Category: EPKs

0 EPK – Juliet Ruin – Regime (2025)

September 25, 2025
by Asher
· EPKs · Juliet Ruin

EPK – Juliet Ruin – Regime (2025)

Publicist – Jon Asher – jon[@]ashermediarelations

“This EP Regime contains some moments that feel like a callback to our earlier style and some that push further in the heavier direction we have been moving. We think it’s stronger than our last EP and hope the fans will be in agreement. We have incorporated lots of different styles and vibes on this EP. We wanted an EP that feels empowering but also comes from a place of understanding, and we’d like people to feel that vibe when they listen to it.” – Juliet Ruin

For fans of Spiritbox, Alexisonfire, Killswitch Engage

Band: Juliet Ruin
EP Title: Regime
Release Date: Oct 24, 2025
Label: Self-Release
Distribution: Distrokid
Genre: Metalcore
Location: Edmonton, AB, Canada

Facebook.com/julietruinband | Youtube.com/@julietruin | Instagram.com/julietruin

Julietruin.bandcamp.com | Spotify | Apple Music

“Reactance Theory, the new one from Juliet Ruin’s upcoming EP “Regime,” kicks off with that big hard-rock energy — clean vocals cutting through, guitars hitting just right, the whole thing moving with confidence. But give it time; somewhere along the way it twists, gets a little meaner, a little heavier. Stick around for that turn.” – IDIOTEQ (2025 – Regime EP)

“JULIET RUIN returns with their most vulnerable and sonically ambitious release to date
‘REGIME’” – Amnplify (2025 – Regime EP)

“Juliet Ruin’s new EP features a modern sound and musical style that blends styles like metalcore, melodeath, rock, and even groove-heavy and progressive metal. Regime, a five-song EP, benefits from this musical diversity while maintaining clean, guttural vocals. Score 90/100” – Darkzen Metal Angels (2025 – Regime EP)

““Regime” is a superb EP with five powerful, dynamic and thunderous tracks that give the listener an almighty adrenaline rush and an unforgettable listening experience. This record is totally compelling and you simply cannot just play it once and walk away. This is a record that requires deep and concentrated analysis to find out what makes this band tick. Juliet Ruin have not only captured my attention with this EP, but my heart, soul and everything else. This band is the real deal alright. “Regime” more than proves it.” – Accidental Music Reviewer (2025 – Regime EP)

“All in all, what stands out most with Regime is how it can bounce between a number of influences that help to keep it sounding fresh. While the melodic and heavy dynamic is one that is utilized by many in metal, there’s still something to be said for how Juliet Ruin handles it without making it sound too commercial, even with full-blown pop influence. There’s some creativity at play that the band can harness, and should do them well as they continue to move forward, now with a full decade of experience to their name.” – Dead Rhetoric (2025 – Regime EP)

“…a fourth studio record from Canadian’s Juliet Ruin is an intriguing prospect. The five piece have long drawn comparisons to the likes of Jinjer, Infected Rain, Butcher Babies and even The Agonist with their hybrid blend of brutal breakdowns, pop-infused melodies and unfiltered emotion, their sound both technically sharp and progressive leaning… The only issue with this is that at just over twenty minutes it leaves you crying for more [8.5/10]” – Metal Noise (2025 – Regime EP)

“Celebrating a decade since their inception in style, Canadian Metal outfit Juliet Ruin will be unveiling a new EP in “Regime” on 7th November. The second advanced single from that is “Reactance Theory”, a song which explores the psychological concept coined by Jack Brehm, which explains why people resist threats to their personal freedom with acts of defiance and rebellion. Expect chunky riffs, soaring melodies and emotionally raw lyricism when this drops.” – Metal Noise (2025 – Regime EP)

“Regime is an EP document between empowerment and vulnerability – musically layered, lyrically honest and scenically relevant. JULIET RUIN deliver here a work that not only needs to be heard, but also felt.” – Metal Division Magazine (German) (2025 – Regime EP)

“Juliet Ruin’s biggest asset seems to be Jess’s very versatile voice, which can produce both strong grunts (that seem to come straight from the heart) and impressive screams, as well as having a fantastic clean voice. But the guys in the band also hold their own. The drums and bass sound really tight here and set the tempo and rhythm. The riffs are extremely powerful and naturally invite headbanging, while we would dare to call the guitar solos quite inventive and melodic. In short, with ‘Regime,’ this Canadian group delivers a very impressive EP that leaves you wanting a lot more. 91/100″ – Musika (Belgium) (2025 – Regime – EP)

“I always love getting to know and listening to new bands. Whether they necessarily suit my taste remains to be seen. „Juliet Ruin“ However, it’s one of the bands that I would also watch live. This sound, which uses metalcore mixed with alternative elements, can be described as awesome. The only complete album from 2019 „Old Stardust, Love and Chaos“ made people sit up and take notice. Now they want to do their second „EP“ „regime“, Introduce a musical treat to a mega energetic performance by your fan base. Which is certainly due to the strong vocal performance of Jess and thanks to the rhythms that are very exciting. Be it very dramatic, brutal „Chrysalis“ („Doll“) or the „stomping“ track „The Art of Being“ is. The passion Jess`s Voice just pulls along. All I can say about the disc is: huge, expressive and a hammer My review for „regime“ are hotte 8.5 out of 10 Hellfire points.” – Hellfire-Magazin (Germany) (2025 – Regime EP)

“The band delivered an epic EP. Fans of the band know each performance by Juliet Ruin is outstanding. If you haven’t listen to the band yet, do yourself a favour and take a listen. For me a complete EP filled with outstanding songs.” – Project Metal Music (2025 – Regime EP)

“Canada’s Juliet Ruin unveil new EP REGIME – 5 tracks of modern heavy metal. Clean and harsh powerful vocals, catchy metal riffs and energy and an uncompromised hard and heavy sound.” – Loud Enough Magazine (2025 – Regime EP)

“it cannot be denied that the band from Edmonton has a few really good songs in the pipeline that definitely have an impact with their bloated chorus passages. ‘Poems By A Poltergeist’ and ‘Chrysalis’ in particular are stuck straight away and are the new figureheads of the Canadian quartet. With front lady Jess Fleming, JULIET RUIN has a secret weapon” – PowerMetal.de (2025 – Regime EP)

[Download EP Cover | Download EP Lyrics]

Band: Juliet Ruin
EP Title: Regime
Release Date: Oct 24, 2025
Label: Self-Release
Distribution: Distrokid

Track Listing:
1. Reactance Theory (4:03)
2. Chrysalis (4:01)
3. Poems By a Poltergeist (3:02)
4. The Art of Being Wise (4:09)
5. Regime (5:02)
EP Length: 20:18

EP Credits:
Performed and Written by Juliet Ruin
Produced by Juliet Ruin and Diego Fernandez
Mixed and Mastered: Oracle Recording Studios
Artwork by: Feen Murray
SOCAN member
Canadian content

Album Line-Up:
Jess Fleming – Vocals
Kent Geislinger – Guitar, Bass
Wesley Rands – Guitar
Jesse Bauman – Drums

Live Line-Up
Jess Fleming – Vocals
Kent Geislinger – Guitar
Wesley Rands – Guitar
Jesse Bauman – Drums
Dale Myroniuk – Bass

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About The Album Artwork:

The album art was created by our good friend Feen Murray. In this art, she uses abstract imagery of skulls and hearts to convey the tie between emotionality and overthinking while still leaving the deeper meaning up to interpretation.

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

Both lyrically and musically, this EP leans into our softer sides, both in vulnerability and in pop elements, making for a double-edged sword as we’ve also incorporated our heaviest subject matter and breakdowns. In the band, it’s everyone’s favorite EP so far because we all feel we’ve struck a good balance on this.

Track by Track (LYRICALLY & MUSICALLY):

1. Reactance Theory is a look into a theory invented by social psychologist Jack Brehm to help explain why people resist threats to their personal freedom. The song delves into the often funny but sometimes harmful impulses that are fueled by dopamine.

2. Chrysalis is a deep dive into Jess’s personal struggles with depression, relating it to the metaphor of a butterfly in a chrysalis. While it was difficult to be so vulnerable in this song, ultimately, we hope it can comfort anyone who happens to be going through anything similar, making it worth the vulnerability.

3. Poems By a Poltergeist is another song that explores mental health struggles and the feelings of depersonalization and the disconnection of feeling as though one is nothing more than an angry phantom haunting one’s own life.

4. The Art of Being Wise is a look at the end of friendships and relationships from a vantage point of love and respect. Despite the struggles it took to get to these points, there is the ability to acknowledge damage done and move forward peacefully.

5. Regime is the angriest track on the EP and the title track. This song is the biggest departure from the other songs, but for good reason. Regime reaches a hand out to community and friends in marginalized groups who sometimes feel the hopelessness a little bit extra. It’s also a general asking of why to those who would prefer to make life more challenging for those around them, rather than looking within. From what could seem like a sanctimonious high horse, we are actually truly leveling and coming at this issue with curiosity and passion.

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FUN FACTS – STORY ANGLES

1 Legend has it that “the singer” can belch full sentences. Allegedly.

2. In 2019, we had 2 shows opening for Jinjer in Calgary and Edmonton, and it’ll always be one of our favorite moments

3. We have our very own artist! Disclaimer: She will do art for other bands. All our new album artwork and merch artwork has been done by our artist, Feen Murray.

4. Jess learned to really capture screaming during the first months of the COVID-19 lockdown using YouTube videos, lucid dreaming, and angst.

5. We got to meet Gene Simmons as a band once after winning a contest on the local rock station. He posed for a picture. And pointed. Cool.

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

L-R – Wesley Rands, Kent Geislinger, Jess Fleming, Jesse Bauman

Phot Credit – Brittany Lealand

Formed in 2015 in Edmonton, AB, Canada, Juliet Ruin emerged with a mission: to amplify the contrast between heaviness and melody, and to create music that hits hard both sonically and emotionally. Based in Canada, the band has carved out a space in the modern metal scene with a sound that’s chunky, groovy, pretty, powerful, and catchy, a genre-fluid blend that appeals to fans of Spiritbox, Jinjer, Scion, and Alexisonfire.

Juliet Ruin’s music is a collaborative effort, with guitarists crafting riffs and instrumental foundations that vocalist Jess transforms into emotionally raw and resonant songs. Her lyrics — often pulled straight from her personal journals — explore themes of mental health, vulnerability, empowerment, and social reflection, making each track a deeply personal yet universally relatable experience.

Their latest and fourth studio offering, “Regime,” due out on November 7th, 2025, marks a new chapter in the band’s evolution. It’s their heaviest and most technically ambitious work to date, yet also their most vulnerable. From the introspective depths of Chrysalis and Poems by a Poltergeist to the explosive social commentary of the title track, “Regime,” the EP balances brutal breakdowns with pop-infused melodies and unfiltered emotion. The artwork, created by Feen Murray, uses abstract imagery of skulls and hearts to reflect the tension between emotionality and overthinking, a visual metaphor for the EP’s lyrical core.

Live, Juliet Ruin delivers a high-energy performance with studio-tight vocals and dynamic stage presence, setting them apart from their peers. Whether headlining local venues or sharing stages with acts from across the metal spectrum, they bring authenticity and intensity to every show.

With each release, Juliet Ruin continues to push their boundaries, growing heavier, more honest, and more connected to their audience. They’re not just a band; they’re a voice for those navigating the chaos of modern life, offering catharsis through crushing riffs and soaring choruses.

Discography:
2025 – Regime EP
2021 – Dark Water EP
2019 – Old Stardust, Love, and Chaos – LP
2017 – Juliet Ruin EP

Shared Stage with: Jinjer, The Browning, The Agonist, Wednesday 13, Royal Tusk, Arrival of Autumn

Tours and Festivals:
2023 – Loud as Hell Festival Drumheller, AB, Canada
2022 – Armstrong Metalfest Armstrong, BC, Canada
2018/19 – Loud as Hell Festival
2016/17/18 – Metalocalypstic Fest – Lone Butte, BC, Valemount BC

0 EPK – The Reticent – please (2025) – Generation Prog Records

September 24, 2025
by Asher
· EPKs · The Reticent

EPK – The Reticent – please (2025) – Generation Prog Records

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

“The wide variety of approaches to progressive metal that The Reticent is known for is present and will most likely satisfy fans of the previous albums. The intensely personal storytelling and tragic autobiographical concepts of previous albums are also present and will again take fans on a journey. I believe fans will hopefully be able to see themselves reflected in the experiences I try to describe in this album.

“please” is a journey through the many battlefields of mental illness. From hiding such conditions from others (“The Concealment”) to insomnia (“The Night River”) to panic attacks (“The Bed of Wasps”) to not being believed (“The Scorn”) to depression (“The Riptide”) to the edge of suicide (“The Chance”), the album takes them through these nuanced and explosive states of mind as Chris reveals to the listeners what it is like in his mind.” – The Reticent

For fans of Opeth, Cynic, The Contortionist, Wilderun, Devin Townsend

Band: The Reticent
Album Title: please
Release Date: November 13, 2025
Label: Generation Prog Records
Genre: Progressive Metal
Location: Charlotte, North Carolina

Thereticent.net | Facebook.com/thereticentmusic | Youtube.com/@TheReticent | Instagram.com/The.reticent.band

Thereticent.bandcamp.com | Spotify

“A taut, compelling progressive metal opus.” – Angry Metal Guy (2020 – The Oubliette)

“A narrative masterpiece. 10/10” – Rock Magazine (2020 – The Oubliette)

“Something all fans of music will want to experience.” – Metal Temple (2020 – The Oubliette)

“Prog’s most emotionally gut-wrenching band returns!” – Metal Storm (2020 – The Oubliette)

“One fact is incontrovertible: songwriter Chris Hathcock is a genius.” – Legacy Magazine (2020 – The Oubliette)

“Undoubtedly one of this year’s best albums, if not THE best album.” – Scream Magazine (Norway) (2020 – The Oubliette)

“As beautiful as it is sorrowful, masterful instrumentals and intense sounds accompany the story of this concept album that explores the slow descent into oblivion that sufferers of Alzheimer’s disease experience. Fans of metal will come for the riffs, and stay for the depth of atmosphere and storytelling. You’ll be left pondering existence after one of the best albums of the year.” – Cave Dweller Music (2020 – The Oubliette)

The Oubliette was included on numerous “best of” lists and was called The Most Essential Progressive Metal Album of 2020” by RTMBA Magazine. More recently The Oubliette was included on Metal Injections 10 Extremely Underrated Progressive Metal Albums list and their 10 Extremely Underrated Metal Albums of the 2020s list.

[Download Album Cover | Download Album Lyrics]

Band: The Reticent
Album Title: please
Release Date: November 13, 2025
Label: Generation Prog Records
Genre: Progressive Metal
Location: Charlotte, North Carolina

Track Listing:
1. Intake – 1:45
2. The Concealment (Those Who Don’t Want To Wake) – 6:06
3. The Night River (Those Who Can’t Rest) – 6:55
4. Diagnosis 1 – 2:18
5. The Bed of Wasps (Those Consumed With Panic) – 5:47
6. The Scorn (Those Who Don’t Understand) – 8:12
7. Diagnosis 2 – 2:39
8. The Riptide (Those Without Hope) – 6:09
9. The Chance (Those Who Let Go) – 6:52
10. Discharge – 2:56
Album Length: 49:45

Album Recording Credits:
All instruments and vocals performed by Chris Hathcock except
– Lead Guitar and Additional Acoustic Guitar by James Nelson
– Guest Vocals on “The Bed of Wasps” by Brian Kingsland
– Narration by Vienna Gloom
All songs written by Chris Hathcock
Produced by Chris Hathcock
Engineered by Chris Hathcock
Drums engineered by Jamie King
Mixed and Mastered by Jamie King
Album Artwork by Joscelyne Hauserman

Band Line Up:
Chris Hathcock – Vocals, Guitar
James Nelson – Lead Guitar, Backing Vocals
Paul McBride – Bass, Backing Vocals

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

About The Album Artwork:

Depression is like a riptide. Tireless and constant, a current pulling you away from shore. The water, the depression, calls to you to surrender and to let go.

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

“please” is a journey into the battles with mental illness that its author struggles with to this day. Mental illness is something that gets swept under the rug most often. People will often say after a suicide that they “wish they had known” or “wish the person had said something,” while frequently those who speak up face chastisement or even ridicule. Many disorders create a storm in their amalgamation as one piles on, having to hide one’s illnesses with sleeplessness and panic attacks and depression, and not being taken seriously when you do speak up – these all can contribute to a person feeling they have no way out. The epidemic of suicide is a reflection of this. “please” is chosen as the title because that is the universal term applicable to all of these experiences – it is a supplication as we beg for sleep, beg for attacks to stop, beg for help, beg for it all to end. The undertaking of this album was a means for songwriter Chris Hathcock to navigate his own intense suffering and find a way to keep going when what he wanted to do was just let go and vanish into oblivion.

Track by Track (LYRICALLY & MUSICALLY)

1. Intake – This introductory track sets the scene for the mental illness epidemic and what it is like to live with it, featuring audio from psychologists and suicide survivors. The piano previews the melody and progression in “The Concealment”

2. The Concealment (Those Who Don’t Want To Wake) – This track is about what those struggling have to do to survive: hide. We learn to say we’re fine so we can get along. But then at the end of the day, the emptiness, the pain, etc., it all washes over us like a tide. With 1 in 4 adults experiencing a mental health crisis yearly, but 70% of them not seeking or able to get help, the notion of “we are lonely” refers to how we may be suffering similarly in silence right next to others feeling the same. Musically, the song is a dynamic progressive metal song that features interlacing harmonies, all culminating in the final giant crescendo as the song reaches its emotional climax.

3. The Night River (Those Who Can’t Rest) – Insomnia can take many forms, so in this case, it is represented by the nagging thoughts (hence the constant whispers in the left and right speakers during the verses). The lyrics begin very verbose and articulate before the exhaustion and fear turn to the notion of never sleeping again. The music is a bit more animated in the vein of prog rock, with many sections being exclusively tapped before it gets more aggressive as the desperation sets in.

4. Diagnosis 1 – This is an examination of the symptoms of a panic attack and panic disorder. The sounds are meant to enhance the feeling of anxiety.

5. The Bed of Wasps (Those Consumed With Panic) – Aggressive, technical, and desperate, this song features the heaviest and most metal moments of the record pulling from death and black metal and near constant odd time signatures. The dissonant sounds and odd rhythms are meant to keep the listener uneasy so that they may feel some of the panic attack. The lyrics are actually made from cutting out pieces of statements made by patients who suffer from panic disorder. The song culminates in the desperate refrain of “please stop” – something any sufferer will have begged.

6. The Scorn (Those Who Don’t Understand) – This song is decidedly more groove-oriented in keeping with the almost mocking tone of the lyrics. Lyrically, the song takes the perspective of someone who does not understand what it is to have major depressive disorder or suicidal ideation. As such, they instruct the listener to “just get over it,” pointing out “it’s all in your head.” The presence of more major chords and straightforward grooves is the world that those who don’t understand live in. Exotic hand percussion and string instruments like the oud are introduced in this song, making it feel further removed from the others.

7. Diagnosis 2 – This is an examination of the symptoms of major depressive disorder. The sounds this time are more dull and listless, almost calm. The ocean can be heard slowly fading in as it goes on transitions to The Riptide.

8. The Riptide (Those Without Hope) – This song features the thinnest texture of all of the songs on the album, made up only of keyboard, guitar, and vocals. The theme of water plays out sonically and lyrically as depression is represented as both an undertow pulling someone under the surface of the water and a riptide pulling them far from shore. The depression washes away all hope and won’t let go, so the sensation of drowning begins.

The guitar solo in the song is also done with the tone knob completely rolled down, creating a more muted sound like we would hear underwater.

9. The Chance (Those Who Let Go) – This song is a perspective on suicide from the vantage point of someone who feels it is their only way out. As such, the song takes on a peaceful, almost hopeful feel in both harmony and melody. This is to represent the peace that comes from knowing that their suffering will soon be at an end. There remains conflict, however, in both how the narrator hesitates as well as distant pleas of “help me please,” indicating that this is something he is struggling with. Suicidal people don’t actually want to die; they just want to escape – they want the pain to stop. The lyrics begin painting pictures of a place without pain, representing the fantasy of release that people feel on the edge of suicide. The music is more intimate here with acoustic guitars and brushes on the drums that transition to a melody that repeats over and over but builds more and more each time, culminating in a large crescendo mirroring that of The Concealment, but it is suddenly cut short, and we are left with silence, suggesting that the narrator did, in fact, pull the trigger.

10. Discharge – The title here is a double entendre, and its meaning depends on how the listener wants to interpret it. A person could be discharged from a hospital or clinic, and a firearm can also be discharged. A broken piece of the melody from The Concealment (and Intake) plays against a more somber droning background while we hear from a suicide survivor describing losing her husband. From there, we hear from two different psychologists giving perspectives on what affects and impacts suicide. This piece is a reflection on the aftermath of suicide.

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FUN FACTS – STORY ANGLES

1. The album was written in 6 months, drums were recorded for this album (and the next album) in one singe day, all other instruments (guitar, bass, keys) were recorded in two days, but the vocals took two weeks and at the end of it Chris had injured his larynx to the point that the fear was he would require surgery and potentially couldn’t sing again. He had to go over 6 weeks without speaking and even in his teaching job he had to communicate 100% nonverbally. Thankfully, he recovered for the most part.

During the filming of the video for The Concealment, one particular scene called for Chris to violently destroy a room. During this scene, Chris got a bit too into the moment and ended up breaking two toes, spraining three others, and partially tearing his left rotator cuff. To make things worse, he had to perform at Progstorm Festival in Canada only 6 days after the injury – he performed with the broken bones and tears and by the end of the set, he was doubled over in pain. Due to the emotional and painful nature of The Reticent’s music, most fans in attendance didn’t realize he was injured in multiple places.

2. This is the first Reticent album to be almost completely engineered by Chris Hathcock himself. The drums were tracked at The Basement Studios with Jamie King (who mixed and mastered the album), but everything else was tracked at Hathcock’s personal studio, Silent Muse Studio. He had to record and perform by himself, which led to a lot of frustration, especially when he was tracking vocals.

3. There are numerous references to the work of clinical psychologist Kay Redfield Jamison hidden throughout ‘please.’ For example, The Concealment includes a line that begins “Night falls fast…” This is a nod to Jamison’s 1999 book Night Falls Fast: Understanding Suicide. The Night River features a reference to “an unquiet mind,” which is a nod to Jamison’s 1995 book “An Unquiet Mind.” Samples of Jamison herself can be heard speaking about suicide and mental illness during Discharge.

4. With the exception of The Bed of Wasps, all the songs were recorded using 6-string guitars, which is the first time The Reticent used mainly 6-strings since before 2016’s On The Eve Of A Goodbye.

5. BONUS: The gap between The Oubliette and please (5 years) is the longest gap between albums since The Reticent began.

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L to R James Nelson (lead guitar), Chris Hathcock (Vocals, Guitar, Drums), Paul McBride (Bass)

Photo Credit by Justin H. Reich

Hailed as “prog’s most emotionally gut-wrenching” band, The Reticent began as a solo side project for its founder – multi-instrumentalist, Chris Hathcock. Already a

Grammy-nominated music educator, Hathcock sought to find a way of expressing some of the more painful sides of his life and as such, The Reticent became known for its tragically autobiographical concept albums. Records such as “On The Eve Of A Goodbye” and “The Oubliette,” displayed an ever evolving progressive metal approach and gave audiences a sobering, emotional, often devastating experience finding favor in particular with fans of Opeth, BTBAM, Porcupine Tree, and Cynic. Hathcock recruited in eminently talented performers such as James Nelson (Nospūn) and Paul McBride (Voraath) to help not only bring the albums to the stage but to further enhance the studio recordings which have now been consistently produced by Jamie King (Between The Buried And Me, The Contortionist). The Reticent has played notable festivals such as ProgPower USA, of which Metal Injection said they had “one of the most

heart-wrenching performances in ProgPower history” further noting “Despite being the opening act on day one, The Reticent received a standing ovation from the seated audience, and there wasn’t a dry eye in the house.” Upcoming festival performances for the band include ProgStorm Festival 2025 in Montreal, Canada. The Reticent’s last album, “The Oubliette,” was hailed as “a masterpiece,” “genius,” “devastating,” and included on several “Best of” lists for 2020 and being named “the number 1 most essential prog metal album of 2020.”

Discography:
2025 – please LP
2020 – The Oubliette LP
2016 – On The Eve Of A Goodbye LP
2012 – Le Temps Detruit Tout LP
2008 – Amor Mortem Mei Erit LP
2006 – Hymns for the Dejected Demo

Shared Stage with: Cynic, Atheist, Into Eternity, Swallow the Sun, Doro, Insomnium

Tours and Festivals:
2026 – ProgPower USA XXV – Atlanta, GA
2025 – ProgStorm Festival – Montreal, QC, CAN
2023 – ProgPower USA XXII – Atlanta, GA
2023 – Forget Me Not Tour – US

Artist Endorsements:
James Nelson – Ormsby Guitars
Paul McBride – Arachnid Cabinets, GHS Strings, Tsunami Cables

0 EPK – Human Missile Crisis – Waste Away (2025)

September 19, 2025
by Asher
· EPKs · Human Missile Crisis

EPK – Human Missile Crisis – Waste Away (2025)

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

For fans of Idles, Fucked Up, Pup, Ty Segall, Queens of the Stone Age, Single Mothers, Cloud Nothings, Solids, The Dirty Nil, Propagandhi

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

Digital Pre-Save- https://distrokid.com/hyperfollow/humanmissilecrisis/snake-in-the-grass

Instagram.com/humanmissilecrisis | Facebook.com/missilecrisis | Youtube.com/@humanmissilecrisis

Humanmissilecrisis.bandcamp.com | Spotify | Youtube Music | Apple Music | Deezer

“When it comes to partying and being young, there are many “highs” and lows, as Human Missile Crisis draws our attention to in their new single “Too Long.”… The clip gives you a good look at these Dartmouth rockers in action. With fuzzed-out guitars and a garage rock spirit, these three young men know how to command a stage. The video captures what they do best: play live. The band members pride themselves on being a high-octane live act. That’s what the video is meant to emphasize: guys who can rock a stage like they rocked their parents’ garage growing up.” – V13

“With it’s thundering and infectious bassline, crunchy guitars, thrashing drums, and gritty heartfelt vocals, Human Missile Crisis easily achieved the powerful and memorable with “Blackwater”.” – Amplify The Noise

“Three friends and a long-standing passion for punk rock and garage, understood in their most jaunty and enjoyable expressions: they are human missile crisis, here grappling with their recording debut. What is striking right from the start is the light-heartedness that expert frequenters of the reference scene such as DJ VATERS, JUSTIN BOUTILIER and MATTHEW MACISAAC have been able to pour into the nine, lightning-fast moments that make up the album; the verve is ironic and semi-serious, the aim is fun, sarcasm and provocation: all elements which, mixed properly with direct and immediate sounds, come to compose a picture that is nothing short of caustic and full of sparkling ideas. The creativity released by the band is contagious: Liquor Store Stories echoes that kind of spontaneity traditionally inherent in the reference genres. And it offers half an hour of healthy entertainment in the name of bombastic pieces in which technique gives way to the desire to play together, to a sense of friendship that emerges with vigor from the grooves of the work and to a spontaneous and genuine approach. A debut that follows the dictates of tradition, proudly claiming its brilliant originality” – Rock Hard Italy

“I had a weird sensation while listening to the massive punch and swagger of “Liquor Store Stories” by Dartmouth, Nova Scotia based Human Missile Crisis. Not only is the title amazing and sounds like an anthology series on Hulu, the crunchy assaulting guitars, the nimble hyper bass lines, atomic drumming and strident vocal scowling aesthetic had me thinking of a 70’s Mod revival rock band instead of a punk outfit, namely, the iconic JAM. Maybe it is the major 7th and miner chords I think I am hearing, maybe it is the vocal countenance that does have a heavier sort of iteration of Weller, and maybe it is the fury of the bass and drums, of everything really. And it also might be the sense of talking about the inner workings of hometowns. By the way, sonically, I also thought of an amalgam of early punk like the Buzzcocks and more current bangers like Prince Daddy & The Hyena.” -Robb Donker Curtius / American Pancake

“Merging elements of Garage Rock and Post-Punk, they end up delivering an exciting song to the listener, with great melodies and which stands out mainly for its great rhythmic work, with its striking bass line and vocals with great melodies.” -Leandro Vianna / Roadie Metal

“Maybe “Blackwater” from Dartmouth, Nova Scotia based Human Missile Crisis is about wishing those who disappeared from your life well, maybe not. Maybe it is all about the glorious noise, the throttling bass bottom heaviness that kicks you in the gut, maybe not. Maybe it is about finding what you are searching for and not dive deep into the blackness to find it, maybe not. In the end, maybe Human Missile Crisis feels like Black Sabbath, The Dead Kennedys, Coachwhips, Bass Drum of Death atom smashed together into something else entirely, something visceral and impactful.” -Robb Donker Curtius / American Pancake

“”Liquor Store Stories” is a single recently dropped by Nova Scotia-based band, Human Missile Crisis. Boasting an infectious energy equipped with melodic vocal flows and anthemic instrumental work, this is a powerful new tune that delivers a unique blend of styles. Elements of punk, garage rock, indie, and emo are all present here, and the band shines brightly by creatively blending all the influences into one full sound.” -Havoc Underground

“”Too Long” is a melody that will really provoke something powerful and luminous in you with its most violent and rhythmic rhythms, capable of awakening the monster that you keep inside of you, this band will shake you with this crazy song bathed in the best alternative sounds and aggressive sounds of punk fused with the darkness of a more balanced rock.” -End Sessions

“‘Too Long’ by Human Missile Crisis is an energetic, aggressive and dark punk and rock whose instruments provide an auditory explosion in the best of the senses, causing a piece of music full of rhythm to be manufactured. While listening to the song I couldn’t stop moving my head back and forth because of how catchy it is, it’s one of those songs that you fall in love with in a second. I loved the song from start to finish and I hope you do too.” -Javier Alfonso / La Caverna

“The album begins with “Do you Remember”, a song that has a powerful guitar in its intro and remains that way, but from the beginning you say this album is not going to stop, it is going to maintain that hard and aggressive rhythm, although They also have California punk songs like “The Spark”, and of course they also have songs like “Distant Memory”, with a slower rhythm, but with the same strength in the voice. This album really has 9 incredible tracks for those who like garage and punk, and also get into slam.” -Miguel Castillo/ La Caverna

“Opening the record is ‘Do You Remember’, a three-minute romp that must be powered by Jack Daniels because the vocals have that tinge of Lemmy about them. The track ebbs and flows for those 180 seconds but always comes back to the punchy punk-rock vibe that is at the core of Liquor Store Stories.” -Dan Hemming / Hard Beat Magazine

Band: Human Missile Crisis
EP Title: Waste Away
Release Date: Nov 14, 2025
Label: Self-Release

Single Title: Snake in the Grass
Single Length: Snake in The Grass – 4:22
Release Date: September 19, 2025

Single Title: Mona Lisa
Single Length: Mona Lisa – 5:23
Release Date: Nov 14, 2025

Track Listing:
1. Snake in the Grass – 4:22
2. Mona Lisa – 5:23
EP Length: 9:46

Singles Credits:
Recorded at Sound Park Studios by Jamie Foulds on June 1st, 2025
Mixed by Jamie Foulds
Mastered at Audiosiege in Portland, Oregon by Brad Boatright.
All songs written and performed by Human Missile Crisis.
DJ Vaters (Guitar/Vocals)
Justin Boutilier (Bass/Backups)
Matthew MacIsaac (Drums)

About the single:

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

EP Art Description:

The album art was designed by @sourrgrrrl designs. A local up-and-coming artist in our scene. After seeing a sticker of hers on a telephone pole, I loved the art style, so I reached out. I sent her the two unmastered tracks and basically just said Have a listen to these and see what you come up with. When working with artists, I prefer not to give too much instruction and just let them work their magic, and that’s how this one came to be.

About the singles, lyrically and musically:

This was our first time working together with Jamie in over 20 years. We originally worked with Jamie back in 2005 after our old band (Violent Theory) won an East Coast Music Awards battle of the bands that awarded us studio time with him.

These two songs are very different from each other, but overall convey the dynamic sound of Human Missile Crisis. Snake In the Grass is more on the upbeat, dancy side with some fun slidey guitars accompanied by lyrics about being on the lookout for those horrible people in life who are nice to your face but will turn around and stab you in the back at any chance they get.

Mona Lisa is a little more of a traditional rock song with a singer-songwriter vibe mixed with our style of loud, powerful, punk rock choruses. The words speak about things a lot of shift workers or traveling musicians can relate to, being gone for long periods of time and up and about during weird hours of the night for work when you could be home resting in bed next to your loved one. It speaks of a world where we’re all living, struggling to get through it to get back home to our loved ones. It’s something I think we all can relate to.

Track by Track. Lyrically and musically:

Overall, I like to keep my lyrics vague in a sense so that the listener can ultimately come to their own conclusions on what these songs mean, but here’s some insight.

Snake in the Grass has multiple themes within it and is the more dancey, upbeat song of the two. At first, when writing it, memories returned to me of a time when I found myself in the desert of Canada. A place called Osoyoos, British Columbia. When walking through a vineyard, I noticed “Danger rattlesnake crossing” signs posted around, and you could see their slithering trails in the sand. A friend said to me, “Look out for snakes in the grass,” and it always stuck with me. This phrase, used for hundreds of years, describes a treacherous person, a person you think is your friend, or even lover, who could turn around and stab you in the back at any moment. We all have encountered them in our lives and have stories to tell regarding how they hurt us or attempted to hurt us. This one is part of my story.

Mona Lisa is a more traditional rock song with a heavier punk rock chorus. Written about my own life and vampire-like schedule, working late-night shifts, and being away from loved ones who work the regular day shift. It’s a song I think a lot of people can relate to, especially touring musicians and any shift worker. Having to be away for long periods of time when you just want to be home in bed with your loved one is a tough thing to work through, but it’s something a lot of us do experience.

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

Band story angles / Fun facts

-Worked with award-winning engineer Jamie Foulds for the first time in over 20 years on these two new singles

-Both songs recorded and mixed in one single 10-hour day at Soundpark Studios in Sydney, Cape Breton

-Our album release show in Sydney was double-booked by the promoter. We advertised a 9PM start time for a month leading into the show, and upon arrival, we came to find out that the venue double-booked a sold-out stand-up comedy show that started at 8pm and ran until 930… They also refused to let anybody into the venue at 9pm who arrived for the normal start time of our show.

-The debut album was mostly recorded over two days back-to-back. 10 hours a day, live off the floor.

-The very first song we released back in 2021, “Humble Creatures,” was also recorded by Braden Kamermans. I first met him when booking his band into our shared rehearsal spac,e and he mentioned he was looking for a band to record for his music recording program at the Nova Scotia Community College. I liked what he did so much that once he graduated, I approached him to do the full album with us.

-We have been friends going back as far as 1991 and playing together in bands in one form or another since 2003. We’ve also all lived together as roommates for extended periods of time.

-DJ has a tattoo of Hank Hill that says, “She’s alright, she’s alright, she’s alight… Propane. He also has a tattoo of a goat. Wearing a bandana, with braids… a willy goat if you will. You know? Like Willy Nelson. Willy, Billy… Willy goat… get it?

-Matt and Justin once played in a dinner theater together, and this is where Matt started to play drums. He was always the lead guitarist prior to this in our old band, and DJ was the drummer. In the dinner theater group, nobody could play the drums, so Matt stepped up and basically just learned as the dinner theater went along. Matt and Justin also once played in a one-night-only “The Band” tribute band… called “Crazy Chester” Take the load off fanny, take the load for free…

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

L-R – Matthew MacIsaac – Drums, DJ Vaters – Guitar/Vocals, Justin Boutilier – Bass

Human Missile Crisis is the sound of chaos finding catharsis. Born from the grit of Cape Breton Island and now rooted in Dartmouth, Nova Scotia, this trio blends punk urgency with garage rock swagger to create music that’s raw, real, and relentlessly honest. Their songs are a lifeline for anyone teetering on the edge of their thirties, still trying to make sense of relationships, addiction, depression, and the absurdity of modern life.

Frontman DJ Vaters has been crafting music since his teenage years, first thrashing through punk sets with his best friends, then diving into electronic experimentation in solitude. But when the digital world lost its spark, DJ turned inward, writing songs that reflected the heavier truths of his life. That introspection laid the groundwork for Human Missile Crisis.

Reuniting with longtime friends and former Violent Theory bandmates Justin Boutilier and Matt MacIsaac—also known for their work in Halifax’s garage rock duo Elk Lodge—the band found its pulse. Together, they transformed DJ’s raw sketches into fully realized sonic explosions. Their sound is a collision of fuzzed-out guitars, bouncing basslines, and unpredictable rhythms, channeling influences like Idles, Fucked Up, The Hives, and Television. Think punk with a post-rock brain and a bluesy heart.

Their 2023 full-length release, “Liquor Store Stories showcased the band’s dynamic range. Now, in 2025, the band returns with two follow-up singles to create the EP “Waste Away”. From the danceable paranoia of “Snake in the Grass” to the aching, nocturnal longing of “Mona Lisa,” Human Missile Crisis proves they can swing between moods without losing their edge. Every lyric is pulled from the DJ’s lived experience, and every riff is shaped by the trio’s collaborative fire. Whether it’s a fast punk beat or a mid-tempo groove, the band lets the music lead—and the result is always electric.

Live, Human Missile Crisis is a celebration of connection. They treat every show like a house party with friends, loud, sweaty, and full of laughter. They don’t want fans; they want family. And whether you’re screaming along or just soaking it in, you’ll leave knowing you weren’t alone in the chaos.

For fans of PUP, Ty Segall, The Dirty Nil, and Cloud Nothings, Human Missile Crisis is more than a band; it’s a reminder that music can still punch you in the gut and pull you back to your feet.

Previous Release
Humble Creatures – (Single/June 26TH 2021)
Liquor Store Stories – (Single/07/28/2023)
Blackwater – (Single/08/11/2023)
Too Long – (Single/08/18/2023)
Liquor Store Stories – (Album/August 25th, 2023)

Shared the stage with.
Propagandhi, Botfly, Chastity, Single Mothers, Elk Lodge, Analog Signal, Dazor, Fungus, The Hellfiends, The Scoop Outs, Artificial Dissemination, Designosaur, Dimension Boys, Shelly, Bullet Bill Club, The Bombed Solid, Chosen Lung, Rootabagga, Heavy Early, The Cathartics, Holly Snappers, The B+ Players, Hemineglect, Rad & Subtract, Vulpine, Topless Models, Backyard Action Heros, More Amour, North Of Nowhere, All Honesty, The High Tide, The Goodbye Summer, Suspex, Squander, Denacious T, Baited, High October, Johnny C, The Bloody Hell, Columns Of Clouds, The Screaming Seaman, Radio Roulette, Fire Valley Fire, Customer Service, Kyle Sveinson Band, Juice Box, Vormir, Dirtmouth, Bring Me Sleep, Conductor, Sleepless Nights, Book Buddies, Atay & Jax, Electric Spoonful, Pretty Alrights, Girls With Guns, Hushmetal, Novichok, Lazyhorse, Bologna Colorado, Half-Dead Serious, Acid Wash

Festivals:
July 22nd, 2022 – Halifax Havoc – Halifax, NS
June 2nd, 2023 – Spoonapalooza – Halifax, NS
July 6th, 2024 – Halifax Havoc – Halifax, NS
October 12th, 2024 – Gobblefest – Sydney, NS
July 5th, 2024 – Halifax Havoc – Halifax, NS

0 EPK – Outlying – Oblivisci (2025)

September 13, 2025
by Asher
· EPKs · Outlying

EPK – Outlying – Oblivisci (2025)

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

“Hopefully, people will feel and understand the dark thoughts and experiences that influenced the lyrics and music. We also hope people will consider this a ‘no skipped tracks’ album, where every song matters and nothing was written as a filler.” – Fred A. Dubeau – Outlying

For fans of Dark Tranquillity, At The Gates, Testament, Evergrey, Machine Head

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Outlying.ca | Facebook.com/outlyingband | Youtube.com/user/OutlyingBand | Instagram.com/outlyingband | Tiktok.com/@outlying.band

Spotify | Apple Music

“Outlying offers a solid Swedish-style melodic death metal sound with their own personal touch.” – MetalUniverse.net

“With a biting energy and a relentless intensity, [Pitch-Black Serum] hits with an uncommon ferocity while keeping a dynamic, melodic and catchy structure.” – MetalUniverse.net

“I had never heard of this band before, so I was all the more amazed by the high level of performance the band had already achieved in 2012 [Scars Of Daylight album]. They are reminiscent of Scandinavian melodic death metal bands of the late 1990s.” – Ammo-underground.at

“The three gentlemen serve us finely spun melodies; the musicians tie everything together into a flowing, detailed unity. A bit of clean vocals are sprinkled in here and there, and so a lot happens in this largely whipping smasher. A few threatening vibes and thrashy, straight-ahead tactics are also effectively employed, as is polyphonic vocals – everything just fits! Raising fists, enjoying details, headbanging – it’s a mystery to me why these all-rounders are still so unknown!” – Ammo-underground.at

[Download Album Cover | Download Album Lyrics]

Band Name: Outlying
Album Title: Oblivisci
Release Date: November 21, 2025
Label: Self-Release
Distributed by Tunecore
Location: Trois-Rivieres, QC, Canada

Track Listing:
1 – The Raven Is Gone – 5:27
2 – Stigma – 3:49
3 – Snow – 6:02
4 – Streets Of Rats And Vultures – 4:47
5 – Pitch-Black Serum – 4:36
6 – November – 5:56
7 – Sentinel – 5:43
8 – Impaired – 5:32
9 – Dreamless Nights Part I: A Lullaby For The Insomniac – 4:19
10- Dreamless Nights Part II: From Velvet Skies – 5:13
11- Dreamless Nights Part III: Walking Out Of Eden’s Ashes – 4:25
Album Length: 55:49

Album Credits:
All songs performed, written and produced by Fred A. Dubeau and Martin Reithler
Mixed and mastered by Fred A. Dubeau
Album Artwork by Fred A. Dubeau

Album recording lineup:
Fred A. Dubeau – Guitar, Bass, All Vocals Martin Reithler – Drums
Guest musicians for the album:
Steph from “Exotoxic” – Auxiliary percussions
Marilyn from “Chained By Illness” – Female Vocals
Sim from “Lancaster” – Guest Guitar Solo
Hardcore Band “Northwalk” – Gang Vocals

Lineup for live:
Fred A. Dubeau – Guitar, Vocals
Charles Alex Bilodeau – Bass, Back Vocals
Martin Reithler – Drums

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

About The Album Artwork

A post-apocalyptic version of our home city

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

The album is called “Oblivisci,” which means “to forget” in old Latin. It’s been chosen to reflect the tendency to withdraw from reality and “forget” society and the existence you live in, so to speak. The songs express oppressive feelings of trauma, alienation, grief, loneliness, and the album ends with three-part songs about Fred’s experience with alcohol/drug addiction. The music is melodic, even with only one guitar player in the band. Compositions are intended to keep the listeners’ adrenaline level high, with fast parts, heavy parts, while sticking to trying to deliver certain emotions and messages.

Sometimes, clean vocals are used, as well as some guitar effects, to add texture and dynamics.

Complexity has never been important, as we don’t believe in self-indulgent playing. Sometimes there are trickier parts that require skill, but it’s all because the music asks for that kind of intensity.

Track by Track (LYRICALLY & MUSICALLY):

1. The Raven Is Gone – Fast, heavy, catchy, and epic, the song talks about escaping chaos and trying to find refuge somewhere.

2. Stigma – Old-school melodic death style, catchy choruses again, the song is about overcoming all the judgements that happen to you when you act in a way that doesn’t necessarily harm others, but is considered socially unacceptable and frowned upon. Like being part of a subculture, not getting married or having children, drug use, etc.

3. Snow – Epic, story-telling structure, with female vocals, lyrics are the tale of a young girl abused by her father.

4. Streets Of Rats And Vulture – More old-school thrashy and punk approach, the song is about how you should always be careful who you trust, as many people out there want to backstab you.

5. Pitch-Black Serum – Creepy and dark melodic death metal, the lyrics are about how some people just give up on society, and are infected by a sort of venom that makes them defeatist and just makes them spend their lives indulging in easy pleasures such as porn, food, and video games.

6. November – Catchy, epic, melodic death metal song, the song is about a crazy obsession for someone who isn’t available or doesn’t exist.

7. Sentinel – Now this one is, like on the other albums, the power ballad type of song. Even though Outlying is a mostly aggressive type of band, it seems like these kinds of songs always end up being some of the audience’s favorites. (“Scars Of Daylight” had “The Last Time”, and “Frameworks For Repression” had “Alicia’s Tales”). Slower, lots of clean vocals, the song surprisingly has a fast, aggressive bridge. Lyrics are about grief, and how your lost ones end up staying in your head like some sort of sentinel.

8. Impaired – Dark, aggressive, and melancholic, the lyrics are very pessimistic and about how you can feel rejected by society and driven to suicide.

9. Dreamless Nights Part I: A Lullaby For The Insomniac – First of all, the title “Dreamless Nights” refers to when you sleep while intoxicated by alcohol and drugs. Since this is low-quality sleep, you mostly don’t have any dreams. This three-part song is about the cycle of addiction, which keeps going over and over. This is from Fred’s actual struggles with past (mostly alcohol) addiction. Now Fred has been sober for years, but this is one of many reasons for the delay between the last album and the release of new music. The first part is fast, melodic, and heavy, with a mysterious-sounding ending. Lyrically, it’s about feeling powerless about all the chaos and struggles of life and wanting to find escape, which is, of course, the way a lot of addictions start.

10. Dreamless Night Part II: From Velvet Skies – Now entering the fake paradise, the song builds up with a bit of a Tool-esque intro, then atmospheric black metal, and then heavy and epic. The lyrics are about the bliss of escaping the real world and floating around in this bubble of brain manipulation. The song then fades away into the darkness.

11. Dreamless Nights Part III: Walking Out Of Eden’s Ashes – When Part II ends in near silence, Part III abruptly kicks in with very heavy parts, influenced by brutal death metal. Lyrics are about the ‘hangover’ part or ‘day after’ part, so to speak. It’s about how this was all fake; not only is reality still there, it’s only gotten worse because of all the abuse. The song and album end in a more epic and melodic manner, with various instruments and a bass melody.

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

FUN FACTS – STORY ANGLES:

1. In Outlying’s most recent lineup, everybody in the band was introduced to Fred as a pure coincidence. Martin “Frenchy” was listening to a metal podcast from Drummondville while still living in France and heard an interview with Fred saying he was looking for a permanent drummer. Frenchy already intended to move to Quebec and decided to send Fred a message saying he’d be interested in playing in the band. When Fred read the message, he thought it was either spam or a joke.

2. In a more recent time, Fred got contacted by a woman he knows, who was asking if she could borrow his soldering iron to fix her friend’s bass guitar. Fred then drove to the lady’s apartment with his soldering iron and was then introduced to Charles Alex. A couple of weeks later, Fred was trying to find a new bass player since J-D was gone, and remembered Charles Alex.

3. Founding Outlying drummer Guy Provencher now plays bass in Strigampire and guitar in Hopeless Nation. Fred played bass and rhythm guitar in Strigampire for a couple of years, many years ago. Steve, who is the vocalist for Strigampire and drummer for Hopeless Nation, also played drums on Outlying’s “Scars Of Daylight” album, and played live drums in Outlying when Frenchy was back in France for a little while. Trois-Rivieres’ metal scene is small.

4. Back when the band started, it was very hard for Fred to find a job and money, so he found counterfeit versions of audio and graphic software and tried to make his own records by himself. He eventually really got into audio production and graphic design, and to this day still does all that work for the band, as well as for some local bands.

5. The city of Trois-Rivieres is known for the Trois-Rivieres Metalfest, and also, the most well-known band from the city is a tech metal band called Martyr. Martyr’s drummer played in Gorguts and Beneath The Massacre, and their vocalist and guitar player now also plays in Voivod. Voivod’s bass player is also from Trois-Rivieres.

6. Despite being based in Trois-Rivieres, none of the band members grew up there. Charles Alex is from around Victoriaville, Fred was raised in a town near Becancour, and Martin “Frenchy” is from a suburban area near Paris, France.

L-R: Charles Alexandre Bilodeau (Bass, Back Vocals), Fred A. Dubeau (Guitar, Vocals), Martin Reithler (Drums)

Photo by Sandy Champagne

Outlying, founded in 2007 by lead vocalist/guitarist, as well as producer and writer, Fred A. Dubeau, is based in an old industrial city in the province of Quebec, Canada. Their first EP, titled ‘Within The Jail Of The Unfortunate’, was released in 2008. In 2012, after a few line-up changes, the band released a full-length album titled ‘Scars Of Daylight’. Later that year, bassist JD Poirier and French drummer Martin Reithler joined the band. In 2016, the trio released ‘Frameworks For Repression’.

In 2024, after many years of writing, creating, performing, and managing various issues, the band recruited Charles Alex Bilodeau to be their new bass player.

Outlying is now completing another full-length album, while releasing new singles along the way, such as ‘November’ and ‘Pitch Black Serum’.

Discography:
2025 – Oblivisci
2024 – Pitch-Black Serum – Single
2023 – November – Single
2016 – Frameworks For Repression – Album
2012 – Scars Of Daylight – Album
2008 – Within The Jail Of The Unfortunate – EP

Shared Stage with: The Agonist, Gone In April, Augury, Burning The Oppressor, Mass Murder Messiah, Lancaster, Last Dance Among Wolves

Tours and Festivals:
2021 – Breakout Tour – Quebec Tour
2015 – Trois-Rivieres Metalfest – Trois-Rivieres

0 EPK – In Virtue – Age of Legends (2025)

September 13, 2025
by Asher
· EPKs · IN VIRTUE

EPK – In Virtue – Age of Legends (2025)

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

“I think they’ll be pleasantly surprised, because although it builds on our past releases, it’s really the ultimate form of the same beast. The casual listener will be able to enjoy all of it without clocking the story, but anyone who wants to go deeper will be rewarded with the dark journey of a deeply flawed character on a quest to forgive himself by asking the big questions, making mistakes, and doing the hard work. It’s an emotional deep dive, a rollercoaster of textures and colors, but a cohesive trip that doesn’t just feel like a series of disconnected singles. A true concept album, the kind you should turn your phone off and light a candle to listen to on your bed with headphones from start to finish. A relatable protagonist who seeks what we all seek, to love himself in spite of himself and his flaws, to know himself deeply, and to win his battle against crushing self-doubt.” – Trey Xavier – In Virtue

For fans of Soilwork, Amaranthe, Shinedown, Symphony X, Bad Wolves

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40

Facebook.com/invirtue | Instagram.com//invirtue | Youtube.com/@InVirtue

Invirtue.bandcamp.com | Spotify | Apple Music

[Download Album Cover | Download Album Lyrics]

Band: In Virtue
Album: Age of Legends
Release Date: November 21, 2025
Label: Self-Release
Distribution: CMM/Orchard
Album Length: 50:40
Track Listing:
1. Ascent Glorious (00:36)
2. Sisyphus Awakening (4:55)
3. Karma Loop (ft. Charlotte Wessels) (3:35)
4. Push That Rock (2:46)
5. Purgatory (4:39)
6. Exposed (3:27)
7. Scream (3:40)
8. Where The Edges Meet (3:16)
9. Gunslingers of the New American Desert (4:42)
10. Desolation Throne (3:03)
11. Thoughts in Freefall (ft. Dave Davidson of Revocation) (4:10)
12. The River (2:24)
13. Tempus Fugue (ft. Chaney Crabb of Entheos) (8:05)
14. Descent Limitless (1:22)
Album Length: 50:40

Album Credits:
Produced by Trey Xavier
Mixed by Mazen Ayoub and Miami Dolphin
Additional mixing by Alexander Backlund
Mastered by Jens Bogren and Tony Lindgren at Fascination Street Studios
Cover art by Niklas Sundin
Additional vocal engineering by Eyal Levi on “Purgatory” and “Where the Edges Meet”
Guest vocals on “Karma Loop” by Charlotte Wessels
Guest vocals on “Tempus Fugue” by Chaney Crabb of Entheos
Guest guitar solo on “Thoughts in Freefall” by Dave Davidson of Revocation
Additional background vocals by Court Henson
Tracked at 1008 Studios, Prairie Sun Studios, West Alley Studios
Member of ASCAP

Album Lineup:
Trey Xavier – Guitar, Vocals
Alex Nasla – Keyboards, Vocals
Rami Khalaf – Lead Guitar
Jamie Hush – Bass
Mazen Ayoub – Drums

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

About The Album Artwork:

When I saw the cover for Dark Tranquillity’s “Character” album, I knew I had to have something like it. So I looked up the artist, who turned out to be their (now former) guitarist Niklas Sundin. I commissioned him to create the cover art, which depicts Sisyphus breaking out of his eternal punishment of rolling a boulder up a mountain forever. He is returning to the real world, and the boulder rolls down the hill behind him. Niklas was excellent to work with, and he took the concept I gave him and really brought it into reality with such a unique flavor.

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

On this album, the lyrics are extremely personal. It’s a story about a character, but he’s just the proxy for my own experiences and ideas. It’s a concept album about someone who has made poor choices in the past and is on a journey of self-forgiveness. The character in the story is based on Sisyphus, who was a terrible, tyrannical king who was deserving of punishment – but is there truly anything someone can do to deserve eternal punishment?

In it, this Sisyphus character decides (with a little help from a character called The Catalyst) that after thousands of years of torment, he’s done his time and that he’s going to seek forgiveness from the most important person we all need it from – ourselves.

I wrote it as a way of working through my own self-imposed punishment for my own failures and shortcomings, a catharsis to carve a way forward for myself. Realistically, none of us will ever do anything nearly as horrible as Sisyphus or any equivalent monster. But we still often hold the regret and guilt over our heads for so long.

As I wrote in the song “Purgatory”,

“Paper handcuffs and shadow walls

Shackled here by guilt alone”

So it’s about releasing ourselves from this state and moving on with our lives, because until you do, you can’t do any good in the world, for yourself or anyone else.

Musically, it’s built on a classic foundation of heavy riffs and groovy drums, but with layers of cinematic elements like synths and orchestration to transport the listener and elevate the songs at key moments. It’s not symphonic metal in the traditional sense like Nightwish or something – the orchestration isn’t there as an end unto itself, or to just make it epic. Vocally, it covers a lot of range, from gritty powerful cleans to more guttural growls and screams, and a lot in between. There are a fair bit of guitar and keyboard solos, but none overstay their welcome.

Track by Track (LYRICALLY & MUSICALLY):

1. Ascent Glorious
This is the album intro – it’s purely orchestration, and it introduces the primary melodic theme, as well as what I call “The Sound” – a sort of bell-like tone that represents The Catalyst’s awakening of Sisyphus from his torment.

It’s a bit Disney, but I love the melody so much. It comes back several times throughout the album, in different forms and variations.

2. Sisyphus Awakening
This song is one of the first I wrote for the album. It has an extremely strong opening, and it segues nicely from the intro track, I think. Since it’s one of the older ones, it still has a bit of leftover prog ambition, which I think is apt for it to be so early on in the track listing, then as we move into the future, we move away from it.

It represents exactly what the title says – it’s Sisyphus awakening from the endless grind of his torment, and breaking his shackles to escape from his eternal punishment.

3. Karma Loop
This was actually the last song to be written for the album, I think. It features my friend Charlotte Wessels on vocals, and she brought so much energy and beautiful harmony to the song that it wound up becoming my favorite.

It was actually based around a guitar part (the opening lick of the song) that I wrote a long time ago for a guitar demo for my YouTube channel, and our former drummer, Mazen (Ayoub, who plays on the album) sat down and turned it into a song one day.

Lyrically, it’s a conversation between Sisyphus and The Catalyst, in which she is convincing him that his punishment is self-inflicted, and he is worth doing the work to redeem himself.

Fun fact: The lyrics make reference to an old song by the Kingston Trio called “M.T.A.”, in which a man can’t get off the train because he doesn’t have money to pay his fare, of which he is a nickel short (“one more nickel”). It also references the “buy the ticket, take the ride” quote from Hunter S. Thompson.

4. Push That Rock
In which Sisyphus goes from the lowest possible point in his life to a place of high hope. It consists almost entirely of one line of lyrics: Push that rock back up that hill. It’s a mantra that we’ll revisit later in the album, and between now and then, the meaning will transform – but at this point, it’s his entire existence, it’s all he knows. It’s the torment he brought on himself, and he hates it.

Fun fact: I recorded some of the vocals for this in the Tom Waits room of Prairie Sun studio, on the mic that he sings into on his albums. I thought it fit the vibe pretty perfectly, and we recorded drum tracks there for Purgatory and Where The Edges Meet, so it worked out.

5. Purgatory
This was the first song we recorded and released with the new lineup, when the plan was for Age of Legends to be a 3-song EP. We road-tripped up to Prairie Sun studios in Cotati, California, to track the drums because initially, I was going to record a different drummer for these songs before we found Mazen, and it was too late to get my deposit back.

In this song, he describes the depth of his torment and what he longs to escape from.

6. Exposed
This is one of two songs we worked on with my friend and producer Sahaj.

Lyrically, it describes Sisyphus’ relationship with The Catalyst, and the gift she’s given him by not only setting him free, but by giving him a reason to want to even bother to try.

7. Scream
This is the second of the two songs we worked on with Sahaj, who provided some much-needed perspective on the songs, much like The Catalyst does for Sisyphus.

In this song, we get a closer look at the message from The Catalyst to Sisyphus in his state of eternal punishment. She can’t free him – only he can do that. No one else is coming to save him. In order to break free, he first has to believe he’s worthy, and then he has to care enough to try. He can’t just be complacent – he needs to be angry enough to SCREAM.

8. Where The Edges Meet
This was the second single we released, and the second song we recorded with the new lineup.

Sisyphus is at last free and returns to the real world to find a divided people. He reflects on his personal struggles that led him to act the way he did in his past life, and considers how to move forward in this new world.

This song introduces the album title – Age of Legends – which references a concept I borrowed from The Wheel of Time series. In the Age of Legends, mankind enjoyed peace, prosperity, and technology that became lost due to humanity’s inability to be content and coexist.

Sisyphus again becomes a leader in the modern world by championing this concept, inspiring people to be good to each other and lift each other up. But it won’t last…

9. Gunslingers of the New American Desert
…because power calls to him. In Gunslingers, Sisyphus can’t resist the call, and the song details his breaking bad arc. He sees the opportunity to seize the kind of power he once held, and takes it by force, falling back into his old ways.

I had actually once conceptualized a whole album of sort of post-apocalyptic sci-fi steampunky space Western songs with the same title, and this was the only thing that actually came from it.

This is by far the slowest song in the entire In Virtue catalog, and in my estimation, the heaviest thing I’ve ever written. The lyrics are also very emotionally heavy, describing the tradeoff of humanity for the empty promise of power, and the human toll such a deal takes.

10. Desolation Throne
In which Sisyphus ascends to his throne of evil, convincing himself that he’s earned it by his suffering.

I was trying to channel Russel Allen in my vocal performance, to make it sound mean and evoke a gangster-like quality similar to the Symphony X Underworld album. I also put in a little 2005 metalcore chugging to hearken back to my days watching bands like Unearth and Killswitch Engage at small venues throughout Massachusetts.

The bridge of this song is my favorite single moment on the whole album. It simultaneously shows his emotional insecurity and how small he feels, and how he reacts to that by lashing out at the world that doesn’t understand him and trying to dominate it.

It also features one of my favorite guitar solos.

11. Thoughts in Freefall
In Desolation Throne, he is ascending to power, climbing upwards ever higher without considering how high above the ground he is. He comes to the highest peak possible – there’s no higher he could go.

Consumed with his lust for power and insane, in Thoughts in Freefall, he posits that “If I fall forever, I will never hit the ground”. He thinks himself invincible and needs little provocation to demonstrate that fact. “I am immune to gravity”.

Naturally, he is about to make contact with the consequences of his actions.

Features an absolute dickripper of a guitar solo by Dave Davidson of Revocation.

12. The River
The “find out’ in Thoughts in Freefall’s “fuck around”.

Where previously he said, “If I fall forever”, we begin with “I fell forever”.

He loses everything, including The Catalyst, those who believed in him. He

Generally, I’m not a fan of ballads. The River started life as a suggestion from Mazen that we include a ballad of some kind on the album, which I initially resisted. But I realized that I didn’t have to write a Diane Warren-type ballad, or something corny, and that the moment called for something stripped down. So Alex and I sat down with a very vague concept of what we needed to achieve, and came up with what I consider to be a very powerful and understated moment on the album. It’s almost entirely just piano and one vocal, whereas I tend towards maximalism in my writing, with layers and layers of orchestration, synths, and vocal harmonies. It’s a bare naked moment for both Sisyphus and I, where he is broken by his own hand, once again at the bottom of the mountain, having pushed the rock all the way to the top, only to fall to the bottom again.

Literal rock bottom.

13. Tempus Fugue
“Tempus fugit” is a saying that means “time flies”, and a fugue is a musical form. On past In Virtue albums, I have included long-winded overtures of the album’s musical themes (“Underture” and “Afterture” ) that were both ill-conceived and poorly received, self-indulgent. On this album, I wanted the chance to make a meaningful tour de force of the motifs while wrapping up the story and tying it all together. This is the longest song on the album, and covers a lot of ground.

In this song, Sisyphus addresses the futility of time and its cyclical nature, to which he has had the most painfully vivid relationship. He also recognizes the healing power of time, to which we owe his entire redemption cycle, in fact.

He finally comes to an important conclusion about life on earth, and the value of true intention and effort – the work of life. Pushing the rock is something we all do, every day – we wake up and we try. We all have our own boulder and our own hill, and even in the apparent futility of time, we create something meaningful and beautiful from our struggles to ascend to something higher and better than ourselves.

And that we need to forgive ourselves, so we can push the rock again tomorrow.

We once again reprise the “Push that rock back up that hill” mantra.

Features a devastating vocal spot by Chaney Crabb of Entheos.

14. Descent Limitless
The outro of the album, with the triumphant motif from the intro once again, in its final form, as Sisyphus takes up his boulder, but with new meaning and understanding this time. We hear “The Sound’ one last time as the album wraps.

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

FUN FACTS – STORY ANGLES:

1. The band is fronted by Trey Xavier, who you may know from his YouTube channel or the website Gear Gods. He’s also the singer on the viral (2 million views) YouTuber collab song “Dread Machine” (https://www.youtube.com/watch?v=kJfraNCvR8s)

2. 3 of the band members (Alex, Jamie, and Rami) are software developers.

3. Trey has a music degree in composition and teaches several online courses on songwriting and composition.

4. The album took 6 years from when we started tracking it to get done because our producer ghosted us with like 10% left to finish. We thought he was dead or something. Just straight up vanished. I sent him hundreds of texts and online messages with no reply. I had to re-track many of my vocal parts in my home studio to get it done.

5. The band has only played live once with the current lineup.

6. During the recording of the album, I got so mad at the drummer/producer that I lifted my laptop over my head and smashed it on the floor of the studio and kicked a chair, which is VERY out of character for me (we made up and it’s all good now).

L-R Bruno Valverde (drums), Jamie Hush (bass), Trey Xavier (guitar/vocals), Alex Nasla (keys), Rami Khalaf (guitar)

Phot Credit: Felix Martin

Los Angeles, California’s In Virtue is a band forging a new path, abandoning outdated conceptions of what heavy music is to redefine metal for a new era. Although In Virtue was initially formed in 2004 in California’s Bay Area, the band’s rebirth in 2015 is where the real story begins.

That’s when founding guitarist Trey Xavier made the difficult decision to take over lead vocals, move south to LA, and start the band over with a new lineup. This was the catalyst they needed, and the band’s final form took shape. Adding keyboardist Alex Nasla (The Mourning, ex-Witherfall), guitarist Rami Khalaf, and bassist Jamie Hush, their new sound was freed.

“I was tired of other people singing what I was writing,” says Trey (who you may know from his popular YouTube channel). “We had some pretty good singers, but it always felt like a compromise. It was pretty scary – I was 28 and I had never seriously sung before. But all the work I put in paid off, because now I can create my music as I envision it.”

And what a vision it has become – the band’s forthcoming album Age of Legends, due out in 2025, tells a haunting tale of Sisyphean struggle and redemption through a modern lens. This new era of In Virtue brought their first new music, 2019’s single “Purgatory”, which gave the world a brand new sound. Combining elements of power metal, groove, progressive metal, and pop, but somehow sounding like none of the above, “Purgatory” defined the sonic future of the band.

The singles “Where The Edges Meet” and “Scream” followed soon after to expand on the story, each moving the story forward and bringing new life to the characters and their pain.

With way more to come on Age of Legends, In Virtue is looking forward to the next chapter and bringing their story to the world.

Discography:
2025 – Age of Legends
2012 – Embrace the Horror
2008 – Delusions of Grandeur

Artist Endorsements: Kiesel Guitars, Revv Amps, Sennheiser Wireless

0 EPK – Stellvris – Shatter and Bloom (2025)

September 13, 2025
by Asher
· EPKs · Stellvris

EPK – Stellvris – Shatter and Bloom (2025)

Publicist – jon[@]ashermediarelations[.]com

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

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

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

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

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

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

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

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

[Download EP Cover | Download EP Lyrics]

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

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

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

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

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

About the EP Artwork:

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

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

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

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

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

Track by Track (LYRICALLY & MUSICALLY):

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

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

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

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

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

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

====================================================
FUN FACTS – STORY ANGLES

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

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

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

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

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

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

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

Photo Credit – Julia Ramm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theinterrogation.bandcamp.com | Spotify | Apple Music

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

[Download Single Cover | Download Single Lyrics]

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

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About The Single Album Artwork

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

About The Single (LYRICALLY & MUSICALLY):

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

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FUN FACTS – STORY ANGLES:

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

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

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

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

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

Photo Credit – Shimon Karmel

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

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

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

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

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

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

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

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

0 EPK – The Fixer – Ugly Knots (2025)

September 12, 2025
by Asher
· EPKs · The Fixer

EPK – The Fixer – Ugly Knots (2025)

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

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

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

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

Spotify | Thefixercanada.bandcamp.com | Apple Music

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

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

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

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

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

She Makes Music – Monday Feature Track: Ugly Knots

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

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

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

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

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

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

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

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

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

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About the single (LYRICALLY & MUSICALLY):

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

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

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

[Download Single Cover | Download Single Lyrics]

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

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

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

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

About The Single Artwork:

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

About the single (LYRICALLY & MUSICALLY):

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

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

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

FUN FACTS – STORY ANGLES:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

September 5, 2025
by Asher
· Engrupid Pipol · EPKs

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

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

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

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

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

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

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

“Veteran Chilean prog metallers Engrupid Pipol serve up Quadragenta At Finem Mundi (engrupidpipol.cl), the first concept album of their 25-year tenure. Without lyrics there’s no telling that these seven instrumentals were inspired by ideas of extinction (Triple Ultimatum), the perils of AI (Animal Inteligenz) and the Apocalypse itself (Aztral Configureited). However, the trio’s sound is thrashy, fiddly and deeply satisfying, with plenty of ideas and detail fuelling Kaztrol and John Dai’s ear-boggling guitar/bass widdle.” – Prog Magazine

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

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

Album Recording Credits:
• All songs performed by: Engrupid Pipol
• All songs written by: Engrupid Pipol
• Produced by: Engrupid Pipol
• Mixed by: Hitbox Estudio
• Mastered by: Hitbox Estudio
• Album Artwork by: KaztrolBand Line Up:
Kaztrol, Guitar
John Dai, Bass
Nacho García, Drums
======================================================

About The Album Artwork:

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

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

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

Track by Track (LYRICALLY & MUSICALLY):

Act I “Triple Ultimatum” (Triple Ultimatum)

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

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

ACT II “Voragine” (Vortex/ Vertigo)

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

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

ACT III “Animal Inteligenz” (Animal Intelligence)

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

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

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

ACT IV “Inspireichon Burn” (Inspiration Burn)

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

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

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

ACT V “Vairal Madnez” (Viral madness)

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

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

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

ACT VI “Aztral Configureited” (Astral configuration)

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

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

ACT VII “Ameba Emenens” (Ameba Eminence)

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

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

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

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

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

Fun Facts – Story Angles:

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

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

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

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

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

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

Phot Credit – Philippe Vigoroux

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FUN FACTS – STORY ANGLES:

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

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

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

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

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

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

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