EPK – Metaladian – Deaditation (2026)
Publicist – Jon Asher – jon[@]ashermediarelations[.]com
For fans of Strapping Young Lad, Metallica (early), Suffocation, Bela Bartok, Ludwig Van Beethoven
“This is the debut album of Metaladian. It is the culmination of 20+ years of work. There is a great deal of variation within the album in terms of lyrical content, tempo, and texture. Still, there is consistency with my use of chromaticism, lush harmonies, virtuosic drums, soaring and heavy vocals, and thrash-like backing vocals. The album clearly belongs in the metal genre, but is greatly influenced by classical composers, which lends itself to the progressiveness and complexity. The album is a story arc featuring a journey of pain, retribution, and redemption. The vocals are a mix of melodic screams and quick call-and-response between all the members. The overall feel of the album is drenched in violence and darkness, but with a hint of light that can be achieved that begins to show itself as the album progresses. The album is crafted to allow the listener to become fully sucked in and able to follow as a kind of sound-journey.” – Andrew Brophy – Metaladian
Facebook.com/metaladian | Instagram.com/metaladian | Tiktok.com/@metaladian | Youtube.com/@metaladian9997
Album Title: Deaditation
Release Date: July 1st, 2026
Label: Self-Release
Genre: Metal
Location of Band: Hamilton, ON, Canada
Track Listing:
1. Left Hand Path – 9:44
2. Deaditation – 6:21
3. No Worse Death Than The Loss Of All Hope – (Wondering Why I Wonder Why) – 7:35
4. Confrontation With God – 11:59
5. Cure For Judgement – 6:51
6. Welcome To Your Holy Hell – 8:49
Album Length: 51:19
Album Recording Credits:
• All songs performed by: Metaladian
• All songs written by: Andrew Brophy
• Produced by: Andrew Brophy
• Mixed by: Dan Brophy
• Mastered by: Andreas “Seidr Jonsson” Westholm of Dark Prod Mixing and Mastering
• Album Artwork by: Roberto Toderico of Roberto Toderico Art
Band Line-up:
Andrew Brophy – Lead Vocals – Drums
Dan Brophy – Vocals – Rhythm, Lead and Classical Guitars
Ruth Guetchal – Vocals – Rhythm Guitars
Dustin Smith – Vocals – Bass Guitars
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About The Album or Single Artwork:
The artwork depicts the members of the band as a group of skeleton witches brewing their toil in a cauldron in the moonlight. – surrounded by snarling wolves and victims’ limbs scattered on the ground. This grisly image is an analogy for the calling to arms to our fellow brothers and sisters to arm themselves for the spiritual battle ahead against us. Dan on the left is holding what’s left of the latest victim’s genitals. I’m holding the victim’s heart and head; Dustin is holding the scythe, and Ruth is stirring the cauldron.
About the album as a whole (LYRICALLY & MUSICALLY):
The album is a story arc featuring a journey of pain, retribution, and redemption. The lyrics are introspective and personal, but still have the ability to connect with their audience through more abstract imagery based on violent fantasy. The vocals are rhythmically punctuated with quick call and response between all the members, with the lead vocals being more melodic and the backing vocals more akin to a kind of thrashy punctuation. The lyrics were set up in a way that Dustin, Dan and Ruth are extensions of me. Musically, they cover the range and dynamics that I cannot do. Dustin is on the lower end of the scale. With a lot of range in his style. Low bellowing or a Guttural feral Ogre. Dan is more like a vicious rabid dog, or riot vocals. Ruth gets the ripping, high, screeching screams that slice through your soul. I sing all the long-held-out harmonies as well. The music is both chromatic and harmonically lush, with a dense layer of multiple parts that weave around one another, connected with catchy hooks and bone-crushing riffs. The overall feel of the album is drenched in violence and darkness, but with a hint of light that can be achieved that begins to show itself as the album progresses. The album is crafted to allow the listener to become fully sucked in and able to follow the journey as a kind of sound journey.
Track by Track (LYRICALLY & MUSICALLY):
1. Left Hand Path – Left Hand Path is part one of two songs. The lyrics introduce the dark and serious landscape of what the listener can expect through the rest of the album. These lyrics show how we are living in a difficult, dark and violent era that seems inescapable. Shattered innocence of youth we all once were, and growing up with the haunting memories of the sadistic brutality of human nature taking pleasure in the pain of the vulnerable. Leaving the victim with immense psychological pain and emotional torture, and an unrelenting anger directed towards the abuser. Musically, the bass and rhythm guitar play twisted, chromatic lines while the other guitar outlines lush harmonies. It’s one of the longer tracks with multiple sections. Opening with sound effects of cold wintery winds with wolves howling in the distance, representing the brutality of nature. We move into the introduction with a high lead guitar, falling into a devastating riff in unison. The verses are made up of slowly climbing chromatic guitar riffs with vocals passed between members with blistering leads at their apex. The middle section is a hypnotic drone section with erratic screams and wild guitar noise. Closer to the end of the song, we move in with a slower, more introspective, hypnotic section Chanting we will curse you 100 000 fold. We end with more melodic vocals and triumphant chord changes that prepare us for Deaditation
2. Deaditation – Deaditation is part two of Left Hand Path and is the featured single off the album. Lyrically, it paints a picture of a blackened world with the band calling its fans to arm themselves against the forces of evil that attempt to push us down. Giving the emotional devastation back to the abusers through a Deaditation. A meditated psychic attack that forces the predator to feel the pain they left on the victim 100,000-fold. The track opens up with a massive crowd of rioters hunting down their victim. Dustin starts us off on the bass with a constant chromatic line as Ruth fades in with the contagious droning harmonies while Dan’s guitar is ripping feedback. I enter with a tribal drum solo that takes us into the first verse. The interplay between vocalists is quick and dizzying. The drum parts were written to match the rhythm of the vocals. The vocals dictated the cymbal hits for the most part, which just happened naturally from singing and playing drums. The music itself comprises three different sections – a plateau, an ascension and a descent – each of which is permeated by chromatic runs, with the lead guitar playing lightning-fast licks to punctuate the sections. Each time the three sections restart, the tempo is increased. In this way, the music is incrementally and constantly gaining momentum, driving the music to a spiralling frenzy by the final descent. We end with the crowd of rioters celebrating.
3. No Worse Death Than The Loss Of All Hope – No Worse Death Than the Loss of All Hope (NWDTTLOAH) is the third track and is part one of two songs. NWDTTLOAH performs a 180-degree change from what the listener has heard so far. It is a slow and sludgy song – dark and depressing that feels as though one is wallowing in a pit of despair from which they can never leave. The lyrics bring this feeling across with giant harmonies and long-held notes punctuated by the backing vocals. The music is through-composed with nearly no repetition, but as a stream of consciousness with small fragments of repeated figures that tie it together. The song ends with long-held chords and the vocalists screaming “no” in unison. On the final instrumental hit is a church bell that feels like death has taken hold, with a sample of a grief-stricken soul crying, wallowing in self-pity. Beneath the tolling of the bell, a dark, chromatic-sounding classical guitar piece I composed is performed by my brother Dan, which meanders until it comes to its conclusion.
5. Cure for Judgement – Cure for Judgement is the other single from the album. It is part one of two songs (Holy Hell being part two). The lyrics for this song deal with the evils that come with judgement and how those who push their views on others are ignorant of personal truth and sovereignty. It is also ironic as it would naturally humble me on the views and judgements of others and seeing everything and everyone as a reflection of myself. The music is a medium tempo, beginning with some noise that sounds as though the guitar is on fire. The musical structure is complex, beginning with Ruth arpeggiating chords at an alarming speed. Directly after the bass, drums, and other guitars are layered over top in unison with the words “burn” and “fire” being passed around by the members. Following the introduction are several verses and bridges that expand and diminish in length, interspersed by blazing quick and snake-like melodic solos. These are broken up with several choruses in which my voice rings overtop, and the music is heightened to be almost ecstatic. The song ends with chaos – drums, bass, and guitar are playing an almost marching beat with the lead guitar performing an array of arpeggio sweeps.
6. Welcome to Your Holy Hell – Holy Hell is one of the heavier songs on the album with an upbeat tempo that makes the listener want to thrash everything in sight! The lyrics dwell on revenge and payback – a chance to finally let the person in mind know what you think of them. Furiously mocking and berating them, which is backed up by the musical intensity. The song opens with an ascent that accelerates until it feels inescapable, then suddenly falls away. This breaks away into a groovy, angry riff with ranting and raving from me and some thrash-like backing vocals. Soon after, the anger melts away into a doom-like groove that slows into a sludge. The music again ascends until we are back into an even quicker tempo with more insane and angry-sounding rants, insults and a punchy, groovy riff that carries the music into an almost fight-like sound. The end completely breaks away with soaring melodic vocals, triumphant chord changes and a virtuosic solo. Then the music comes to an end with a sample of my pet dog Adian before he passed away, barking and playing for the last time before I had to put him down. There are sounds of a beautiful sunny day at the waterfront with a soft breeze in the trees. Adian represents the final part of the arc – redemption.
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BAND STORY ANGLES / FUN FACTS:
1. The lyrics have an arc, beginning with depression and self-hatred, but lead to revenge and end with redemption. Even though the lyrics can be abrasive and violent, they also lead us into self-realization, actualization, and forgiveness.
2. Ruth’s rhythm guitar part is the main harmony and is almost completely composed of arpeggiated chords throughout, being almost a kind of keyboard part played on guitar. The other guitar and bass play almost always in rhythmic unison, and the drums tend to punctuate both parts. In this sense, a bigger sound is achieved.
3. All four members are also part of the Hamilton band 30 Immolated; 16 returned who have released one full-length, an EP, and a video. Also, Daniel and I are brothers who have been playing metal together since we were teenagers; Ruth is Dan’s wife, so it’s a family band of sorts. Dustin is, of course, our metal brother from another mother.
4. Dan, Ruth, and I have studied classical guitar and music. I was fortunate to go back to school in my late twenties and studied classical guitar and music at Mohawk College in Hamilton for four years. My brother and Ruth both have doctorates in composition. All three of us teach music for a living. I personally have taught at a few different music studios in the greater Toronto area for twenty-five years, but I have been teaching guitar, bass, and ukulele at Long and McQuade’s for around ten years now. I have also been teaching drums, piano, guitar, and ukulele at Dan and Ruth’s music studio as well as privately on my own.
5. I created and designed the band name and logo, Metaladian. Which means, quite simply, a Canadian metalhead. Each letter of Metaladian was designed as a weapon. I was born on July 1st, 1974, in Ottawa. I love Canada and consider myself very fortunate to have lived from one side of Canada to the other.
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L-R: Dan Brophy – Rhythm and Lead Guitars and Vocals, Andrew Brophy – Drums and Lead Vocals, Dustin Smith – Bass Guitar and Vocals, Ruth Guechtal – Rhythm Guitar and Vocals
Photo Credit – Andrew Brophy
Metaladian is a new band formed in Hamilton, Ontario, led by composer, drummer, and vocalist Andrew Brophy. Musically, we belong in the metal genre, but are greatly influenced by classical composers, lending itself to the progressiveness and complexity. The overall feel of the music is drenched in violence and darkness, but with a hint of light that can be achieved through our musical journey. The lead vocals, performed by drummer Andrew Brophy, are both harsh and melodic, with soaring melodies and lush harmonies, which alternate with the more thrash-style vocals from the rest of the band. The drums themselves are virtuosic, complementing the crushing riffs and flowing chords. The debut album “Deaditation” from Metaladian is the culmination of 20+ years of work. There is a great deal of variation within the album in terms of musical content, tempo, and texture.
Discography:
2026 – Deaditation (LP)
2020- Metaladian – Cure for Judgement – Demo
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