single
2009 – Built from Scratch – Album
2004 – Our Mistakes – EP (Galy Records)
2002 – World of Hate – Album

Tours and Festivals:
2025 – Mini-Tour, with The Almighty Trigger Happy, Québec, Trois-Rivières, Montréal, QC
2025 – Super Sugoi Tour, with Within Destruction – Montréal, QC
2024 – Trois-Rivières Metalfest, with Feels Like Home – Trois-Rivières, QC
2012 – Maquisart, with Despised Icon – Trois-Rivières, QC
2009 – Bloodfest, with 100 Demons, Toronto, ON
2009 – Bloodfest, with 100 Demons, Montréal, QC

Shared Stage with:
Despised Icon
Within Destruction
100 Demons
Unearth
Bane
With Honor
Kalmah
Lofofora
L’Esprit Du Clan
A Perfect Murder
Insurrection
Burning The Oppressor
Mass Murder Messiah
A Death For Every Sin
Buried Inside
Spelldown

0 EPK – Onchocerciasis Esophagogastroduodenoscopy – Fugue Gnawed from the Scabbed God Cerebrum (2026)

February 18, 2026
by Asher
· EPKs · Onchocerciasis Esophagogastroduodenoscopy (2024) (Gore House Productions) · Onchocerciasis Esophagogastroduodenoscopy (Gore House Productions)

EPK – Onchocerciasis Esophagogastroduodenoscopy – Fugue Gnawed from the Scabbed God Cerebrum (2026)

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

“There’s a saying in regards to music: ‘Evolve; don’t change. With every release, we push creative boundaries both in the writing and recording process. We never want to make a drastic change that feels forced and alienating to our day one supporters, but we strive to evolve in ways that feel natural for the growth of the band, not just musically, but as people, too. We want this album to be something that you can either sit with at home, with a nice pair of headphones and marvel at the complexity and immensity of the music.” – Jesse Agiomamitis (vocals/lyrics) – Onchocerciasis Esophagogastroduodenoscopy

For fans of Deathspell Omega, Defeated Sanity, Ulcerate, Disentomb, Sanguinary Consummation

Band: Onchocerciasis Esophagogastroduodenoscopy
Album Title: Fugue Gnawed from the Scabbed God Cerebrum
Release Date: April 3, 2026
Label: Gore House Productions
Album Length: 32:32

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

Tiktok.com/@gorehouseproductions | Youtube.com/c/Gorehouseproductions-Official | Spotify | Gorehouseproductions.bandcamp.com

Facebook.com/OnchoOfficial | Instagram.com/onchocerciasis_official | Youtube Music

Spotify | Officialonchocerciasis.bandcamp.com | Apple Music

“It’s brutal as fuck, but it’s also explores the entire bouquet of sick creativity extreme music has to offer. The Fallen Lament is fun. It’s violent and it loves to blur boundaries between already scummy, disgusting genres.” – Vox & Hops Metal Podcast (The Fall Lament – 2024)

“This EP is definitely for the lovers of the extreme – fans of Deathspell Omega, Defeated Sanity, and Ulcerate will dig the fuck out of this record. So will fans of Dehumanizing Itatrian Worship, whose Kiryu Zhang contributes vocals on the last track of the EP, ‘Facial Gutting’. 9/10” – Ever Metal (The Fall Lament – 2024)

“The tracks revolve around blast beats and slams with some truly impressive breakdowns on display. Lyrics are themed around many different influences including mental health issues that have plagued the bands members, anime and video games making for an interesting read. In essence this EP provides a really promising preview of things to come for this band, who have the potential based on this evidence of creating something special.” – The Razor’s Edge (The Fall Lament – 2024)

“OxE are a different beast, very heavy and extreme but different to most bands of this ilk. The best way to describe them would be like Mortician, but with slam riffs! They have that downtuned bass that trawls the depths of hell with its tone and razor-sharp guitars, frantic programmed drums and some seriously deranged vocals. The tracks are short and sweet, the whole EP only goes on for ten minutes twenty one secs but in that time, you feel so bludgeoned and battered listening to it that it feels much longer, almost like you are succumbing to some exquisite torture!| – The Razor’s Edge (The Fall Lament – 2024)

“What’s cool here is when the music slows down almost to a crawl and sounds creepy as fuck, with a horror/suspense-like feeling that’s not without reminding me of some of the most disgusting episodes of the X-Files when they had some kind of monster eating its victims or what have you, and you can probably throw in a few horror B-movies in there as well. The Fallen Lament is kind of chaotic and dissonant and certainly sets itself apart in the sea of brutal death metal releases out there. 4/5″ – The MetalCrypt (The Fall Lament – 2024)

“primal and brutal variety of dramatic and booming extreme metal ” – The Viking in the Wilderness (The Fall Lament – 2024)

“Brutal gore death grind metal with pig squeally vox” – 89.9 WORT FM – The Moshpit (Madison, WI) (The Fall Lament – 2024)

“It’s been a long time since I heard anything like this mentioned, and the truth is that I haven’t been disappointed. Those from Canada bring us the best formula to execute it. This is based on being as heavy as they are fluid, without giving up the occasional surprise in the form of extra convolutions, which, by the way, fits like a glove. I was extremely grateful that they didn’t focus on composing ultra-heavy and simplistic «ruido» with little direction twist like many others do, reminding us once again that Slam can be rich in nuances within its borders.” – Broken Tomb (The Fall Lament – 2024)

“Have you ever been sat at home on a quiet evening and thought; “you know what would be really good right now? A migraine”? Well, if the answer to that is yes, then the boys in ONCHOCERCIASIS ESOPHAGOGASTRODUODENOSCOPY have got you covered. In this, their twenty-five minute, nine-track offering that is akin to standing in a bucket of water and attaching yourself to a car battery, The Rotted Plinth of Sachiel is a full-on assault on your senses that is sure to test the endurance of even the most seasoned veteran of fringe, extreme metal sub-genres.” – Distorted Sound Mag (2021 – The Rotted Plinth Of Sachiel)

“They may come across as a novelty act trying to be extreme for the sake of extremity, but OEGD are here to subjugate you. Give them five minutes, and they’ll bludgeon you into submission. Whether you like it or not is a different matter.” – Scream Blast Repeat (2021 – The Rotted Plinth Of Sachiel)

“Each song on this EP is a testament to the band’s mastery of slamming death metal, characterized by punishing rhythms and relentless guttural growls.” – Necrozine

[Download Album Cover | Download Album Lyrics]

Track Listing:
1. Conquering Divinity – 3:17
2. The Fallen Lament, Paralytikus Ascends – 1:21
3. Severing What Makes Me Human – 2:41
4. Apotheotic Apotemnophilia – 3:03
5. Entombed Within the Infinite Panopticon – 2:23
6. Gutted & Corpsed – 3:05
7. Heaven’s Empty Halls – 5:13
8. Hurt Beyond Healing – 2:33
9. Abyssikataplexika – 2:35
10. Vile Verses Flogged into the Wings of Angels – 1:23
11. Forged in the Blackest Reaches of Blasphemy – 4:58
Album Length: 32:32

ROLES:

Jesse Agiomamitis: Vocals, Lyrics
Alice Simard: Composition, Guitars, Lead Guitars
The Popu: Additional Songwriting, Mixing and Mastering, Guitars, Bass, Orchestration and Sound Design, Additional lyrics, Additional Vocals

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

About The Album Artwork:

We wanted something that represented all of our combined influences going into the songwriting, in one way or another, and we knew that Mei Maro would be able to deliver something incredible, as usual. There are aspects of various folklore and other things that interest us, all crafted together beautifully by the talented Mei.

The album as a whole (LYRICALLY & MUSICALLY):

Jesse Agiomamitis: Start-to-finish, the album is dissonant, punishing, and disorienting.

Many of the lyrical subjects are larger than life, and the songs tell a story of a single entity, a “godslayer”, essentially, on a God of War-esque rampage through the universe, all veiled in obscurity.

This character and his actions mirror the overall feeling of the album: cold, calculated, and violent.

The Popu: Musically, the LP is definitely the most experimental OxEx to date. In between the utter carnage of the main instrumentals are layers of synths and organic instrumentation that have gone through various levels of sonic destruction to give the overall soundscape an alien feel. I was highly inspired by “Nithing – Agonal Hymns” of 2023 and the classic record “Dripping – Disintegration of Thought Patterns During A Synthetic Mind Traveling Bliss”.

Track by Track (LYRICALLY & MUSICALLY):

Track 1: Conquering Divinity

Lyrically quite fantastical, evoking certain mythological imagery.

The music itself is very chaotic; there’s something new around every corner on this track, and that’s absolutely by design, being the first track on the record. Throwing a curveball out of the gate.

Track 2: The Fallen Lament, Paralytikus Ascends

As heard on the teaser EP we released leading up to the album, this track is one that is pretty straightforward and sounds most like our older material but with better performances all around.

Track 3: Severing What Makes Me Human

A quite dark track with a lot of weird things going on, and with a lot of the lyrics on this record, they’re not meant to be taken too seriously. We want it to evoke some type of image in the listener’s mind as they read over and listen to the track.

Track 4: Apotheotic Apotemnophilia

Getting toward the middle of the record, we knew we had to throw in something a little varied. This song has more melody than most others, but it is still incredibly heavy once that introduction is over. As the title of the track ‘Apotheotic Apotemnophilia’ may suggest, the lyrics (although somewhat vaguely) deal with the idea of a deity who is dissatisfied with aspects of their being.

Track 5: Entombed Within the Infinite Panopticon

This one is a little more straightforward. Just pummeling every second of the runtime, especially towards the end when the slower section comes in. We don’t have as many “breakdown” type moments compared to our earlier EPs, but when they do come in, like on this track, they hit way harder.

Track 6: Gutted & Corpsed

Starts off strong with a lot of blasting and gurgling before making a dramatic shift toward the middle of the song, where it sounds more like a portal to the underworld has been opened. There are these unearthly shrieks and angular riffs that throw the listener for a loop and make you really pay attention to what’s going on, right before getting back into the blasting and gurgling.

Track 7: Heaven’s Empty Halls

One of my absolute favourites on the record. So much is going on texturally with this almost Dungeon Synth-esque backing instrumental that really elevates the guitars, drums, and vocals giving a somewhat creepy vibe to the song and it perfectly kicks off the final portion of the record.

Track 8: Hurt Beyond Healing

Standard ass-beater of a track, bringing everything back to gravity after the last song. Lots of guitar wizardry and chaotic vocals are going on here.

Track 9: Abyssikataplexika

One of the most gnarly vocal performances on the record, with a few new sounds that really don’t sound human, accompanied by some of the deepest chugs on the record and even blistering drumming.

Track 10: Vile Verses Flogged into the Wings of Angels

Dark and brooding atmosphere, like something from a horror soundtrack, perfectly builds tension before release with the final track.

Track 11: Forged in the Blackest Reaches of Blasphemy

Melodic, brutal, chaotic, and structured all at once. Bearing our influences on our sleeve and once again paying homage to the great Disentomb (among other bands). There’s no better way for us to cap off the record.

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

FUN FACTS – STORY ANGLES:

1. Onchocerciasis Esophagogastroduodenoscopy (shorthand: OxE) was originally a solo project by Alice, who released a split record with a friend before bringing Jesse aboard in early 2019.

2. The majority of the lyrics for OxE tracks pertain, in some way, to mental health struggles that I and people around me have dealt with throughout life, but with a cryptic shadow realm he keeps slipping into becomes reality, and he is now trapped there for all eternity. This song is actually about Hyperion’s friend who has dealt with this mental illness every day for his whole life.

3. OxE members hail from various countries. Popu is German, Alice is Canadian, and Jesse is Australian.

4. When it comes to the artistic and lyrical thematics, OxE is inspired by various forms of media. We love incorporating ideas from video games (Dark Souls, NieR, etc.), anime (Berserk, Evangelion, Angel’s Egg), and many areas of real-world mythology and folklore into our music.

5. The Popu has been a fan of the band since the first EP, but has never gotten in contact with Alice or Jesse until two years later, when – by sheer coincidence – Alice and Popu bonded online through the obscure interest of the Danmaku Game “Touhou Project”. Inseparable since then.

L-R – The Popu (Guitar, Drums, Bass) | Alice Simard (Guitar, Drums) | Jesse Agiomamitis (Vocals)

Photo Credit: Onchocerciasis Esophagogastroduodenoscopy

Emerging from the depths of Quebec City’s underground, Onchocerciasis Esophagogastroduodenoscopy (OxE) is a brutal death metal force that defies genre boundaries with its calculated chaos and apocalyptic soundscapes. Originally conceived as a solo project by guitarist Alice Simard, OxE quickly evolved into a collaborative powerhouse with the addition of Australian vocalist Jesse Agiomamitis and German multi-instrumentalist Popu. Together, they’ve forged a sound that’s grotesque, dissonant, and deeply cerebral—equal parts slam, blackened death, and avant-garde experimentation.

Following the blistering EP The Fallen Lament, OxE returns with their most ambitious and punishing release to date: Fugue Gnawed from the Scabbed God Cerebrum. This LP marks a significant evolution in the band’s sonic identity, pushing further into experimental territory while retaining the visceral brutality fans have come to expect. Musically, the album is a labyrinth of dissonant riffs, guttural vocals, and alien soundscapes. Synths and organic instrumentation are warped and mangled into textures that feel both ancient and futuristic. Popu cites Nithing – Agonal Hymns and Dripping – Disintegration of Thought Patterns During A Synthetic Mind Traveling Bliss as key inspirations for the LP’s sonic architecture. Lyrically, Jesse crafts cryptic narratives that explore mental illness, mythological annihilation, and existential dread. At the heart of the album is a conceptual arc following a “godslayer” on a cosmic rampage—an allegory for inner turmoil and transformation. The lyrics are intentionally veiled, allowing listeners to imprint their own interpretations.

Planning to release Singles like “Hurt Beyond Healing” and “Gutted & Corpsed” offers a glimpse into the album’s duality: straightforward brutality laced with surreal, introspective undertones. The juxtaposition of characters—those who embrace life versus those who recklessly flirt with death—reflects the band’s ongoing exploration of human fragility.

Recommended for fans of Deathspell Omega, Defeated Sanity, Ulcerate, Disentomb, and Sanguinary Consummation, Fugue Gnawed from the Scabbed God Cerebrum will be released on April 3, 2026, via Gore House Productions and is available for pre-order at https://orcd.co/scabbed-god-cerebrum

Discography:
2025 – Fugue Gnawed from the Scabbed God Cerebrum LP
2024 – The Fallen Lament LP
2021 – The Rotted Plinth of Sachiel LP
2019 – Adoration of Decaying Innocence EP
2018 – Interspecies Defloration EP

0 EPK – Thunderor – Bleed For It (2026) (Boonsdale Records)

February 17, 2026
by Asher
· EPKs · Thunderor

EPK – Thunderor – Bleed For It (2026) (Boonsdale Records)

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

“I hope that this album will inspire listeners to follow their dreams, let it be a soundtrack to your unbridled life adventures.” – JJ Tartaglia – Thunderor

For fans of The Darkness, Skull Fist, Ghost, Night Flight Orchestra

Band: Thunderor
Album Title: Bleed For It
Release Date: April 17, 2026
Label: Boonsdale Records
Genre: Heavy Metal
Location: Toronto, ON, Canada

Boonsdalerecords.com/thunderor | Facebook.com/ThunderorOfficial | Instagram.com/thunderor_official | Youtube.com/@BOONSDALE | Musicnovascotia.ca/artist/thunderor/

Thunderor.bandcamp.com | Spotify | Apple Music

Canada Tour 2026 with Burning Witches
April 20 – Piranha Bar – Montreal, QC
April 21 – La Source De La Martiniere – Quebec City, QC
April 22 – Rainbow Bistro – Ottawa, ON
April 23 – The Garrison – Toronto, ON

Scandinavia Tour 2026 with HOLMES (The Sound of WASP)
May 15 – Nordic Noise – Copenhagen, Denmark
May 16 – Godset – Kolding, Denmark
May 21 – Willemeen – Arnhem, Netherlands
May 22 – Iduna – Drachten, Netherlands
May 23 – South of Heaven – Bilzen, Belgium
May 27 – The Abyss – Gothenburg, Sweden
May 28 – Muskelrock – Blädinge, Sweden
May 29 – Lokstallet – Skövde, Sweden
May 30 – Gjerdrum Rock Club – Gjerdrum, Norway
May 31 – Sjøboden Live Scene – Mandal, Norway

“Thunderor are back with a new fist pumping anthem, the single ‘Pump Up The Volume’ is here and it’s the first track from their forthcoming album “Bleed For It” coming in March. Speedy riffs with plenty of energy to match, ‘Pump Up The Volume’ also pulls in those classic metal vibes and you can almost smell the studded leather. Mix in a blistering 6-string solo and what more could you ask for? Catch it right here on your Home for the Best New Rock… W-J-O-EEEE” – WJOE – Findlay’s Home for Rock & Roll

“The spirit of the glorious 80’s is omnipresent on the debut, those who like authentic 80’s sound should definitely check out.” 8/10” – Rock It!

“The good mood album of the season comes from Canada. Crisp, consistently catchy songs with excellent guitar work, sometimes enhanced with appropriate keyboard sounds.” 8,5/10” – Deaf Forever

“There must be room somewhere between Steel Panther, The Darkness and The Night Flight Orchestra!” – Metal Hammer

“Thunderor the Musical is infectious, hard-rocking comic book fun that blows the roof off the place – I smiled my way through the whole show – I bet you will, too.” – Sesaya Arts Magazine

“Thunderor the Musical is raucous fun with shredding guitars and driving drums… filled with catchy anthems, flawlessly performed by powerhouse musicians.” – Grind Mag

“I’m always impressed when a drummer handles lead vocals, especially in metal, where the physical demands of drumming are intense. JJ Tartaglia nailed it, delivering flawless vocals without missing a drum beat.” – Allfather Metal

[Download Album Cover | Download Album Lyrics]

Band: Thunderor
Album Title: Bleed For It
Release Date: April 17, 2026
Label: Boonsdale Records
Genre: Heavy Metal
Location: Toronto, ON, Canada

Track Listing:
1. Pump Up The Volume (3:42)
2. Bleed For It (4:06)
3. Take Me To The Show (4:09)
4. Get ‘Em Counted (3:19)
5. Cape Breton Home (3:33)
6. Streets Of Fire (4:16)
7. One Chance (3:40)
8. DreamQuest (1:29)
9. In The Fire O’ The Heat (4:19)
Total: 33:11

Album Recording Credits:
• Songs written by: JJ Tartaglia, Jonny Nesta
• Vocals, Drums, Keys: JJ Tartaglia
• Guitars: Jonny Nesta
• Bass (tracks 1,2): Brycen Gunn
• Bass (tracks 3-7,9): Oscar Anesetti
• Additional Keys (tracks 3,4,7): Anthony Pannozzo
• Fiddle (track 5): Colin Grant
• Produced by: JJ Tartaglia
• Mixed by: Chris Snow
• Mastered by: Kristian Montano
• Member of SOCAN
• Canadian Content (MAPL)

Album and Live Band Line Up:
JJ Tartaglia – Vocals, Drums, Keys
Jonny Nesta – Guitar
Brycen Gunn – Bass

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

About The Album Artwork:

The album art shows different scenes of the story of ‘Thunderor The Musical’

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

The whole album is somewhat of a concept album as it tells the story of ‘Thunderor The Musical’: a tale of adventure and romance in the face of mortality, hearkening back to the glory days of arena rock, wild and restless, as a young group of would-be rockers head out on an impromptu adventure in a time of danger and hope.

The year is 1992, in a tumultuous alternate universe, Bowen, a has-been musician and biker, finds himself inspired by romance and gives one more shot at glory. Joined by love-hungry best friends Kenzie and Sheenah, and a local friar, they find themselves in the face of a rival biker leader, and thrown into an unexpected journey. Through danger, good times, and love triangles, the troupe are thrown into the trials of life, riding against the wind and never looking back.Track by Track (LYRICALLY & MUSICALLY):

1. Pump Up The Volume – This one is a fun track, a good pump-up song before a night out or a big event. The middle section is really meant for live, to get the audience pumping.

2. Bleed For It – This song is the essence of the album; it all revolves and comes back to this theme of bleeding for something. It’s a real anthem with some Twisted Sister vibes.

3. Take Me To The Show – Simply about friends travelling to go to a rock/metal show and all of the adventures that come with that.

4. Get ‘Em Counted – This one’s about pro wrestling! Mainly written for my brother Remy, aka Clash Kincade, who also stars in the music video.

5. Cape Breton Home – Wrote this one as a tribute to back home, Cape Breton Island. Features the great Colin Grant on the fiddle.

6. Streets Of Fire – A soundtrack for revolution. Danger, chaos, clashes in the streets, the people rallying together. Some Bruce Springsteen influence shining through here.

7. One Chance – Leaning more on the heavy metal side here, lyrically, it’s about romance, wanting that one chance with the one you want.

8. DreamQuest – Instrumental bit meant as an epic intro leading to the final song, the climax.

9. In The Fire O’ The Heat – This final opus is about being in Hell. Not physically, but mentally. Love gone wrong, choices gone wrong, betrayal, left alone with the pieces. Albeit still with a glimmer of hope, resilience.

Thunderor L-R: Brycen Gunn (Bass) | JJ Tartaglia (Vocals, Drums, Keys) | Jonny Nesta (Guitar)
Photo Credit – Rae Chatten

Formed in 2020 by multi-JUNO-nominated musicians JJ Tartaglia and Jonny Nesta (also known for their work in Skull Fist), THUNDEROR delivers hook-driven anthems to the caliber set by their arena-rock predecessors, infused with elements of heavy metal, hair metal, and rock opera.

Their debut album, FIRE IT UP (2022), charted at #1 on Earshot’s National Loud Chart in Canada, quickly establishing the band as a rising force in the global metal scene. Extensive tours across Europe, Canada, Mexico, and South America followed, with Thunderor sharing stages alongside major acts such as Airbourne, U.D.O., Enforcer, and Night Demon.

In May 2024, the single “Get ‘Em Counted” amassed over 230K views on YouTube, further fueling anticipation for the band’s next chapter. In the summer of 2025, Thunderor unveiled Thunderor the Musical at the Toronto Fringe Festival—a bold rock opera production featuring a full cast and unreleased material that now forms the backbone of their forthcoming sophomore album.

Set for release in April 2026, the new album will feature the high-energy singles such as “Pump Up The Volume” and “One Chance” that embody the band’s uplifting spirit and theatrical flair. With improved vocals, bigger anthem choruses, and a concept-driven narrative, the record promises to be both a soundtrack to the musical and a standalone heavy metal experience.

If you’ve ever felt a longing for escape, a thirst for adventure, wrapped in romance and danger, allow THUNDEROR to be your soundtrack!

Discography:
2026 – Bleed For It – LP
2022 – Fire It Up – LP

Artits Endorsements: Pearl Drums, Ahead Drumsticks

Shared Stage with: Airbourne, Enforcer, Night Demon

Upcoming Festivals:
May 15, 2026 – Nordic Noise, DK
May 28, 2026 – Muskelrock, SE
June 2026 – NXNE – Toronto, ONUpcoming Tours:Canada Tour w/ Burning Witches
April 20 – Piranha Bar – Montreal, QC
April 21 – La Source De La Martiniere – Quebec City
April 22 – The Brass Monkey – Ottawa, ON
April 23 – The Garrison – Toronto, ONEurope Tour w/ HOLMES (The Sound of WASP)
May 15, 2026 – Nordic Noise, DK
May 16, 2026 – Godset – Kolding, DK
May 21, 2026 – Willemeen – Arnhem, NL)
May 22, 2026 – Iduna – Drachten,
May 23, 2026 – South Of Heaven – Bilzen, BE
May 27, 2026 – The Abyss – Gothenburg, SE
May 28, 2026 – Muskelrock – Bladinge, SE
May 29, 2026 – Lokstallet – Skovde, SE
May 30, 2026 – Gjerdrum Rock Club – Gjerdrum, NO
May 31, 2026 – Sjoboden – Mandal, NOPast Festivals:
July 3-12, 2025 – Toronto Fringe Festival, ON
May 8-9, 2025 – ECMA, St. John’s, NL
May 4, 2024 – Gladbeck Metal Bash, DE
Jun 9, 2023 – NADA Fest, PT
July 31, 2022 – Loud As Hell, AB
June 5, 2022 – Muskelrock, SE
May 27, 2022 – Metalheadz Open Air, DEPast Tours:Canada Dates 2025 w/ Wildstreet
20.11.25 Bovine, Toronto
21.11.25 Piranha Bar, MontrealEurope Tour 2024 w/ Tytus
01.05.24 Putzer Bikerfest – Natz-Schabs, IT
02.05.24 Schwarzer Keiler – Stuttgart, DE
03.05.24 South of Heaven – Bilzen, BE
04.05.24 Gladbeck Metal Bash Open Air, DE
05.05.24 Sound Dog – Breda, NL
06.05.24 Logo – Hamburg, DE
07.05.24 Reset Club – Berlin, DE
08.05.24 Black Label – Leipzig, DE
09.05.24 Paunchy Cats – Lichtenfels, DE
10.05.24 Escape – Vienna, AT
11.05.24 Gustaf Pekarna- Maribor, SI
12.05.24 Meskio Bar – Caneva, ITEurope Tour 2023 w/ Kryptos
04.06.23 Fredagsmangel – Stockholm, SE
05.06.23 HM Army Rockclub – Sandviken, SE
06.06.23 Oceanen – Gothenburg, SE
07.06.23 Bastard Club – Osnabrück, DE
08.06.23 Bambi Galore – Hamburg, DE
09.06.23 NADA Fest – Beja, PT
10.06.23 Sala Silikona – Madrid, ES
11.06.23 Razzmatazz 3 – Barcelona, ESSouth America 2023 w/ Enforcer
22.02.2023 – Midas Music, Montevideo
25.02.2023 – Hangar 110, Sao Paulo

Canada Tour 2022 w/ Night Demon
20.09.22 – Montreal, QC @ Piranha Bar
21.09.22 – Ottawa , ON @ Brass Monkey
22.09.22 – Toronto, ON @ Rockpile
23.09.22 – St. John’s, NL @ Columbus Hall

Mexico Tour 2022 w/ Airbourne
03.09.2022 – C3 Stage, Guadalajara
04.09.2022 – Café Iguana, Monterrey
06.09.2022 – Circo Volador, Mexico City

Europe Tour 2022 w/ Traveler
27.05.22 – Metalheadz Open Air [DE]
28.05.22 – MKNZ – Ilirska Bistrica [SI]
05.06.22 – Muskelrock Festival [SE]
07.06.22 – Copenhagen – Stengade [DK]
08.06.22 – Weimar – Kasseturm [DE]
09.06.22 – Kassel – Goldgrube [DE]
10.06.22 – Oberhausen – Emscherdamm [DE]
11.06.22 – De Verlichte Geest – Roeselare [BE]
12.06.22 – Hamburg – Bambi Galore [DE]
13.06.22 – Pisek – Divadlo Pod Carou [CZ]
14.06.22 – Vienna – Escape [AT]
15.06.22 – Selb – Rockclub Nordbayern [DE]

0 EPK – The Divine Project – Rebirth (2025)

February 15, 2026
by Asher
· EPKs · The Divine Project

EPK – The Divine Project – Rebirth (2025)

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

“We set the goals to reintroduce The Divine Project to the world as a faster, heavier, and more complex band. We made sure we came out swinging and wrote music intended to punch everyone in the face. We were determined, focused, and angry when we made this EP, and we didn’t give a damn what people thought of us. It’s a blend of the music we love, while telling stories of the life we hate. Rebirth is our new beginning and our way of saying The Divine Project is here to stay.” – The Divine Project

For fans of Trivium, Linkin Park, Killswitch Engage, Static-X, All That Remains

Band: The Divine Project
EP Title: Rebirth
Release Date: November 28, 2025
Label: Self-Release
Distribution: DECM Records
Genre: Modern/Alternative Metal
Location of Band: Toronto, ON, Canada

TDP-Official.com | Facebook.com/TheDivineProject | Youtube.com/@TheDivineProject | Instagram.com/TheDivineProject

Thedivineproject.bandcamp.com | Spotify | Apple Music | Tidal

“… I’m simply left wanting more. Not from the track itself, but from an EP whose tracks each bring their own texturally layered elements, all melded together in an extraordinary Extended Play recording.” – Jay Broderick, LoudTO, 2025

“You know a band is special when they have a truly unique sound. Those were my thoughts when I gave this EP a listen.” – “Metal” Mike, @black_kross_zine, 2026)

“With a mix of styles and a strong DIY approach, The Divine Project are a band to keep an eye on as they continue to grow beyond the Toronto scene.” – Dayna Szymanski – This Day In Metal

“The Divine Project may not look traditionally Metal but boy can they break it down! ” – Blast Toronto

“You ever watch a band and realize halfway through that there’s no safety net? No laptop running stems, no hidden tracks filling the gaps, just five people in a room making every sound you’re hearing with their actual hands? That’s The Divine Project. Ontario. “Rebirth” EP.” – Papy Jeff Metal

March Mayhem 2026 Tour w/ Selias, The Divine Project
Ticket info – https://www.tdp-official.com/event-list
March 13 – The Richmond Tavern – London, ON
March 14 – The Atria – Oshawa, ON
March 27 – See Scape – Toronto, ON

[Download EP Cover | Download EP Lyrics]

Track Listing:
1. The Revolt (3:46)
2. Ruins Of Truth (3:27)
3. Don’t Startle The Murder (4:18)
4. The Longest Night (5:53)
EP Length: 17:24

EP Recording Credits:
• All songs performed by: The Divine Project
• All songs written by: The Divine Project
• All lyrics written by: Eric Rivera, Roman Petryga
• Produced by: David T. Anselmo, Mitchell Greenham
• Mixed by: David T. Anselmo, Caleb Hyde
• Mastered by: Caleb Hyde
• Album Artwork by: David T. Anselmo, Roman Petryga
• Member of SOCAN
• Canadian Content (MAPL)

EP and Live Band Line Up:
Ro Stevens – Vocals
Eric Divine – Founder/Guitar
David T. Anselmo – Guitar
Derek ‘DRock’ Boshkov – Bass
Mitch Greenham – Drums

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

About The EP Artwork:

(David – Guitar)
The name “Rebirth” is inspired by our new line-up and era for The Divine Project. We wanted to avoid the cliche of “reincarnation of a phoenix from the ashes”-style imagery, but still have this sort of fantastical, “Final Fantasy-esque” element to the artwork for our first EP. That’s when Ro brought us the idea of the angel, which checks the boxes and also aligns more closely with the theme of our band. (Divine, ergo Angel, you get it.) This is why the angel is forming up from dust, holding up the staff, kind of breaking through the void. We’ve yet to start working on the design or title for our follow-up EP, but based on the feelings we get from the music itself, you can expect it to be dark, lonesome, and a bit uncomfortable.

Another fun fact: for Rebirth, the staff that the angel is holding is somewhat a 3D rendering of an idea that we had for a band emblem. We figured that’s what it would look like in ‘real life’. About the EP as a whole (LYRICALLY & MUSICALLY):

Rebirth is a heavy, emotionally-charged EP that moves through resistance, disillusionment, danger, and ultimately endurance. Across the four tracks, we blend our love for all genres of metal while trying to create music that hits with real weight but still feels built for connection and release. The EP’s emotional thread is transformation through conflict. It begins with defiance and uprising (“The Revolt”), descends into fractured belief and emotional ruin (“Ruins of Truth”), spikes into volatile psychological tension (“Don’t Startle The Murder”), and closes with a long-form survival anthem that tells a story of a final turning point (“The Longest Night”). For us, Rebirth ultimately lives up to its name. Not as a clean reset, but as a hard-earned return for The Divine Project; fighting our way through the collapse of old truths, and emerging with something stronger, sharper, and more alive.

Track by Track (LYRICALLY & MUSICALLY):

1. The Revolt
Musically – The Revolt launches the EP with urgency and a kick in the ass. It’s a modern metal track driven by tight, punchy drums and aggressive guitar work that feels both militant and anthemic. With a balance of heaviness with clarity and a chorus that is made to hit live – big, propulsive, and emotionally direct. The Revolt is made to please the crowd and to incite an epic mosh pit.

Lyrically – The Revolt is a song about the powers to be trying to hold us down. It’s about the hypocrisy of violent, ‘self-justified’ power structures that bring the cyclical nature of revolution. It sounds like a battle cry on the surface, but it is more about being self-aware and uncomfortable, forcing us to open our eyes and see what’s happening around us. It’s not a simple ‘rise up’ anthem; it’s a warning. If we don’t take action now to prevent this life cycle from repeating, we will fall into a state of “us versus them.” When this happens, we must fight for a change, knowing that change may bring destruction. We must talk about The Revolt now, to prevent it from occurring.

2. Ruins of Truth
Musically, Ruins of Truth shifts into a darker, more atmospheric space. It is less about pure momentum and more about tension, weight, and emotional gravity. The guitars, bass, and drums lock into a heavier groove and create a sense of collapse and aftermath while the vocals carry a haunted intensity. We would call this our “nu-groove metal” type of song, which will help get the heads nodding.

Lyrically, Ruins of Truth is about false leaders and their imposing their beliefs onto us. It’s about a society in moral, psychological, and ideological collapse. We are trapped between extremes, manipulated to slowly surrender our humanity through division; yet somehow, there are people out there who follow. Even today, as a country, we are forced to cooperate with our neighbours while their leader only shows us tyranny.

3. Don’t Startle The Murder
Musically, Don’t Startle The Murder is the EP’s most volatile and striking track. It is sharp, unpredictable, and charged with menace. It leans into a more aggressive and cinematic edge, with riffs and rhythmic turns that feel like they are constantly tightening the screws, and a bridge that takes the listener in a totally new direction and genre. The vocals are meant to move between restraint and explosion, giving the song a sense of danger and psychological pressure. It’s djent, it’s trash, it’s fucking heavy!

Lyrically, Don’t Startle The Murder is a story from the perspective of someone who has been attacked by those who call themselves righteous. They watch as these people prey on the weak and vulnerable, as they are ‘easy’ targets – like a crow that only feeds on what’s already dead or dying. This person sees what the righteous are capable of doing, but also watches as their way of life slowly destroys them from the inside. For them, greed, not God, is the real driving force, but every action has a reaction, and consequences are inevitable. It is the moment when you realize the situation is not just broken; it is actively threatening. This is an angry song, but not a reckless one. The anger is controlled, aimed, and ethical. It speaks for the victim, not the executioner, and refuses to let the righteous ones hide.

4. The Longest Night
Musically, The Longest Night was designed to close out the EP. It is our most expansive and emotionally sweeping song. It takes its time, building from a tense, introspective mood into something larger and more anthemic, blending heaviness with a sense of endurance and calmness. We wanted to create something that leads into a wide, cinematic arc, that feels like that moment when you let go of that breath you’ve been holding on for so long. The vocals are less confrontational and more like survival; raw, exhausted, and determined. With a drum rhythm that’s designed to make you dance and guitars that showcase our love for 2000’s metalcore, The Longest Night is a collective favourite of all of us.

Lyrically, The Longest Night is a war-type story told from the perspective of ‘a soldier’. The song is about being used by their ‘leader’ (a higher power) and realizing too late that the cause that they fought for was a lie. This story is to help paint a picture that sometimes we do things we are told are right but end up being wrong. We are told to fight for what is just, but in fact is just a ploy. It shows that we are all human, all vulnerable, and sometimes can fall on the wrong side of history. It is a call back to yourself when you are disappearing inside the weight of everything. This isn’t a pro-war song, or a simple anti-war song – it’s a post-war reckoning. It honours the instinct we all have to protect each other, while telling the story of someone who fell for the system that exploits this instinct.

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

STORY ANGLES / FUN FACTS ABOUT THE EP “Rebirth”:

1. All the pre-production/demo for Rebirth was done internally. We all have some sort of ‘home studio’ to make music, and David and Mitch are graduates from Metalworks Institute (Mississauga, Ontario) with diplomas as audio engineers. This allowed us to put together high-quality demos, which, in fact, were so well done that our engineer, who helped mix and master the EP (Eardrum Valley Records), was able to use the guitars and bass from the demos in the final production. Only drums and vocals were re-recorded in a live studio session.

2. Everything heard on the EP is performed live. Right now, we aren’t keen on making music that couldn’t be expressed properly with only the 5 of us on stage, so we avoided writing music for Rebirth that needs essential backing tracks to play live. Our motto was ‘if it can’t be played on our instruments, then we don’t do it’.

3. For the track ‘Don’t Startle The Murder’, during the bridge, you will hear additional percussion being played in the background. We decided during the vocal recording sessions that we wanted to add something to build the ‘Latin’ vibe that the bridge had. Unfortunately, we didn’t have access to any Latin instruments of sorts, so Derek brought in toys that his kids use for the percussion. This included a toy maraca and a clapper of sorts. We used these to make the background percussion sounds that you hear in the recording.

4. A lot of people have approached us asking if DSTM is actually supposed to be ‘Don’t Startle The Murderer’. The title is intentional as it’s a play on words. A group of crows is called a murder, and the chorus of the song screams out, ‘the crows will carve you out’. The title ‘Don’t Startle The Murder’ is a warning not to provoke these people (the crows), who tend to be in a higher place of authority.

5. The Longest Night wasn’t called that until the day before we submitted the EP for release. For the longest time (heh), it was called Wake Up, but we felt it didn’t properly express what we wanted to convey in a title. It’s definitely the favorite track in the EP amongst all the band members, so we wanted to find a really meaningful and profound name for it. After some hemming and hawing, we finally bit the bullet and finally settled on the tried and true “Name-the-song-after-the-significant-words-in-the-chorus” method and called it The Longest Night.

BAND STORY ANGLES / FUN FACTS:
1. Our mission is to bring music that’s considered ‘underground’ or ‘too heavy’ to the forefront of the industry.
2. Started as a solo project by Eric Divine, The Divine Project is now a staple in the Toronto music scene.
3. David T. Anselmo and Mitch Greenham are both graduates of Metalworks Institute.

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

L-R – Mitch Greenham (Drums) | Eric Divine (Guitar) | Ro Stevens (vocals) | Derek ‘DRock’ Boshkov (Bass) | David T.Anselmo (Guitar)

Photo by: Ivan Gaitan-Ruiz (IG: @pato.feoart)

Hailing from the Greater Toronto Area, The Divine Project is a powerful fusion of talent spanning the spectrum of hard rock to metal, igniting your ears with a sound that’s raw, emotive, and aggressive in style. With a mission to bring music that’s considered ‘underground’ or ‘too heavy’ to the forefront of the industry, The Divine Project is a force to be reckoned with. Energetic and charismatic, their one-of-a-kind live performance has found them as the direct city support for the likes of Eyes Set To Kill, Black Satellite, Awake At Last, Sumo Cyco, and Escape The Fate.

The Divine Project is recognized as a staple in the Ontario music scene. In 2025, TDP re- emerges to reach even greater heights, as founding guitarist Eric Divine leads the band with an all-new roster composed of frontman Ro Stevens, fellow guitarist David T. Anselmo, bassist Derek “DRock” Boshkov, and drummer Mitch Greenham.

Meet The Band

The Voice
Rø Stevens – Frontman
With nearly two decades of experience and 17 years commanding the frontlines, Ro Stevens is a powerhouse vocalist known for his undeniable stage presence and relentless energy. A true passion for metal fuels his music, but Ro’s versatile voice has led him through almost every genre, always with one goal in mind: to make the crowd lose themselves in the moment.

Ro’s dynamic performances are more than just music—they’re an experience. With the ability to ignite raw emotion and power from the first note, he creates a connection with his audience that’s felt deep in the soul. His voice is both fierce and captivating, demanding attention and giving back nothing less than pure energy in return.

The Divine Project stands as the embodiment of that energy, blending hard-hitting sound with an intense passion that only Ro can lead. This is no ordinary performance—this is the kind of show that leaves an imprint, every time.

The Founder
Eric Divine – Rhythm Guitar
As the founder of The Divine Project, Eric is “The Man with the Plan” and the driving force that has kept TDP alive year after year. A love-hate relation with his art, he leaves every ounce of emotion in the music he creates. Born to 80’s metal and raised in the nu-metal era, Eric brings his love of melodic, hard-hitting, intricate guitar playing to his own sound. With more stories to tell, he will not stop until The Divine Project is a name found in every household music collection.

The Engine
Mitch Greenham – Drums
With over fifteen years of drumming experience, Mitch is the rhythmic backline for The Divine Project. Evolving from the instrumental entity known as 1. O.M with lead guitarist David Anselmo, Mitch brings his expertise as a trained audio engineer alongside his musicianship, stemming from personal inspirations of Travis Orbin, Dan Presland, and Sebastian Lanser. Influenced by progressive metal, tech/ symphonic death metal, and avant-garde metal, Mitch aims to find an optimal blend of technicality and groove to create a unique but memorable musical experience.

The Muscle
Derek “DRock” Boshkov – Bass
As a child of the MuchMusic era, Derek draws inspiration from metal, pop-punk, nu-metal, grunge, and industrial, infused with Latin and Balkan influences from his own cultural upbringing. His unique bass tone blends deep, pulsing grooves with a high-energy edge, laying a powerful rhythmic foundation for The Divine Project. With over a decade of experience performing in the Toronto area with Swixblade, Zen in Chaos, and Be Kind, Rewind, he now channels his passion into creating music that is both crushingly heavy and beautifully intense, pushing sonic boundaries with raw energy, depth, and unfiltered power.

The Wings
David T. Anselmo – Lead Guitar
The Lead Guitarist for The Divine Project, and the brain behind the musical entity known as 1.O.M., whether on a fretboard or in a DAW, David is a font of creativity who strives to inject a wide variety of influences into his craft. A lover of heavy riffs and sonorous leads, but an avid fan of all things catchy, David favours synergizing the slick stylings of neo-soul and funk with a foundation of post-hardcore, metal-core, and instrumental rock to create music that’s compelling yet fun.
The Divine Project enters the next chapter of its story; More ferocious, more passionate, more determined. The Divine Project is coming.

…Will you be ready?

Discography:
2025 – Rebirth – EP
2017 – In The Eyes Of Chaos – LP (physical copies only)

Shared Stage with: Jupiter Hollow, Night of The Snakes, Vulpecula, Lubbock Lights, Dog Whistle, Operus, Devil Witch, Solarus, Killotine, Dead Beyond Fear, Polarity, Cevilain, I See Aura, Dawn Vally, Duskwalker, Drop Top Alibi, Stuck In Neutral, Sewn, Mind Swell, Constrain, Falstaff, Napoleon

Local Support for Bands touring through Toronto: Escape The Fate, Sumo Cyco (Initiation Tour), Black Satellite, Eyes Set To Kill (The Attention Tour), Awake At Last. All The Time Everywhere.

Tours and Festivals:
2026 – March Mayhem 2026 Tour – London, Oshawa, Toronto, ON.
2026 – Wacken Metal Battle Toronto Round 1 – Toronto, ON.
2025 – Music Day In Canada – Mississauga, ON.

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

February 13, 2026
by Asher
· EPKs · Nova Spei (Bam&Co. Heavy) · Uncategorized

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

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

“We’re confident listeners will connect with this new chapter of the band — a rebirth shaped by the shift to a more powerful, feminine vocal presence, yet still carrying even greater intensity. The sound feels more organic than our previous album, and we want people to feel the passion and pure joy we pour into creating this music.

“Releasing Renaissance first made perfect sense. It’s the song that speaks to our fall and our return, so what could be more logical than starting with the track that tells that story?” — Nova Spei

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

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

Novaspei.bandcamp.com | Apple Music | Spotify

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

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

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

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

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

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

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

Band: Nova Spei
Single Title: Renaissance – 2:38
Release Date: February 13, 2026
Label: Bam&Co-Heavy
Distribution: Believe Digital
Genre: Metal
Location of Band: Trois-Rivières, Québec, Canada

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

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

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

About the Single Artwork:

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

About The Single (LYRICALLY & MUSICALLY):

Renaissance is an energetic song that demonstrates our overflowing energy. It speaks of the obstacles we’ve encountered, our desire to get back up and start again, stronger than ever.

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

BAND STORY ANGLES / FUN FACTS:

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

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

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

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

Photo Credit – Joe Weller (Joe Lacerte)

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

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

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

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

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

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

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

Music Placements: Montreal Canadiens games at the Bell Centre

Artist endorsements: Charbonneau Guitars

0 EPK – Without Mercy – Infinite Loss (2026)

February 12, 2026
by Asher
· EPKs · Without Mercy

EPK – Without Mercy – Infinite Loss (2026)

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

“This was the first time we left home to make a record. We crossed borders, uprooted our routines, and committed fully to the process by living inside it for ten days. There was no comfort, no distance, and no way to step away. It forced us to be present with each other and with the music in a way we had never experienced before. That isolation mattered. Being away from everything familiar stripped the process down to what was essential and made the work unavoidable.

We built this release around three songs that genuinely excited us. Not as singles or checkpoints, but as statements. Planning an EP with that level of focus made us more deliberate. Every choice had to justify its place. The result is something we are proud of, not because it represents a

direction we chased, but because it reflects who we were in that moment and what we were willing to commit to.

For the first time, we brought in outside counsel at this level. Working with a producer meant learning when to listen and when to push back. We trusted the process without surrendering our identity. Some ideas challenged us. Others were rejected outright. That tension was necessary. Growth came from understanding why a suggestion worked or why it didn’t, and having the conviction to stand by those decisions together.

This record exists because we chose to be uncomfortable, to argue honestly, and to stay in the room until it felt right. What came out of that is not perfect and it was never meant to be. It is focused, intentional, and real. These songs document a short, intense window of our lives where commitment mattered more than convenience and honesty mattered more than expectation.” – DJ Temple – Without Mercy

For fans of Meshuggah, Alluvial, Decapitated, Fit For An Autopsy, Gojira

Band: Without Mercy
EP Title: Infinite Loss
Release Date: May 8, 2026
Label: Self-Release
Genre: Metal
Location of Band: Vancouver, BC, Canada

Withoutmercyband.com | Facebook.com/withoutmercyband | Instagram.com/withoutmercyband | Youtube.com/c/withoutmercyband

EP Digital pre-save – https://ffm.to/infiniteloss

“The music was excellent…a potent mixture of aggression and technical precision. Now that I can taste them, I am very much looking forward to a full length from the band.” – Metal-Temple

““The Saint” is somehow both maniacal and controlled. In its opening couple of minutes it seems to be a carefully calibrated convulsion, discharging its myriad sensations in quick stop-start bursts of seemingly off-kilter but tightly executed mayhem. Those sensations include sledgehammer rhythmic brutishness, shrill and spidery fretwork-delirium, and napalm-strength vocals. The grooves are there — grooves of differing kinds — but they quickly jackhammer listeners in the midst of harrowing howls, scorching screams, and a multitude of fleet-fingered but berserk and discordant string contortions. Moreover, at the 2:18 mark the song suddenly and dramatically changes — indeed, it’s difficult to overstate just how dramatic the change is. In place of all the frenetically bursting frequencies the lead guitar gently rings and seductively warps above gravel-toned bass-lines and steady beats, an interlude that brings hints of jazz fusion to mind. That’s just a quick breather before the song’s intensity blazes again, and yet the segue back into the finale of bludgeoning grooves and squirming guitars is a smooth and near-seamless one.” – No Clean Singing

“WITHOUT MERCY With this release they position themselves clearly in the intersection of death metal, groove and metalcore, without completely submitting to any of these genres. The band uses elements of these directions to develop their own language that relies on suspense rather than classic hooks. Conclusion: WITHOUT MERCY succeeds with »Infinite Loss« an impressive statement in the field of death/groove metal, metalcore. 4/5” – Metal Underground Austria

“the controlled aggression and delicious grooves of title track “Infinite Loss” gradually ramp up in their intensity, creating a sense of slow suffocation before the riffs subside to allow for a technical solo of the highest order from DJ Temple. A powerful statement piece that flows in wave like patterns through dark moods, the sonic weight of the music conveys the message without the need for the harsh vocals from Alex Friis. That’s not to say his words are superfluous; on the contrary, they’re the fuel for the fire as the world burns.” – Metal Noise

“we hear a solid force coming through, where riffs are the main ingredient, alongside a brutal and aggressive-sounding voice.” – Musika

“The resulting output is “Infinite Loss”, a three track assault that zeroes in on a choking atmosphere of mechanical hostility. Musically, the band leans heavily into calculated syncopation and technical restraint, letting rhythmic patterns lock in to create a claustrophobic pressure.” – Heavy Metal Darkness

“It’s only three songs, but it’s a lot to process. This isn’t background music. It’s a physical record that reflects the stress of just existing right now. Honestly, after nearly twenty years, it’s cool to see a band still willing to make themselves this uncomfortable just to see what happens. It paid off.” – Radio Papy Jeff

“Without Mercy’s New Album Is A Whirlwind of Sonic Punishment” – The Pit (Seismic – 2020)

“Right from the start (Uprooted), Without Mercy set the bar high for their extremity, aiming for something far more chaotic. The opening is a mix between the pure grind-death akin to that of Cattle Decapitation, and the math metal sound of Protest the Hero.”- Metal Injection (Seismic – 2020)

“pay witness (I Break The Chain) to their thrashy death metal a la Cattle Decapitation, Meshuggah and Decapitated and watch as they adorn the blast beats and breakdowns with beer guts and brogues.” – Decibel Magazine (Seismic – 2020)

“…To put it simply: the band does an incredible job of blending their grooves with their growls. Between segments of death, doom, and shreddy guitar solos that absolutely slay, there are moments of satisfying melodic breakdowns, and cutting riffs to die for… Seismic is full of lyrics that hold true and poignant meaning while using powerful imagery to evoke epic scenes of turbulent life and painful decay in the minds eye… ground-shaking album. 4/5” – Metal-Rules (Seismic – 2020)

“Overall, two elements really struck me here…one was the level of intensity, and the other the level of musicianship from the band. How they can remain unsigned is a mystery to me. They play with such a tight synergy that it’s almost like they can finish each other’s sentences before they even open their mouth.” – Metal Temple (Seismic – 2020)

“While the heavy metal name generator might have had something to do with what this meaty metal unit called themselves, you can’t say it doesn’t fit. Without Mercy are pretty damn *ahem* merciless and to cap that off, their new album is so aptly titled. Seismic…a relentless powerhouse that is akin to tectonic plates smashing into each other. There is no fucking mercy and it’s fucking glorious. Excuse the swearing but that’s how this album makes you feel. It makes you feel like a beast. It makes you feel capable of taking on the world. It’s chunky, it’s thick, it’s chokingly devastating and undoubtedly one to be remembered.” – Games, Brrraaains & A Head-Banging Life (Seismic – 2020)

“The intensity of this album never falters. The instrumental tones work fantastically together, the energy is clearly there, and the overall effect is wonderfully intense. Without Mercy have certainly achieved the ‘wall of sound’ effect through ‘Seismic’.” – Madness To Creation (Seismic – 2020)

“A merciless Vancouver-based Death and Thrash Metal unity is ready to strike us all once again with their newest opus, representing four years of solid work ethic and unwillingness to compromise even in the slightest.” – The Headbanging Moose (Seismic – 2020)

“Without Mercy’s music is made for a wide audience. Seismic will please as much to pure violence lovers, as a crowd that fight following the catchy groove.” – Acta Infernalis (Seismic – 2020)

“The thrash-stomp modes on “Worthless” ring like a head-on collision between DECAPITATED and BIOHAZARD with a dash of power metal thrown into the solo section. Alex Friis wrings his throat to huge extremes, hopefully leaving tissue intact as he hits agonizing squeals while throwing indictments against former band members — guess on your own who that might entail. DJ Temple’s guitar work on “Worthless” is terrific..” (Mouchido EP 2016) – Blabbermouth

“Vancouver’s Without Mercy is a prime example of how putting in a little bit of elbow grease can result in advantageous outcomes. The quartet play their brand of melodic, groove-laden death metal independently, but refuse to remain held back by a lack in the promotional and money machine backing departments. Over the course of a decade or so, the band has experienced the same highs and lows as most others, but their successes – which include a small handful of recordings, a bigger handful of tours, and appearances in video games – have been felt at a deeper clip because they’ve essentially managed everything themselves.” (Mouchido EP 2016) – Decibel Magazine

“In a word, the music rips. And it also thunders, and punches so fast and hard that it’s like a jackhammer-sized nail gun ramming bolts into concrete at high speed while the operator howls and shrieks for all he’s worth, segmented by a start-stop breakdown that will give your skull a good rattling and lit up by swarming guitar flurries that are as fiery as the torches in the video (Burn).” (Mouchido EP 2016) – No Clean Singing

” the band live up to their name with each song on this 4 track EP going for straight for the throat; merciless aural violence and tight, technical proficiency melded with some serious might!” (Mouchido EP 2016) – Worship Metal

“Mouichido might only be a brief four songs and nineteen minutes long but, by the end of it, the Canadian death metal wrecking machine have left you in no doubt as to what they’re about.” (Mouchido EP 2016) – PureGrainAudio

“Right from the beginning you feel the weight and the immensity of Mouichido and one listen just doesn’t do it justice. This is a re-release of previously recorded material with a new vocalist and even so, Without Mercy comes out swinging again and knocks it clear out of the park.” (Mouchido EP 2016) – Cadaver Garden

[Download EP Cover | Download EP Lyrics]

Band: Without Mercy
EP Title: Infinite Loss
Release Date: May 8, 2026
Label: Self-Release
Genre: Metal
Location of Band: Vancouver, BC, Canada

Track Listing:
1. Infinite Loss – (4:15)
2. The Saint – (3:39)
3. Glass – (3:16)
EP Length: 11:11

EP Recording Credits:
All songs performed by: Without Mercy
All songs written by: Without Mercy
Produced by: John Douglass
Mixed by: John Douglass
Mastered by: John Douglass
Album Artwork by: Diego Gedoz de Souza
Member of SOCAN

EP and Live Band Line Up:
Alex Friis – Vocals
DJ Temple – Guitars
Ryan Loewen – Bass
Matt Helie – Drums

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

About the EP Artwork:

The artwork for Infinite Loss came together through collaboration and trust. After several early concepts failed to capture what we were expressing lyrically, our good friend Diego stepped in and helped bring clarity to the vision. His role was not just execution, but guidance.

The imagery reflects the emotional core of the EP. A desolate forest, stripped of comfort, with a massive void carved into the ground. It represents loss, inevitability, and the feeling of being pulled toward something you cannot escape. The stillness above contrasts with the violence implied below, mirroring the tension present throughout the music.

The final piece feels honest to the record. It does not explain the songs, but it exists in the same emotional space and allows the listener to enter that world before hearing a single note.

About the EP (LYRICALLY & MUSICALLY):

Lyrically, the record is about being hunted. Not once, but repeatedly. It reflects the feeling of constant pressure in modern life. Economic strain, social expectations, identity, time, and survival are all closing in at once. There is no single antagonist. The threat shifts, but it never disappears. In that sense, the record speaks to every person living in the modern-day Americas. It is not about victimhood. It is about endurance under relentless pursuit.

Musically, that tension is mirrored through weight and restraint. The songs rely on repetition, density, and patience rather than speed or excess. Riffs are allowed to sit and suffocate. Rhythms feel deliberate and physical, creating a sense of inevitability rather than chaos. The aggression is controlled, not explosive, and the dynamics are used to reinforce pressure rather than release it.

As a whole, the EP is confrontational without being theatrical. It does not offer resolution or escape. It documents a state of being. One where the chase never stops, and survival becomes the defining act.

Track by Track (LYRICALLY & MUSICALLY):

1. Infinite Loss: Lyrically, Infinite Loss centers on the feeling of being hunted repeatedly. There is no escalation or resolution, only the realization that the pursuit never ends. Each cycle feels heavier than the last, creating a sense of inevitability rather than panic.

Musically, the track is intense and unrelenting by design. It relies on repetition, density, and deliberate pacing to create a sense of suffocation. Riffs return heavier each time, rhythms stay locked and physical, and there is little space for relief. The aggression is controlled but relentless, reflecting the exhaustion and inevitability at the core of the song.

2. The Saint: It’s about being enslaved by the land. All the different whips, and all the different backs.

Musically, The Saint represents the band’s biggest departure on the record. It was the last song written for the EP and came together after most of the direction had already been established. Because of that, its inclusion was debated. It challenged what we thought the record should be.

The arrangement leans into space, tension, and unfamiliar structure rather than immediacy or force. The dynamics are more patient, and the movement is less predictable, allowing discomfort to sit longer than usual. In the end, the song earned its place by doing something the others could not. It broadened the emotional scope of the EP without breaking its core identity.

3. Glass: It’s about eyes, mirrors, and souls. It’s about translation.

Musically, Glass is built around a series of interconnected riffs inspired by Meshuggah and Alluvial, filtered intentionally through our own voice. Those ideas lock together early and establish the song’s weight, pacing, and direction. Everything else in the arrangement exists to support and reinforce that foundation.

The groove is physical and controlled, balancing precision with restraint. Instead of expanding outward, the song tightens inward, increasing pressure with each section. That tension is finally released in the closing passage, where the outro opens up and lands with scale and finality.

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

BAND STORY ANGLES / FUN FACTS:

1. Without Mercy’s first international buzz came from an unexpected place: video games.

During the press cycle of a previous release, guitarist DJ Temple reached out to one of his favourite video game voice actors as a fan. The two connected and became friends. Later that year, while attending an event in Australia, the actor found himself among metal fans and began telling them about a heavy band from Canada called Without Mercy. That moment marked one of the earliest times the band’s name started spreading organically outside North America.

2. Without Mercy once rebuilt their tour van in a Northern Alberta parking lot and still made the show.

While touring Northern Alberta, Without Mercy’s van broke down late at night while racing to make a deadline. Stranded in a small town, the next morning, bassist Ryan was in the hotel parking lot hand-mapping gasket repairs. After sourcing a new pump and belt, the band got the van running just in time to hit their call time and still play the show.

3. A single decision to improve quietly shaped most of the band.

Without Mercy started with a simple goal. DJ Temple wanted to become a better guitarist. Instead of chasing shortcuts, he committed to understanding the instrument at a deeper level by studying theory, structure, and how music actually works. Improvement was the only objective, not visibility or career advancement.

As that understanding grew, teaching became a natural extension of learning rather than a planned profession. Over time, that teaching evolved into a music academy, which became a space for long-term collaboration and shared standards. Through that environment, three of the four members of Without Mercy came together through study, work, and trust. What began as a quiet commitment to improvement eventually formed a band built on a common language, discipline, and mutual investment.

4. Without Mercy previously appeared as downloadable content in Rock Band 3, an early crossover point between the band, gaming culture, and heavy music.

5. Built from collapse, finished with intent.
In the post-COVID period, Without Mercy found themselves at a standstill, unsure of how or where to move forward. Within the span of a single month, the band lost three separate jam spaces as buildings were sold out from under them. Each time, there was just enough time to move in, set up, and begin working before being forced out again. Momentum stalled, and stability felt impossible.

Rather than wait for conditions to improve, DJ Temple made the decision to build a solution. Using contacts through the academy and the generous donation of time and labour from a high-level electrical company, the band constructed a new headquarters from scratch. A private, purpose-built space in a quiet location where they could work without interruption. It became the place where the band could reset and start moving again.

With the space secured, the band set a clear goal to record new material, even though none of it existed yet. A deadline was chosen first. From there, they contacted a producer they respected, narrowed from a list of producers whose work they genuinely admired, and committed to the one with the strongest body of work.

Once the recording dates were locked, the writing began in earnest.

For months, the band focused solely on writing, refining, and committing to the material. When the time came, they uprooted their lives and flew to another country to record the EP. The entire record was completed in eight days.

The project was entirely self-funded, self-organized, and independently released. What began in a place of uncertainty and frustration ultimately became a focused statement of intent. The EP stands as a document of persistence, built from instability and finished through discipline.

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

L -R – Ryan Loewen – Bass, Alex Friis – Vocals, DJ Temple – Guitars, Matt Helie – Drums
Photo Credit: Shimon Photo – http://www.shimonphoto.com

Without Mercy Bio Beginnings

Having imagined a style of extreme metal that no one was playing, Alex Friis (Vocals), DJ Temple (Guitars), Ryan Loewen (Bass), and Matt Helie (Drums) formed Without Mercy in 2007 to compose and perform a new sort of music. This music fused the head-banging rhythms of groove with the intensity of extreme metal. For thirteen years, Without Mercy and its growing fanbase waited for critics to write what they had known all along: “It’s a remarkable achievement to be so heavy and insightful at the same time,” as the notable online music critic JVB@screenblastrepeat put it.

Global Recognition.

Best known for their performances on the Canadian extreme metal music scene, Without Mercy has shared the stage with legendary bands. They have opened for Cattle Decapitation, Aborted, and Death Angel. Musical experts celebrate what Without Mercy’s energy, precision, and emotional openness brought to the concerts by performing original and technically scintillating music that is viscerally experienced. Because of these qualities, people around the world stream Without Mercy’s music and clamor for their merchandise. And given their popularity, it’s no surprise that Without Mercy has been invited to several international music festivals.

Discography

Without Mercy came together to make a new sort of music. And their discography makes that dedication apparent.

All Else Fails (2007)

Self-produced, Without Mercy’s All Else Fails captures the band’s raw talent and emotional intensity.

The album’s songs take musical and lyrical inspiration from the band members’ lived experiences, including the common feeling of being alone in a crowd in the song “Isolation.” Grounded in these authentic moments, All Else Fails presents uncompromisingly precise and genre-bending music that invites its audience to consider the truth of what the song says and the possibilities of the genre.

This approach reveals the band’s defining quality – dedication not to a genre but to their music.

Without Mercy (2009)

Without Mercy represents the band’s first time recording in a well-known, professional studio and marks the beginning of a three-album relationship with recording engineer Sheldon Zaharko, a three-time Juno nominee. Without Mercy establishes the band’s aggressive sounds paired with its technical proficiency. In the album, the band pushes against the conventions of extreme metal, a pattern that reaches its fullest expression in Seismic (2020). Without Mercy invites its audience to head-bob to a 20-second scream, and to experience music that fuses groove with death metal.

The album also marks the band’s maturing outlook on members’ personal experiences as well as commentary on Canadian events.

Reborn EP (2014) Rereleased as Mouichido EP (2016)

Occasioned in part by a change in band members, Without Mercy seized the opportunity to revise Reborn into a tighter and even more technically proficient performance, benefiting from the band’s experience on tour. In Mouichido, Without Mercy clarifies its songwriting ethos of pairing unexpected compositional choices with dazzling technique.

Seismic (2020)

Without Mercy’s Seismic builds upon the foundations the band laid in Mouichido. The album presents Without Mercy’s evolving sound and the musical growth of its individual members. Rewarding its audience with songs that continue to push the genre boundaries of extreme metal, Seismic demonstrates the innovations possible more than a decade after the release of All Else Fails. The album explores the possibilities of blending Ojibwe mythology, including the Thunderbird and the Wendigo, with the horrors of the indigenous schools.

Discography:
2026 – Infinite Loss – EP
2020 – Seismic – Album
2016 – Mouichido – EP
2009 – Self Titled – Album
2007 – All Else Fails – EP

Shared Stage with: Cattle Decapitation, Death Angel, Unleash The Archers, Angelmaker, Anciients, Protest the Hero, 3 Inches of Blood, Satyricon

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